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Bob Mann (459 KP) rated Sully (2016) in Movies
Sep 29, 2021
No, not “Monsters Inc 3”.
Chesley Sullenberger was just a very experienced US Airways pilot starting an everyday job flying from LaGuardia airport in New York to Charlotte when fate stepped in. Following an extensive bird strike and the loss of both engines, ‘Sully’ achieved worldwide fame by landing his aircraft and all 151 passengers and crew safely on the Hudson river. Sully is immediately acclaimed by the public as a hero; US Airways, and their insurers, however, are not necessarily as impressed given that their plane has got rather soggy when the flight data suggests it might have actually been able to make it to a landing at a number of nearby airports. So a National Transportation Safety Board (NTSB) inquiry is called, where a decision against Sully could see him facing the fastest fall from grace since Icarus.
This film is obviously based on this real-life ‘Miracle on the Hudson’ and to a large extent the recreation of the crash…. sorry… “forced water landing” is both vivid and gripping. The film is certainly unlikely to make the regular list of in-flight movies for nervous passengers, but it does serve as a good training film for all of those regular airline passengers who don’t “put down their reading materials” to listen to the aircraft safety announcement.
Director Clint Eastwood has delivered a highly watchable action sequence showcasing the undisputed acting talents of Tom Hanks (playing Sully) and his Aaron Eckhard (“Olympus Has Fallen”, playing the co-pilot Jeff Skiles). This makes for a great 45 minute film. The problem is the other 51 minutes.
Where the film works well – aside from the actual recreation itself – is in representing the post-traumatic stress experienced by Sully, with his insomnia and regular flashbacks of ‘what might have happened’ (anyone still strongly affected by 9/11 will struggle with these scenes). The final NTSB hearing scenes are also well-done and suitably gripping: particularly for viewers outside of the UK where we wouldn’t have heard the outcome of the affair once the news cycle had moved on from the ‘gee-whizz’ headline event.
Where the film aquaplanes somewhat is in the padding achieved through multiple (MULTIPLE!) scenes of New Yorkers back-slapping Sully. Some of this is needed to establish the pedestal that Sully is set upon: the bar scene, for example, is well done. But all the rest of the references become just plain tiresome.
There is also a back-story focused on Sully’s financial problems and rather scratchy marriage (as portrayed) to Lorraine (Laura Linney). Linney is normally a highly-watchable actress, but here her character is just so irritating that the mood of the film plummets every time she reappears on screen.
The key problem that screenwriter Todd Komarnicki (“Elf”!!) had here is the obvious one: that as a real-event (based on Sullenberger’s own book “Highest Duty”) he would have had more scope to build tension if the flight had lasted more than 208 seconds! We end up with little visibility into the back-stories of the passengers. We get to see a father and two grown-up sons who – as fate would have it – just manage to catch the doomed plane: and we end up caring what happens to them. But this approach could have perhaps been usefully extended to feature more of the passenger back-stories (without getting the full “Airport” soap treatment).
Clint Eastwood is also clearly an All-American patriot, and in common with some of his other films he can’t help himself from putting up rather soupy statements about the self-sacrifice of New Yorkers (“the best of New York came together”): when actually the rescue teams did what they were paid to do and Ferry captains did what you or I would do if we stumbled on the scene! These sentiments might go down well in the States: in the cynical UK they tend to generate snorts of irritation.
What IS nice are a couple of “monkeys” (see Glossary) during the closing credits where the real Sully, Skiles, cabin-crew and passengers appear together in a celebration of continued life against all the odds. And just so you are aware, this is done as two separate segments during the titles, so if you don’t want to be one of those people standing in the aisles with your coat half on, then wait for the second one!
A curate’s egg of a film: great in places, but overall not as well executed as it could have been.
This film is obviously based on this real-life ‘Miracle on the Hudson’ and to a large extent the recreation of the crash…. sorry… “forced water landing” is both vivid and gripping. The film is certainly unlikely to make the regular list of in-flight movies for nervous passengers, but it does serve as a good training film for all of those regular airline passengers who don’t “put down their reading materials” to listen to the aircraft safety announcement.
Director Clint Eastwood has delivered a highly watchable action sequence showcasing the undisputed acting talents of Tom Hanks (playing Sully) and his Aaron Eckhard (“Olympus Has Fallen”, playing the co-pilot Jeff Skiles). This makes for a great 45 minute film. The problem is the other 51 minutes.
Where the film works well – aside from the actual recreation itself – is in representing the post-traumatic stress experienced by Sully, with his insomnia and regular flashbacks of ‘what might have happened’ (anyone still strongly affected by 9/11 will struggle with these scenes). The final NTSB hearing scenes are also well-done and suitably gripping: particularly for viewers outside of the UK where we wouldn’t have heard the outcome of the affair once the news cycle had moved on from the ‘gee-whizz’ headline event.
Where the film aquaplanes somewhat is in the padding achieved through multiple (MULTIPLE!) scenes of New Yorkers back-slapping Sully. Some of this is needed to establish the pedestal that Sully is set upon: the bar scene, for example, is well done. But all the rest of the references become just plain tiresome.
There is also a back-story focused on Sully’s financial problems and rather scratchy marriage (as portrayed) to Lorraine (Laura Linney). Linney is normally a highly-watchable actress, but here her character is just so irritating that the mood of the film plummets every time she reappears on screen.
The key problem that screenwriter Todd Komarnicki (“Elf”!!) had here is the obvious one: that as a real-event (based on Sullenberger’s own book “Highest Duty”) he would have had more scope to build tension if the flight had lasted more than 208 seconds! We end up with little visibility into the back-stories of the passengers. We get to see a father and two grown-up sons who – as fate would have it – just manage to catch the doomed plane: and we end up caring what happens to them. But this approach could have perhaps been usefully extended to feature more of the passenger back-stories (without getting the full “Airport” soap treatment).
Clint Eastwood is also clearly an All-American patriot, and in common with some of his other films he can’t help himself from putting up rather soupy statements about the self-sacrifice of New Yorkers (“the best of New York came together”): when actually the rescue teams did what they were paid to do and Ferry captains did what you or I would do if we stumbled on the scene! These sentiments might go down well in the States: in the cynical UK they tend to generate snorts of irritation.
What IS nice are a couple of “monkeys” (see Glossary) during the closing credits where the real Sully, Skiles, cabin-crew and passengers appear together in a celebration of continued life against all the odds. And just so you are aware, this is done as two separate segments during the titles, so if you don’t want to be one of those people standing in the aisles with your coat half on, then wait for the second one!
A curate’s egg of a film: great in places, but overall not as well executed as it could have been.
Gareth von Kallenbach (968 KP) rated Bumblebee (2018) in Movies
Jul 2, 2019
Like most kids growing up in the 80’s the Transformers always held a special place in my heart. I didn’t have a huge collection because the die-cast/plastic vehicles that transformed into robots could get a little expensive. Thankfully the morning cartoons and comic books filled in the spaces where I lacked the toys. When I heard there would be a live action movie based on the characters that had been such a integral part of my childhood, I couldn’t help but feel excited. I had seen some of the previews of the original Transformers movie by Michael Bay, the characters looked different than I imagined, but how bad could it be. The movie started, and heart break ensued, the first one was ok, the second was worse, and so on and so forth to a point where I still have not brought myself to watch the last installment of the Michael Bay franchise. Fast Forward to the first glimpse I had of Bumblebee, a prequel/reboot of the Transformers franchise, and that feeling of trepidation lingered. The first glimmer of hope was when the previews began to show images of the Transformers that I remembered, now referred to as G1 (Generation One), these transformers were recognizable. Still, the stories have always been lacking, so while I held out a glimmer of hope, I was sure to guard my heart closely…after all, we’ve been down this road before.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Bumblebee begins on Cybertron, where the Autobots and Decepticons are battling for control of what is left of the planet. The visuals are stunning, and as I stated before, here our all our favorites from the G1 universe in their recognizable forms. Once I saw Wheeljack, a personal favorite of mine, I felt I was in for something special. The Autobots are losing control to the evil Decepticons and are forced to evacuate Cybertron to regroup. Bumblebee is sent to Earth, a planet where Optimus Prime feels that the Autobots can rendezvous, but also tasked to protect the planet from any encroachment of the Decepticons.
Bumblebee unfortunately crash lands in the middle of a military training exercise and is quickly engaged by the armed forces there. While Bumblebee alone is a match for the Humvees and small arms fire, the battle is quickly joined by a Decepticon who has followed Bumblebee to Earth. He is completely out matched and outgunned it is not long before Bumblebee is defeated and barely escapes with his life. It is here that he is “saved” by Charlie Watson (Hailee Steinfeld) who finds the battered and broken beetle in a junkyard on her birthday, and a deep bond between the two is formed.
Bumblebee does not disappoint in its amazing visuals. The robots are as big as ever, yet now retain a more familiar look. The story still has explosions, and epic one-on-one robot battles that fans of the Michael Bay franchise can enjoy, but it’s the deep and meaningful story where Bumblebee truly shines. Written by Christina Hodson (Shut In/Unforgetable) and Directed by Travis Knight (Kudo and the Two Strings/Paranorman) we are finally given a story with a plot that fans of the series can get behind and enjoy. It’s not to say that the story is perfect, there are still the occasional lines that fall into groan-worthy territory, but to say that Bumblebee surpasses the previous live action movies is an understatement.
You don’t have to be a fan (or have any familiarity at all) with the Transformer toys, cartoon, or live action movies to enjoy it. However, for those who have been fortunate (or unfortunate) to experience them all will appreciate the subtle nods to previous films. The audience clapped and cheered when Stan Bush’s well-known Transformer song The Touch exploded on screen. Sure, it’s a spoiler, but for those who are still reluctant to see it based on previous films, maybe it’s exactly what’s needed. The film is littered with such nods and die-hard Transformer fans are in for a real treat.
The acting in the film is top-notch, not only by Hailee Steinfeld and Jorge Lendeborg Jr who are the main human characters, but by the supporting characters as well. John Cena brings his witty one-liners and Peter Cullen once again reprises his role of the now infamous Optimus Prime. For a movie that seems more at home as a summer blockbuster, it carries with it a tremendous amount of heart. Even Bumblebee who rarely utters a word throughout the entire film, brings out emotion in his facial expressions, or movements.
I’ll admit that going into Bumblebee I had my reservations and for those who have been burned by previous iterations of the series it’s a completely understandable concern. I’ll say it here though, Bumblebee is a terrific Transformers movie, easily on-par with the animated film, which to date had been the only Transformer movie worth talking about. Fans of the franchise will not be disappointed, and probably like myself, will be naming the numerous Transformers on the screen, by how they look…not by what they are called. In the famous words of Optimus Prime…Autobots Roll-out, and go see Bumblebee, coming to theaters on December 21st.
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Hazel (1853 KP) rated Nineteen Minutes in Books
Dec 7, 2018
<i>Your son says the bullying was unbearable. But his revenge was murder. What would you do?
Nineteen Minutes</i> is perhaps Jodi Picoult’s most controversial novel, as well as one of the longest. Lots of things can happen in nineteen minutes including a school shooting resulting in the deaths of ten people. This is what happens at the beginning of this book, leaving hundreds of teachers and students emotionally scarred for the remainder of their lives. Picoult explores the reactions of a community who’s ideas of safety have been shattered, the grief of the victims and their families and, perhaps most importantly, the heartache of the parents of the shooter.
Seventeen-year-old Peter Houghton has had enough of the bullying that he has endured throughout his entire school life. He has no friends, is constantly miserable, possibly suicidal, and so, on a typical morning in March 2007 he decides permanently fix the situation, unthinking of the consequences. But why did he go to such extremes? What circumstances in his life led to firing a gun as the only solution?
As the evidence is gathered in the lead up to the court trial, many key characters question their own involvement in Peter’s life. Firstly there is Josie Cormier, a straight-A student who swapped her childhood friendship with Peter for popularity and her boyfriend Matt, a particularly aggressive bully. Secondly there is Alex Cormier, Josie’s mother, who destroyed her friendship with Peter’s mother after finding their five-year-old children playing with guns in the Houghton’s basement.
If Peter’s father had never owned a selection of hunting rifles, would Peter ever have thought of guns as a way out of his predicament? On the other hand, Lacy Houghton blames herself for not noticing how badly her son was suffering, not just at school, but at home as well, where he had to live up to the memory of his saint-like older brother who died in a car crash the previous year.
Naturally a tragic event such as this changes people, however not always in a negative way. Relationships begin to blossom as characters realize how close they were to losing the ones they love. Alex takes a step back from her demanding job to comfort Josie in the aftermath, thus feeling closer to her than she ever has done before. Alex, a single mother, also opens herself up to a romantic relationship, something she has had no time to seriously consider up until now.
All the while, Defense Attorney Jordan McAfee, who some readers may remember from <i>Salem Falls</i>, fights a losing battle to get Peter acquitted, by arguing and prying into Peter’s emotions to discover his reason for committing murder.
What I like about Picoult’s novels is that there is a lot more to it than a simple storyline. While the story plays out and plot twists happen, the reader is learning something new. In <i>Nineteen Minutes</i> Picoult provides insight into midwifery, psychology and economics – things that are not synonymous with the shootings.
Readers will constantly question whose side of the story they are on. Hundreds of people grow up being bullied and will understand how Peter was feeling; yet they would not pick up a gun. Likewise, by putting themselves in the shoes of the victims readers will think about how they would feel in the same situation. However would anyone be willing to admit that they made someone else’s life a living hell? There is no simple conclusion to <i>Nineteen Minutes</i>; someone will always lose. Nevertheless, Picoult’s fantastic writing skills provide an enthralling story of love and loss.
I cannot recommend this book to readers in general due to the nature of the themes found in the story. Gun crime and school shootings are sadly still an occurrence in the present time, particularly in America, therefore there are thousands of people who have been affected by such an event, whether directly or indirectly as part of a local community. Some readers may find <i>Nineteen Minutes</i> challenging and upsetting, which is why I am not going to encourage everyone to read this book. However, Picoult has excelled herself with this novel and it would be a shame for people not to read it. Fans will not be disappointed with her writing and will love all her characters, possibly even Peter!
Nineteen Minutes</i> is perhaps Jodi Picoult’s most controversial novel, as well as one of the longest. Lots of things can happen in nineteen minutes including a school shooting resulting in the deaths of ten people. This is what happens at the beginning of this book, leaving hundreds of teachers and students emotionally scarred for the remainder of their lives. Picoult explores the reactions of a community who’s ideas of safety have been shattered, the grief of the victims and their families and, perhaps most importantly, the heartache of the parents of the shooter.
Seventeen-year-old Peter Houghton has had enough of the bullying that he has endured throughout his entire school life. He has no friends, is constantly miserable, possibly suicidal, and so, on a typical morning in March 2007 he decides permanently fix the situation, unthinking of the consequences. But why did he go to such extremes? What circumstances in his life led to firing a gun as the only solution?
As the evidence is gathered in the lead up to the court trial, many key characters question their own involvement in Peter’s life. Firstly there is Josie Cormier, a straight-A student who swapped her childhood friendship with Peter for popularity and her boyfriend Matt, a particularly aggressive bully. Secondly there is Alex Cormier, Josie’s mother, who destroyed her friendship with Peter’s mother after finding their five-year-old children playing with guns in the Houghton’s basement.
If Peter’s father had never owned a selection of hunting rifles, would Peter ever have thought of guns as a way out of his predicament? On the other hand, Lacy Houghton blames herself for not noticing how badly her son was suffering, not just at school, but at home as well, where he had to live up to the memory of his saint-like older brother who died in a car crash the previous year.
Naturally a tragic event such as this changes people, however not always in a negative way. Relationships begin to blossom as characters realize how close they were to losing the ones they love. Alex takes a step back from her demanding job to comfort Josie in the aftermath, thus feeling closer to her than she ever has done before. Alex, a single mother, also opens herself up to a romantic relationship, something she has had no time to seriously consider up until now.
All the while, Defense Attorney Jordan McAfee, who some readers may remember from <i>Salem Falls</i>, fights a losing battle to get Peter acquitted, by arguing and prying into Peter’s emotions to discover his reason for committing murder.
What I like about Picoult’s novels is that there is a lot more to it than a simple storyline. While the story plays out and plot twists happen, the reader is learning something new. In <i>Nineteen Minutes</i> Picoult provides insight into midwifery, psychology and economics – things that are not synonymous with the shootings.
Readers will constantly question whose side of the story they are on. Hundreds of people grow up being bullied and will understand how Peter was feeling; yet they would not pick up a gun. Likewise, by putting themselves in the shoes of the victims readers will think about how they would feel in the same situation. However would anyone be willing to admit that they made someone else’s life a living hell? There is no simple conclusion to <i>Nineteen Minutes</i>; someone will always lose. Nevertheless, Picoult’s fantastic writing skills provide an enthralling story of love and loss.
I cannot recommend this book to readers in general due to the nature of the themes found in the story. Gun crime and school shootings are sadly still an occurrence in the present time, particularly in America, therefore there are thousands of people who have been affected by such an event, whether directly or indirectly as part of a local community. Some readers may find <i>Nineteen Minutes</i> challenging and upsetting, which is why I am not going to encourage everyone to read this book. However, Picoult has excelled herself with this novel and it would be a shame for people not to read it. Fans will not be disappointed with her writing and will love all her characters, possibly even Peter!
honingwords (32 KP) rated Alias in Books
Jul 5, 2018
I’ve never read a book by Cari Hunter that I haven't loved and Alias lived up to my high expectations.
I’ve never read a book by Cari Hunter that I haven't loved and Alias lived up to my high expectations. It became available to me soon after I finished the third of her Dark Peaks trilogy so I was able to fangirl-mode right into it.
It is an absolute joy to read Cari Hunter’s books. I’m so thankful I have stumbled across her at the point where there have been a few books to binge on. It is no secret that I think she is one of the finest authors currently, and she has re-awakened my interest in crime thrillers after many years of reading solely romances. It’s a bonus that she is writing novels about regional parts of the UK.
Alias is written in the first person through-out, which is different to her other books and I found this quite refreshing.
The plot starts off with a car crash on a Welsh country road. The woman driver finds herself alive, confused as to who the dead woman beside her is, and then frustrated she doesn’t remember anything about herself, including her name, or why she was driving through Wales.
The opening scene brought tears to my eyes when I realised a great writer was going to be looking after the next few hours of my reading pleasure.
The local Police spend their time trying to work out if she should be prosecuted and she decides to keep tight-lipped about the small pieces of information that start to come back to her through her fugue while she is hospitalised, and then for the short while after she is released.
The rest of the book is about her finding out whether she is a goody or a baddy; whether she should trust Detective Bronwen Pryce, or, in fact, any of the other characters who tell her they are friends and colleagues. Cari makes us wonder about everyone until the very end of the novel.
The details! The details! Cari just loads her pages with perfect details about what is happening to the characters. There is never anything to stutter over. I never have to read a sentence twice because I didn’t understand it, or lose track of the easy-going flow.
I had to note the parts which made me beam during this book so I could re-read them at leisure. That’s it! Cari Hunter makes me beam while reading her books.
Her character’s legs are ‘wobblier than watered-down jelly’, they find ‘novelty of two cooperating lungs’, their ‘fingers poke out’ (from her splint) ‘as fat as unpopped sausages.’
Cari doesn’t simply give her characters goose pimples - they ‘tickle as they rise along her arm.’ They use ‘the painted numbers on the wheelie bins to gauge’ their progress down the street. When they eat they try ‘at first to isolate flavours and then giving up and simply enjoy the mix.’ Their stomach doesn’t just rumble; eating silences their ‘gastric percussion and leaves them with a stitch to walk off.’ The weather isn't cold, it is ‘brittle cold.’
The amnesia aspect had me in tears at points. There are people who possibly may no longer be alive and when she meets her friend for the ‘first time’ I became quite emotional.
As per her other books Cari has humorous moments throughout Alias.
The character is ‘sure that my choice of forget-me-nots wasn’t intended to be ironic.’ And there is a car-buying scene which make me laugh out loud.
There is no CSI Effect in this book. Some blood testing will be ‘four to five weeks at best’ rather than the four to five hours it can sometimes be in fiction.
I’m really sorry to learn there are no plans to take these characters further. Cari writes well-rounded characters with believable back stories and I would have loved to have seen a couple of the ones in this book teased out a little more in at least one sequel.
Don’t be picking this book up if you are looking for bodice-ripping sex. It just isn't there. Part of me cries out for more than Cari usually offers us, the part of me which craves romances. Holy Crap! She can sure write sex when she wants to but, people, this. is. a. crime. novel.
She could have put more sex in, but then it wouldn’t be true to itself, she wouldn’t be true to herself, and the novel would suffer for reader-driven gratuitous sex scenes which aren’t necessary to the plot.
If you would like recommendations for that kind of book let me know and I’ll introduce you to different genres and different authors.
For now, sit back and enjoy good down-to-earth well-written crime fiction.
It is an absolute joy to read Cari Hunter’s books. I’m so thankful I have stumbled across her at the point where there have been a few books to binge on. It is no secret that I think she is one of the finest authors currently, and she has re-awakened my interest in crime thrillers after many years of reading solely romances. It’s a bonus that she is writing novels about regional parts of the UK.
Alias is written in the first person through-out, which is different to her other books and I found this quite refreshing.
The plot starts off with a car crash on a Welsh country road. The woman driver finds herself alive, confused as to who the dead woman beside her is, and then frustrated she doesn’t remember anything about herself, including her name, or why she was driving through Wales.
The opening scene brought tears to my eyes when I realised a great writer was going to be looking after the next few hours of my reading pleasure.
The local Police spend their time trying to work out if she should be prosecuted and she decides to keep tight-lipped about the small pieces of information that start to come back to her through her fugue while she is hospitalised, and then for the short while after she is released.
The rest of the book is about her finding out whether she is a goody or a baddy; whether she should trust Detective Bronwen Pryce, or, in fact, any of the other characters who tell her they are friends and colleagues. Cari makes us wonder about everyone until the very end of the novel.
The details! The details! Cari just loads her pages with perfect details about what is happening to the characters. There is never anything to stutter over. I never have to read a sentence twice because I didn’t understand it, or lose track of the easy-going flow.
I had to note the parts which made me beam during this book so I could re-read them at leisure. That’s it! Cari Hunter makes me beam while reading her books.
Her character’s legs are ‘wobblier than watered-down jelly’, they find ‘novelty of two cooperating lungs’, their ‘fingers poke out’ (from her splint) ‘as fat as unpopped sausages.’
Cari doesn’t simply give her characters goose pimples - they ‘tickle as they rise along her arm.’ They use ‘the painted numbers on the wheelie bins to gauge’ their progress down the street. When they eat they try ‘at first to isolate flavours and then giving up and simply enjoy the mix.’ Their stomach doesn’t just rumble; eating silences their ‘gastric percussion and leaves them with a stitch to walk off.’ The weather isn't cold, it is ‘brittle cold.’
The amnesia aspect had me in tears at points. There are people who possibly may no longer be alive and when she meets her friend for the ‘first time’ I became quite emotional.
As per her other books Cari has humorous moments throughout Alias.
The character is ‘sure that my choice of forget-me-nots wasn’t intended to be ironic.’ And there is a car-buying scene which make me laugh out loud.
There is no CSI Effect in this book. Some blood testing will be ‘four to five weeks at best’ rather than the four to five hours it can sometimes be in fiction.
I’m really sorry to learn there are no plans to take these characters further. Cari writes well-rounded characters with believable back stories and I would have loved to have seen a couple of the ones in this book teased out a little more in at least one sequel.
Don’t be picking this book up if you are looking for bodice-ripping sex. It just isn't there. Part of me cries out for more than Cari usually offers us, the part of me which craves romances. Holy Crap! She can sure write sex when she wants to but, people, this. is. a. crime. novel.
She could have put more sex in, but then it wouldn’t be true to itself, she wouldn’t be true to herself, and the novel would suffer for reader-driven gratuitous sex scenes which aren’t necessary to the plot.
If you would like recommendations for that kind of book let me know and I’ll introduce you to different genres and different authors.
For now, sit back and enjoy good down-to-earth well-written crime fiction.
Hazel (1853 KP) rated Kids of Appetite in Books
Dec 14, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
Lyndsey Gollogly (2893 KP) rated The Best Horror of the Year Volume 1 in Books
Apr 30, 2021
56 of 250
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
Purple Phoenix Games (2266 KP) rated Victim: The Cursed Forest in Tabletop Games
Sep 24, 2021
I mean, who WOULDN’T be frightened out of their undies when one of their traveling mates just suddenly becomes… something else… and chases them through a very odd forest? But yet, here is where we now play. In a vast forest with danger around every curve, and a horrific presence taunting the party with the imminent possession of their very bodies. A far cry from prancing about a candied forest in an attempt to reach the summit: Candy Castle. Board games have definitely evolved, and boy am I glad for that!
Victim: The Cursed Forest (which I shall from here call simply “Victim”) is a horror survival game where players assume the roles of survivors of a plane crash. Each survivor, which in the game are actually called Victims, must race against time and nightmare fiends in order to reach the safety bunker until saviors come rescue them. However, early in the game one of their own is possessed by the lurking horror and then turns on the party to pick them off one by one. It’s up to the victims to race to the bunker and input the correct code to open its hatch to relative safety!
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, basically shuffle each deck separately, and place the Bunker map tile in the bottom six of the stack, then split that into two stacks. Place out all the chits however makes sense for your table (organized for me, thank you), and each player chooses one of the characters to play and collects all their goodies. The Start Tile is laid down, the player minis are placed upon it and the chase is on!
Each turn the players will have several choices of actions to complete, with two actions available to be taken on their turn. Primarily, players will be Running around the map to different tiles and exploring their special characteristics. Some tiles allow players to search them for Item cards, some allow players to Decode as an action, and some also require players to pass certain tests of abilities. These tests correspond to each player’s abilities of Agility, Intelligence, Vitality, and Luck. The ability scores are different for each character and can be improved or worsened throughout the game. Character boards also will show each character’s special skills that can be used on a turn.
Once all players have completed their two actions in turn order, the last player will flip an Event card that may be active for the entirety of the next round. Sometimes these Events affect only characters on certain tile types, or even adjust ability scores and Items held. However, at the end of the second or third round of play (depending on the number of players), the ominous Curse Phase is completed.
The Curse Phase is a special one-time insert that has all players make a test against one of the four abilities. The lowest score for the test then becomes the host for the Evil that will ravage the party and wreak hell on the other players. The player no longer controls their chosen character, but immediately becomes the Evil that was drawn and now plays the game against the other players. The Evil takes their turn at the end of the round, just before the Event card is drawn.
Once the Evil enters play in earnest, the game quickly shifts from a nice exploration and map building game to a race against time to earn bunker password tokens from the Decoding tiles and avoid all attacks from the now raging Evil chasing the players. I will not describe the entirety of battle and Evil special abilities, but battle is a very simple Attack roll vs. Defense roll for one wound. When a player sustains two wounds, they are considered to have a Critical Injury and may only Crawl to another player in hopes of receiving healing or to arrive on a tile with healing properties upon it. However, a character that has been Critically Injured is ripe for the Evil’s Death Skill. The Death Skill is how the Evil is able to remove characters (and thusly players) from the game and decrease the odds of the Victims’ victory.
Play continues in this fashion of players taking their turns, then the Evil takes their turn, then the Event card is drawn as the last part of each round, until either the players collect the correct tokens to solve the hatch passcode and earn safety, or the Evil takes out the required number of characters for their victory. All this can be accomplished in a mere 45-90 minutes. Absolutely.
Components. Never having heard of Hexa House prior to arranging for this review, I had no idea what to expect in terms of components. However, this game comes in a very large box, the insert is kind of perfect (which is saying a lot, especially since it is a vacuum form), and everything inside the box is really great! I’m not really a miniatures kinda guy, but I can appreciate them. Standees are just as good to me, but I think these minis are above-average from my experience. The cards, the art style, the custom dice, everything just hits really well.
So you probably noticed my weird ratings graphic up top. Well, I will admit that my graphic design skills are, well, amateur at best. So I just created a 5 point 5 because I really feel this one is just amazing. Now, some people may have some small issues with the rule book, but please read it with a grain of salt: I believe they originate in Thai or Laotian languages and are translated to English. I didn’t have problems reading it at all, but had a couple questions. I tried playing several different ways when I had these questions, and usually just one option was really viable anyway.
That said, everything else about this game is truly wonderful. I sincerely enjoy that sudden shift near the beginning of the game where one player becomes the big baddie and comes for the rest of the players. Depending on placement and buddy systems that formed in the first part of the game, the Evil player will have either a feast setup before themselves, or have to do a bit of work to track down the characters to orchestrate their attack. I know I didn’t go into a whole lot of detail on what the Evil player can do on their turns, but it boils down to basically Hunt (run), Attack, and trap.
This base game ships with six Victims and six Evils. I have yet to see all the Evils in my plays, as the mechanic for determining which Evil surfaces is dependent on a draw of a card from a shuffled deck. That said, even when an Evil enters the game that I have played before, the players were different, and the map was different, and the placement of characters was different, so it did not feel “samey” to me at all.
I will admit that the most frustrating aspect of the game is the bunker hatch passcode. Okay, so once the Bunker tile is placed, a new component enters play: the Bunker board. A hole in the middle of the board is to house a Gate Token. This Gate Token is simply a target number that the players need to achieve using the different Number and Symbol Tokens won from successful Decode actions. The Number Tokens are simply 1-6, and the Symbol Tokens are plus/minus/multiply/divide. Therefore, in order to meet the Gate Token showing 35 players would need to gather 6 x 5 + 3 + 2. That is seven different successes at the Decoder tiles, and best case scenario has players pulling those exactly and no others. When you are playing a game that is a race against time (or death, in this instance), these little setbacks can cost the entire game – that is, if players simply cannot pass the test needed for a success at the Decoder tile. Frustrating, yes, but also a very cool addition to this style of game.
Victim has completely surprised me, and I am so thankful I had the opportunity to add this to my collection. My strong recommendation is that if you see one of these in the wild – GRAB IT. There are hours and hours of gameplay in this box, and I haven’t even touched the expansion for it yet (expect another review of that in the near future as well). Purple Phoenix Games officially gives this one a 5.5 / 6 (we NEVER do half points), but I feel like with even more plays, and with the expansion to be added soon, this may give my Top 10 list a shakeup still this year. If you are a fan of games like Betrayal at House on the Hill and Posthuman, then you need to check this one out for sure. Oh, did I mention that there is a LOT of dice rolling here too? Guess I just left that until the end for my dice-chucking lovers.
Victim: The Cursed Forest (which I shall from here call simply “Victim”) is a horror survival game where players assume the roles of survivors of a plane crash. Each survivor, which in the game are actually called Victims, must race against time and nightmare fiends in order to reach the safety bunker until saviors come rescue them. However, early in the game one of their own is possessed by the lurking horror and then turns on the party to pick them off one by one. It’s up to the victims to race to the bunker and input the correct code to open its hatch to relative safety!
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, basically shuffle each deck separately, and place the Bunker map tile in the bottom six of the stack, then split that into two stacks. Place out all the chits however makes sense for your table (organized for me, thank you), and each player chooses one of the characters to play and collects all their goodies. The Start Tile is laid down, the player minis are placed upon it and the chase is on!
Each turn the players will have several choices of actions to complete, with two actions available to be taken on their turn. Primarily, players will be Running around the map to different tiles and exploring their special characteristics. Some tiles allow players to search them for Item cards, some allow players to Decode as an action, and some also require players to pass certain tests of abilities. These tests correspond to each player’s abilities of Agility, Intelligence, Vitality, and Luck. The ability scores are different for each character and can be improved or worsened throughout the game. Character boards also will show each character’s special skills that can be used on a turn.
Once all players have completed their two actions in turn order, the last player will flip an Event card that may be active for the entirety of the next round. Sometimes these Events affect only characters on certain tile types, or even adjust ability scores and Items held. However, at the end of the second or third round of play (depending on the number of players), the ominous Curse Phase is completed.
The Curse Phase is a special one-time insert that has all players make a test against one of the four abilities. The lowest score for the test then becomes the host for the Evil that will ravage the party and wreak hell on the other players. The player no longer controls their chosen character, but immediately becomes the Evil that was drawn and now plays the game against the other players. The Evil takes their turn at the end of the round, just before the Event card is drawn.
Once the Evil enters play in earnest, the game quickly shifts from a nice exploration and map building game to a race against time to earn bunker password tokens from the Decoding tiles and avoid all attacks from the now raging Evil chasing the players. I will not describe the entirety of battle and Evil special abilities, but battle is a very simple Attack roll vs. Defense roll for one wound. When a player sustains two wounds, they are considered to have a Critical Injury and may only Crawl to another player in hopes of receiving healing or to arrive on a tile with healing properties upon it. However, a character that has been Critically Injured is ripe for the Evil’s Death Skill. The Death Skill is how the Evil is able to remove characters (and thusly players) from the game and decrease the odds of the Victims’ victory.
Play continues in this fashion of players taking their turns, then the Evil takes their turn, then the Event card is drawn as the last part of each round, until either the players collect the correct tokens to solve the hatch passcode and earn safety, or the Evil takes out the required number of characters for their victory. All this can be accomplished in a mere 45-90 minutes. Absolutely.
Components. Never having heard of Hexa House prior to arranging for this review, I had no idea what to expect in terms of components. However, this game comes in a very large box, the insert is kind of perfect (which is saying a lot, especially since it is a vacuum form), and everything inside the box is really great! I’m not really a miniatures kinda guy, but I can appreciate them. Standees are just as good to me, but I think these minis are above-average from my experience. The cards, the art style, the custom dice, everything just hits really well.
So you probably noticed my weird ratings graphic up top. Well, I will admit that my graphic design skills are, well, amateur at best. So I just created a 5 point 5 because I really feel this one is just amazing. Now, some people may have some small issues with the rule book, but please read it with a grain of salt: I believe they originate in Thai or Laotian languages and are translated to English. I didn’t have problems reading it at all, but had a couple questions. I tried playing several different ways when I had these questions, and usually just one option was really viable anyway.
That said, everything else about this game is truly wonderful. I sincerely enjoy that sudden shift near the beginning of the game where one player becomes the big baddie and comes for the rest of the players. Depending on placement and buddy systems that formed in the first part of the game, the Evil player will have either a feast setup before themselves, or have to do a bit of work to track down the characters to orchestrate their attack. I know I didn’t go into a whole lot of detail on what the Evil player can do on their turns, but it boils down to basically Hunt (run), Attack, and trap.
This base game ships with six Victims and six Evils. I have yet to see all the Evils in my plays, as the mechanic for determining which Evil surfaces is dependent on a draw of a card from a shuffled deck. That said, even when an Evil enters the game that I have played before, the players were different, and the map was different, and the placement of characters was different, so it did not feel “samey” to me at all.
I will admit that the most frustrating aspect of the game is the bunker hatch passcode. Okay, so once the Bunker tile is placed, a new component enters play: the Bunker board. A hole in the middle of the board is to house a Gate Token. This Gate Token is simply a target number that the players need to achieve using the different Number and Symbol Tokens won from successful Decode actions. The Number Tokens are simply 1-6, and the Symbol Tokens are plus/minus/multiply/divide. Therefore, in order to meet the Gate Token showing 35 players would need to gather 6 x 5 + 3 + 2. That is seven different successes at the Decoder tiles, and best case scenario has players pulling those exactly and no others. When you are playing a game that is a race against time (or death, in this instance), these little setbacks can cost the entire game – that is, if players simply cannot pass the test needed for a success at the Decoder tile. Frustrating, yes, but also a very cool addition to this style of game.
Victim has completely surprised me, and I am so thankful I had the opportunity to add this to my collection. My strong recommendation is that if you see one of these in the wild – GRAB IT. There are hours and hours of gameplay in this box, and I haven’t even touched the expansion for it yet (expect another review of that in the near future as well). Purple Phoenix Games officially gives this one a 5.5 / 6 (we NEVER do half points), but I feel like with even more plays, and with the expansion to be added soon, this may give my Top 10 list a shakeup still this year. If you are a fan of games like Betrayal at House on the Hill and Posthuman, then you need to check this one out for sure. Oh, did I mention that there is a LOT of dice rolling here too? Guess I just left that until the end for my dice-chucking lovers.
5 Minute Movie Guy (379 KP) rated If I Stay (2014) in Movies
Jun 28, 2019
The film's "live or die" premise is dumb, dangerous, and downright offensive. (4 more)
A totally lousy and illogical love story that lacks any heart.
The dialogue is almost as bad as Adam's 8-year-old-grade-level music lyrics.
It's far too frustrating and bland to be emotionally effective. The only pity I felt was for myself for having to sit through it for two hours.
If I Stay is unforgivable and reprehensible garbage. It should be avoided like the plague.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. If I Stay disappoints and offends on nearly every conceivable level.
Imagine yourself in a situation where your whole life is turned upside-down in an instant, and nothing will ever be the same again. That’s the troubling position young Mia Hall is faced with in If I Stay, after her and her family are involved in a terrible car accident. Mia wakes up from the crash, only to discover that she’s having some sort of transcendental experience, where she sees her own lifeless body being treated by paramedics. In her ghost-like form, no one is able to see or hear her, leaving her helpless as she watches her tragedy unfold. The devastating crash put her into a comatose state, and as she teeters on the verge of life and death, she’s informed by her nurse that whether or not she lives is entirely predicated on her will to survive. Based on the young adult novel by Gayle Forman, If I Stay asks us if life is still worth living even when all hope appears to be lost. Whether it’s really even worth it to endure life’s cruel hardship and heartache, and to muster the courage to face another day.
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Bob Mann (459 KP) rated The Mummy (2017) in Movies
Sep 29, 2021
Crushingly Mediocre
I’d read the bad reviews, but thought “Hey, it’s Tom Cruise – how bad could it be?” The answer is, “Pretty bad”.
It’s an ominous sign when a film starts with a voice-over (even if done by the sonorous tones of Russell Crowe). Regular readers of this blog will know I generally abhor voice-overs: it invariably belies a belief by the scriptwriters that they think the audience are too damn stupid to join up the plot-dots themselves. Here we portentously walk through the ancient Egyptian backstory of princess Ahmanet (Sofia Boutella, “Kingsman: The Secret Service“; “Star Trek Beyond“) cursed to become the titular Mummy. We then skip forward to the present day and the film settles down, promisingly enough, with scavenging adventurer Nick Morton (Cruise, in Indiana Jones mode), discovering a lost Egyptian temple in war-torn modern-day Mesopotamia that for the sake of the world should have stayed lost.
But after an impressive plane crash (with zero G scenes filmed for real in a “Vomit Comet”) the plot dissolves into a completely incoherent mush. With B-movie lines forcing B-movie acting performances, the film lurches from plot crisis to plot crisis in a similar manner to the comically lurching undead Zombie-like creatures that Ahmanet has sucked the life out of. (After 110 minutes of this, I know how they feel!)
What were actors of this calibre doing in this mess? When I first saw the trailer for this, and saw that Cruise was in it, I thought this felt like an unusual career misstep for the megastar. After seeing the film, I’m even more mystified. Nick Morton is supposed to be an immoral bad guy. Immoral bad guy?? Tom Cruise?? Nope, you lost the audience on that one in the first ten minutes. Cruise, who is STILL only a year younger than I am (damn him, for real!) is still in great shape and must spend ALL his time in the gym. There must be a time soon coming though where he gets to a “Roger Moore in View to a Kill” moment where these action hero roles just no longer become credible anymore.
And what was Russell Crowe, as a famous / infamous (yes, both!) doctor from literature doing in this? His character’s involvement in the plot was almost completely inconsequential. In fact his ‘affliction’ only serves as a coincidental diversion (how convenient!) for bad Mummy-related action to happen. His character has no backstory and seems to serve only as a backbone for Universal’s “Dark Universe” franchise that this movie is supposed to launch. (Good luck with that Universal after this stinker!) Surely it would have made more sense to have the first film in the series to be the origins story for Crowe’s character and the organisation he sets up. This would have made far more sense.
Annabelle Wallis, who is sweet and “only” 22 years his junior, plays Cruise’s love interest in the film and equips herself well, given the material she has to play with. However (after “King Arthur: Legend of the Sword“) she must be kicking herself for not picking the ‘right’ summer blockbusters for her CV.
The main culprit here is the plot, which again is mystifying given that the writing team includes David Koepp (“Jurassic Park”; “Mission Impossible”); Christopher McQuarrie (“The Usual Suspects”, “Edge of Tomorrow“) and Jon Spaihts (“Mission Impossible: Rogue Nation“, “Doctor Strange“). A poor script can sometimes be salvaged by a good director, but here we have Alex Kurtzman, who has only one other directing credit to his name. And I’m afraid it shows. All round, not a good day at the office.
Brian Tyler did the music (aside from the Danny Elfman opening “Dark Universe” fanfare) but it comprises what I would term “running and jumping music”, with few discernible leitmotifs for the characters breaking through.
“Was that supposed to be funny?” My wife’s reaction after the film sums up that this really is a bit of a stinker. Best avoided.
It’s an ominous sign when a film starts with a voice-over (even if done by the sonorous tones of Russell Crowe). Regular readers of this blog will know I generally abhor voice-overs: it invariably belies a belief by the scriptwriters that they think the audience are too damn stupid to join up the plot-dots themselves. Here we portentously walk through the ancient Egyptian backstory of princess Ahmanet (Sofia Boutella, “Kingsman: The Secret Service“; “Star Trek Beyond“) cursed to become the titular Mummy. We then skip forward to the present day and the film settles down, promisingly enough, with scavenging adventurer Nick Morton (Cruise, in Indiana Jones mode), discovering a lost Egyptian temple in war-torn modern-day Mesopotamia that for the sake of the world should have stayed lost.
But after an impressive plane crash (with zero G scenes filmed for real in a “Vomit Comet”) the plot dissolves into a completely incoherent mush. With B-movie lines forcing B-movie acting performances, the film lurches from plot crisis to plot crisis in a similar manner to the comically lurching undead Zombie-like creatures that Ahmanet has sucked the life out of. (After 110 minutes of this, I know how they feel!)
What were actors of this calibre doing in this mess? When I first saw the trailer for this, and saw that Cruise was in it, I thought this felt like an unusual career misstep for the megastar. After seeing the film, I’m even more mystified. Nick Morton is supposed to be an immoral bad guy. Immoral bad guy?? Tom Cruise?? Nope, you lost the audience on that one in the first ten minutes. Cruise, who is STILL only a year younger than I am (damn him, for real!) is still in great shape and must spend ALL his time in the gym. There must be a time soon coming though where he gets to a “Roger Moore in View to a Kill” moment where these action hero roles just no longer become credible anymore.
And what was Russell Crowe, as a famous / infamous (yes, both!) doctor from literature doing in this? His character’s involvement in the plot was almost completely inconsequential. In fact his ‘affliction’ only serves as a coincidental diversion (how convenient!) for bad Mummy-related action to happen. His character has no backstory and seems to serve only as a backbone for Universal’s “Dark Universe” franchise that this movie is supposed to launch. (Good luck with that Universal after this stinker!) Surely it would have made more sense to have the first film in the series to be the origins story for Crowe’s character and the organisation he sets up. This would have made far more sense.
Annabelle Wallis, who is sweet and “only” 22 years his junior, plays Cruise’s love interest in the film and equips herself well, given the material she has to play with. However (after “King Arthur: Legend of the Sword“) she must be kicking herself for not picking the ‘right’ summer blockbusters for her CV.
The main culprit here is the plot, which again is mystifying given that the writing team includes David Koepp (“Jurassic Park”; “Mission Impossible”); Christopher McQuarrie (“The Usual Suspects”, “Edge of Tomorrow“) and Jon Spaihts (“Mission Impossible: Rogue Nation“, “Doctor Strange“). A poor script can sometimes be salvaged by a good director, but here we have Alex Kurtzman, who has only one other directing credit to his name. And I’m afraid it shows. All round, not a good day at the office.
Brian Tyler did the music (aside from the Danny Elfman opening “Dark Universe” fanfare) but it comprises what I would term “running and jumping music”, with few discernible leitmotifs for the characters breaking through.
“Was that supposed to be funny?” My wife’s reaction after the film sums up that this really is a bit of a stinker. Best avoided.