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Doctor Sleep (2019)
Doctor Sleep (2019)
2019 | Horror
Thank goodness for retro screenings. I hadn't seen The Shining before but it's one of those things that gets parodied and mentioned so often that you think you might have actually seen it. Cineworld put it on so I made the time to go, there's a review coming soon... you know I'm not logical enough to have done it first!

Dan Torrance has grown up a lot since the events at The Overlook Hotel. The Shining is still with him and his self-destructive coping mechanisms are taking a toll on him. Constantly on the move, he's running from himself as well as a cult that are hunting him around the country.

Dan finds himself in a small town where he meets Billy. Billy recognises the signs of someone trying to find themselves and takes Dan under his wing, finding him a place to stay, a job, and a way to get his life back on track.

The Shining becomes a much more productive part of his life and somehow bring him a message from Abra, a young girl with powers even stronger than his. As the cult gets closer to her he knows he has to help, but that will mean going to a place he swore he'd never go again.

Cinema is going through a very big reboot/franchise phase at the moment, this week at the cinema we were showing 8 things that are follow-ups, spin-offs or reimaginings. I don't think I can commit to saying it's a good or bad thing but it does mean I get to at least see some older films as well. With things like Doctor Sleep, Dark Fate, and Halloween last year, I became very aware that I like the nostalgic homage that these films are for their predecessors. In Doctor Sleep we've got the original locations aged up, the same scenic shots and music, and a sneaky cameo from the original Danny. With The Shining so fresh in my mind it was nice to be able to spot these things.

Ewan McGregor was a top choice for the role of Danny, he's a great actor and every moment he was on screen became very real. Dan starts his journey as a mess, an alcoholic with a severe conscience that tries to set him on the right path. You see his desperation and you get the sense he's almost lost himself. McGregor successfully portrays him from rock bottom to redemption and there's a great balance from him throughout the film.

Pitting off against our good guys is Rebecca Ferguson as Rose The Hat. Rose is the leader of the cult and she has the ability to find people who possess the Shining. She makes a pretty convincing job of the supernatural elements and has got sexy-but-sinister down to a fine art. Most of her role is fairly heavy on the evil side and that was great, but she does get one scene where she's on the other side and, like McGregor, is able to do the polar opposite state so well that it comes across entirely believable.

In support roles we have Cliff Curtis who is consistently good in everything he does (but wronged deeply by this film) and Kyliegh Curran as Abra who I thought did a magnificent job, hopefully we'll be seeing her get more roles in the not too distant future.

There weren't any characters or actors that didn't fit in, the cast overall worked really well together in that respect. There are just two choices that I had slight personal quibbles with... Snakebite Andi gets recruited to the cult after Rose finds out about her special talent, that all worked perfectly well but once she's in the character pretty much vanishes until she's needed for a plot point. That seems like a massive waste of a great thread to me. The second is the bartender, I see what they were trying to do but I honestly hated it, it felt creepily wrong.

The sets and general feel of the film are good, but there's one moment in the effects that made my eyes roll. It's a nice way to convey the power that Rose uses but it is visually terrible, had that been better this could have been a 4.5. I feel that at this point though it's traditional for a Stephen King adaptation to have something that makes me go "WTF?!"

I enjoyed the journey Doctor Sleep took the characters on, I won't be the judge of how it compares to the source material or The Shining, but if you're a new fan like me then this will hopefully come across as a great watch. There are some amazing performances on show and Curran is definitely one to watch in the future.

Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/doctor-sleep-movie-review.html
  
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Jamie (131 KP) rated Here and Gone in Books

Jul 26, 2017  
Here and Gone
Here and Gone
Haylen Beck | 2017 | Fiction & Poetry
9
8.7 (3 Ratings)
Book Rating
Engrossing story line (2 more)
Well-developed characters
Good female relationships
Several plot holes (1 more)
Mildly frustrating main character
A parent's worst nightmare
This book may be one of the most compelling reads that I’ve had in a while. Here and Gone is the story of a woman trying to escape an abusive marriage that finds herself in handcuffs and her children taken away by suspicious cops. It’s every parent’s worst nightmare. The opening chapters reminded me of some terrifying cases that I’ve read about innocent people being pulled over by corrupt or phony police officers.

The narrative swaps between characters throughout the story, sometimes swinging into the main two character’s pasts to flesh out their personalities. I really liked Danny, though I’ll admit that he seemed like a bit of an Asian stereotype to me, and being Asian American myself I wasn’t sure how I felt about it. His role in the story was cool but also seemed a little out of place. Audra I wish I could say that I liked her more, but her attitude in some of the flashback chapters really bothered me. My heart did break for her character, however, stuck in an abusive marriage with an enabler, with several chapters detailing her struggle with drug addiction.

I love the serious amount of woman power in this book that highlights the importance of female relationships. There are just certain things that many women know and understand about each other. This book was a heartfelt reminder about how vital it is for women to lift each other up, rather than tearing each other down. It was almost always female characters that would see what was happening to Audra and helped when she needed it the most. This was a major highlight for me in the story.

On the other hand though, I had to cut the rating down a little bit due to some pretty glaring plot holes that kept making me stop and ask my husband about law or the standard policies that are followed in any investigation. There were little things I noticed that just didn’t seem right and it would pull me out of my immersion in the novel.

Maybe it’s just me, but I would imagine that if a suspect in a missing person’s case were to implicate someone, even if it was a member of law enforcement, of abducting the kids and threatening her into taking the blame, wouldn’t the FBI be at least mildly suspicious? Question the officers involved, perhaps monitor their activity, separate them from the case, or put them on administrative leave? It would only make sense to me that the officers in question are too close to the case and should be taken off of it, but that wasn’t what happened. One cop had full access to the suspect, to police resources, and was still involved in the investigation. The other cop, well, nobody seemed to care about her one bit, or really noticed her absence. In fact, the FBI in general seemed pretty impotent in this book and that just didn’t seem normal to me.

All that aside, I really enjoyed this book. I was completely absorbed in the story from the first page and I couldn’t put it down, devouring it quickly over a period of about two days. I’ll definitely be checking out some more of the author’s work in the future.
  
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Kristy H (1252 KP) rated That Summer in Books

May 27, 2021  
That Summer
That Summer
Jennifer Weiner | 2021 | Contemporary, Fiction & Poetry
8
9.0 (2 Ratings)
Book Rating
A touching and insightful look into the power of the past
On the surface, Daisy Shoemaker has the perfect life: a doting lawyer husband, a loving daughter, and her own cooking business. But underneath, she's full of doubts. Her husband is distant, her teenage daughter resentful, and her business--just something to keep her "occupied." Daisy's been receiving emails lately, meant for another woman named Diana, Daisy's given name. This Diana, a business consultant, seems glamorous and wealthy. When Diana invites Daisy to lunch, she impulsively says yes. But as the two form a friendship, Daisy starts to wonder if their connection was purely accidental. What exactly does Diana want from Daisy?

"For the last six months, Daisy had been receiving emails that she realized were intended not for her, but for the other Diana."

This is not a light and airy beach read, but a serious book that focuses in on the recent #MeToo topic. Much of the book doesn't even take place on the promised Cape setting. Does that mean it's not worth a read? Not at all. Weiner's constructed a compelling and heartfelt tale, with characters that pull you into the story. It feels a little reminiscent of some other #MeToo stories I've read recently, but I was still glued to the pages, wondering what had happened in Diana's past and how things would turn out for everyone.

There's a bit of a mystery here, but it's not too hard to figure out how everything pieces together. The real focus is the characters. We have Daisy, insecure and struggling in her marriage to Hal, a wealthy and arrogant man more than a decade older than her. It's clear Hal takes Daisy for granted--and that may be letting him off easy. Their daughter, Beatrice, was a favorite of mine: an original teen, with her own unique way of living her life. Beatrice's scenes stood out; she's a character I won't soon easily forget. We also have Daisy's brother, Danny, and his husband Jesse. And then there's the "other" Diana, who worms her way into Daisy's life. Can we trust her? Diana was a memorable character to me as well, along with someone close to her. (I don't want to say much more for spoilers.)

The book is told mainly from Daisy, Diana, and Beatrice's perspectives. It goes back and forth in time. It's a little confusing in the beginning, getting the timeline straight and how all the characters relate. Once I got that down, it was a fast read. Some of it may be a little predictable, but it's in turns sad, heartwarming, and funny. I loved Beatrice, as mentioned, and the dynamic between Daisy and Diana was well-written. Weiner does a good job of exploring how class and privilege relate to sexual assault (a definite trigger warning for rape in this story) and the repercussions of rape across individuals, families, and friends. She focuses, too, on the importance of accepting those you love for who they are, no strings attached.

Overall, I'm quite glad I picked this one up. Despite some of the vague familiarity to other #MeToo books, for the most part, it felt refreshing and interesting. It certainly held my attention and brought to light the important topic of rape and its aftermath. The characters here are well-drawn, and I'll always have a place in my heart for dear Beatrice. 4 stars.
  
Anything For Love
Anything For Love
Lola StVil | 2017 | Romance
9
9.7 (3 Ratings)
Book Rating
Relatable characters (1 more)
Full of mystery and action
A few grammar errors (0 more)
Contains spoilers, click to show
I would first like to say I don't normally like these short little romance novels, but I really enjoyed this one. I often find the short romance novels like this are rushed or leaves something to be desired at the end. In Anything for Love, I found that the story was relatable and quite enjoyable to read. It left you smiling at the end and it felt complete. I don't have many complaints, just a few grammatical errors that are easily overlooked, as there might have been at most five in total. It was the characters that made the story for me, especially Winter.

Winter's past was rough, especially where her ex, Danny, was concerned. With the betrayal and manipulative nature he had, I wouldn't have blamed Winter for closing herself off to the world of dating. Even though you don't get the full extent of what he did to her, besides being a jerk, until she tells Wyatt why she is so closed off to him, you can't help but understand what she is going through. Most women swear off dating when they break up with a particular nasty relationship. Though, it rarely sticks, its not hard to see Winter is a vary realistic character, that many women can relate to. It was very nice to see that she had made up her mind and did everything in her power to stay away from Wyatt, knowing she wasn't ready for a relationship or to trust another man. It wasn't just her heart and how I could relate to her in the romance department that got me, it was her strength and determination to protect the children she helped. Her concern and kindness for the kids who are in group homes waiting to be adopted, melted my heart. It was very clear that those kids meant the world to her, even more than her own life. Not many people would stand up to a gang and even deny them a new recruit, putting their life at risk, to protect a child that wasn't theirs and yet she did. She not only kept the kid, Carlos, safe from the gang life, but she made sure she got him into an art class, so that he would be able to further his education on that which he loves. It made it easy to see how someone could fall in love with her.

While Winter is a little closed off to dating and more focused on the kids that attend her center, Wyatt is more determined to win her over while being the cop he is. At first you want to hate him. He comes off arrogant and career oriented, as well as a horn dog. It is clear he wants to be with her sexually and his determination makes you slightly wonder if he would do anything unsavory to achieve this. However, that opinion dissolves quickly after Winter allows him to take her out to hang out a bit during a Halloween party her co-worker and bestfriend throws. Wyatt shows genuine interest in Winter and even appears to be a really good guy, but what amazed me was that fact he never did anything to push her into kissing him, having sex or anything. He was patient, kind and understanding, even before Winter finally told him what Danny had done to her in her past. Though he seemed demanding and a bit of someone who would be controlling, it was nice to see the softer side of him too. To be able to find someone who won't take no as an answer, but also be patient and considerate of another's feelings is a rare trait to have. Normally, you don't see both those traits in a single person, but Wyatt has them and it makes for interesting guy. Your heart automatically goes out to him as you watch him be patient with Winter. At points, I found myself yelling at Winter because of how broken she was. I understand where she was coming from, having been in horrid relationships myself, but I would like to think if I was her, I would have been a bit more willing to trust him sooner than she did. Wyatt is a definite dream hunk and will be your book boyfriend if you only let him love you.

I have say that this book kept me thirsty for more, especially since so much was left out to keep it a bit suspenseful. I loved how the gang, Street Kings, was left alone after Winter confronts them to leave Carlos alone, that you nearly forget about them being in the picture. It made for a nice little dramatic event when they pop back up. Or when you learn more about Wyatt that is kept being hinted at throughout the story. I found this all to make quite a compelling story. It had the right amount of suspense, mystery and action to make this romance novel that perfect read in my opinion. I would recommend it to all my romance readers. I would rate this book 4 stars out of 5 stars simply because of the few grammar errors I had found while reading, Though they didn't take away from enjoying the book, I still wish they hadn't been present. It can ruin any grammar freak's day.

Anything for Love is free for the Kindle, and that's without Kinde Unlimited. It is also the first book in the series "The Hunter Brothers." I do hope you go to check it out and grab your copy from Amazon while it is free to grab. Happy Reading!
  
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Lee (2222 KP) rated Yesterday (2019) in Movies

Jun 20, 2019  
Yesterday (2019)
Yesterday (2019)
2019 | Comedy, Fantasy, Music
Rocketman recently did a great job of reminding us just how good Elton John songs are, making us want to dust off our vinyl/plastic/streaming service collection and reacquaint ourselves with his back catalogue all over again. Last year the Bohemian Rhapsody movie did a similar thing for the music of Queen and now it's the turn of The Beatles, with Yesterday. Written by Richard Curtis, and directed by Danny Boyle, Yesterday doesn't go down the musical/biopic route, instead taking classic Beatles songs and weaving them into a high concept romantic comedy.

Yesterday follows struggling musician Jack (Himesh Patel) and his long-term best friend/manager Ellie (Lily James). Gigging in pubs is getting him nowhere and he's resigned himself to the fact that he might have to give it all up and return to teaching. He lands a spot on the Suffolk stage at Latitude festival, expecting it to be his big break, but only his friends and a handful of bored kids show up to watch him play.

But then, while riding home on his bike that night, something mysterious happens. An unexplained 12 second power cut hits the entire globe and in the resulting chaos, Jack is struck by a bus and flung from his bike. When he awakes in hospital, bruised and missing a couple of front teeth, he plays a Beatles song to Ellie and his friends, who all think it's amazing, claiming to have never heard of the song before, or even The Beatles. After a bit of Googling, it becomes clear that The Beatles never actually existed, and only Jack is able to remember them. There are a few other things which crop up as we go along, that also turn out never to have existed, in what is a bit of a running gag throughout the movie.

Jack immediately realises his chance of success at last and sets about trying to remember as many of The Beatles songs and music as he can. His friends love the new songs, and there's a hilarious scene where he tries to introduce his parents to a Beatles song too (The Kumars, Sanjeev Bhaskar and Meera Syal on top form here), but it's still not really working out for him at the pub gigs and weddings where he performs them. It's only when he gets the chance to professionally lay down his tracks, and starts handing out free CDs to customers at the store he works at, that things really take off for Jack, drawing the attentions of none other than Mr Ed Sheeran. Ed has fun sending himself up, and actually features quite heavily in the movie, particularly in these early stages - turning up at Jack's house, asking him to come and support him on tour, arranging a 10 minute songwriting challenge between him and Jack. I'm not really a fan of Ed Sheeran but he actually turns out to be responsible for a lot of the movies humour as he eventually concedes that Jack is a better songwriter than him.

As Jack starts to hit the big time, traveling to LA and being managed by Ed's manager Debra (Kate McKinnon), we hit a bit of a mid-movie slump. Luckily though, Himesh Patel portrays Jack with such a relatable and likeable charm - his bewilderment and frustrations at the ridiculousness of the music industry, not to mention the building pressures of living the lie that his success has come from using someone else's work, guides us nicely through the slower moments of the movie. The romance part of the story continues to play out too, with Jack and Ellie both clearly loving each other for 20 years now, but with neither of them committing to taking it further. Lily James is once again wonderful, despite being very underused in this role, and it's the love story element of the movie which isn't quite as strong as the rest of it.

The movie does manage to pull things together nicely for the final act, resolving the unease and tension that dominates much of the movie. It could have done with a bit more rom and a bit more com, but is still an enjoyable movie and a perfect reminder of just how great The Beatles are.
  
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Paul Chesworth (3 KP) created a post

Feb 20, 2018  
OSTURA – THE ROOM

Six years is a long time between album releases. A lot can happen in that time, the biggest issue being the fan-base. In today's throwaway music era, where songs are disposed for having a 20 second intro by the ‘millennials’, but thankfully us rock fans are of a more discerning disposition and made of sterner stuff. Six years is nothing in the scale of rock bands, but I had to admit that even I was a bit worried that this album would never see the light of day. It was written immediately after the debut ‘Ashes Of The Reborn) from 2013 up and through to 2016…..and here it is (finally) in 2018! Top marks to Ostura for not losing faith and getting ‘The Room’ out there. I for one am bloody glad that they have persevered.


They probably feel like a cat with 10 lives, as it has been picked up by Universal Music MENA, when it could have literally gone south and not got released at all. There have been some Ostura casualties along the way. Gone are Tony Ghanem (vocals) and Chris Naimeh (drums), and in comes Alain Ibrahim (guitars), and Alexander Abi Chaker (drums – live, and additional percussions, and he wrote all the drum parts for The Room’). For the album, Thomas Lang is behind the kit and has quite an extensive CV; and I have to say, he IS ON FIRE here.

The 12 songs were written in chronological order and work as a score for an equally cinematic storyline about a social recluse girl who takes refuge in a room. Locked in with her thoughts, fears and ambitions, the girl’s imagination turns the room into an endless universe where she is the creator. Soon after, the creation gains the ability to create and ask the right questions. The story tackles the notions of fear, perfection, social anxiety, ambitions, rage, power, and the struggle between the creator and the creation.

'The Room' is a massive production with performers from 12 countries, alongside the City of Prague Philharmonic Orchestra and the core band. The premise has a lot to live up to. So, do Ostura live up to this high bar they have set for themselves?

Emphatically, yes! Where the debut was more ‘Metal’, and a mix between something like Avantasia and Kamelot, ‘The Room’ is a different experience entirely. The sound now is more cinematic and falls partly on the side of Ayreon. The sound (track) is like that of a film, it’s filled out and sounds huge, partly due to the involvement of The City of Prague Philharmonic Orchestra, a choir, string quartet, and an electric triangle (one of these isn't true). The whole concept has been so carefully constructed that the Orchestra and band are not overwhelming each other or jockeying for position. It’s a perfect balance of band and orchestra coming together for probably THE release of the year.

After a very long wait, I can wholeheartedly, 100% state that ‘The Room’ is worth it, and then some! Opening track ‘The Room’ starts with this pulsating and growing riff that explodes into action. The contrast in vocals between Erosion (Monsef) and The Girl (Jreissata) works a treat, you have the roughness/industrial vs. the angelic, its light vs. dark, and they also have the wonderfully melodic metal vocals of Utopia (Michael Mills, Toehider). ‘Escape’ has hall the hallmarks of symphonic metal that you could wish for. Mills proves to be the Ace in the pack as his vocals are ear-splittingly phenomenal. The Room is more than just Within Temptation with a couple of extra sets of balls, as Ostura throw everything into the mix, both vocally and musically, there is even the daddy of them all, a Hammond organ.

In case you are worried, the three-pronged (trident) vocal assault that was seen on the debut is still here. Only this time, Monsef and Jreissata have seriously upped their game, and have in Mills a singer of the highest quality. Mills is immense, his vocals are up there with early Queesnryche’s Geoff Tate. Its not just the Mills show - Monsef glides from low to high with ease, and Jreissati' vocals are just simply divine. The three together are pure perfection.

‘Beyond’ is where the cinematic soundtrack comes to the fore. Alan Ibrahim’s and Marco Sfogli’s guitar playing collides with the PSO – electric vs. an orchestra, industrial riffs dueling against violins (An orchestra is just the heavy metal of the 1600s to the present day, without a Marshall), all coming together for this huge soundscape of noise. ‘Erosion’ is one of those songs that I wish I could play through a PA. It’s a track that you just can’t play loud enough. It mixes the brutality of guitars that Dream Theater used to do so well, with a male baritone choir! Ostura have so much faith in what they are doing that the orchestra parts come to the fore and throw in a choir for good measure adding further to the already pomp-tastic sound.

‘Mourning Light’ is the first chance to catch your breath as its just The Girl, and a small accompaniment in comparison. We have just witnessed the beautiful calm and serenity of The Girl, you know there’s something sinister just around the corner. It doesn’t half deliver with ‘Deathless’. It’s the kind of intro that you would see on a film like Godzilla, or Cloverfield, dark and looming with a sense of impending danger. The final third of ‘The Room’ has two of the biggest songs in both ‘Darker Shape Of Black’ in which Ostura have roped in 'he who shall not be named!' The other being a 12-minute magnum opus ‘Duality’. 'The 'International Man of Mystery's' style is so distinctive that it is bound to draw comparisons. The song has everything – huge riffs, against a Middle Eastern backdrop, and with the orchestra adding an overall massive sound. The filling in the middle of these two monsters is ‘The Surge’ and is solely a vehicle for ‘Erosion’ and Monsef to take centre stage.

In fact I’m going to leave it right there. It would be a poor read if all I did was wax lyrical about every song in a similar manner. I blame Danny Bou-Maroun and Elia Monsef. Its their bloody fault that the ‘The Room’ is so damn good!

I simply cannot fully express in words how good ‘The Room’ is. If you’re a fan of Ayreon, and I know there are quite a few of you out there, you absolutely positively need this in your collection. There’s a lot to absorb here, as ‘The Room’ will require several listens as its like being bombarded with a wall of sound. You will pick up on things you didn't hear the first time, and so on. The end result though is seriously worth the wait. In the world of cinematic rock, Ostura stand-alone, no one can touch them. Purely as an album it is up there with Ayreon’s ‘01011001’ and possibly Dream Theater’s ‘Metropolis Pt. 2: Scenes From A Memory’. I'm not kidding.

Credit also needs to go to Jens Bogren. Ostura have a hell of a lot going on here, and to get the production so ‘right’ has taken one huge effort. To mix the sound and multiple layers are not an easy task to make it sound as good as this, and he has done a superb job, where others could easily have failed.

Honestly, very few albums hit my inbox that are this good. If anything peaks this in 2018 whether it be metal, prog, AOR and everything in between, I will be very surprised indeed. This is without doubt, awesome!

NOTE – Universal are not releasing this on CD as it’s a dying format. This is a shocking decision considering they have a potential ‘Ostura’ of an album in their possession. Criminal. Here’s hoping the band can offer up something via a Pledge campaign.

Score – Awesome!

Tracklisting –
The Room
Escape
Beyond (The New World)
Let There Be
Erosion
Mourning Light
Deathless
Darker Shade Of Black
The Surge
Duality
Exit The Room

Ostura
Youmna Jreissati – Vocals as ‘The Girl’
Elia Monsef – Vocals as ‘Erosion’ Charango, Additional Acoustic Guitar, Programming, Engineering, Media
Danny Bou-Maroun – Piano, Keyboards, Orchestration, Programming, Cubase Operation, Additional Percussions
Alain Ibrahim – Acoustic guitar, Rhythm Guitars, Guitar Co-arrangements
Alexander Abi Chaker –Additional percussions, Drums Co-arrangements on tracks (1,2,4,5,8)

Guest Musicians

Michael Mills – Vocals as ‘Utopia’
Thomas Lang – Drums
Dan Veall – Bass
Marco Sfogli – Lead Guitar on tracks (1.2.3.5.8.11)
He who shall not be named, yet!! – Lead Guitar on Track 9
Ōzgūr Abbak – Lead Guitar on Track 6
The City Of Prague Philharmonic Orchestra Conducted by Danny Bou-Maroun
The Lebanese Filmscoring Ensemble – Choirs, String Quartet
Yamane Al Hage – Violin Solo on Tracks (3,8,9)
Jokine Solban – Violin Solo on Track 2
Nobuko Miyazaki – Flutes on Tracks (9,11)
Mohannad Nassar - Oud on Tracks (5,10)
Roger Smith – Cello on Tracks (1,10,12)

Mixed, mastered and re-amped by Jens Bogren at fascination Street Studio, Sweden
Alexandre Moreira – Editing
All vocals, piano, violins, percussions, recorded at the Citadel, Dlebta, Lebanon

Twitter - @Ostruraband
Facebook - https://www.facebook.com/osturaband/