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Lady Georgiana Rannoch and her dashing husband, Darcy, are awaiting a bundle of joy, but an...
Movie Metropolis (309 KP) rated Joker (2019) in Movies
Oct 14, 2019
I’ve never left the cinema more unnerved than I did after watching Todd Phillips’ first foray in the superhero genre. Joker is a frequently violent, often grotesque and regularly intense portrayal of the iconic character that’s already receiving praise and backlash in equal measure from those in the critic community.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
Bob Mann (459 KP) rated Ant-Man and the Wasp (2018) in Movies
Sep 28, 2021
Large and Small on screen, but just ends up middling.
So, for the first time we divided last night at the cinema. I went off to watch “Ant-Man and the Wasp” and my wife – not a Marvel fan – went to see “Mamma Mia! Here We Go Again” (for the THIRD time!). Incidentally, Mamma Mia 2 seems to be the movie phenomenon of the summer, taking over from “The Greatest Showman” as the movie phenomenon of the winter. It’s been out three weeks now and the shows are still selling out, with people (mostly groups of women) being turned away at the ticket desk. I can see this one running in theatres until October, when they bring out a sing-a-long edition and it carries on running ‘til Christmas. Extraordinary.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
But, let’s turn from big things to small things. In a prologue we see a young Dr Hank Pym (Michael Douglas) and wife Janet (Michelle Pfeiffer) torn apart as Janet miniturises herself into the “quantum realm” to save the world from nuclear disaster. But in the present day Hank thinks there might be a way to find and retrieve Janet with the help of their superhero daughter Hope (“The Wasp”, played by Evangeline Lilly). (“What the f*** have you been thinking about instead for the last 30 years while I’ve been sat here avoiding neutrons”, would be the imagined response from Janet, but we don’t go there!).
But Scott Lang (aka “Ant Man”, Paul Rudd), having also been to the quantum realm, holds a key part of the puzzle. To add to their problems, a strange ghost-like girl called Ava has her own reasons for retrieving the lost soul, but in ways that will tear Janet limb from limb. Can Hank, Hope and Scott succeed, while dodging both The Ghost, the FBI and other criminal forces intent on seizing Pym’s technology?
I must admit that I’d somewhat forgotten how “Ant Man” ended three years ago, which together with the one film missing from my Marvel-watching canon being “Captain America: Civil War” left me somewhat confused by why we start the film with our hero Lang under two-year’s house arrest. But much fun is had with Lang’s curfew and the frustration of FBI agent Jimmy Woo (Randall Park) in trying to catch him breaking the rules.
For we are again at the comedic end of the Marvel universe. However the comedy is extremely uneven this time and doesn’t sit particularly well with the dramatic and emotional elements of the film. It’s certainly nowhere near the consistently funny content of the surprisingly good “Thor: Ragnarok”. Some of Rudd’s lines just smell of “trying too hard”.
Adding comedic value is Michael Peña returning here as Scott’s partner Luis. His motor-mouth routine after taking a truth drug (“not a truth drug”!) was hilarious, with the rest of the cast miming his words in flashback.
It has to be said though that there are some truly great sight-gags, to rival the Thomas the Tank Engine scenes in the first film. The expanding salt-cellar; the expanding / contracting car and building moments; and the “skateboard” scenes. But all – and I mean ALL – of these scenes were universally spoiled by the trailer, such that the reaction to them was “oh, that’s that bit then”. NEVER has there been a better case for a teaser trailer that basically said “Ant Man’s back; here’s ONE wow-factor visual”. It’s just criminal. Interestingly, re the trailer, there was also at least one scene (the “you go high, I’ll go low” one, which I thought was very funny) that didn’t make the cut I saw.
Acting wise you can’t fault the cast with Lilly just great as “The Wasp”. If I was her, I would have said “OK… I’ll do the film, but I get to keep the suit!”. That would be her age monitoring device for years to come…. “Does the zip still do up at the back? Do my impossibly pert breasts still align with these impossibly well-moulded contours?”. It’s also great to see Michael Douglas and Laurence Fishburne going head-to-head in the acting stakes. Walton Goggins again crops up as a believable bad-guy, a performance I really enjoyed, but the star turn for me in the whole film was a career-making performance by Hannah John-Kamen as Ava/The Ghost: she’s previously only had small supporting roles in “Tomb Raider” and “Ready Player One”. Looking like a Star Wars sand-person in her outfit she removes her mask to reveal a stunningly piercing gaze and great screen presence. One to watch for the future.
Directed by original “Ant Man” director Peyton Reed, it’s a perfectly entertaining watch for a summer night, but it is uneven in tone, perhaps the result of the team of five credited with the writing. Ask me in two months’ time to tell you anything about it and I will probably struggle. It’s a “meh” sort of film for me.
RəX Regent (349 KP) rated We Own the Night (2007) in Movies
Feb 25, 2019
Crime movie for crime movie fans
Contains spoilers, click to show
This is a crime film for crime movie fans. It has it all, from sex, violence, wires and gritty hits. But at its heart is family, here driven by the two leads, Mark Wahlberg and Jequium Phoenix, reunited in yet another of James Grey's films. The tone is dark, with a realistic look as we are taken on trip back to 1988 and a fictional cop family, led by the Deputy Chief Of Police (NYPD) Robert Duvall, who is the father to Wahlberg's up and coming cop, with Phoenix's nightclub manager, who is not a criminal as such, but is a disappointment to his family.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.
Sassy Brit (97 KP) rated Godsend in Books
Jun 6, 2019
Godsend, by J.A. Marley is the second Danny Felix novel, and although I have not read the first, Standstill, I read this fast and furiously, as if this was indeed a standalone novel.
Vincent Cardell has over zealous political and religious ambitions, and decides to help out the Mexican cartel with their money laundering, and skims a little bit off the top for himself, I mean the church, whilst he’s at it.
His wife, June is fed up with his ways, and suspects the cartel know what he’s done, and it won’t be long before they come for him, and perhaps her too. So what does she do? Enlists Danny, to rob Vincent’s money and give it all to her. What could possibly go wrong with a deal proposed by a Preacher’s wife?
Right from the first few pages I knew this cheeky chappy was going to be a lot of fun to read. Danny is a flawed, and somewhat vulnerable character, coping with past events that have led to panic attacks and flashbacks, yet he’s still a criminal at heart, despite being ‘retired’ and living in Florida Keys. Nothing, it seems, can keep this man down. He’s a genuine, loveable rogue. As is his mate, Ciaran.
In fact, all of the characters were really well rounded; I loved to hate Harkeness, and I kind of liked June Cardell (also a Brit), even though I probably shouldn’t have. Hell, even Slow Tina, a seventy year old stripper, had a great part to play! (Her character made me giggle).
Because Godsend was based in America, the whole story was written very much in an American style read (lots of Americanisms), with an evangelical couple, preacher Vincent and his conniving wife, June, being a central part of this theme. This was balanced out nicely by the fact that Danny himself was from the UK, with plenty of British-isms up his sleeve! Lots of ‘feckin’s’ and ‘fecks’ too! Aha!
As with this style of gritty, pulp action, there is a lot of name dropping in this book, musicians, actors, and the films, books and songs they produced. They even went to a Geekfest, which I have to mention, as I went to one last Sunday! So yeah, you could say this was my kind of read in more ways than one. Then, just when I thought it was all over the epilogue says otherwise… Nice one!
Overall this is a terrific hard-boiled crime thriller, with some great one liners and equally great, misbehaving characters. If you want to know what happens when you mess with the cartel, read this book!
Vincent Cardell has over zealous political and religious ambitions, and decides to help out the Mexican cartel with their money laundering, and skims a little bit off the top for himself, I mean the church, whilst he’s at it.
His wife, June is fed up with his ways, and suspects the cartel know what he’s done, and it won’t be long before they come for him, and perhaps her too. So what does she do? Enlists Danny, to rob Vincent’s money and give it all to her. What could possibly go wrong with a deal proposed by a Preacher’s wife?
Right from the first few pages I knew this cheeky chappy was going to be a lot of fun to read. Danny is a flawed, and somewhat vulnerable character, coping with past events that have led to panic attacks and flashbacks, yet he’s still a criminal at heart, despite being ‘retired’ and living in Florida Keys. Nothing, it seems, can keep this man down. He’s a genuine, loveable rogue. As is his mate, Ciaran.
In fact, all of the characters were really well rounded; I loved to hate Harkeness, and I kind of liked June Cardell (also a Brit), even though I probably shouldn’t have. Hell, even Slow Tina, a seventy year old stripper, had a great part to play! (Her character made me giggle).
Because Godsend was based in America, the whole story was written very much in an American style read (lots of Americanisms), with an evangelical couple, preacher Vincent and his conniving wife, June, being a central part of this theme. This was balanced out nicely by the fact that Danny himself was from the UK, with plenty of British-isms up his sleeve! Lots of ‘feckin’s’ and ‘fecks’ too! Aha!
As with this style of gritty, pulp action, there is a lot of name dropping in this book, musicians, actors, and the films, books and songs they produced. They even went to a Geekfest, which I have to mention, as I went to one last Sunday! So yeah, you could say this was my kind of read in more ways than one. Then, just when I thought it was all over the epilogue says otherwise… Nice one!
Overall this is a terrific hard-boiled crime thriller, with some great one liners and equally great, misbehaving characters. If you want to know what happens when you mess with the cartel, read this book!
Kyera (8 KP) rated Batman: Nightwalker - DC Icons Book 2 in Books
Jan 31, 2018
Batman: Nightwalker gives us an origin story for the Caped Crusader that we didn't know we needed - even if it doesn't feel like the dark, gritty Batman we know from the Dark Knight or the comics. Bruce is an eighteen-year-old boy who is still trying to figure out who he is in a world where his parents were murdered when he was a child and he has just come into their vast fortune. He struggles to figure out how to live up to his parents' legacy and finds himself in a dangerous situation.
If you go into this book expecting Batman, I'm afraid you're going to be disappointed. This is a teenaged boy who is realizing that he wants to do more for his city and is coming to the conclusion that Bruce Wayne might not be enough. This book is his real origin story and Marie Lu brings his transformation back to its roots. We meet the boy who will one day become Batman, not the man we are familiar with as the Dark Knight.
I really enjoyed getting to know young Bruce in this story, although Alfred certainly stole the show. You could feel the bond that they had with one another, which translated so much more authentically than some of the other relationships in the story. I felt that Diane and Harvey were a little underdeveloped in the story, so I never really formed a connection with them. I really enjoyed the little cameos from characters we're familiar with and the characterization of people that we know are much more important in the Batman mythology in later years.
Superhero books are definitely difficult to write because they're so action heavy and as a result, visual, but I feel that Lu managed to capture the kinesthetic nature of the book well. She definitely delved more into Batman's detective nature, which was really nice because we don't see that as often as his fighting bad guys schtick. If you're interested in seeing the detective Batman dig into mysteries and try to foil a criminal organization than you should enjoy this book - just don't expect giant action-packed fight scenes.
I have really enjoyed the DC Icons series thus far because it brings the characters we've grown familiar with back to their roots. They're teenagers who are still figuring out who they are in the world, regardless of their future superhero journey. They are fragile and unsure, yet with a thirst for justice that one day will allow them to grow into the superheroes we know and love.
If you go into this book expecting Batman, I'm afraid you're going to be disappointed. This is a teenaged boy who is realizing that he wants to do more for his city and is coming to the conclusion that Bruce Wayne might not be enough. This book is his real origin story and Marie Lu brings his transformation back to its roots. We meet the boy who will one day become Batman, not the man we are familiar with as the Dark Knight.
I really enjoyed getting to know young Bruce in this story, although Alfred certainly stole the show. You could feel the bond that they had with one another, which translated so much more authentically than some of the other relationships in the story. I felt that Diane and Harvey were a little underdeveloped in the story, so I never really formed a connection with them. I really enjoyed the little cameos from characters we're familiar with and the characterization of people that we know are much more important in the Batman mythology in later years.
Superhero books are definitely difficult to write because they're so action heavy and as a result, visual, but I feel that Lu managed to capture the kinesthetic nature of the book well. She definitely delved more into Batman's detective nature, which was really nice because we don't see that as often as his fighting bad guys schtick. If you're interested in seeing the detective Batman dig into mysteries and try to foil a criminal organization than you should enjoy this book - just don't expect giant action-packed fight scenes.
I have really enjoyed the DC Icons series thus far because it brings the characters we've grown familiar with back to their roots. They're teenagers who are still figuring out who they are in the world, regardless of their future superhero journey. They are fragile and unsure, yet with a thirst for justice that one day will allow them to grow into the superheroes we know and love.
Sensitivemuse (246 KP) rated The Ninth Daughter (Abigail Adams #1) in Books
Mar 12, 2018
Substantial characters in a good historical fiction mystery
I didn’t expect to enjoy this book as much as I would! It was a great mystery with a hefty set of characters (historical and otherwise) with an underlying theme of political tension playing throughout the plot.
I think that’s what made the book enjoyable, was despite the mystery being the main hook, the political tension and bickering between the patriots and the British was always in the forefront and mentioned when need be as it was central to the story. Every so often you had mention of Abigail’s refusal to drink tea for example, or minor scuffles happening between citizens and the Redcoats.
Despite the tensions however, Abigail puts her ideas and beliefs aside and works alongside the British to solve this mystery. I enjoyed reading her character. She’s strong willed and has a good retort every so often when she needs to speak out, which shocks other characters as it wasn’t considered “proper”. I enjoy Abigail’s unorthodox behavior and it may seem as if she gives an air of an annoying stubborn woman, but it’s because of her personality that things get done no matter whose side you’re on or who you support.
John and Abigail’s relationship was also nice to read. They’re both equals and you can see a subtle quiet strength between them and they compliment each other perfectly. There’s a mutual respect between the two and if they were alive now, they would probably be a political supercouple ;)
The mystery aspect of the book was good and the intrigue is definitely noted. The setting is superbly done and very descriptive. The list of suspects was substantial and revelation of the culprit isn’t much of a surprise but the execution of obtaining the criminal and his background story was excellent to read , and was very satisfying to see the bad guys get their dues. The supporting characters are also well done - although I have to admit, there are just a little too many for me. Even minor characters have their personality and details and although it’s good and makes the world building more detailed and rich, sometimes it’s a bit hard to follow as to who’s who. (Perhaps a section of cast of characters would help in this case - especially when some characters share the same last name)
I’ll be picking up the next book to read. It’s definitely worth looking into for those that love historical fiction mysteries. The tea has been dumped!!! So you have to figure out what sort of chaos is going to happen and what mystery Abigail will solve next.
I think that’s what made the book enjoyable, was despite the mystery being the main hook, the political tension and bickering between the patriots and the British was always in the forefront and mentioned when need be as it was central to the story. Every so often you had mention of Abigail’s refusal to drink tea for example, or minor scuffles happening between citizens and the Redcoats.
Despite the tensions however, Abigail puts her ideas and beliefs aside and works alongside the British to solve this mystery. I enjoyed reading her character. She’s strong willed and has a good retort every so often when she needs to speak out, which shocks other characters as it wasn’t considered “proper”. I enjoy Abigail’s unorthodox behavior and it may seem as if she gives an air of an annoying stubborn woman, but it’s because of her personality that things get done no matter whose side you’re on or who you support.
John and Abigail’s relationship was also nice to read. They’re both equals and you can see a subtle quiet strength between them and they compliment each other perfectly. There’s a mutual respect between the two and if they were alive now, they would probably be a political supercouple ;)
The mystery aspect of the book was good and the intrigue is definitely noted. The setting is superbly done and very descriptive. The list of suspects was substantial and revelation of the culprit isn’t much of a surprise but the execution of obtaining the criminal and his background story was excellent to read , and was very satisfying to see the bad guys get their dues. The supporting characters are also well done - although I have to admit, there are just a little too many for me. Even minor characters have their personality and details and although it’s good and makes the world building more detailed and rich, sometimes it’s a bit hard to follow as to who’s who. (Perhaps a section of cast of characters would help in this case - especially when some characters share the same last name)
I’ll be picking up the next book to read. It’s definitely worth looking into for those that love historical fiction mysteries. The tea has been dumped!!! So you have to figure out what sort of chaos is going to happen and what mystery Abigail will solve next.
Sarah (126 KP) rated The Staircase in TV
Aug 10, 2018
A Compelling Watch
All are punish'd.
The final words of The Staircase, taken from the last scene of Romeo & Juliet, seem particularly fitting for the series.
This series is centred on the untimely death of Kathleen Peterson, wife of author Michael Peterson.
For fans of true crime documentaries such as Making a Murderer, Evil Genius and Wild, Wild Country, this may seem something of a "slow burn"; however, from the initial report of Kathleen apparently tumbling down the stairs, we are quickly taken on a journey which spans several decades, two continents and which reveals lies and betrayal the likes of which seem more fitting of a crime thriller novel than a real life crime drama.
As with pretty much of these true crime series', we are left with a lot of unanswered questions; what makes The Staircase different is that it actually takes from the initial 911 call right up to the closure of the case.
What this start to finish coverage of the matter does give is a stark indication of the sheer length of time (and amount of money) that justice can take - if, indeed, one considers that justice was in fact served in this matter - and the toll that can take.
The level of coverage - of coaching of the witness pre-Trial, interviews with the Judge following the conclusion, and pretty much everything in between - allows us great insight into the US judicial process, as well as a close look at the Defendant himself and his family.
While each and every viewer will undoubtedly form their own opinion as to the guilt or otherwise of Michael Peterson - even though we aren't privy to all of the evidence, investigations, etc of the prosecution team - this series is certainly serves as an insight into the criminal justice process in the United States and how it can affect entire families.
My only criticism would be that the last few episodes seem to have been really dragged out - including lots of long, lingering shots of Michael Peterson, perhaps to reinforce how he had aged and suffered over the course of the series. In my opinion, it really could have been reduced by several episodes which would have actually made the whole thing flow better.
As regards guilt, one line towards the end of the series really stood out to as being the most honest thing said by anyone: "is there ever anyone in this family who isn't performing?"
The final words of The Staircase, taken from the last scene of Romeo & Juliet, seem particularly fitting for the series.
This series is centred on the untimely death of Kathleen Peterson, wife of author Michael Peterson.
For fans of true crime documentaries such as Making a Murderer, Evil Genius and Wild, Wild Country, this may seem something of a "slow burn"; however, from the initial report of Kathleen apparently tumbling down the stairs, we are quickly taken on a journey which spans several decades, two continents and which reveals lies and betrayal the likes of which seem more fitting of a crime thriller novel than a real life crime drama.
As with pretty much of these true crime series', we are left with a lot of unanswered questions; what makes The Staircase different is that it actually takes from the initial 911 call right up to the closure of the case.
What this start to finish coverage of the matter does give is a stark indication of the sheer length of time (and amount of money) that justice can take - if, indeed, one considers that justice was in fact served in this matter - and the toll that can take.
The level of coverage - of coaching of the witness pre-Trial, interviews with the Judge following the conclusion, and pretty much everything in between - allows us great insight into the US judicial process, as well as a close look at the Defendant himself and his family.
While each and every viewer will undoubtedly form their own opinion as to the guilt or otherwise of Michael Peterson - even though we aren't privy to all of the evidence, investigations, etc of the prosecution team - this series is certainly serves as an insight into the criminal justice process in the United States and how it can affect entire families.
My only criticism would be that the last few episodes seem to have been really dragged out - including lots of long, lingering shots of Michael Peterson, perhaps to reinforce how he had aged and suffered over the course of the series. In my opinion, it really could have been reduced by several episodes which would have actually made the whole thing flow better.
As regards guilt, one line towards the end of the series really stood out to as being the most honest thing said by anyone: "is there ever anyone in this family who isn't performing?"
Darren (1599 KP) rated Crank (2006) in Movies
Oct 31, 2019
Characters – Chev Chelios somehow survives his mile high fall from the first film, he is given a new artificial heart which he must keep charged or he will die, he goes in search of his own heart which will see him go against another gang in LA, Eve now knows about Chev’s career, she has become a stripper and will supporting him trying to get his heart back. Doc Miles will do everything he can to help Chev giving him advice on how to keep his heart going. Venus is the brother of Kaylo who goes on to help Chev to get revenge for his own brother’s death. We have more gangs that are working against Chev this time, some return others are new.
Performances – Jason Statham does what he can with the leading role, he handles the action with ease, only he just doesn’t reach the same levels as before, this does affect the rest of the cast who do struggle to make an impact in this film.
Story – The story does follow the next chapter of Chev’s life, the one after he should have died, only for him to get a new chance which sees him needing to race against time to get his own heart back. This side is simple enough at does work for what the film is doing, Chev take on endless amounts of enemies, the problem here with the story is that we dive too much into the side characters of what is going on and end up getting too many completely random scenes which just seem offensive on too many levels. This story does end up becoming messy and just has one of the worst scripts out there.
Action/Crime – The action does try to become bigger, only for it to be shot in a style which doesn’t make it easy to connect. The criminal world does feel bigger, but now everything does seem more personal rather gang controlled.
Settings – The film remains set in LA which does continue to show the crazy gangs that are meant to operate in this city.
Special Effects – The effects do feel like they are being more ambitious, only for some to be so farfetched they only seem to make things look confusing, including an insulting looking Godzilla like fight.
Scene of the Movie – Final showdown.
That Moment That Annoyed Me – Godzilla like fight.
Final Thoughts – This is a wildly over the top sequel which only ends up becoming too much to handle for the crazy nature of everything going on.
Overall: Too wild.
Performances – Jason Statham does what he can with the leading role, he handles the action with ease, only he just doesn’t reach the same levels as before, this does affect the rest of the cast who do struggle to make an impact in this film.
Story – The story does follow the next chapter of Chev’s life, the one after he should have died, only for him to get a new chance which sees him needing to race against time to get his own heart back. This side is simple enough at does work for what the film is doing, Chev take on endless amounts of enemies, the problem here with the story is that we dive too much into the side characters of what is going on and end up getting too many completely random scenes which just seem offensive on too many levels. This story does end up becoming messy and just has one of the worst scripts out there.
Action/Crime – The action does try to become bigger, only for it to be shot in a style which doesn’t make it easy to connect. The criminal world does feel bigger, but now everything does seem more personal rather gang controlled.
Settings – The film remains set in LA which does continue to show the crazy gangs that are meant to operate in this city.
Special Effects – The effects do feel like they are being more ambitious, only for some to be so farfetched they only seem to make things look confusing, including an insulting looking Godzilla like fight.
Scene of the Movie – Final showdown.
That Moment That Annoyed Me – Godzilla like fight.
Final Thoughts – This is a wildly over the top sequel which only ends up becoming too much to handle for the crazy nature of everything going on.
Overall: Too wild.
Darren (1599 KP) rated Flight 7500 (TBD) in Movies
Oct 31, 2019
Characters – Chev Chelios somehow survives his mile high fall from the first film, he is given a new artificial heart which he must keep charged or he will die, he goes in search of his own heart which will see him go against another gang in LA, Eve now knows about Chev’s career, she has become a stripper and will supporting him trying to get his heart back. Doc Miles will do everything he can to help Chev giving him advice on how to keep his heart going. Venus is the brother of Kaylo who goes on to help Chev to get revenge for his own brother’s death. We have more gangs that are working against Chev this time, some return others are new.
Performances – Jason Statham does what he can with the leading role, he handles the action with ease, only he just doesn’t reach the same levels as before, this does affect the rest of the cast who do struggle to make an impact in this film.
Story – The story does follow the next chapter of Chev’s life, the one after he should have died, only for him to get a new chance which sees him needing to race against time to get his own heart back. This side is simple enough at does work for what the film is doing, Chev take on endless amounts of enemies, the problem here with the story is that we dive too much into the side characters of what is going on and end up getting too many completely random scenes which just seem offensive on too many levels. This story does end up becoming messy and just has one of the worst scripts out there.
Action/Crime – The action does try to become bigger, only for it to be shot in a style which doesn’t make it easy to connect. The criminal world does feel bigger, but now everything does seem more personal rather gang controlled.
Settings – The film remains set in LA which does continue to show the crazy gangs that are meant to operate in this city.
Special Effects – The effects do feel like they are being more ambitious, only for some to be so farfetched they only seem to make things look confusing, including an insulting looking Godzilla like fight.
Scene of the Movie – Final showdown.
That Moment That Annoyed Me – Godzilla like fight.
Final Thoughts – This is a wildly over the top sequel which only ends up becoming too much to handle for the crazy nature of everything going on.
Overall: Too wild.
Performances – Jason Statham does what he can with the leading role, he handles the action with ease, only he just doesn’t reach the same levels as before, this does affect the rest of the cast who do struggle to make an impact in this film.
Story – The story does follow the next chapter of Chev’s life, the one after he should have died, only for him to get a new chance which sees him needing to race against time to get his own heart back. This side is simple enough at does work for what the film is doing, Chev take on endless amounts of enemies, the problem here with the story is that we dive too much into the side characters of what is going on and end up getting too many completely random scenes which just seem offensive on too many levels. This story does end up becoming messy and just has one of the worst scripts out there.
Action/Crime – The action does try to become bigger, only for it to be shot in a style which doesn’t make it easy to connect. The criminal world does feel bigger, but now everything does seem more personal rather gang controlled.
Settings – The film remains set in LA which does continue to show the crazy gangs that are meant to operate in this city.
Special Effects – The effects do feel like they are being more ambitious, only for some to be so farfetched they only seem to make things look confusing, including an insulting looking Godzilla like fight.
Scene of the Movie – Final showdown.
That Moment That Annoyed Me – Godzilla like fight.
Final Thoughts – This is a wildly over the top sequel which only ends up becoming too much to handle for the crazy nature of everything going on.
Overall: Too wild.