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Purple Phoenix Games (2266 KP) rated Cthulhu's Vault in Tabletop Games
Nov 9, 2021
As a kid, one thing my siblings and I used to do was play a storytelling game in which we created a (usually) hilarious story, one word at a time. You know the kind. One person starts the sentence with a single word, the next person in line adds a word, and so on, resulting in some ridiculous storyline that ultimately makes little overall sense. So when I heard about Cthulhu’s Vault, a game with a storytelling aspect, I was keen to try it! Even though the subject matter is obviously a little darker, does the overall game live up to my childhood memories of creating stories?
Cthulhu’s Vault is a card game in which players are working together to craft an occult story, which will ultimately lead to a final battle with one of the Ancient Ones. To setup the game, each player receives an Ancient One card (kept face-down), 7 Story cards, and 2 Power tokens (one Investigator and one Cultist). Power tokens are kept face-down and are secret from other players. The remaining Power tokens are placed into two pools – either face-up or face-down as described in the rules – and a starting Story card is drawn and placed in the middle of the play area. The Power Guide card is placed off to the side, visible to players, and shows the amount of Cultist Power necessary to awaken your Ancient One during play. Select a starting player, and the game is ready to begin!
The game is broken down into two phases: the Mystery Stage and the Epic Battle Stage. The Mystery Stage begins the game, and consists of the storytelling element. On your turn, you will select a Story card from your hand and play it to the table. Here’s the catch – all players are trying to create a cohesive storyline, so you are encouraged to narrate and chain together a single story with the addition of each new Story card. After you play your Story card and tell your brief addition to the tale, you will collect a number of Power tokens as described on your played Story card, receiving Bonus tokens if applicable. The Mystery Stage continues in this fashion until a player has acquired the requisite number of Cultist Power tokens necessary to awaken their Ancient One. At the start of that turn, the player will reveal their Ancient One, and the Mystery Stage ends immediately.
Moving on to the Epic Battle Stage, there is a small bit of setup. All remaining Story cards are discarded, and Investigator cards are displayed. The player who awoke their Ancient One collects a number of Power tokens equal to the health of their creature, gathers/shuffles the Ancient One Combat Deck, and draws a hand of 3 Combat cards. All remaining players will select an Investigator to play, in order, depending on the total number of Investigator Power tokens gained during the Mystery Stage. Players will discard down to/collect a number of Power tokens to match the health of their Investigator, shuffle the Investigator Combat Deck, and draw a number of cards as dictated by their Investigator card. A Battle Order deck is created and shuffled, and will dictate the order of actions during each Epic Battle turn. The Epic Battle Stage is now ready to begin.
During the Epic Battle, a card from the Battle Order deck is revealed – either an Investigator or the Ancient One. The corresponding player will then act, playing a card from their hand, performing the action (usually Wounding the opponent), and then drawing back up to their hand limit. Play continues in this way until either the Ancient One is defeated (all Health depleted), or all the Investigators are devoured by the Ancient One. If the Ancient One is defeated, the Investigators have won! And if the Ancient One has eliminated all the Investigators, then that player wins. Either way, whomever wins is encouraged to come up with a brief epilogue to bring the overall story to an end.
So all in all, how does Cthulhu’s Vault fare? Honestly, not too great. Let’s start with the rulebook. It has some areas of serious ambiguity and confusion, which made this game kind of tough and frustrating for me to learn at first. Now that I think I’ve got it figured out, it’s ok, but that first read-through was rough. Now getting down to the actual gameplay. I can appreciate what the game is trying to do – have players create a story and then engage in their narrated battle – but the two phases of the game seem very disjointed to me. It kind of feels like you are playing 2 separate games in one. You get to have some creative fun making up a spooky story, which is then swiftly forgotten as combat ensues. There is little to no connection between the two phases, and that lack of connection makes the storytelling phase seem obsolete.
Another thing to consider when checking this game out is the group of people with whom you will play. To really get a fun, immersive story going, all players need to be willing to embrace the storytelling aspect, and get into the narrative. Requiring that type of creativity on the spot can make some players uncomfortable, and they just might not enjoy that element of the game. Let’s touch on components for a minute. I think that for the most part, the production quality is fine! The Story, Investigator, and Ancient One cards are all oversized, sturdy, and feature some neat spooky art and flavor text. The Combat cards are normal sized, and for the most part clear in their text/actions. The Power tokens are small wooden discs, and are fun to play with. The version I have is in a tin, not a cardboard box, and the tin is nice and sturdy too. Overall, good quality game.
In theory, I think Cthulhu’s Vault is a neat game. The actual execution of the gameplay doesn’t quite hit the mark for me though. The lack of connection between the two phases of the game really detracts from the overall immersion. If there were a stronger connection, perhaps I would like it more, but as it stands, it just feels like 2 separate games in one box. If you’re into storytelling games, I would consider Cthulhu’s Vault because it does provide a neat opportunity for players to craft a unified story. But the shift to the combat phase feels sudden and unrelated. Purple Phoenix Games gives this one a fiendish 5 / 12.
Cthulhu’s Vault is a card game in which players are working together to craft an occult story, which will ultimately lead to a final battle with one of the Ancient Ones. To setup the game, each player receives an Ancient One card (kept face-down), 7 Story cards, and 2 Power tokens (one Investigator and one Cultist). Power tokens are kept face-down and are secret from other players. The remaining Power tokens are placed into two pools – either face-up or face-down as described in the rules – and a starting Story card is drawn and placed in the middle of the play area. The Power Guide card is placed off to the side, visible to players, and shows the amount of Cultist Power necessary to awaken your Ancient One during play. Select a starting player, and the game is ready to begin!
The game is broken down into two phases: the Mystery Stage and the Epic Battle Stage. The Mystery Stage begins the game, and consists of the storytelling element. On your turn, you will select a Story card from your hand and play it to the table. Here’s the catch – all players are trying to create a cohesive storyline, so you are encouraged to narrate and chain together a single story with the addition of each new Story card. After you play your Story card and tell your brief addition to the tale, you will collect a number of Power tokens as described on your played Story card, receiving Bonus tokens if applicable. The Mystery Stage continues in this fashion until a player has acquired the requisite number of Cultist Power tokens necessary to awaken their Ancient One. At the start of that turn, the player will reveal their Ancient One, and the Mystery Stage ends immediately.
Moving on to the Epic Battle Stage, there is a small bit of setup. All remaining Story cards are discarded, and Investigator cards are displayed. The player who awoke their Ancient One collects a number of Power tokens equal to the health of their creature, gathers/shuffles the Ancient One Combat Deck, and draws a hand of 3 Combat cards. All remaining players will select an Investigator to play, in order, depending on the total number of Investigator Power tokens gained during the Mystery Stage. Players will discard down to/collect a number of Power tokens to match the health of their Investigator, shuffle the Investigator Combat Deck, and draw a number of cards as dictated by their Investigator card. A Battle Order deck is created and shuffled, and will dictate the order of actions during each Epic Battle turn. The Epic Battle Stage is now ready to begin.
During the Epic Battle, a card from the Battle Order deck is revealed – either an Investigator or the Ancient One. The corresponding player will then act, playing a card from their hand, performing the action (usually Wounding the opponent), and then drawing back up to their hand limit. Play continues in this way until either the Ancient One is defeated (all Health depleted), or all the Investigators are devoured by the Ancient One. If the Ancient One is defeated, the Investigators have won! And if the Ancient One has eliminated all the Investigators, then that player wins. Either way, whomever wins is encouraged to come up with a brief epilogue to bring the overall story to an end.
So all in all, how does Cthulhu’s Vault fare? Honestly, not too great. Let’s start with the rulebook. It has some areas of serious ambiguity and confusion, which made this game kind of tough and frustrating for me to learn at first. Now that I think I’ve got it figured out, it’s ok, but that first read-through was rough. Now getting down to the actual gameplay. I can appreciate what the game is trying to do – have players create a story and then engage in their narrated battle – but the two phases of the game seem very disjointed to me. It kind of feels like you are playing 2 separate games in one. You get to have some creative fun making up a spooky story, which is then swiftly forgotten as combat ensues. There is little to no connection between the two phases, and that lack of connection makes the storytelling phase seem obsolete.
Another thing to consider when checking this game out is the group of people with whom you will play. To really get a fun, immersive story going, all players need to be willing to embrace the storytelling aspect, and get into the narrative. Requiring that type of creativity on the spot can make some players uncomfortable, and they just might not enjoy that element of the game. Let’s touch on components for a minute. I think that for the most part, the production quality is fine! The Story, Investigator, and Ancient One cards are all oversized, sturdy, and feature some neat spooky art and flavor text. The Combat cards are normal sized, and for the most part clear in their text/actions. The Power tokens are small wooden discs, and are fun to play with. The version I have is in a tin, not a cardboard box, and the tin is nice and sturdy too. Overall, good quality game.
In theory, I think Cthulhu’s Vault is a neat game. The actual execution of the gameplay doesn’t quite hit the mark for me though. The lack of connection between the two phases of the game really detracts from the overall immersion. If there were a stronger connection, perhaps I would like it more, but as it stands, it just feels like 2 separate games in one box. If you’re into storytelling games, I would consider Cthulhu’s Vault because it does provide a neat opportunity for players to craft a unified story. But the shift to the combat phase feels sudden and unrelated. Purple Phoenix Games gives this one a fiendish 5 / 12.
Eilidh G Clark (177 KP) rated A Portable Shelter in Books
May 13, 2017
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Debbiereadsbook (1590 KP) rated Retribution (The Protectors #3) in Books
Apr 15, 2019
My fav of the three so far!
*verified Audible purchase June 2017*
This is book three in the Protectors series. You don’t NEED to have read/listened to books one and two, but I think you SHOULD. It will give you a better picture of this group of people and what they do, and how Hawke came to at the head. And you know, FIVE star listens, people!
For ten years, Hawke has been searching for the men who killed his wife and unborn son. Meeting Tate makes him feel again, something he didn’t think was possible. He certainly never thought it possible he would feel for a MAN.
I loved books one and two, and I loved this one too! I again cannot split the narration from the story, so not even gonna try. So I apologise if this review jumps around a bit!
Hawke loved his wife, bone deep, and when she was murdered, it broke. He’s spent the last ten years as head of an organisation that delivers justice to those let down by the law. The revenge for his wife’s death is a long time coming but he’s getting close and Tate is his link. His reaction to Tate is . . . unexpected. And when Hawke realises why Tate is running, his protectiveness goes into overdrive.
It’s no secret I’m not a fan of READING first person books, particularly if they are multi person but I find I’m really enjoying LISTENING to first person books, ESPECIALLY if they are multi point of view! Joel Leslie is a MASTER at his craft, at narrating multi point of view, in the first person! I simply CANNOT fault the narration. The way Leslie gets every single heart wrenching thought that Hawke has: thinking about his wife, ad what his growing feelings for Tate mean. Every fear that Tate has: that his father will find him, that Hawke might hurt him, that he might lose his little boy. This is not a short listen, over 8 hours and I listened to it in one single siting. I tried to stop, I really did but I needed to know what would happen, how this would play out. It takes a single question from Ronan (Salvation, book 2) to break Hawke. The same question broke me too! And I sobbed at that point, great heart wrenching sobs at the emotion that Leslie pours out of Hawke.
Of course, Leslie can only narrate the words given him, but Kennedy is fast becoming a favourite of mine. The way she intertwines multi level stories, from book to book, is amazing. Sometimes, series lose their . . .what’s the word . . .ethos, as it moves along but not so here. They hold true to their meaning, and I cannot wait to see where this series goes.
I LOVE that I have 9 more books to get through BUT I’ve discovered that Michael Pauley narrates book 4, Forsaken, and I’m not sure how I feel about that! I’ll buy it, without a doubt, but it will be interesting to see how Pauley portrays the voices that Leslie has done up to now.
So, because I can’t split the narration, because I listened in one day, and just bloody I can . . .
5 stars for the book
5 stars for the narration
5 stars overall
This is book three in the Protectors series. You don’t NEED to have read/listened to books one and two, but I think you SHOULD. It will give you a better picture of this group of people and what they do, and how Hawke came to at the head. And you know, FIVE star listens, people!
For ten years, Hawke has been searching for the men who killed his wife and unborn son. Meeting Tate makes him feel again, something he didn’t think was possible. He certainly never thought it possible he would feel for a MAN.
I loved books one and two, and I loved this one too! I again cannot split the narration from the story, so not even gonna try. So I apologise if this review jumps around a bit!
Hawke loved his wife, bone deep, and when she was murdered, it broke. He’s spent the last ten years as head of an organisation that delivers justice to those let down by the law. The revenge for his wife’s death is a long time coming but he’s getting close and Tate is his link. His reaction to Tate is . . . unexpected. And when Hawke realises why Tate is running, his protectiveness goes into overdrive.
It’s no secret I’m not a fan of READING first person books, particularly if they are multi person but I find I’m really enjoying LISTENING to first person books, ESPECIALLY if they are multi point of view! Joel Leslie is a MASTER at his craft, at narrating multi point of view, in the first person! I simply CANNOT fault the narration. The way Leslie gets every single heart wrenching thought that Hawke has: thinking about his wife, ad what his growing feelings for Tate mean. Every fear that Tate has: that his father will find him, that Hawke might hurt him, that he might lose his little boy. This is not a short listen, over 8 hours and I listened to it in one single siting. I tried to stop, I really did but I needed to know what would happen, how this would play out. It takes a single question from Ronan (Salvation, book 2) to break Hawke. The same question broke me too! And I sobbed at that point, great heart wrenching sobs at the emotion that Leslie pours out of Hawke.
Of course, Leslie can only narrate the words given him, but Kennedy is fast becoming a favourite of mine. The way she intertwines multi level stories, from book to book, is amazing. Sometimes, series lose their . . .what’s the word . . .ethos, as it moves along but not so here. They hold true to their meaning, and I cannot wait to see where this series goes.
I LOVE that I have 9 more books to get through BUT I’ve discovered that Michael Pauley narrates book 4, Forsaken, and I’m not sure how I feel about that! I’ll buy it, without a doubt, but it will be interesting to see how Pauley portrays the voices that Leslie has done up to now.
So, because I can’t split the narration, because I listened in one day, and just bloody I can . . .
5 stars for the book
5 stars for the narration
5 stars overall
Movie Metropolis (309 KP) rated American Sniper (2015) in Movies
Jun 10, 2019
Incredibly Harrowing
There’s something about Clint Eastwood’s varied directing career that puts him among the greats of the craft. Along with Spielberg, Scott and Fincher, Eastwood has created some of cinema’s greatest films – yet he goes about it in a completely different fashion to his peers, he doesn’t shout about it.
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Here, Eastwood directs Bradley Cooper and Sienna Miller in his latest offering, American Sniper, but does it stand as one of the better films on his resume?
American Sniper follows the story of Chris Kyle, a decorated marksman in the US military at a time when the war against terror strikes fear into the hearts of practically everyone across the globe.
An Oscar-nominated Bradley Cooper plays the lead role beautifully, in what is the best performance of his career, while Sienna Miller makes a welcome return to the big screen as his loyal wife Taya.
As the film plays out, we see the duo go about their lives – apart and together as they come to terms with raising a family, despite Kyle’s constant deployment to Iraq and the many troubles that brings as he tries to resume normal life.
Eastwood really hits hard with the imagery, never glamorising the war on terror or conflict itself and this is perhaps the strongest part of the picture. Many films in the genre almost feel like military propaganda, but here, the brutality is raw in the emotions of the lead characters and squalid locations.
The surroundings themselves are beautifully shot with Eastwood’s trademark flair for long, sweeping camera angles being used in abundance. Thankfully he lets the stunning locations speak for themselves throughout the majority of the film, not tampering with them despite that becoming a norm recently.
These scenery shots are juxtaposed with the damp, dirty conditions the soldiers must deal with frequently, with sunset-flooded vistas giving way to crumbling buildings and claustrophobic rooms.
However, the very nature of the movie, following Cooper’s character on his various Tours, does get repetitive at times and there are certain moments that feel like you’re watching someone playing a video game like Resident Evil or Call of Duty as one minor set piece leads to a larger one – though the tense final act makes up for this somewhat.
American Sniper also makes you increasingly aware of the human cost that comes with conflict. This is a bleak film, make no mistake and it’s especially harrowing seeing how Taya (Sienna Miller) copes with being away from her husband for long periods of time, especially with the job of raising a family.
Despite a running time of over two hours, Sniper never feels long, a testament to the snappy pacing and wonderful performances Sienna+Miller+Sienna+Miller+Films+American+dQWprK3Evu6lthroughout, and despite a lack of backstory for some of the other characters, Eastwood delves into the lifestyle of Chris and his wife beautifully.
Overall, Eastwood has another memorable film to add to his CV, and whilst it would be insulting to call it ‘fun’, American Sniper is enjoyable to watch in a whole different way. Bradley Cooper and Sienna Miller are both excellent and when the whole cinema leaves the screen in complete silence, you know that the message has got across.
https://moviemetropolis.net/2015/01/23/incredibly-harrowing-american-sniper-review/
Movie Metropolis (309 KP) rated Dunkirk (2017) in Movies
Jun 10, 2019
A Triumph
Brutal. Spectacular. Emotional. These are just some of the adjectives you could use to describe Christopher Nolan’s latest film, Dunkirk. The director of Inception, The Dark Knight, Memento and Interstellar is one of the greatest film-makers working today and he raises the bar once again with this bleak tale from World War II.
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
With war, you have to respect the past whilst allowing modern-day film-goers to truly understand the brutality that ordinary people like you and I went through on a daily basis.
In May 1940, Germany had advanced into France, trapping Allied troops on the beaches of Dunkirk. Under air and ground cover from British and French forces, troops were slowly and methodically evacuated from the beach using not only military ships but civilian boats too. At the end of this incredible story of courage, 330,000 French, British, Belgian and Dutch soldiers were safely evacuated.
I found a quote the other day that said “Christopher Nolan is like Michael Bay for people who have ever read a book” and in Dunkirk that seems more apt than ever. Of course there are explosions, many of them, but they are interweaved with some incredible storytelling.
Split into three separate timelines, Dunkirk follows fisherman Mark Rylance as he sails to the beaches as part of the civilian rescue effort. On land we shadow a group of young soldiers desperately trying to get back home. Finally, the film flies alongside Tom Hardy’s brave Spitfire pilot as he tries his best to keep the beaches safe.
Each of the stories has something to offer but Mark Rylance’s performance is definitely the best, making his timeline the most interesting and often the most emotional. Addressing the elephant in the room, Harry Styles, is probably best at this part of the review – he’s excellent and in a much larger part than I had imagined.
In fact, all the performances are excellent, helped in part by Christopher Nolan’s incredible use of close-ups. This is a living, breathing war and as the audience, you feel as claustrophobic as the 400,000 men did waiting on that beach in 1940.
Moreover, the sound is just astonishing. I have never known a film use sound to such an extent to convey sheer terror. The score by Hans Zimmer, coupled with the deafening aircraft flying overhead and the rapid gunfire is incredibly harrowing and makes Dunkirk very hard to watch at times – despite its 12A certification.
Dunkirk is also a masterclass in practical effects. Nearly everything you see on screen was shot without the use of CGI and my goodness you can tell. We’re so used to seeing blockbusters filled to the brim with computer generated imagery that it’s easy to forget just how good practical effects can be.
Overall, Christopher Nolan has created a tasteful homage to a day that has been etched into the minds of generations of people. It would’ve been easy to create a film that focused on the action rather than the human details of this incredible story, but Nolan has managed to craft an absolute triumph. It’s one of the best films of the year and an absolute must-watch.
https://moviemetropolis.net/2017/07/23/dunkirk-review-a-triumph/
Movie Metropolis (309 KP) rated The Hunger Games: Mockingjay - Part 2 (2015) in Movies
Jun 10, 2019
An emotional goodbye
Over the last three years, The Hunger Games franchise has thrilled and delighted fans and newcomers to the series with its mix of wonderful special effects, a great cast and intriguing plots.
With the second instalment, Catching Fire, proving to be the best in the series, expectations for the finale, Mockingjay Part 2 were incredibly high. But is this the end we all wanted, and more importantly deserved?
Mockingjay Part 2 picks up immediately after the events of Part 1, as Jennifer Lawrence’s Katniss Everdeen recovers from a vicious attack by her friend and on-off lover Peeta, played by Josh Hutcherson in a troubled and career-best performance.
With Katniss becoming a symbol of hope in a time of dictatorship, Lawrence marches with her friends and allies to storm the Capitol and overthrow the tyrannical President Snow, a deliciously evil Donald Sutherland.
The catch? Snow and previous Game makers have booby-trapped the Capitol with a range of sadistic tests trying to stop the rebellion in its tracks.
The Hunger Games has become renowned for a fantastic supporting cast that includes talent like Elizabeth Banks, Woody Harrelson, Stanley Tucci, the late Philip Seymour Hoffman and Julianne Moore, with the latter being particularly memorable.
Unfortunately, as is often the case with large Young Adult franchises, these fantastic actors are lost somewhat as director Francis Lawrence tries to tie up all loose ends with the main teens; Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth.
The aforementioned three have been part of a love triangle so convoluted it’s difficult to remember who is in love with who, but thankfully this takes a back seat to the action, though each of the three brings enough acting credibility to make the more romantic elements bearable.
Moreover, Mockingjay Part 2 pushes the boundaries of the much-maligned 12A certificate. This is by far the most harrowing and bleak of the four films and none of its predecessors were exactly a ray of sunshine. The characters are pushed to breaking point as the realisation of the Capitol’s evil fully sinks in and the inevitable loss of life is both thrilling and utterly devastating.
The special effects have been rightly ramped up for this final instalment with District 13 and the Capitol looking truly stunning. Each of the action sequences is filmed with such confidence and this shows off the exceptional sets much better than the handy cam that plagued the first film.
Unfortunately, the need to fill a movie nearly 140 minutes in length has led to a tone that occasionally jars and drags a little too frequently. This was a problem with Part 2’s predecessor and whilst the idea to split the final book into two films works better here, the balance is still not quite right and still reeks of money-making.
However, each of the action sequences are edge of the seat stuff with an underground sewer providing the film’s most pulse-racing and dramatic scenes. There’s a whiff of Ridley Scott’s Alien in Francis Lawrence’s direction throughout this extended set piece.
Overall, The Hunger Games series has ended on a high. From its beautiful cinematography to an exceptional main and supporting cast, director Francis Lawrence, who has been with the series since Catching Fire, has managed to craft a harrowing end to a group of films whose influence will be felt for many years to come.
https://moviemetropolis.net/2015/11/22/an-emotional-goodbye-the-hunger-games-mockingjay-part-2-review/
With the second instalment, Catching Fire, proving to be the best in the series, expectations for the finale, Mockingjay Part 2 were incredibly high. But is this the end we all wanted, and more importantly deserved?
Mockingjay Part 2 picks up immediately after the events of Part 1, as Jennifer Lawrence’s Katniss Everdeen recovers from a vicious attack by her friend and on-off lover Peeta, played by Josh Hutcherson in a troubled and career-best performance.
With Katniss becoming a symbol of hope in a time of dictatorship, Lawrence marches with her friends and allies to storm the Capitol and overthrow the tyrannical President Snow, a deliciously evil Donald Sutherland.
The catch? Snow and previous Game makers have booby-trapped the Capitol with a range of sadistic tests trying to stop the rebellion in its tracks.
The Hunger Games has become renowned for a fantastic supporting cast that includes talent like Elizabeth Banks, Woody Harrelson, Stanley Tucci, the late Philip Seymour Hoffman and Julianne Moore, with the latter being particularly memorable.
Unfortunately, as is often the case with large Young Adult franchises, these fantastic actors are lost somewhat as director Francis Lawrence tries to tie up all loose ends with the main teens; Jennifer Lawrence, Josh Hutcherson and Liam Hemsworth.
The aforementioned three have been part of a love triangle so convoluted it’s difficult to remember who is in love with who, but thankfully this takes a back seat to the action, though each of the three brings enough acting credibility to make the more romantic elements bearable.
Moreover, Mockingjay Part 2 pushes the boundaries of the much-maligned 12A certificate. This is by far the most harrowing and bleak of the four films and none of its predecessors were exactly a ray of sunshine. The characters are pushed to breaking point as the realisation of the Capitol’s evil fully sinks in and the inevitable loss of life is both thrilling and utterly devastating.
The special effects have been rightly ramped up for this final instalment with District 13 and the Capitol looking truly stunning. Each of the action sequences is filmed with such confidence and this shows off the exceptional sets much better than the handy cam that plagued the first film.
Unfortunately, the need to fill a movie nearly 140 minutes in length has led to a tone that occasionally jars and drags a little too frequently. This was a problem with Part 2’s predecessor and whilst the idea to split the final book into two films works better here, the balance is still not quite right and still reeks of money-making.
However, each of the action sequences are edge of the seat stuff with an underground sewer providing the film’s most pulse-racing and dramatic scenes. There’s a whiff of Ridley Scott’s Alien in Francis Lawrence’s direction throughout this extended set piece.
Overall, The Hunger Games series has ended on a high. From its beautiful cinematography to an exceptional main and supporting cast, director Francis Lawrence, who has been with the series since Catching Fire, has managed to craft a harrowing end to a group of films whose influence will be felt for many years to come.
https://moviemetropolis.net/2015/11/22/an-emotional-goodbye-the-hunger-games-mockingjay-part-2-review/
Movie Metropolis (309 KP) rated The Fate of the Furious (2017) in Movies
Jun 11, 2019
Spectacularly Dumb
With box office takings of over $1.5billion, it was obvious that Universal Pictures would never let Furious 7 be the end of a multi-billion dollar franchise, no matter what many fans truly wanted.
The previous instalment was also, surprisingly, warmly received by critics who were impressed with how sensitively the naturally bombastic series handled the death of lead star Paul Walker. Two years on, the crew are back with Fast and Furious 8; does it do enough to keep the franchise on a high?
Now that Dom (Vin Diesel) and Letty (Michelle Rodriguez) are on their honeymoon, Brian and Mia have retired from the game, and the rest of the crew have been exonerated, the plucky team of globetrotters has found a normal life of sorts. But when a mysterious woman (Charlize Theron) seduces Dom back into a world of crime that he can’t seem to escape from, the rest of the gang will face things that will test them like never before.
Newcomer to the franchise, director F. Gary Gray (Law Abiding Citizen, The Italian Job) manages to craft what is perhaps the most ridiculous entry in the series to date, plagued with tonal imbalances and plot holes so big you could fit the QE2 into them with ease. But you know what? It’s probably the most fun you’ll have in the cinema all year.
The cast are all reunited, barring Paul Walker’s Brian and those publicised rifts between Vin Diesel and Dwayne Johnson are nowhere to be seen as everyone on screen appears to be having the time of their lives. New recruit Charlize Theron adds a level of class to proceedings as steely supervillain, Cipher. She’s a cracking addition to the series and her acting prowess oozes from every pore, despite the often clunky dialogue.
Of course, successful predecessors command bigger budgets for their follow-ups and Furious 8 is no exception. $250million was spent on creating this film and it shows. It’s a feast for the eyes with explosions, shiny cars, stunning locations and breath-taking special effects. The result is frankly exceptional. From Cuba to NYC and from Berlin to Russia (actually filmed in Iceland), the vistas are nicely filmed and beautifully executed.
The action sequences are also choreographed very well, but from a franchise built on these foundations, I’d expect nothing less. In particular, a street chase through New York City is edge of your seat stuff as literally hundreds of vehicles worm their way through its congested streets.
Negatives? Well, the story is awkward despite some decent twists, the aforementioned plot holes cause a few headaches for a series that prides itself on continuity and some of the comedic elements are poorly placed, but in this eighth outing, much of that can be forgiven. After all, what other franchise could survive eight films and still prove as exciting as its first?
Overall, Fast and Furious 8 is unashamedly ridiculous but who cares? With exceptional special effects and a great new adversary in Charlize Theron, the series once again manages to surpass expectation. Each film tries its best to outdo its predecessor and before long, we’ll no doubt be heading to Mars with the gang. I’m up for that. Are you?
https://moviemetropolis.net/2017/04/13/spectacularly-dumb-fast-furious-8-review/
The previous instalment was also, surprisingly, warmly received by critics who were impressed with how sensitively the naturally bombastic series handled the death of lead star Paul Walker. Two years on, the crew are back with Fast and Furious 8; does it do enough to keep the franchise on a high?
Now that Dom (Vin Diesel) and Letty (Michelle Rodriguez) are on their honeymoon, Brian and Mia have retired from the game, and the rest of the crew have been exonerated, the plucky team of globetrotters has found a normal life of sorts. But when a mysterious woman (Charlize Theron) seduces Dom back into a world of crime that he can’t seem to escape from, the rest of the gang will face things that will test them like never before.
Newcomer to the franchise, director F. Gary Gray (Law Abiding Citizen, The Italian Job) manages to craft what is perhaps the most ridiculous entry in the series to date, plagued with tonal imbalances and plot holes so big you could fit the QE2 into them with ease. But you know what? It’s probably the most fun you’ll have in the cinema all year.
The cast are all reunited, barring Paul Walker’s Brian and those publicised rifts between Vin Diesel and Dwayne Johnson are nowhere to be seen as everyone on screen appears to be having the time of their lives. New recruit Charlize Theron adds a level of class to proceedings as steely supervillain, Cipher. She’s a cracking addition to the series and her acting prowess oozes from every pore, despite the often clunky dialogue.
Of course, successful predecessors command bigger budgets for their follow-ups and Furious 8 is no exception. $250million was spent on creating this film and it shows. It’s a feast for the eyes with explosions, shiny cars, stunning locations and breath-taking special effects. The result is frankly exceptional. From Cuba to NYC and from Berlin to Russia (actually filmed in Iceland), the vistas are nicely filmed and beautifully executed.
The action sequences are also choreographed very well, but from a franchise built on these foundations, I’d expect nothing less. In particular, a street chase through New York City is edge of your seat stuff as literally hundreds of vehicles worm their way through its congested streets.
Negatives? Well, the story is awkward despite some decent twists, the aforementioned plot holes cause a few headaches for a series that prides itself on continuity and some of the comedic elements are poorly placed, but in this eighth outing, much of that can be forgiven. After all, what other franchise could survive eight films and still prove as exciting as its first?
Overall, Fast and Furious 8 is unashamedly ridiculous but who cares? With exceptional special effects and a great new adversary in Charlize Theron, the series once again manages to surpass expectation. Each film tries its best to outdo its predecessor and before long, we’ll no doubt be heading to Mars with the gang. I’m up for that. Are you?
https://moviemetropolis.net/2017/04/13/spectacularly-dumb-fast-furious-8-review/
BankofMarquis (1832 KP) rated Hereditary (2018) in Movies
Jun 28, 2018
Laughable
For me, the hardest genre of film to get right is horror. In short order the filmmaker needs to set up the premise and "rules of engagement" of the world that is being presented and then execute incredulous situations and predicaments in such a way that are plausible and tense.
Only a small amount (let's say 10% to be generous) gets this balance right. 80% of the time, they fall short and either the film is boring or (more often) turns into a "gore-fest". And...in the bottom 10% are the films where they miss so spectacularly that you are entertained by how ridiculous and over-the-top things are.
Such is the case with Ari Aster's HEREDITARY, a film that was billed as a "tense, thriller with unthinkable family tragedy that veers into the realm of the Supernatural".
I would bill it as "stupid".
Starring the usually reliable Toni Collette as Annie, a miniature-model artist (people in these types of films usually have occupations that make no sense) who's relationship with her mother is strained - at best. She is married to Steve (Gabriel Byrne - far removed from his USUAL SUSPECTS days), and has 2 children, Peter (Alex Wolff) and Charlie (Milly Shapiro). They had another child who has passed away. When Annie's mother dies, Annie starts to discover disturbing secrets about her mother and her family's heritage.
I won't say more - for I would spoil things - but the film starts promisingly enough - and there's an unexpected, tragic death that I thought was handled interestingly enough and I had positive hopes for the rest of the film - but the scenarios and escalating events of this film build on each other from there, one more ridiculous than the other. I kept wanting to scream to the screen - "call the authorities", which would have ended things right there, but this being a film, no one ever does.
As I stated, Toni Collette is, usually, a sign of quality in a movie...but not here. She (and Byrne) are listed as Executive Producers of this film (which means, I think, they gave up parts of their salaries for % points in this film - good luck getting any money out of that). Her Annie is melodramatic and over-the-top - and CRAZY - almost from the start, so when she starts getting REALLY melodramatic and C-R-A-Z-Y, it is laughable. Gabriel Byrne walks through this film looking like he is wondering where the Craft Services truck is, giving a "minimalist" performance (read: he mailed it in). And the two kids are haunting...in their blankness and blandness.
But...it is the ever increasing bizarre events that had me howling with laughter in my seat (as opposed to squirming in terror). I would spoil things if I mentioned them, but I didn't buy any of it. Writer/Director Aster just kept throwing one event even more "weird" and bizarre than preceding one. I actually said to my buddy sitting next to me at one point, "who is that old, fat, naked guy, and where did he come from"?
I think that says it all.
I'm sure there was probably a good movie in here someplace, this wasn't it.
Letter Grade: C (for the opening 1/2 hour or so and the "unexpected death" that was executed well).
4 stars (out of 10) and you can take it - or leave it - to the Bank(ofMarquis)
Only a small amount (let's say 10% to be generous) gets this balance right. 80% of the time, they fall short and either the film is boring or (more often) turns into a "gore-fest". And...in the bottom 10% are the films where they miss so spectacularly that you are entertained by how ridiculous and over-the-top things are.
Such is the case with Ari Aster's HEREDITARY, a film that was billed as a "tense, thriller with unthinkable family tragedy that veers into the realm of the Supernatural".
I would bill it as "stupid".
Starring the usually reliable Toni Collette as Annie, a miniature-model artist (people in these types of films usually have occupations that make no sense) who's relationship with her mother is strained - at best. She is married to Steve (Gabriel Byrne - far removed from his USUAL SUSPECTS days), and has 2 children, Peter (Alex Wolff) and Charlie (Milly Shapiro). They had another child who has passed away. When Annie's mother dies, Annie starts to discover disturbing secrets about her mother and her family's heritage.
I won't say more - for I would spoil things - but the film starts promisingly enough - and there's an unexpected, tragic death that I thought was handled interestingly enough and I had positive hopes for the rest of the film - but the scenarios and escalating events of this film build on each other from there, one more ridiculous than the other. I kept wanting to scream to the screen - "call the authorities", which would have ended things right there, but this being a film, no one ever does.
As I stated, Toni Collette is, usually, a sign of quality in a movie...but not here. She (and Byrne) are listed as Executive Producers of this film (which means, I think, they gave up parts of their salaries for % points in this film - good luck getting any money out of that). Her Annie is melodramatic and over-the-top - and CRAZY - almost from the start, so when she starts getting REALLY melodramatic and C-R-A-Z-Y, it is laughable. Gabriel Byrne walks through this film looking like he is wondering where the Craft Services truck is, giving a "minimalist" performance (read: he mailed it in). And the two kids are haunting...in their blankness and blandness.
But...it is the ever increasing bizarre events that had me howling with laughter in my seat (as opposed to squirming in terror). I would spoil things if I mentioned them, but I didn't buy any of it. Writer/Director Aster just kept throwing one event even more "weird" and bizarre than preceding one. I actually said to my buddy sitting next to me at one point, "who is that old, fat, naked guy, and where did he come from"?
I think that says it all.
I'm sure there was probably a good movie in here someplace, this wasn't it.
Letter Grade: C (for the opening 1/2 hour or so and the "unexpected death" that was executed well).
4 stars (out of 10) and you can take it - or leave it - to the Bank(ofMarquis)
Debbiereadsbook (1590 KP) rated Where It All Began (Manx Cat Guardians Prequel) in Books
Jul 21, 2018
best book of the three!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
I am incredibly frustrated about this book! Not WITH the book, ABOUT this book. Let me try to explain.
Reading books one and two, I was left with questions. Lots and lots of questions, mostly about how the Manx Cat Guardians came to be. I had high hopes that THIS book would answer those questions.
BUT!!!
While there IS a brief mention of why they were created ( The King of the Otherworld created them to counteract the rise of the new religion, Christianity, and it's belief that same sex couples were against nature and therefore abhorrent) the book is more about Maximillian, the big white cat who arrived on the island, along with Aadan, to help Stuart and Joe. And how Maximillian became the bearer of not one soul, but two.
So the questions I had were mostly NOT answered. And I'm still left with questions. This is where I get frustrated. Because I KNOW my mind is not happy, and that it still has questions, but I also know that I can't figure out what those questions are!! And if I don't know what those questions are, how is an author supposed to answer them, hmm??? So, once I got over my spit-your-dummy-out, throw-your-toys-out-the-pram and I'll-scream-and-scream-and-scream-until-I'm-sick kind of tantrum, here's what I thought about this book.
I found THIS book, is, in my opinion, the best of the three! Viking Olafr (I've been pronouncing this Olfa) has feelings for Magnus, a lowly servant. He knows he shouldn't but he cannot fight them any longer and for one glorious night, Magnus is his. What follows is extremely painful reading. Not because of the writing but because you feel Olafr's pain. You feel every single heart wrenching torment, his decision, and what he has to do. It's exceptional writing, when you can feel so much pain. I cried for Olafr and Magnus I really did. I'm being vague, I know but I work hard NOT to give spoilers!
Olafr and Maximillian have the majority voice, along with a young Aadan, when he was a child. Magnus does not have a say though. I did want him to, but when THAT happened, I'm so glad he didn't. That would have been too much, on top of Olafr's pain, I think.
It gives you a little bit more about when Aadan and Maximillian landed on the island, and what the cat felt at finally coming home. It gives me an unhealthy need for book three! At least I hope there is book three, about Aadan and Greg, who appears in book two. Because, given the way I read that bit, and the way my mind ran away with itself, I have a feeling that book ( I beg, PLEEEEEEEEEEEEZE let there be another book!) will be a far emotional and heart wrenching than the other two, and they weren't a picnic in the park either!
The author's skill at her craft is growing, and it shows!
So, even though I had a hissy fit, even though my (unvoiced) questions were not answered, and even though this is a MIGHTY painful read . . .
5 stars.
**same worded review will appear elsewhere**
I am incredibly frustrated about this book! Not WITH the book, ABOUT this book. Let me try to explain.
Reading books one and two, I was left with questions. Lots and lots of questions, mostly about how the Manx Cat Guardians came to be. I had high hopes that THIS book would answer those questions.
BUT!!!
While there IS a brief mention of why they were created ( The King of the Otherworld created them to counteract the rise of the new religion, Christianity, and it's belief that same sex couples were against nature and therefore abhorrent) the book is more about Maximillian, the big white cat who arrived on the island, along with Aadan, to help Stuart and Joe. And how Maximillian became the bearer of not one soul, but two.
So the questions I had were mostly NOT answered. And I'm still left with questions. This is where I get frustrated. Because I KNOW my mind is not happy, and that it still has questions, but I also know that I can't figure out what those questions are!! And if I don't know what those questions are, how is an author supposed to answer them, hmm??? So, once I got over my spit-your-dummy-out, throw-your-toys-out-the-pram and I'll-scream-and-scream-and-scream-until-I'm-sick kind of tantrum, here's what I thought about this book.
I found THIS book, is, in my opinion, the best of the three! Viking Olafr (I've been pronouncing this Olfa) has feelings for Magnus, a lowly servant. He knows he shouldn't but he cannot fight them any longer and for one glorious night, Magnus is his. What follows is extremely painful reading. Not because of the writing but because you feel Olafr's pain. You feel every single heart wrenching torment, his decision, and what he has to do. It's exceptional writing, when you can feel so much pain. I cried for Olafr and Magnus I really did. I'm being vague, I know but I work hard NOT to give spoilers!
Olafr and Maximillian have the majority voice, along with a young Aadan, when he was a child. Magnus does not have a say though. I did want him to, but when THAT happened, I'm so glad he didn't. That would have been too much, on top of Olafr's pain, I think.
It gives you a little bit more about when Aadan and Maximillian landed on the island, and what the cat felt at finally coming home. It gives me an unhealthy need for book three! At least I hope there is book three, about Aadan and Greg, who appears in book two. Because, given the way I read that bit, and the way my mind ran away with itself, I have a feeling that book ( I beg, PLEEEEEEEEEEEEZE let there be another book!) will be a far emotional and heart wrenching than the other two, and they weren't a picnic in the park either!
The author's skill at her craft is growing, and it shows!
So, even though I had a hissy fit, even though my (unvoiced) questions were not answered, and even though this is a MIGHTY painful read . . .
5 stars.
**same worded review will appear elsewhere**
LilyLovesIndie (123 KP) rated A Pound of Flesh (A Pound of Flesh, #1) in Books
Nov 5, 2018
A story of love, that all consuming kind that never runs smooth, Pound of Flesh is a book that everyone needs on their bookshelf. Carter and Kat seem to be polar opposites, him a convicted felon, her a woman from the posh part of town, but when fate intervenes there's no stopping the force of their love.
Let me just start by saying this: WOW. I could just leave this review there, because that is just what I feel about this book. I've sat for a long time trying to figure out how to put into words just how amazing this reading experience was. That's not even me gushing, this is me, honest to goodness, being totally speechless at how amazing this tale was.
I'll start with the characters - Carter and Kat, and of course, the extended family and friends of theirs. Kat is a teacher, a woman with a sad past, but it's made her such a strong individual. She's captivating to read, you just want to find out what makes her tick, heal her pain and help her find her purpose. Carter, well, let's just say him and I have had a few snuggles together! He's a diamond in the rough as my Grandad would say, a gentleman who has just been dealt some very rough cards to play and did the best he could. He's an absolute pleasure to try and unravel, capturing your whole attention when he's in the scene and just so darned awesome. He has firmly secured his place in my top Book Boyfriends list. Joking aside, the characters are all brilliant. They weave together into a cohesive little bunch that are all developed, well thought out and interesting to read.
Weaving excellent characters isn't the only thing Jackson is good at doing. The plot and pace of this novel was extraordinary. There were so many twists and turns, ups and downs that you really did feel like you had been on an emotional rollercoaster. I laughed, cried, winced at stupid choices, gasped at revelations and a whole host of other emotions as well. I got hot under the collar during the brilliantly written sex scenes (Carter is a man who knows what he's doing!) and still I felt the tenderness of the moment. Everything in this book was balanced just the way I like it, it was, quite simply, perfect for me.
And that said, I shall cease waxing lyrical about this brilliant book. Jackson has made a stunning addition to the Indie community and I am sure she will continue to flourish in her craft. This book could not come with any higher recommendation from me, in fact, I was telling friends to buy it when I hadn't even reached the half way mark, I just knew it was that good. Just one word of warning readers, make sure your schedule is clear and you have tissues ready, because once you start you really cannot put this book down. A stellar novel, and one I am certain I will read again before too long, all that is left to say is congratulations Sophie Jackson, you wrote a bloody good book and should be very proud of yourself! Thank you for sharing Kat and Carter, and I am waiting on tenterhooks for more from this fabulous lady!
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
Let me just start by saying this: WOW. I could just leave this review there, because that is just what I feel about this book. I've sat for a long time trying to figure out how to put into words just how amazing this reading experience was. That's not even me gushing, this is me, honest to goodness, being totally speechless at how amazing this tale was.
I'll start with the characters - Carter and Kat, and of course, the extended family and friends of theirs. Kat is a teacher, a woman with a sad past, but it's made her such a strong individual. She's captivating to read, you just want to find out what makes her tick, heal her pain and help her find her purpose. Carter, well, let's just say him and I have had a few snuggles together! He's a diamond in the rough as my Grandad would say, a gentleman who has just been dealt some very rough cards to play and did the best he could. He's an absolute pleasure to try and unravel, capturing your whole attention when he's in the scene and just so darned awesome. He has firmly secured his place in my top Book Boyfriends list. Joking aside, the characters are all brilliant. They weave together into a cohesive little bunch that are all developed, well thought out and interesting to read.
Weaving excellent characters isn't the only thing Jackson is good at doing. The plot and pace of this novel was extraordinary. There were so many twists and turns, ups and downs that you really did feel like you had been on an emotional rollercoaster. I laughed, cried, winced at stupid choices, gasped at revelations and a whole host of other emotions as well. I got hot under the collar during the brilliantly written sex scenes (Carter is a man who knows what he's doing!) and still I felt the tenderness of the moment. Everything in this book was balanced just the way I like it, it was, quite simply, perfect for me.
And that said, I shall cease waxing lyrical about this brilliant book. Jackson has made a stunning addition to the Indie community and I am sure she will continue to flourish in her craft. This book could not come with any higher recommendation from me, in fact, I was telling friends to buy it when I hadn't even reached the half way mark, I just knew it was that good. Just one word of warning readers, make sure your schedule is clear and you have tissues ready, because once you start you really cannot put this book down. A stellar novel, and one I am certain I will read again before too long, all that is left to say is congratulations Sophie Jackson, you wrote a bloody good book and should be very proud of yourself! Thank you for sharing Kat and Carter, and I am waiting on tenterhooks for more from this fabulous lady!
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*