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A Shot Story: From Juvie to Ph.D.
Book
The botched robbery didn't do it. Neither did the three gunshots. It wasn't until he was...
Acanthea Grimscythe (300 KP) rated They Feed in Books
Feb 21, 2019
Jason Parent’s They Feed has been on my radar for quite some time. A few months ago I snagged a galley of it. Things got in the way, but I finally found the time to sit down and straight up devour this title.
Set in Galveston National Park in Kansas, They Feed is the terrifying story of a what goes bump in the night. When a few groups, for completely different reasons, end up stranded in the dark, they quickly find themselves pitted against an unknown enemy that seems almost invincible, and every bit vicious. Can they survive until sunrise?
Let’s face it. When it comes to horror books, characters are dispensable. It’s hard to really get attached to anyone because we expect them to die. Therefore I’m always pleasantly surprised when there’s any amount of character development–and Parent’s stuffed this book with it. We’ve got a loathsome woman that, despite not being able to stand, I found myself cheering for. An angsty, delinquent teenager with redeemable qualities. A former convict. A group of frat boys behaving stupidly. All of these are present in this book, and Parent writes them in a way that had me both loving and hating several of them. (I cheered more than once.)
Plotwise, the book is pretty straightforward. It does switch perspectives, but thankfully it doesn’t alternate between past and present. This made the story flow really well, alongside perfect pacing on Parent’s part. There were also times I found my heart racing as I hoped for certain outcomes, and having that edge-of-your-seat thrill is one of my favorite feelings.
This is the first book I’ve read by Jason Parent, but it definitely won’t be the last. Let me put it this way: I’m even less likely to go camping now than I would have been last week. I’d like to thank NetGalley and Sinister Grin Press for providing me with a copy of this book in exchange for an honest review.
http://theghastlygrimoire.com/2019/02/20/book-review-they-feed-by-jason-parent/
Set in Galveston National Park in Kansas, They Feed is the terrifying story of a what goes bump in the night. When a few groups, for completely different reasons, end up stranded in the dark, they quickly find themselves pitted against an unknown enemy that seems almost invincible, and every bit vicious. Can they survive until sunrise?
Let’s face it. When it comes to horror books, characters are dispensable. It’s hard to really get attached to anyone because we expect them to die. Therefore I’m always pleasantly surprised when there’s any amount of character development–and Parent’s stuffed this book with it. We’ve got a loathsome woman that, despite not being able to stand, I found myself cheering for. An angsty, delinquent teenager with redeemable qualities. A former convict. A group of frat boys behaving stupidly. All of these are present in this book, and Parent writes them in a way that had me both loving and hating several of them. (I cheered more than once.)
Plotwise, the book is pretty straightforward. It does switch perspectives, but thankfully it doesn’t alternate between past and present. This made the story flow really well, alongside perfect pacing on Parent’s part. There were also times I found my heart racing as I hoped for certain outcomes, and having that edge-of-your-seat thrill is one of my favorite feelings.
This is the first book I’ve read by Jason Parent, but it definitely won’t be the last. Let me put it this way: I’m even less likely to go camping now than I would have been last week. I’d like to thank NetGalley and Sinister Grin Press for providing me with a copy of this book in exchange for an honest review.
http://theghastlygrimoire.com/2019/02/20/book-review-they-feed-by-jason-parent/
The Nickel Boys
Book
In this bravura follow-up to the Pulitzer Prize and National Book Award-winning #1 New York Times...
Phillip McSween (751 KP) rated New Jack City (1991) in Movies
Mar 21, 2018
Good Movie
Released in 1991, New Jack City takes place in the late 80's with the perfect vibe to boot. A time during which Kangol hats and "gold ropes" were in and rap needed a hard bass beat to be considered car system-worthy. New Jack is a solid groove of a film that remains timeless even to this day.
While a handful of spots were farfetched, I appreciate the grit and realness of the film as a whole. It's an open awareness into the crack epidemic and how badly it damaged black communities. It's hard watching people destroy the lives of those in their community knowing full well their lives gave them little choice to do much else. In one of my favorite scenes, antagonist Nino Brown (Wesley Snipes) is having a meaningful conversation with an older man. At the heart of the conversation, they talk about how black people haven't gotten far from a societal progression standpoint since Martin Luther King Jr. died. No matter which side of the argument you're on, both had strong points that made you think.
The lead roles were consistently strong throughout. Chris Rock excelled in his role as Pookie, a crackhead trying to get his life together. You come to sympathize with his character hoping for a happy ending, but knowing the fate he is destined for. And you can't mention lead roles without giving Wesley Snipes his proper due as Nino Brown. Nino is smooth, a speaker for the people. His presence oozes with power in the criminal circuit yet the law sees him as just another delinquent. I give Rock the nod, but Snipes is a very close second.
Ice-T plays the role of Appleton, a cop hired to take a bite out of the crack epidemic by taking out one of its largest suppliers: Nino. The film as a whole is not without its faults as it lacks cohesiveness in certain spots. While the main actors are outstanding, the supporting roles are ghastly at best. I could definitely have done without Keisha (Vanessa Williams). If I heard "Rockabye baby" one more time, I'm pretty sure I would have lost it.
Not a classic for me, but still a consistent watch. I give New Jack City a 75.
While a handful of spots were farfetched, I appreciate the grit and realness of the film as a whole. It's an open awareness into the crack epidemic and how badly it damaged black communities. It's hard watching people destroy the lives of those in their community knowing full well their lives gave them little choice to do much else. In one of my favorite scenes, antagonist Nino Brown (Wesley Snipes) is having a meaningful conversation with an older man. At the heart of the conversation, they talk about how black people haven't gotten far from a societal progression standpoint since Martin Luther King Jr. died. No matter which side of the argument you're on, both had strong points that made you think.
The lead roles were consistently strong throughout. Chris Rock excelled in his role as Pookie, a crackhead trying to get his life together. You come to sympathize with his character hoping for a happy ending, but knowing the fate he is destined for. And you can't mention lead roles without giving Wesley Snipes his proper due as Nino Brown. Nino is smooth, a speaker for the people. His presence oozes with power in the criminal circuit yet the law sees him as just another delinquent. I give Rock the nod, but Snipes is a very close second.
Ice-T plays the role of Appleton, a cop hired to take a bite out of the crack epidemic by taking out one of its largest suppliers: Nino. The film as a whole is not without its faults as it lacks cohesiveness in certain spots. While the main actors are outstanding, the supporting roles are ghastly at best. I could definitely have done without Keisha (Vanessa Williams). If I heard "Rockabye baby" one more time, I'm pretty sure I would have lost it.
Not a classic for me, but still a consistent watch. I give New Jack City a 75.
Finance Formulator
Finance and Business
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120 different formulas make our FINANCE FORMULATOR perfect for you. Whether you are someone who...
Sophia (Bookwyrming Thoughts) (530 KP) rated Tabula Rasa (Tabula Rasa, #1) in Books
Jan 23, 2020
I was extremely curious about Tabula Rasa when I found out what it meant (Latin: Scraped Tablet. AKA, a newborn basically.) I also thought it would be a really interesting read I mean, girl has a tragic past, and is basically a lab rat in a procedure to erase those memories. Oh, and what's even more intriguing? Most of the "rats" are delinquents. I suppose from a delinquent's view, one would want to erase memories. Better than sitting in juvie, right? :p
It's certainly a cause for curiosity. I mean, we're reading the story from a possible criminal! I know I shouldn't be excited, but can you blame me? I've never actually read a story from a delinquent! ^o^
Not to burst any exciting bubbles bubbling up, but truth is, Sarah, our main character, isn't. That was highly disappointing when I found out. Instead, I found out she was some idol of sorts in New York, famous for uncovering a scam. Um... not too exciting. Plus, she seems much too fearless. I could have sworn she wasn't afraid of death even throughout the entire book. If there's one question I want to ask Sarah, it's "Are you even afraid of anything?"
<img src="http://2.bp.blogspot.com/-uGUfnIbJtyY/U5yh6n3z6iI/AAAAAAAADe4/BU4P9O2rlTg/s1600/giphy+(12).gif"; border="0">
During the earlier parts of the book though, I sort of wanted to just toss Tabula Rasa aside and mark it as DNF. It felt a little too creepy, and confusing. The creepy part probably worked to an advantage, seeing how the surgery was quite detailed. *shudders*
<blockquote>Improvising seems familiar. Like it's my style.</blockquote>
Now the confusing part, that was just randomly thrown in. And I mean the quote. Not me randomly throwing the word confusing around and about. Sarah's going to a tool closet and putting things in her pocket. I'm not sure that's improvising. She's not making anything from what I read, aside from noticing a door. Does noticing a door count as improvising?
The romance between Thomas and Sarah. Really odd. Just... really odd. I felt like Thomas was trying a bit too hard on being funny at the beginning. Later he tends to be more "relaxed" and the humor felt more natural. But for a hacker with a father formerly in the Russian Intelligence Agency do they call it RIA? Thomas just seems too carefree. It was as though hacking just isn't... him. I suppose a new career is on the horizons for said character.
I did learn some new things though. I'm done with truth serums. What's with authors after Veronica Roth throwing serums around? They're popping up in so many places. O_o Oh, and apparently it actually snows in Hawaii. In the mountains. Wait, there are mountains in Hawaii? MIND = BLOWN.
<img src="http://4.bp.blogspot.com/-_L4F_cUFsRc/U5yiXj5ftDI/AAAAAAAADfA/n9f9CgNd_H4/s1600/giphy+(13).gif"; border="0" height="179" width="320">
The Bourne Identity? I haven't read it myself, even though that sounds really familiar. Divergent? I'm not too sure. Even the folks of Dauntless are afraid of something. I guess the former's more of a bull's eye with Tabula Rasa than the latter. Tabula Rasa reminded me more of Nikita, Au Revoir Crazy European Chick, and apparently something else I can't remember with all the action and secret plots/schemes (it has something to do with operations).
------------------------
Advanced review copy provided by EgmontUSA for review
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/arc-review-tabula-rasa-by-kristen-lippert-martin.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
It's certainly a cause for curiosity. I mean, we're reading the story from a possible criminal! I know I shouldn't be excited, but can you blame me? I've never actually read a story from a delinquent! ^o^
Not to burst any exciting bubbles bubbling up, but truth is, Sarah, our main character, isn't. That was highly disappointing when I found out. Instead, I found out she was some idol of sorts in New York, famous for uncovering a scam. Um... not too exciting. Plus, she seems much too fearless. I could have sworn she wasn't afraid of death even throughout the entire book. If there's one question I want to ask Sarah, it's "Are you even afraid of anything?"
<img src="http://2.bp.blogspot.com/-uGUfnIbJtyY/U5yh6n3z6iI/AAAAAAAADe4/BU4P9O2rlTg/s1600/giphy+(12).gif"; border="0">
During the earlier parts of the book though, I sort of wanted to just toss Tabula Rasa aside and mark it as DNF. It felt a little too creepy, and confusing. The creepy part probably worked to an advantage, seeing how the surgery was quite detailed. *shudders*
<blockquote>Improvising seems familiar. Like it's my style.</blockquote>
Now the confusing part, that was just randomly thrown in. And I mean the quote. Not me randomly throwing the word confusing around and about. Sarah's going to a tool closet and putting things in her pocket. I'm not sure that's improvising. She's not making anything from what I read, aside from noticing a door. Does noticing a door count as improvising?
The romance between Thomas and Sarah. Really odd. Just... really odd. I felt like Thomas was trying a bit too hard on being funny at the beginning. Later he tends to be more "relaxed" and the humor felt more natural. But for a hacker with a father formerly in the Russian Intelligence Agency do they call it RIA? Thomas just seems too carefree. It was as though hacking just isn't... him. I suppose a new career is on the horizons for said character.
I did learn some new things though. I'm done with truth serums. What's with authors after Veronica Roth throwing serums around? They're popping up in so many places. O_o Oh, and apparently it actually snows in Hawaii. In the mountains. Wait, there are mountains in Hawaii? MIND = BLOWN.
<img src="http://4.bp.blogspot.com/-_L4F_cUFsRc/U5yiXj5ftDI/AAAAAAAADfA/n9f9CgNd_H4/s1600/giphy+(13).gif"; border="0" height="179" width="320">
The Bourne Identity? I haven't read it myself, even though that sounds really familiar. Divergent? I'm not too sure. Even the folks of Dauntless are afraid of something. I guess the former's more of a bull's eye with Tabula Rasa than the latter. Tabula Rasa reminded me more of Nikita, Au Revoir Crazy European Chick, and apparently something else I can't remember with all the action and secret plots/schemes (it has something to do with operations).
------------------------
Advanced review copy provided by EgmontUSA for review
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/arc-review-tabula-rasa-by-kristen-lippert-martin.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Bob Mann (459 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Sep 29, 2021
Putting the “Wars” back into “Star Wars”.
Expectations have been sky-high for this first in the ‘add-in’ series of Star Wars films. But with director Gareth Edwards at the helm, whose past movie track-record includes just the low-budget “Monsters” and the less than memorable “Godzilla“, I was frankly concerned.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
But the English guy (with the Welsh name) has seriously delivered!
“Rogue One” (I have omitted the inane and irritating suffix “: A Star Wars Story”) tells the story behind the story of the original Episode IV: “A New Hope”. Felicity Jones (“The Theory of Everything“) plays Jyn Erso, daughter to Imperial weapons expert Mads Mikkelsen (“Doctor Strange“, “Casino Royale”). An interrupted childhood leads the delinquent Jyn on a personal journey to become a leader in the fragmenting Rebel Alliance, as a small band of heroes battle to obtain the plans for the Empire’s planet-zapping Death Star. Will they succeed (this is hardly a question worth asking given the start of Episode IV!) and at what cost?
I’m throwing it out there…. this is the best Star Wars film since “The Empire Strikes Back”. The story (John Knoll and Gary Whitta) is almost Shakespearean in its scope, leading to a moving and memorable finale. As a standalone episode within the Star Wars canon – chronologically positioned as it between “Star Wars Episode III: Revenge of the Sith” and “Star Wars Episode IV: A New Hope” – the film marvellously knits the two together bringing in cameos from Episode III as well as (very surprising) cameos from Episode IV, now nearly 40 years old. The screenplay (by Chris “About a Boy” Weitz and Tony Gilroy, writer of the “Bourne” films) is whip-smart with great lines.
For Star Wars fans the film is also chock full of ‘Easter Eggs’ from the original Star Wars. All of these are great fun but – frankly – some don’t make a lot of sense: for example, a chance encounter with a character in the streets of Jedha City doesn’t gel with what happens an hour or two later.
After Rey in last December’s “Star Wars: The Force Awakens” we again see another kick-ass heroine and a further cinematic nod towards girl-power in the movies. But this is a nuanced heroine with more than a hint of darkness about her. Felicity Jones plays her perfectly, reflecting her transition from teenage rebel to rebel-leading teen.
In general, the darkness continues throughout the supporting cast with some of the heroes – notably the impressive Diego Luna (“The Terminal”) as Cassian Andor – managing to do some very anti-heroic things at points in the story. The rest of the cast, and especially Donnie Yen and Wen Jiang as dynamic martial arts duo Chirrut Îmwe and Baze Malbus, generate the warm fuzzies enough for you – as the audience – to really care for what happens to them. This even extends to the lump of metal in the frame – the droid K-2SO (voiced by Alan Tudyk) – who could be the film’s Jar Jar Binks but manages instead to steal the best comic lines in the film.
Elsewhere Forest Whitaker (“Arrival“) is underused as rebel guerilla Saw Gerrera; Mads Mikkelsen adds gravitas to a key strategic role; and Ben Mendelsohn makes for a memorable Imperial villain. The only slightly irritating character in an otherwise stellar ensemble cast is pilot Rodhi Rook (played by Riz Ahmed from “Jason Bourne“): more for the rather pointless way his character is written than for the Londoner’s portrayal per se.
An equal member of the cast is the sublime music of Michael Giacchino, having the unenviable task of following John Williams into the Star Wars franchise. But he does a great job. After the shock of the non-traditional opening (and an abrupt and rather out of place Title shot) the style settles down, with some of the swelling music in the closing reel adding tremendously to the emotion of the finale.
The film is not quite perfect though. The first half of the film could have moved on a bit quicker to get to the breathtaking finale. And even though CGI has moved on significantly from the stick men and women walking around on the deck in “Titanic” in 1997, the state of the art (no spoilers, but you’ll know what I mean if you’ve seen the film) still has room for some improvement. (Perhaps the first of these scenes could have been as subliminal as the last for better effect).
An outstanding effort, and one I definitely want to watch again. The Bluray version will also be a ‘must-buy’ when it emerges, since – with 4 to 5 weeks of re-shoots done in the summer, and many scenes in the trailer not appearing in the final cut – there must be an enormous number of deleted (original?) scenes that may tell a very different story from the one we saw this week.
Disney must be so, so pleased at their very expensive investment in Star Wars, and fears that the Mouse would trash the brand seem to be – thankfully – unfounded.
Bob Mann (459 KP) rated Solo: A Star Wars Story (2018) in Movies
Sep 29, 2021
Solo? So-so.
When the whole Disney “broaden out the Star Wars universe” thing was first mooted I was NOT enthusiastic about the prospect. Then, in Christmas 2016 “Rogue One” burst onto our screens as a breath of fresh air, and I thought “OK, I can be wrong!”. But even jolted by that pleasant surprise, I always thought that the second proposed diversion off the main hyperspace highway into “Radiator Springs” – a Han Solo back-story flick – might fall short. It just didn’t float my boat.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
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Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.