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Eilidh G Clark (177 KP) rated Tony Hogan Bought Me an Ice Cream Float Before He Stole My Ma in Books
May 14, 2017
This is not only a well-written novel but also a powerful commentary on life within the poverty trap.
‘Graffiti and scorch marks, echoes of small fires, decorated doorsteps. Golden Special Brew cans and crushed vodka bottles, bright as diamonds, collected in gutters. Front gardens were filled with mouldy paddling pools and, occasionally, a rust burnished shell of a car. I had never seen anything so beautiful, so many colours, before in grey Aberdeen.’
This is a novel with nothing held back. While the title is light hearted and the cover art bright and cheerful, both are deceiving. The cover shows a silhouette of a young girl holding a giant red balloon against the backdrop of a Scottish suburban town. It is important to address the significance of this image. Readers may recall a similar painting by Banksy, named Girl With Balloon which was originally painted on a wall in London. Beside the painting was engraved “There Is Always Hope”. While Banksy’s painting shows the girl releasing the balloon, possibly representing lost hope or lost innocence, Hudson’s cover shows the girl being lifted by the balloon. Considering this when addressing the text, it is clear that Hudson wished to demonstrate that one can only hold on to hope by not letting go. Critics have described this book as containing bittersweet humour and Hudson cleverly intrudes in the second chapter by saying that this is in fact a ‘humorous cautionary tale’. As soon as you begin reading, expect to get dirt under your nails. The author launches right into the location of the novel using regional Scottish dialect and local Aberdonian vernacular. The story begins with the birth of out protagonist, Janie Ryan. Born to Iris (formally Irene), a single, homeless mother who comes from a line of women described as ‘fishwives to the marrow’, Iris has recently returned from London after trying to change her destiny (not wanting to become her mother). After falling pregnant to a rich and married American man, the relationship breaks down. Iris is forced to return to poverty in the back streets of Aberdeen but is keen to ensure that things have changed,’ I didnae go all the way to fuckin’ London to come back an’ be the same old Irene!’ Unfortunately, Iris falls back into her old ways and for Janie; this has a direct effect on her life. The reader follows the protagonist from her first home to temporary care and then to a string of homes over the UK in some of its poorest areas. Janie watches, as her mother gets involved in some abusive relationships, including one with alcohol, and watches helplessly as her mother loses hope. Towards the latter end of the novel, it is clear that Janie is falling into the same habits as her mother, however, a string of unfortunate event forces her to reassess her life. The end of the novel, like the cover art, is left to the reader’s interpretation. Can Janie break the cycle and make changes to her life, or is she destined to become her mother? This is not only a well-written novel but also a powerful commentary on life within the poverty trap.
Kerry Hudson, Tony Hogan Bought me an Ice Cream Float Before He Stole My Ma, 2012 published by Vintage Books
This is a novel with nothing held back. While the title is light hearted and the cover art bright and cheerful, both are deceiving. The cover shows a silhouette of a young girl holding a giant red balloon against the backdrop of a Scottish suburban town. It is important to address the significance of this image. Readers may recall a similar painting by Banksy, named Girl With Balloon which was originally painted on a wall in London. Beside the painting was engraved “There Is Always Hope”. While Banksy’s painting shows the girl releasing the balloon, possibly representing lost hope or lost innocence, Hudson’s cover shows the girl being lifted by the balloon. Considering this when addressing the text, it is clear that Hudson wished to demonstrate that one can only hold on to hope by not letting go. Critics have described this book as containing bittersweet humour and Hudson cleverly intrudes in the second chapter by saying that this is in fact a ‘humorous cautionary tale’. As soon as you begin reading, expect to get dirt under your nails. The author launches right into the location of the novel using regional Scottish dialect and local Aberdonian vernacular. The story begins with the birth of out protagonist, Janie Ryan. Born to Iris (formally Irene), a single, homeless mother who comes from a line of women described as ‘fishwives to the marrow’, Iris has recently returned from London after trying to change her destiny (not wanting to become her mother). After falling pregnant to a rich and married American man, the relationship breaks down. Iris is forced to return to poverty in the back streets of Aberdeen but is keen to ensure that things have changed,’ I didnae go all the way to fuckin’ London to come back an’ be the same old Irene!’ Unfortunately, Iris falls back into her old ways and for Janie; this has a direct effect on her life. The reader follows the protagonist from her first home to temporary care and then to a string of homes over the UK in some of its poorest areas. Janie watches, as her mother gets involved in some abusive relationships, including one with alcohol, and watches helplessly as her mother loses hope. Towards the latter end of the novel, it is clear that Janie is falling into the same habits as her mother, however, a string of unfortunate event forces her to reassess her life. The end of the novel, like the cover art, is left to the reader’s interpretation. Can Janie break the cycle and make changes to her life, or is she destined to become her mother? This is not only a well-written novel but also a powerful commentary on life within the poverty trap.
Kerry Hudson, Tony Hogan Bought me an Ice Cream Float Before He Stole My Ma, 2012 published by Vintage Books
Eilidh G Clark (177 KP) rated Sunsett Song in Books
May 14, 2017
there are better things than your books or studies or loving or bedding, there’s the countryside your own […] in the days when you’re neither bairn nor woman.’ I
Sunset Song by Lewis Grassic Gibbon, published in 1932 became the ‘cream of the crop’ in a poll organised by The Scottish Book Trust last year. Not only was it voted as Scotland’s favourite novel, First Minister Nicola Sturgeon described it as ‘timeless’ in an interview with the BBC, ‘ it said something about the history of the country I grew up in and it resonated with me very strongly as a young Scottish woman.’ I have to say that I am in agreement with the First Minister. Sunset Song is a beautifully written aesthetic novel that follows the life and internal conflict of the protagonist Chris Guthrie. By presenting Chris as a kind of cultural double, Gibbon is showing the reader the problems that result in Chris’s separation from the community and her parents conflicting interests regarding her upbringing. Chris’ father, hoping to enhance his daughter’s natural intelligence, is aware of the negative impact that the community might have on her progression, ‘Stick to your lessons and let’s see you make a name for yourself, you’ve no time for friends.’ John Guthrie, a progressive man, regards Chris’s peers as ‘servant queans.’ Whilst this may read as a cultural attack on the lower classes, John Guthrie, is simply reacting to his own working class conditions as a farmer. His motivation is to raise Chris out of the environment that he himself has struggled in and to give her better opportunities. Chris refers to her intelligent self as ‘English’ and identifies a cultural otherness between herself and those of her community. Chris’ mother Jean, on the other hand, has a view of the world that is from a much older time. Before marriage she was a free spirit, ‘there are better things than your books or studies or loving or bedding, there’s the countryside your own […] in the days when you’re neither bairn nor woman.’ It was Gibbon’s intention to create a heteroglossic view of education between Chris’ parents in order to create a protagonist whose future is a conflict between progression and an older unstructured way of life. It is through Chris’s thoughts, however, that her true self can be found. Her English self forms an escape, a place that is simpler, refined and an improvement on how she perceives Scottish culture as a result of her class, ‘the furrows went criss and cross, you wanted this and you wanted that, books and the fineness of them no more than empty gabble sometimes, and then sharn and the snapping that sickened you and drove you back to books.’ It is clear that Gibbon wanted to show the reader that Scottish culture does evaporate with progression. Culture lives in all of us, in the people, the land and in the struggles that we have faced and will face in the future. Chris Guthrie is the perfect example of hope, for a future which is rich in learning while still embracing her Scottish roots, I guess a future we can all identify with.
Phillip McSween (751 KP) rated Avengers: Age of Ultron (2015) in Movies
May 12, 2018
Awesome
When an artificial intelligence outthinks its creator and forms itself into dozens of destructive robots, Earth's mightiest heroes come together once again to put a stop to the threat.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Gareth von Kallenbach (980 KP) rated Deuce Bigalow: European Gigolo (2005) in Movies
Aug 14, 2019
Europe. The very name brings up images of rich traditions, centuries-old stunning architecture, fine cuisine, historic artwork, and of course culture and sophistication. Europe has endured wars, plagues, and hordes of unruly soccer fans and has remained intact. Perhaps its greatest challenge is about to arrive in the form of Deuce Bigalow, pool cleaner, fish lover, and male Gigolo.
Rob Schneider returns as Deuce, who has given up his man-whoring ways and married the girl of his dreams. As the film opens, we learn that Deuce was widowed on his honeymoon and has carried a torch for his departed wife for years. The fact that the torch in question is actually her artificial limb is a creepy sentiment that further isolates Deuce from those around him.
After a day at the beach goes horribly wrong, Deuce happily accepts an invitation from his friend T.J. (Eddie Griffin), and travels to Amsterdam for some time away. With the artificial limb in tow, Deuce arrives and learns that a mysterious killer has been dispatching Europe’s top gigolos and before you can say “space cake” T.J. is implicated in the murders and on the run, forcing Deuce to go back to his man-whoring in an effort to learn who is behind the killings.
Since Deuce witnessed the aftermath of a recent killing, he is convinced that the killer is a woman and that only by dating those clients of the recently departed can he find the proof needed to free T.J.
Of course Deuce doesn’t get the cream of society. His clients are a mixed bag that makes his Janes from the first film seem normal. There is the lady with the gaping hole in her throat, a lady whose ears put Dumbo’s to shame, a giant with an infant fetish, and a woman with a male sex organ for a nose.
It is against this backdrop that Deuce meets Eva (Hanna Verboom), an artist with Obsessive Compulsive Disorder and the daughter of the police inspector
investigating the case. Deuce is taken with the charming Eva which leads to even more conflict for the widowed Deuce.
As if his life could not get any worse, Deuce is at odds with the European Society of Man Pimps who constantly go out of their way to taunt Deuce and his inclusion in their profession.
Over the next 90 minutes a constant barrage of crude jokes ensues ranging from the gross to the juvenile. Yet despite the ongoing crude and sophomoric humor, I found myself laughing as did the majority of the audience at my screening.
While I can see how many critics will not like this film due to a very basic story, thin characters and crudeness, the film works very well as a mindless comedy.
The characters are not expanded from their roles in the original and do not need to be. We know that Deuce is an easy going loser with a heart of gold and that is all we need to know.
Schneider and Griffin work well with one another and the constant euphemisms such as Mangina, He-Hoe and Hegina flow often only to be followed by new and even more creative phrases.
If you are a fan of the original and do not get offended easily than this is going to be your film. It isn’t trying to break new ground, it is trying to make you laugh, and for this critic, despite the films flaws, I laughed constantly throughout, and in many cases harder than I have at any film in recent years.
Rob Schneider returns as Deuce, who has given up his man-whoring ways and married the girl of his dreams. As the film opens, we learn that Deuce was widowed on his honeymoon and has carried a torch for his departed wife for years. The fact that the torch in question is actually her artificial limb is a creepy sentiment that further isolates Deuce from those around him.
After a day at the beach goes horribly wrong, Deuce happily accepts an invitation from his friend T.J. (Eddie Griffin), and travels to Amsterdam for some time away. With the artificial limb in tow, Deuce arrives and learns that a mysterious killer has been dispatching Europe’s top gigolos and before you can say “space cake” T.J. is implicated in the murders and on the run, forcing Deuce to go back to his man-whoring in an effort to learn who is behind the killings.
Since Deuce witnessed the aftermath of a recent killing, he is convinced that the killer is a woman and that only by dating those clients of the recently departed can he find the proof needed to free T.J.
Of course Deuce doesn’t get the cream of society. His clients are a mixed bag that makes his Janes from the first film seem normal. There is the lady with the gaping hole in her throat, a lady whose ears put Dumbo’s to shame, a giant with an infant fetish, and a woman with a male sex organ for a nose.
It is against this backdrop that Deuce meets Eva (Hanna Verboom), an artist with Obsessive Compulsive Disorder and the daughter of the police inspector
investigating the case. Deuce is taken with the charming Eva which leads to even more conflict for the widowed Deuce.
As if his life could not get any worse, Deuce is at odds with the European Society of Man Pimps who constantly go out of their way to taunt Deuce and his inclusion in their profession.
Over the next 90 minutes a constant barrage of crude jokes ensues ranging from the gross to the juvenile. Yet despite the ongoing crude and sophomoric humor, I found myself laughing as did the majority of the audience at my screening.
While I can see how many critics will not like this film due to a very basic story, thin characters and crudeness, the film works very well as a mindless comedy.
The characters are not expanded from their roles in the original and do not need to be. We know that Deuce is an easy going loser with a heart of gold and that is all we need to know.
Schneider and Griffin work well with one another and the constant euphemisms such as Mangina, He-Hoe and Hegina flow often only to be followed by new and even more creative phrases.
If you are a fan of the original and do not get offended easily than this is going to be your film. It isn’t trying to break new ground, it is trying to make you laugh, and for this critic, despite the films flaws, I laughed constantly throughout, and in many cases harder than I have at any film in recent years.
Kristy H (1252 KP) rated The Rest of The Story in Books
Aug 5, 2019
Emma Saylor's mom, Waverly, died when Emma was 10 after a troubled history with drugs and alcohol. Now it's just Emma and her dad. Life is safe and comfortable, and Emma likes it that way. But now Emma's dad is getting remarried, and Emma needs a place to stay this summer. So she suddenly finds herself shipped off to stay with her mother's family--whom she hasn't seen since she was a kid. They live at North Lake, where her mom grew up, and now Emma gets to meet (well re-meet) her grandmother, aunt, and a whole host of cousins she doesn't even remember. She also sees the divisions between working class North Lake and adjacent Lake North, where her dad spent his summers. As Emma spends more time in North Lake, she feels divided as well. In North Lake, she becomes Saylor--what her mom always called her. She has her cousins and she meets Roo, who was her friend when she was little. He and his late dad have a deep history with her mom. But in wealthier Lake North--and with her dad--she's rigid, predictable Emma. Who is she really? And which side will win out at the end of the summer?
This was just a good, refreshing read, you know? I found it to be touching and poignant. Emma is a likeable character and the oft told tale of a kid finding her way doesn't seem stale in Dessen's hands. The supporting cast is great--I loved Emma's cousins, and Emma and Roo are so great. There's wit and humor infused throughout this book. Scenes with an ice cream truck, for instance, will stick with you! It's so nice to read a book about meaningful family dynamics and relationships (especially one where the families aren't murdering each other, which is often my genre of choice, ha).
"The past was always present, in its way, and you can't help but remember. Even if you can't remember at all."
What I enjoyed about this one is that you just find yourself smiling as you read. Dessen is a wonderful writer--I don't think that comes as a surprise to anyone--and Emma and the other characters come alive from the pages. Emma has a lot to deal with: her late mom, meeting what is basically a new family, and the usual teen "stuff," but there's still plenty of fun here too. Her grandmother runs a motel by the lake, and there's never a dull moment. But, Dessen also deals with the serious moments with a touching grace. There are some good messages about family, as well as class and status. It's wonderful watching Emma learn more about her past--and herself--as she gets to know her mom's family and forge new friendships.
"But all my life I'd felt more like an observer than an active participant. Beside the wheel, not behind. It was safer there, but could be lonely too, or so I was now realizing."
Overall, this is just a lovely read. It's funny, sweet, and will make you smile. Emma is a great character, and it's impossible not to get caught up in her journey. Plus, with the lake setting, it's a perfect summer read! 4+ stars.
This was just a good, refreshing read, you know? I found it to be touching and poignant. Emma is a likeable character and the oft told tale of a kid finding her way doesn't seem stale in Dessen's hands. The supporting cast is great--I loved Emma's cousins, and Emma and Roo are so great. There's wit and humor infused throughout this book. Scenes with an ice cream truck, for instance, will stick with you! It's so nice to read a book about meaningful family dynamics and relationships (especially one where the families aren't murdering each other, which is often my genre of choice, ha).
"The past was always present, in its way, and you can't help but remember. Even if you can't remember at all."
What I enjoyed about this one is that you just find yourself smiling as you read. Dessen is a wonderful writer--I don't think that comes as a surprise to anyone--and Emma and the other characters come alive from the pages. Emma has a lot to deal with: her late mom, meeting what is basically a new family, and the usual teen "stuff," but there's still plenty of fun here too. Her grandmother runs a motel by the lake, and there's never a dull moment. But, Dessen also deals with the serious moments with a touching grace. There are some good messages about family, as well as class and status. It's wonderful watching Emma learn more about her past--and herself--as she gets to know her mom's family and forge new friendships.
"But all my life I'd felt more like an observer than an active participant. Beside the wheel, not behind. It was safer there, but could be lonely too, or so I was now realizing."
Overall, this is just a lovely read. It's funny, sweet, and will make you smile. Emma is a great character, and it's impossible not to get caught up in her journey. Plus, with the lake setting, it's a perfect summer read! 4+ stars.
Phillip McSween (751 KP) rated Avengers: Age of Ultron (2015) in Movies
Jun 26, 2019
Hulk Continues to Smash...and I'm Here For All of it
When an artificial intelligence outthinks its creator and forms itself into dozens of destructive robots, Earth's mightiest heroes come together once again to put a stop to the threat.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Bakery Story 2
Games and Entertainment
9.0
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** For a limited time, we're offering great discounts for new and current players! Play now and save...
Metro Paris Subway
Travel and Navigation
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Metro Paris Subway is the original and No. 1 selling application for getting around Paris, France. ...