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Movie Metropolis (309 KP) rated How to Train Your Dragon 2 (2014) in Movies
Jun 10, 2019
Watch out pixar
Dreamworks’ How to Train Your Dragon was an example of setting your expectations low and coming out pleasantly surprised. The first film proved that the studio could create animated masterpieces and it left audiences across the globe hooked.
However, expectation has never been higher for its sequel, How to Train Your Dragon 2, but does it soar to the dizzying heights of its predecessor?
Thankfully the answer is a resounding yes. From beautiful animated dragons to breathtaking aerial-bound sequences, this sequel just about surpasses the original in every way.
Following on five years after events in the first film, Dragon 2 follows a 20-year-old Hiccup, voiced wonderfully by Jay Baruchel, and his sidekick Toothless in their home town of Berk as the residents come to terms with living peacefully alongside dragons.
Being Hiccup, he is naturally curious to learn about a legendary ‘dragon master’ who can enslave the beasts to form an army and sets out to persuade him to care for the animals like the villagers. This plot point is sidetracked from the outset however as we are introduced to Valka – Hiccup’s long lost mother, voiced by a rather miscast Cate Blanchett.
The bond between Hiccup and Toothless has grown massively in the five year break between films and this makes them even more enjoyable to watch. Yes, each of the villagers has their own dragon to look after, but it is the relationship between the two primary characters which we really care about the most.
Feline similarities in Toothless will not go unnoticed, his cat-like qualities give him an air of cuteness that you wouldn’t expect to come from such a menacing and ultimately deadly creature, and it is testament to Dreamworks that they have managed to craft such a personality for a character that never speaks.
The animation is also absolutely stunning, from the crystal waters of the sea around Berk to the people and dragons themselves, everything has been given an upgrade after the first film’s success and the battle scenes are beautiful in their simplicity – there’s no worrying about losing track of characters here.
However, it’s not all smoke and mirrors, the story has real meaning. Family values are explored, the way to treat animals is also looked at brieflyrs_634x1024-140205120546-634.cate-blanchett-bp.cm.2514 and ultimately, this is about one young man’s journey to maturity.
Unfortunately, the vocal performance of Cate Blanchett detracts somewhat from the overall magic. Her peculiar Scottish accent, which travels all over Europe by the time the end credits roll, is of particular annoyance and it’s a better film when she is not playing a central part. This is a shame as the realisation that Hiccup’s mother isn’t dead should be one of great consequence, but Blanchett’s strange acting hampers the scenes.
How to Train Your Dragon is to Dreamworks what WALL-E is to Pixar, each film is one of, if not the best animated feature from either studio and Dragon 2 follows that trend. It is the rare sequel that is superior to the first film – a la Spider-Man 2.
It’s an emotional rollercoaster too, and in some places very dark, possibly too much for children, but for teenagers and adults alike, there is something to enjoy here. From the engaging plot to the mesmerising soundtrack.
Overall, How to Train Your Dragon 2 is a fine film, helped along the way by some incredible animation, amazingly deep characters and a meaningful story. Only a poor showing by Cate Blanchett stops it achieving perfection.
https://moviemetropolis.net/2014/07/16/watch-out-pixar-how-to-train-your-dragon-2-review/
However, expectation has never been higher for its sequel, How to Train Your Dragon 2, but does it soar to the dizzying heights of its predecessor?
Thankfully the answer is a resounding yes. From beautiful animated dragons to breathtaking aerial-bound sequences, this sequel just about surpasses the original in every way.
Following on five years after events in the first film, Dragon 2 follows a 20-year-old Hiccup, voiced wonderfully by Jay Baruchel, and his sidekick Toothless in their home town of Berk as the residents come to terms with living peacefully alongside dragons.
Being Hiccup, he is naturally curious to learn about a legendary ‘dragon master’ who can enslave the beasts to form an army and sets out to persuade him to care for the animals like the villagers. This plot point is sidetracked from the outset however as we are introduced to Valka – Hiccup’s long lost mother, voiced by a rather miscast Cate Blanchett.
The bond between Hiccup and Toothless has grown massively in the five year break between films and this makes them even more enjoyable to watch. Yes, each of the villagers has their own dragon to look after, but it is the relationship between the two primary characters which we really care about the most.
Feline similarities in Toothless will not go unnoticed, his cat-like qualities give him an air of cuteness that you wouldn’t expect to come from such a menacing and ultimately deadly creature, and it is testament to Dreamworks that they have managed to craft such a personality for a character that never speaks.
The animation is also absolutely stunning, from the crystal waters of the sea around Berk to the people and dragons themselves, everything has been given an upgrade after the first film’s success and the battle scenes are beautiful in their simplicity – there’s no worrying about losing track of characters here.
However, it’s not all smoke and mirrors, the story has real meaning. Family values are explored, the way to treat animals is also looked at brieflyrs_634x1024-140205120546-634.cate-blanchett-bp.cm.2514 and ultimately, this is about one young man’s journey to maturity.
Unfortunately, the vocal performance of Cate Blanchett detracts somewhat from the overall magic. Her peculiar Scottish accent, which travels all over Europe by the time the end credits roll, is of particular annoyance and it’s a better film when she is not playing a central part. This is a shame as the realisation that Hiccup’s mother isn’t dead should be one of great consequence, but Blanchett’s strange acting hampers the scenes.
How to Train Your Dragon is to Dreamworks what WALL-E is to Pixar, each film is one of, if not the best animated feature from either studio and Dragon 2 follows that trend. It is the rare sequel that is superior to the first film – a la Spider-Man 2.
It’s an emotional rollercoaster too, and in some places very dark, possibly too much for children, but for teenagers and adults alike, there is something to enjoy here. From the engaging plot to the mesmerising soundtrack.
Overall, How to Train Your Dragon 2 is a fine film, helped along the way by some incredible animation, amazingly deep characters and a meaningful story. Only a poor showing by Cate Blanchett stops it achieving perfection.
https://moviemetropolis.net/2014/07/16/watch-out-pixar-how-to-train-your-dragon-2-review/
Purple Phoenix Games (2266 KP) rated Deep Blue in Tabletop Games
Mar 17, 2022
A couple of months ago, Travis was in town, so he and I went over to Josh’s place to get a day of gaming in. It was an awesome time to play together, and to get to experience some new games for each of us. While we were there, we got to talking about some of the games in Josh’s collection, and he pulled out Deep Blue. He’d had it for a while, but had since gotten another game that he felt did the same things but better. So he asked if either of us wanted to take it off his hands. I said sure, as I’d never played the game before. Now that it’s a part of my collection, is it going to stay there? Or will my feelings mirror Josh’s with regards to the gameplay?
Deep Blue is a nautical game for 2-5 players of deck building, hand management, and a bit of push your luck. In it, players take on the roles ship Captains who are racing to collect treasures from undersea wrecks. Players will be hiring Crew members, sailing across the sea, and sending divers down to wrecks to salvage any valuables. The race is on, though, because you are not the only Captain on this treasure hunt… Throughout the game, players will stumble across 4 Wrecks that make up a Sunken City. Once all 4 areas of the Sunken City have been discovered and searched, the game ends. The player who earns the most VP from their collected treasures by the end of the game is declared the winner!
To setup for a game, follow the instructions in the rulebook – there are simply too many to detail here. The basic gist of setup is to create a market of Crew cards, shuffle and randomly distribute Wreck tiles across the board, and create a Gem pool. Each player will receive a player mat and starting cards in their chosen color, as well as 2 ships to be placed on the starting space of the board. Players will also get a treasure chest, in which they will keep their VP throughout the game. Set the Dive Site board, Gem bag, and VP tokens off to the side. Select a starting player, deal out starting tokens accordingly, and the game is ready to begin! Pictured below is the setup for a 3-player game.
On your turn, you will take one of four possible actions: Recruit a Crew Member, Sail, Rest, or Dive. Throughout the game you will be building your personal deck by Recruiting Crew Members. These new Crew offer unique abilities and scoring powers to be used during Dives. In order to recruit a Crew Member, you must pay the corresponding cost listed by its location in the market. To do so, you will play cards from your hand with $ symbols that equal the required cost. Once you play a card from your hand, it goes facedown onto the Rest area of your player mat. Take the Crew Member you just hired directly into your hand, and move the Market cards down to fill in the empty space, drawing a new card for the final slot. If you choose to Sail, you will play a number of cards from your hand with the Propeller icon. The number of icons dictates how many spaces you may sail. You can use all of your movement on one of your ships, or you can break movement across both ships. If you end a move on a face-up Wreck tile, you will ‘anchor’ your boat to one of the open scouting spots. These scouting spots offer special scoring benefits during the Dive on this tile. If you end movement on a face-down Wreck tile, first you will flip it face-up, and then anchor your boat. When landing on a buoy or an empty dive site, nothing happens.
On any turn, you may instead choose to Rest. To perform this action, you will shuffle all cards that reside on the Rest area of your player mat, and then draw only the 3 topmost cards into your hand. This is the action that allows you to refresh your hand, as you play more cards and your hand starts to dwindle. The final action choice is to Dive. This action is the crux of the game. When you have a boat on a Wreck tile, you may choose to start a Dive. The first step is to declare your Dive – decide which Wreck to Dive if your boats are on different Wreck tiles. Before the Dive begins, any opponents who have boats on adjacent Wreck tiles may move their boats to your Wreck in hopes of also profiting from the Dive. When all eligible boats have been moved to the Wreck, you will then officially begin the Dive. Take the Gem bag and Dive Site board. You will then draw Gems out of the bag, one-by-one, resolving them as necessary. Red, Gold, Silver, Green, and Purple gems are treasures, and can earn you VP. Blue and Black gems are Hazards that must be defended against in order to continue the Dive.
After a Gem is drawn and placed on the Dive Site board, players may choose to play a Crew Member to increase their VP earned. For example, one card allows you to earn 8 VP for a Green gem, instead of 0. To defend against hazards, players may play Crew from their hands who have the ability to negate the hazard, or may use the special ability of their scouting spot on the Wreck tile. If you are unable to defend against a hazard, you are forced to resurface and leave the Dive. The Dive continues in this fashion, until either the active player decides to end the Dive, or when they no longer have the ability to defend against hazards. Any players who still have boats at the Dive Site will collect VP from Crew cards they played, as well as a base amount of VP for the different Gems that were drawn. Once a Dive has been performed at a Wreck, that tile is removed from the game, leaving an empty dive site behind. If players have performed a Dive at one of the 4 Sunken City tiles, it is removed from the board, but placed on its corresponding space in the corner of the board. After all 4 Sunken City tiles have been moved to the corner of the board, the game immediately ends. Players will count up all the VP collected throughout the game, and the player with the highest score is declared the winner!
So how do I feel about Deep Blue overall? I would have to say that it’s fine. Just fine. There are some elements that I really enjoy, but others that kind of frustrate me. What I enjoy – the bits of strategy involved, and the awesome components. What I don’t enjoy – the pacing of the game and the imbalance of actions. To touch on the pros first, this game does require some strategy. You have to decide where to Sail, which Crew to recruit, which Crew to play and when to play them, etc. VP are earned by participating in Dives, so you want to make sure you can be at as many Dives as possible. That means keeping ships close to opponents to profit from any dives they may choose to initiate. Another interesting strategic element is the Rest action. You shuffle your discard pile, but then only draw the 3 topmost cards into your hand. You might not always draw what you were wanting, but you are always allowed to take a Rest action, regardless of how many cards are in your discard. There is no hand limit in this game, so do you rest every other turn to ensure you have almost all cards in your hand? Or do you dwindle your hand down in order to perform other actions instead? It’s all about your strategy, and you never quite know what your opponents are trying to do.
Now for the cons. The pacing of the gameplay feels really slow to me. You are only allowed to perform 1 action per turn, so it seems like the game takes a while to really get going. At first, everyone is going to be wanting to Sail, as all players start in the same starting area of the board. You want to get your ships out there ASAP. But then you run out of cards, so you have to take a turn to Rest and get those cards back. You’re taking a bunch of little turns to accomplish any one bigger thing, and that bogs down the gameplay for me. If you were able to perform 2 actions per turn, that would probably alleviate some of this frustration, as it would allow you to progress more quickly than by taking only a single action. Another aspect I mentioned is the imbalance of actions. The Recruit, Sail, and Rest actions all feel to me like they are on the same level, but the Dive action is different. Which in and of itself isn’t necessarily a bad thing. But the process of the Dive action is vastly different than any of the other actions, to the point that it kind of feels like a different game to me. For half of the game, you’re playing this game of strategy, deck building, and optimizing placement across the board. But for the other half, it turns into a push-your-luck frenzy that seems disjointed from the rest of the game to me. No matter how strategic and careful you are with your actions, it ultimately comes down to the luck of the draw.
To touch on components for a minute – the production quality of this game is awesome. The board, Dive Site board, and VP tokens are nice chunky cardboard. The cards are colorful, have cool artwork, and are sturdy. And the treasure chests are awesome little plastic chests that definitely are holding up well. The Wreck tiles are big and thick, the Gems are cute, and the ships are fun to play with. So overall, this game is made very well.
You can probably tell by now that I have mixed feelings about Deep Blue. There are aspects that I like, but other aspects that negate some of those positive attributes. I was psyched for a cool nautical deck builder where I could really flex my strategy, but got more push-your-luck than I was anticipating. Deep Blue will probably stick around in my collection for the time being. But, like Josh, I will probably find something that gives me the same vibes but done better. It’s a game that I’ll pull out from time to time, but definitely not one that’s going to break into my Top 10. With that said, Purple Phoenix Games gives it a sunken 4 / 6.
Deep Blue is a nautical game for 2-5 players of deck building, hand management, and a bit of push your luck. In it, players take on the roles ship Captains who are racing to collect treasures from undersea wrecks. Players will be hiring Crew members, sailing across the sea, and sending divers down to wrecks to salvage any valuables. The race is on, though, because you are not the only Captain on this treasure hunt… Throughout the game, players will stumble across 4 Wrecks that make up a Sunken City. Once all 4 areas of the Sunken City have been discovered and searched, the game ends. The player who earns the most VP from their collected treasures by the end of the game is declared the winner!
To setup for a game, follow the instructions in the rulebook – there are simply too many to detail here. The basic gist of setup is to create a market of Crew cards, shuffle and randomly distribute Wreck tiles across the board, and create a Gem pool. Each player will receive a player mat and starting cards in their chosen color, as well as 2 ships to be placed on the starting space of the board. Players will also get a treasure chest, in which they will keep their VP throughout the game. Set the Dive Site board, Gem bag, and VP tokens off to the side. Select a starting player, deal out starting tokens accordingly, and the game is ready to begin! Pictured below is the setup for a 3-player game.
On your turn, you will take one of four possible actions: Recruit a Crew Member, Sail, Rest, or Dive. Throughout the game you will be building your personal deck by Recruiting Crew Members. These new Crew offer unique abilities and scoring powers to be used during Dives. In order to recruit a Crew Member, you must pay the corresponding cost listed by its location in the market. To do so, you will play cards from your hand with $ symbols that equal the required cost. Once you play a card from your hand, it goes facedown onto the Rest area of your player mat. Take the Crew Member you just hired directly into your hand, and move the Market cards down to fill in the empty space, drawing a new card for the final slot. If you choose to Sail, you will play a number of cards from your hand with the Propeller icon. The number of icons dictates how many spaces you may sail. You can use all of your movement on one of your ships, or you can break movement across both ships. If you end a move on a face-up Wreck tile, you will ‘anchor’ your boat to one of the open scouting spots. These scouting spots offer special scoring benefits during the Dive on this tile. If you end movement on a face-down Wreck tile, first you will flip it face-up, and then anchor your boat. When landing on a buoy or an empty dive site, nothing happens.
On any turn, you may instead choose to Rest. To perform this action, you will shuffle all cards that reside on the Rest area of your player mat, and then draw only the 3 topmost cards into your hand. This is the action that allows you to refresh your hand, as you play more cards and your hand starts to dwindle. The final action choice is to Dive. This action is the crux of the game. When you have a boat on a Wreck tile, you may choose to start a Dive. The first step is to declare your Dive – decide which Wreck to Dive if your boats are on different Wreck tiles. Before the Dive begins, any opponents who have boats on adjacent Wreck tiles may move their boats to your Wreck in hopes of also profiting from the Dive. When all eligible boats have been moved to the Wreck, you will then officially begin the Dive. Take the Gem bag and Dive Site board. You will then draw Gems out of the bag, one-by-one, resolving them as necessary. Red, Gold, Silver, Green, and Purple gems are treasures, and can earn you VP. Blue and Black gems are Hazards that must be defended against in order to continue the Dive.
After a Gem is drawn and placed on the Dive Site board, players may choose to play a Crew Member to increase their VP earned. For example, one card allows you to earn 8 VP for a Green gem, instead of 0. To defend against hazards, players may play Crew from their hands who have the ability to negate the hazard, or may use the special ability of their scouting spot on the Wreck tile. If you are unable to defend against a hazard, you are forced to resurface and leave the Dive. The Dive continues in this fashion, until either the active player decides to end the Dive, or when they no longer have the ability to defend against hazards. Any players who still have boats at the Dive Site will collect VP from Crew cards they played, as well as a base amount of VP for the different Gems that were drawn. Once a Dive has been performed at a Wreck, that tile is removed from the game, leaving an empty dive site behind. If players have performed a Dive at one of the 4 Sunken City tiles, it is removed from the board, but placed on its corresponding space in the corner of the board. After all 4 Sunken City tiles have been moved to the corner of the board, the game immediately ends. Players will count up all the VP collected throughout the game, and the player with the highest score is declared the winner!
So how do I feel about Deep Blue overall? I would have to say that it’s fine. Just fine. There are some elements that I really enjoy, but others that kind of frustrate me. What I enjoy – the bits of strategy involved, and the awesome components. What I don’t enjoy – the pacing of the game and the imbalance of actions. To touch on the pros first, this game does require some strategy. You have to decide where to Sail, which Crew to recruit, which Crew to play and when to play them, etc. VP are earned by participating in Dives, so you want to make sure you can be at as many Dives as possible. That means keeping ships close to opponents to profit from any dives they may choose to initiate. Another interesting strategic element is the Rest action. You shuffle your discard pile, but then only draw the 3 topmost cards into your hand. You might not always draw what you were wanting, but you are always allowed to take a Rest action, regardless of how many cards are in your discard. There is no hand limit in this game, so do you rest every other turn to ensure you have almost all cards in your hand? Or do you dwindle your hand down in order to perform other actions instead? It’s all about your strategy, and you never quite know what your opponents are trying to do.
Now for the cons. The pacing of the gameplay feels really slow to me. You are only allowed to perform 1 action per turn, so it seems like the game takes a while to really get going. At first, everyone is going to be wanting to Sail, as all players start in the same starting area of the board. You want to get your ships out there ASAP. But then you run out of cards, so you have to take a turn to Rest and get those cards back. You’re taking a bunch of little turns to accomplish any one bigger thing, and that bogs down the gameplay for me. If you were able to perform 2 actions per turn, that would probably alleviate some of this frustration, as it would allow you to progress more quickly than by taking only a single action. Another aspect I mentioned is the imbalance of actions. The Recruit, Sail, and Rest actions all feel to me like they are on the same level, but the Dive action is different. Which in and of itself isn’t necessarily a bad thing. But the process of the Dive action is vastly different than any of the other actions, to the point that it kind of feels like a different game to me. For half of the game, you’re playing this game of strategy, deck building, and optimizing placement across the board. But for the other half, it turns into a push-your-luck frenzy that seems disjointed from the rest of the game to me. No matter how strategic and careful you are with your actions, it ultimately comes down to the luck of the draw.
To touch on components for a minute – the production quality of this game is awesome. The board, Dive Site board, and VP tokens are nice chunky cardboard. The cards are colorful, have cool artwork, and are sturdy. And the treasure chests are awesome little plastic chests that definitely are holding up well. The Wreck tiles are big and thick, the Gems are cute, and the ships are fun to play with. So overall, this game is made very well.
You can probably tell by now that I have mixed feelings about Deep Blue. There are aspects that I like, but other aspects that negate some of those positive attributes. I was psyched for a cool nautical deck builder where I could really flex my strategy, but got more push-your-luck than I was anticipating. Deep Blue will probably stick around in my collection for the time being. But, like Josh, I will probably find something that gives me the same vibes but done better. It’s a game that I’ll pull out from time to time, but definitely not one that’s going to break into my Top 10. With that said, Purple Phoenix Games gives it a sunken 4 / 6.
Lyndsey Gollogly (2893 KP) rated Masters of Horror: A Horror Anthology in Books
Jun 26, 2020
112 of 200
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!
Bob Mann (459 KP) rated The Accountant (2016) in Movies
Sep 29, 2021
Rain Man with a Kalashnikov.
(Another Bob the Movie Man Showcase Theatre).
The scene: studio execs in a board room in Warner Brothers. Greg Silverman, head of Creative Development walks into the room full of his most creative guys and slams a script by Bill Dubuque onto the table.
Silverman: “Affleck needs a real zinger of a film to follow his Batman work and this is it… but we we need a really riveting title… something to grab everyone’s attention and get them begging to pay their ticket money to see. Hit me!”
Creative 1: “The Autist?”
Silverman: “Like your thinking…. good Oscar associations… but perhaps a tad non-PC.”
Creative 2: “Under the Skin?”
Silverman: “Been done. Besides, don’t want everyone thinking they’re going to see THAT much of Johansson again”
A grey looking financial director, sitting in the corner: “Er… sir… I’ve got an idea….”
=====
So… it’s not the most PR-friendly title in the world, but it is a whole lot more interesting than it sounds. Ben Affleck plays the titular accountant (who may or may not be called Christian Wolff) – a sort of evil Jack Reacher of the financial world: off-the-grid behind multiple aliases and with financial fingers in more murky pies around the world than seems tasteful.
Not only is he a mathematical genius with the numbers, but is also extremely handy with his fists and an arsenal of high powered weaponry he keeps in his executive trailer home… ready to up-roots and disappear at any time.
Supported over the phone by a mysterious ‘Pepper-Potts-style’ personal assistant, who appears more machine than person, Affleck is guided from job to job, dropping in the occasional “normal” job to keep the authorities off his tail. One of these is for a bio-technology company headed up by Lamar Black (John Lithgow) who brings him in – against the wishes of his FD and long term friend Ed Chilton (Andy Umberger) – since all appears not quite right in the books. Junior accountant Dana Cummings (Anna “Pitch Perfect” Kendrick) is the young lady who has seen the discrepancy but can’t track it down in the labyrinthine accounts.
This so called ‘safe’ job lands both him and Dana in extreme danger as person or persons unknown, fronted by a hired ‘heavy’ played by Jon Bernthal, try to prevent some dodgy activities coming to the surface.
As a parallel thread, the head of the Treasury Department’s Crime Enforcement Division, Ray King (J.K. Simmons, “Whiplash”) strong-arms (for no readily apparent reason) analyst Marybeth Medina (an impressive Cynthia Addai-Robinson) into pursuing Wolff. With a keen intellect and a strong incentive she begins to close in.
Directed by Gavin O’ Connor, this – for me – is a frustratingly inconsistent film. When it flies, it really flies well, both at an action level and at a dramatic level. The flashback scenes to Wolff’s childhood are well done, showing how the autistic and needy youngster who needed compassion, quiet and understanding got the exact opposite from his militaristic father (Robert C Treveiler) to ‘jolt him out of’ his condition. It is easy to understand how he turned out the way he did.
On the flip side, the plot progression almost deliberately shines a spotlight on some questions (no spoilers) that if you ask them you immediately see the answers, resulting in most of the rest of the plot falling into place without shock or surprise. There was only one genuine twist for me, right at the end of the film, that I didn’t see coming.
The script by Bill Dubuque (“The Judge”) delivers some really nice scenes between Affleck and Kendrick, some smart (and genuinely funny) one-liners and one of the best abruptly ended speeches since Samuel L. Jackson’s in “Deep Blue Sea”. However, the whole Treasury Investigation story-line (however good it is to see J.K. Simmons act) is somewhat superfluous to the whole thing and just doesn’t work.
Kendrick and Affleck have good chemistry, with Affleck trying desperately to breathe some likeability into what is a pretty cold and calculating character. It’s hard though to empathise with someone who – albeit indirectly – is the source of such misery around the world through drugs, terrorism, dictatorships and God-knows what else. Kendrick plays kooky and naive really well, but she really ought to get some protocols sorted out around letting people into her apartment: she really doesn’t seem to learn!
It’s a nice idea and entertaining to watch, but the delivery is flawed.
The scene: studio execs in a board room in Warner Brothers. Greg Silverman, head of Creative Development walks into the room full of his most creative guys and slams a script by Bill Dubuque onto the table.
Silverman: “Affleck needs a real zinger of a film to follow his Batman work and this is it… but we we need a really riveting title… something to grab everyone’s attention and get them begging to pay their ticket money to see. Hit me!”
Creative 1: “The Autist?”
Silverman: “Like your thinking…. good Oscar associations… but perhaps a tad non-PC.”
Creative 2: “Under the Skin?”
Silverman: “Been done. Besides, don’t want everyone thinking they’re going to see THAT much of Johansson again”
A grey looking financial director, sitting in the corner: “Er… sir… I’ve got an idea….”
=====
So… it’s not the most PR-friendly title in the world, but it is a whole lot more interesting than it sounds. Ben Affleck plays the titular accountant (who may or may not be called Christian Wolff) – a sort of evil Jack Reacher of the financial world: off-the-grid behind multiple aliases and with financial fingers in more murky pies around the world than seems tasteful.
Not only is he a mathematical genius with the numbers, but is also extremely handy with his fists and an arsenal of high powered weaponry he keeps in his executive trailer home… ready to up-roots and disappear at any time.
Supported over the phone by a mysterious ‘Pepper-Potts-style’ personal assistant, who appears more machine than person, Affleck is guided from job to job, dropping in the occasional “normal” job to keep the authorities off his tail. One of these is for a bio-technology company headed up by Lamar Black (John Lithgow) who brings him in – against the wishes of his FD and long term friend Ed Chilton (Andy Umberger) – since all appears not quite right in the books. Junior accountant Dana Cummings (Anna “Pitch Perfect” Kendrick) is the young lady who has seen the discrepancy but can’t track it down in the labyrinthine accounts.
This so called ‘safe’ job lands both him and Dana in extreme danger as person or persons unknown, fronted by a hired ‘heavy’ played by Jon Bernthal, try to prevent some dodgy activities coming to the surface.
As a parallel thread, the head of the Treasury Department’s Crime Enforcement Division, Ray King (J.K. Simmons, “Whiplash”) strong-arms (for no readily apparent reason) analyst Marybeth Medina (an impressive Cynthia Addai-Robinson) into pursuing Wolff. With a keen intellect and a strong incentive she begins to close in.
Directed by Gavin O’ Connor, this – for me – is a frustratingly inconsistent film. When it flies, it really flies well, both at an action level and at a dramatic level. The flashback scenes to Wolff’s childhood are well done, showing how the autistic and needy youngster who needed compassion, quiet and understanding got the exact opposite from his militaristic father (Robert C Treveiler) to ‘jolt him out of’ his condition. It is easy to understand how he turned out the way he did.
On the flip side, the plot progression almost deliberately shines a spotlight on some questions (no spoilers) that if you ask them you immediately see the answers, resulting in most of the rest of the plot falling into place without shock or surprise. There was only one genuine twist for me, right at the end of the film, that I didn’t see coming.
The script by Bill Dubuque (“The Judge”) delivers some really nice scenes between Affleck and Kendrick, some smart (and genuinely funny) one-liners and one of the best abruptly ended speeches since Samuel L. Jackson’s in “Deep Blue Sea”. However, the whole Treasury Investigation story-line (however good it is to see J.K. Simmons act) is somewhat superfluous to the whole thing and just doesn’t work.
Kendrick and Affleck have good chemistry, with Affleck trying desperately to breathe some likeability into what is a pretty cold and calculating character. It’s hard though to empathise with someone who – albeit indirectly – is the source of such misery around the world through drugs, terrorism, dictatorships and God-knows what else. Kendrick plays kooky and naive really well, but she really ought to get some protocols sorted out around letting people into her apartment: she really doesn’t seem to learn!
It’s a nice idea and entertaining to watch, but the delivery is flawed.
Chris Sawin (602 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 26, 2019
Leonardo DiCaprio (1 more)
Brad Pitt
It's 2 hours and 41 minutes and feels long. (2 more)
Story elements don't seem to go together.
Charles Manson stuff feels forced.
With Once Upon a Time…in Hollywood being his ninth feature film as writer and director and a career just shy of the three decade mark, you should probably know what to expect from a Quentin Tarantino film. Amongst all of the usual Tarantino trademarks of memorable performances, long strings of dialogue, a questionable amount of dancing, the inclusion of several shots of barefoot women, interior car sequences, and a relentless tidal wave of vulgarity that drowns the audience in a sea of sharp expletives, Once Upon a Time...in Hollywood lacks the one element that truly makes a Tarantino film worthwhile; coherent storytelling.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.