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Fractured Energy (Energy Series #3)
10.0
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When Cassondra took Wilma’s energy, Lena’s mission changed. Only revenge matters now. For the...
Urban Fantasy Young Adult Romance
A Midnight Puzzle
8.0
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In heroine Tempest Raj, modern-day queen of the locked room mystery Gigi Pandian has created a...
Merissa (12822 KP) rated Bella's Countryside Christmas in Books
Oct 4, 2024
BELLA'S COUNTRYSIDE CHRISTMAS is set in Haileybrook. To escape a boring conference, she fakes illness and goes to the church where she should have been married, if she hadn't called it off. While there, she saves a nativity scene from guaranteed disaster, as well as helping a cute man by pretending to be his date. After a better-than-expected day/evening and a moment of connection complete with a kiss, she disappears to help her younger sister, leaving Jack all alone. Fast forward a year (give or take) and Bella is returning to Haileybrook, this time to live and work.
This was such a great story! It is gentle, with no unnecessary angst or drama, with a healthy dose of mystery. Character-led with cameos from characters out of other books, this was a story I didn't want to end. The people here were funny and likeable, especially the ones from the home!
The flow of the story was smooth and left me wanting to continue reading, even when I got to the chapter breaks. It has Christmassy vibes but doesn't rule the whole story. A fantastic read and definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Sep 25, 2024
This was such a great story! It is gentle, with no unnecessary angst or drama, with a healthy dose of mystery. Character-led with cameos from characters out of other books, this was a story I didn't want to end. The people here were funny and likeable, especially the ones from the home!
The flow of the story was smooth and left me wanting to continue reading, even when I got to the chapter breaks. It has Christmassy vibes but doesn't rule the whole story. A fantastic read and definitely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Sep 25, 2024
Dad Next Door (Crimson Club #5)
9.0
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Moving into my first house is step one in starting my new life. Next is setting up my contracting...
Age Gap Found Family Contemporary MM Romance Series
Chris Sawin (602 KP) rated Moonfall (2022) in Movies
Feb 5, 2022
Terribly written. (2 more)
Overacted.
Halle Berry.
Moonfall Review: It’s Raining Moon
Moonfall is a $146 million sci-fi disaster film directed by Roland Emmerich (Independence Day, Godzilla) and written by Emmerich, Harald Kloser (2012, 10000 BC), and Spenser Cohen (Extinction, The Expendables 4).
On January 12, 2011, during what is referred to as routine outer space maintenance (it’s a thing), an unidentified technological swarm caused significant damage to the astronaut’s shuttle; killing one of them and incapacitating the surviving two crew members. Brian Harper (Patrick Wilson) maneuvers the shuttle back to earth with no power while his navigator Jocinda Fowl (Halle Berry) is unconscious. Brian takes the fall as he’s labeled incompetent despite previously being an acclaimed hero and he loses his job with NASA.
Ten years later, the moon suddenly begins changing course as a hole 26-kilometers deep is discovered in the center of it. People on earth have three weeks before the moon begins falling to earth in city-sized pieces. While NASA scrambles to discover a solution, an orbital megastructure aficionado and conspiracy blogger named K.C. Houseman (John Bradley) knew about the moon’s shift in course before NASA and may end up being the savior of mankind.
The opening scene of Moonfall lets its audience know that they’re in for an excruciating two hours. Patrick Wilson and Halle Berry argue over the lyrics to Toto’s “Africa” as Wilson musically screeches the 80s rock ballad to annoying results. The film does a few things right like earth’s gravity being a complete dumpster fire and the ocean literally being at foot of everyone’s door like Bo Burnham talked about in Inside. But then introduces the aspect of orbital megastructure in an attempt to not adhere to believable physics while lethargically committing to it.
Flooding, earthquakes, and birds falling to the ground due to gravity alterations are the culmination of the insanity in Moonfall. The moon coming closer to earth also apparently means humans can lift trees above their head and jump over gaps left by fallen bridges with little effort. There’s an awkward car chase between some redneck looters and the main characters of the film.
It’s awkward due to the fact that it’s really funky visual effects (literally everything taking place on the road and in the background) with green screen (the actors driving the cars), but it’s difficult to distinguish what’s what in a bad way. The CGI and special effects in the film are that peculiar blend of not necessarily being bad, but are just off-putting enough to look weird in some capacity. It’s a high speed chase involving a gravity wave, which is mostly just cars and debris floating in the air as the sky turns red. Coincidentally enough, the disaster effects are the best part of the film because they do what they’re supposed to do without overstaying their welcome.
The dialogue in the film is atrocious and Halle Berry is a filter for most of the bad lines. Some of her gems include, “I don’t work for you, I work for the American people and I don’t like keeping them in the dark,” “I am…(the longest pause ever between one word and another)…thinking about our son,” and something overwhelmingly corny about earth’s hourglass and our time running out. Donald Sutherland can barely stomach a brief cameo appearance shared with Berry’s character before excusing himself to the loaded gun he left back in his room (yes, this actually happens).
The evacuation route in Moonfall seems to involve fleeing to Colorado. What is in Colorado and why that’s important is never really explained other than because everyone else is there. Jocinda Fowl becomes the lead director of NASA during the film and her ex-husband (played by Eme Ikwuakor) works for the military. Ikwuakor does nothing but squint like French Stewart the entire time. NASA wants to survey the activity of what’s transpiring on the moon, fly inside of its new fancy made hole, and come up with a plan to save earth in the process. The military just wants to blow up the moon with nukes; screw the consequences, this is America!
With Moonfall, Roland Emmerich has essentially made an even dumber version of Michael Bay’s Armageddon. There’s not a lot to enjoy here apart from KC Houseman’s house cat being named Fuzz Aldrin. With its idiotic premise, hammy dialogue involving some of the most exaggerated emotional speeches ever, stiff acting, unfunny humor, and purposely distorted CGI, Moonfall features an overwhelming amount of frenetic nonsense and has no excuse to be as boring as it is.
On January 12, 2011, during what is referred to as routine outer space maintenance (it’s a thing), an unidentified technological swarm caused significant damage to the astronaut’s shuttle; killing one of them and incapacitating the surviving two crew members. Brian Harper (Patrick Wilson) maneuvers the shuttle back to earth with no power while his navigator Jocinda Fowl (Halle Berry) is unconscious. Brian takes the fall as he’s labeled incompetent despite previously being an acclaimed hero and he loses his job with NASA.
Ten years later, the moon suddenly begins changing course as a hole 26-kilometers deep is discovered in the center of it. People on earth have three weeks before the moon begins falling to earth in city-sized pieces. While NASA scrambles to discover a solution, an orbital megastructure aficionado and conspiracy blogger named K.C. Houseman (John Bradley) knew about the moon’s shift in course before NASA and may end up being the savior of mankind.
The opening scene of Moonfall lets its audience know that they’re in for an excruciating two hours. Patrick Wilson and Halle Berry argue over the lyrics to Toto’s “Africa” as Wilson musically screeches the 80s rock ballad to annoying results. The film does a few things right like earth’s gravity being a complete dumpster fire and the ocean literally being at foot of everyone’s door like Bo Burnham talked about in Inside. But then introduces the aspect of orbital megastructure in an attempt to not adhere to believable physics while lethargically committing to it.
Flooding, earthquakes, and birds falling to the ground due to gravity alterations are the culmination of the insanity in Moonfall. The moon coming closer to earth also apparently means humans can lift trees above their head and jump over gaps left by fallen bridges with little effort. There’s an awkward car chase between some redneck looters and the main characters of the film.
It’s awkward due to the fact that it’s really funky visual effects (literally everything taking place on the road and in the background) with green screen (the actors driving the cars), but it’s difficult to distinguish what’s what in a bad way. The CGI and special effects in the film are that peculiar blend of not necessarily being bad, but are just off-putting enough to look weird in some capacity. It’s a high speed chase involving a gravity wave, which is mostly just cars and debris floating in the air as the sky turns red. Coincidentally enough, the disaster effects are the best part of the film because they do what they’re supposed to do without overstaying their welcome.
The dialogue in the film is atrocious and Halle Berry is a filter for most of the bad lines. Some of her gems include, “I don’t work for you, I work for the American people and I don’t like keeping them in the dark,” “I am…(the longest pause ever between one word and another)…thinking about our son,” and something overwhelmingly corny about earth’s hourglass and our time running out. Donald Sutherland can barely stomach a brief cameo appearance shared with Berry’s character before excusing himself to the loaded gun he left back in his room (yes, this actually happens).
The evacuation route in Moonfall seems to involve fleeing to Colorado. What is in Colorado and why that’s important is never really explained other than because everyone else is there. Jocinda Fowl becomes the lead director of NASA during the film and her ex-husband (played by Eme Ikwuakor) works for the military. Ikwuakor does nothing but squint like French Stewart the entire time. NASA wants to survey the activity of what’s transpiring on the moon, fly inside of its new fancy made hole, and come up with a plan to save earth in the process. The military just wants to blow up the moon with nukes; screw the consequences, this is America!
With Moonfall, Roland Emmerich has essentially made an even dumber version of Michael Bay’s Armageddon. There’s not a lot to enjoy here apart from KC Houseman’s house cat being named Fuzz Aldrin. With its idiotic premise, hammy dialogue involving some of the most exaggerated emotional speeches ever, stiff acting, unfunny humor, and purposely distorted CGI, Moonfall features an overwhelming amount of frenetic nonsense and has no excuse to be as boring as it is.
Movie Metropolis (309 KP) rated Tomorrowland (2015) in Movies
Jun 11, 2019
A CGI disaster
Disney has an intriguing track record when it comes to movies. The multi-billion dollar company has produced some incredible films and some absolute stinkers, with its live-action department bearing the brunt of this misfortune.
Here, The Incredibles director Brad Bird is hoping to add another great film to his CV with Tomorrowland: A World Beyond, but does this George Clooney fantasy adventure tick all the right boxes?
Tomorrowland is based on Disney’s adventure ride of the same name and like The Pirates of the Caribbean franchise, requires a completely original story to ensure it translates well onto the big screen.
George Clooney, Hugh Laurie and Britt Robertson star in a film that is visually stunning but horrifically uneven with a story that doesn’t make much sense. Its vague environmental message is one of the only things to take away from it.
Clooney stars as Frank Walker, a disgruntled inventor who transports Robertson’s Casey Newton to a place in time and space known only as Tomorrowland. Once there, they must change the past in order to secure their future.
Bird’s direction is as usual, supremely confident with stunning CGI landscapes of the metropolis being beautifully juxtaposed with the Earth we know and love. There are scenes here that look like something from an art installation.
Clooney is as dynamic as ever in between all the special effects and Robertson channels Jennifer Lawrence in her role as the plucky teenager, but Tomorrowland showcases Hugh Laurie the best. His David Nix is an intriguing character who is sorely underused with the CGI being the main focus here.
Unfortunately, as countless blockbusters have proved time and time again, brilliant special effects don’t equal a brilliant film and Tomorrowland falls head first into that trap. Yes, the other dimension is on the whole, breath-taking but there’s such a lack of detail anywhere else that it feels decidedly hollow.
This isn’t to say that we have a film like Transformers: Age of Extinction on our hands but it doesn’t reach the heights of Saving Mr Banks or even the Narnia films.
Being stuck in the middle isn’t the best place to be for a movie with a rumoured production cost of $200m and it’s this lack of identity that may hold Tomorrowland back when it comes to box-office performance.
There’s also some debate over the target audience. With a 12A rating, you’d expect a similar tone to The Hunger Games or even The Amazing Spider-Man 2, but what the audience gets is a PG movie with a couple of scenes of violence, pushing it over into the coveted ‘teen market’.
Overall, Tomorrowland is a fun if entirely forgetful fantasy adventure brimming with CGI and unfortunately not much else. Hugh Laurie is an eccentric and painfully underused presence and that pretty much sums up the entire production.
Everything feels a little underdone, like there was something else under the surface waiting to break free that just didn’t come to fruition.
https://moviemetropolis.net/2015/05/24/a-cgi-disaster-tomorrowland-review/
Here, The Incredibles director Brad Bird is hoping to add another great film to his CV with Tomorrowland: A World Beyond, but does this George Clooney fantasy adventure tick all the right boxes?
Tomorrowland is based on Disney’s adventure ride of the same name and like The Pirates of the Caribbean franchise, requires a completely original story to ensure it translates well onto the big screen.
George Clooney, Hugh Laurie and Britt Robertson star in a film that is visually stunning but horrifically uneven with a story that doesn’t make much sense. Its vague environmental message is one of the only things to take away from it.
Clooney stars as Frank Walker, a disgruntled inventor who transports Robertson’s Casey Newton to a place in time and space known only as Tomorrowland. Once there, they must change the past in order to secure their future.
Bird’s direction is as usual, supremely confident with stunning CGI landscapes of the metropolis being beautifully juxtaposed with the Earth we know and love. There are scenes here that look like something from an art installation.
Clooney is as dynamic as ever in between all the special effects and Robertson channels Jennifer Lawrence in her role as the plucky teenager, but Tomorrowland showcases Hugh Laurie the best. His David Nix is an intriguing character who is sorely underused with the CGI being the main focus here.
Unfortunately, as countless blockbusters have proved time and time again, brilliant special effects don’t equal a brilliant film and Tomorrowland falls head first into that trap. Yes, the other dimension is on the whole, breath-taking but there’s such a lack of detail anywhere else that it feels decidedly hollow.
This isn’t to say that we have a film like Transformers: Age of Extinction on our hands but it doesn’t reach the heights of Saving Mr Banks or even the Narnia films.
Being stuck in the middle isn’t the best place to be for a movie with a rumoured production cost of $200m and it’s this lack of identity that may hold Tomorrowland back when it comes to box-office performance.
There’s also some debate over the target audience. With a 12A rating, you’d expect a similar tone to The Hunger Games or even The Amazing Spider-Man 2, but what the audience gets is a PG movie with a couple of scenes of violence, pushing it over into the coveted ‘teen market’.
Overall, Tomorrowland is a fun if entirely forgetful fantasy adventure brimming with CGI and unfortunately not much else. Hugh Laurie is an eccentric and painfully underused presence and that pretty much sums up the entire production.
Everything feels a little underdone, like there was something else under the surface waiting to break free that just didn’t come to fruition.
https://moviemetropolis.net/2015/05/24/a-cgi-disaster-tomorrowland-review/
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Ross (3284 KP) rated Life (2017) in Movies
Dec 27, 2017 (Updated Dec 27, 2017)
This film doesn't do anything new, before you start watching it you know you've seen in a number of times. Team in space pick up a sample from Mars hoping to find proof of life on it. There then follows a number of ridiculous character acts and decisions that in no way feel realistic, believable or plausible. Experts in space just would not do any one of those things, let alone a chain of such stupid decisions that lead inevitably to disaster.
This film seemed to want to focus on the science early on and there was a lot of gobbledigook meant to make us realise that the actions of humans would be the cause of any alien unpleasantness. From there on its a case of the alien working its way through the crew one by one.
The alien itself was slightly different to your usual in the beginning, a blob of jelly with tentacles and feelers, but quickly just became a naughty octopus.
The ending, while not exactly a shocker, was a brave decision and one that rescued the film somewhat.
Overall, I have no idea why the decent cast signed up to this film, other than the money spent on zero-gravity replication there seems to have been nothing to attract them to it. I would expect to see this at 2am on the Sy-Fy channel, not one of the big hitting Christmas films on Sky Movies.
This film seemed to want to focus on the science early on and there was a lot of gobbledigook meant to make us realise that the actions of humans would be the cause of any alien unpleasantness. From there on its a case of the alien working its way through the crew one by one.
The alien itself was slightly different to your usual in the beginning, a blob of jelly with tentacles and feelers, but quickly just became a naughty octopus.
The ending, while not exactly a shocker, was a brave decision and one that rescued the film somewhat.
Overall, I have no idea why the decent cast signed up to this film, other than the money spent on zero-gravity replication there seems to have been nothing to attract them to it. I would expect to see this at 2am on the Sy-Fy channel, not one of the big hitting Christmas films on Sky Movies.
Sam (74 KP) rated The Slippery Slope (A Series of Unfortunate Events #10) in Books
Mar 27, 2019
The Klaus and Violet Baudelaire are running out of time. They’re rolling down a slope, soon to crash, while Olaf and his troupe take Sunny somewhere unknown. Using Klaus’s bookishness and Violets inventiveness, they save themselves from disaster yet again, but now must save their sister and find out more about the mysterious VFD.
This one was really suspenseful. There was always something fast-paced happening, meaning that yet again within a couple of hours it had been read!
Finally, some of the mysteries surrounding the Baudelaires are being unravelled in this one, which I’m grateful has finally happened. Since there’s thirteen books in the whole series, I expected it to be soon but was still glad that some of my questions were answered.
This one isn’t as comedic as a lot of the ones that came before it. I feel like as the mysteries unfold, the novels are going to get less comedic and more serious. It’s a nice change from the usual plot and structure, and it still left enough little bits of comedy in it to keep it entertaining.
I love some of the characters who are revealed in this one (not saying who because spoilers), and found them much needed.
Olaf is becoming more and more sinister and less comedic which makes the plot brilliant. To be able to see the shift in his behaviour and see his desperation build up as I make it to the finale is making me run for the next book.
This one was really suspenseful. There was always something fast-paced happening, meaning that yet again within a couple of hours it had been read!
Finally, some of the mysteries surrounding the Baudelaires are being unravelled in this one, which I’m grateful has finally happened. Since there’s thirteen books in the whole series, I expected it to be soon but was still glad that some of my questions were answered.
This one isn’t as comedic as a lot of the ones that came before it. I feel like as the mysteries unfold, the novels are going to get less comedic and more serious. It’s a nice change from the usual plot and structure, and it still left enough little bits of comedy in it to keep it entertaining.
I love some of the characters who are revealed in this one (not saying who because spoilers), and found them much needed.
Olaf is becoming more and more sinister and less comedic which makes the plot brilliant. To be able to see the shift in his behaviour and see his desperation build up as I make it to the finale is making me run for the next book.
LeftSideCut (3776 KP) rated Avengers: Infinity War (2018) in Movies
May 24, 2019 (Updated May 24, 2019)
Comic book perfection
It's a moment all comic movie fans have been waiting for - all these beloved characters in one film - and Infinity War delivers on so many levels.
With such a huge roster of well established characters, being played by so many A-List actors, it's an absolute marvel (excuse the pun) how the Russo Brothers manage to pull it off with such aplomb, with every hero being on screen for the right amount of time - it's quite incredible.
On top of all of the reliable heroes throughout, IW also properly introduces us to Thanos, who has been teased several times in the past, and he is a incredibly well realised big villain - you see where he's coming from, he's relatable, and still utterly terrifying and ruthless in how he relentlessly chases what he wants, no matter how much he loses in the process.
The CGI and motion capture used to create him is pretty flawless, and Josh Brolins booming voice completes the package.
The battle scenes are slick and tight and flow smoothly with the rest of the film - the humour is on point throughout - the scenes shared between members of the Avengers and Guardians of the Galaxy are so so great - it's hard to think of anything I didn't love about IW.
And just to top it all off, IW delivers an absolute gut punch of an ending, delivering the single biggest disaster to happen so far in the MCU.
As far as comic book movies go, I can't think how this will ever be beaten. A true epic.
With such a huge roster of well established characters, being played by so many A-List actors, it's an absolute marvel (excuse the pun) how the Russo Brothers manage to pull it off with such aplomb, with every hero being on screen for the right amount of time - it's quite incredible.
On top of all of the reliable heroes throughout, IW also properly introduces us to Thanos, who has been teased several times in the past, and he is a incredibly well realised big villain - you see where he's coming from, he's relatable, and still utterly terrifying and ruthless in how he relentlessly chases what he wants, no matter how much he loses in the process.
The CGI and motion capture used to create him is pretty flawless, and Josh Brolins booming voice completes the package.
The battle scenes are slick and tight and flow smoothly with the rest of the film - the humour is on point throughout - the scenes shared between members of the Avengers and Guardians of the Galaxy are so so great - it's hard to think of anything I didn't love about IW.
And just to top it all off, IW delivers an absolute gut punch of an ending, delivering the single biggest disaster to happen so far in the MCU.
As far as comic book movies go, I can't think how this will ever be beaten. A true epic.