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Gareth von Kallenbach (965 KP) rated the PlayStation 4 version of Bulletstorm: Full Clip Edition in Video Games
Jun 19, 2019
When it was first released in 2011; Bulletstorm earned solid reviews and became a cult hit in large part to the over the top action and winning mix of characters, settings, and humor. Sadly though the game never did sell that well which made it a commercial failure and pretty much ended any hopes for a sequel.
Thankfully the developer People Can Fly has teamed with Gearbox to bring us Bulletstorm: Full Clip Edition which returns the game with upgraded graphics and framerates to let it take advantage of the new generation of gaming platforms, as well as the ability to play the campaign and online content as Duke Nukem.
Bulletstorm: Full Clip Edition combines action, humor, and enjoyable gameplay to create a winning product. The game was tells the story of privateer Grayson Hunt who has spent the last ten years of his life on a mission of revenge against a corrupt general who has wronged him and his crew. When the opportunity for revenge arises, Grayson crashes his own ship in order to bring the generals ship down which strands them on the hostile world of Stygia. Stygia used to be a resort world and now scores of mutants, monsters, dangerous plants, and more roam the landscape making short work of all they encounter.
With his friend Sato in need of medical care following the crash, Grayson and Sato set out to find the general in order to get off the planet and to get Sato proper medical care less his cyborg implants take over his body. Along the way Grayson and Sato must face many challenges and battle against never ending hordes of bad guys. Thankfully they have some awesome firepower at their disposal ranging from shotguns to assault rifles as well as sniper rifles and rocket launchers. The game requires players to purchase new weapons and ammo as well as the ability to upgrade your weapons from dropships which are scattered throughout the landscape.
The more bad guys you dispatch and the more creative you are with your kills earns you more points to spend on your arsenal. One of my favorite weapons is the sniper rifle which allows you to steer your fired shot into your enemies, which comes in handy considering how much cover they like to take. Should you run out of ammo, you can always send a bad guy flying, thanks to a kick from Grayson who has no issue with kicking hordes of bad guys into various obstacles. The game awards you for being creative with your kills like kicking someone to impale them on an object which gets you a Voodoo Doll reward as does sending an enemy into an electrical field or sending them into the jaws of a deadly plant.
There are so many ways to take out enemies half the fun is finding out new ways to do so. I also liked being able to supercharge my weapon and vaporize any underlings that got in my way. The game also allows players a leash which fires an electrical tether to manipulate objects. I love latching onto enemies and pulling them into harms way, or towards me so I could kick them into harms way, or unleash a fury of bullets upon them.
The graphics of the game are solid as the Unreal engine has taken what was a great looking game and made it look even better and has brought it up to modern standards even in areas where the graphics may seem a bit dated. From scenic landscapes to epic monsters the game deftly handles them all. An early chase from a gigantic mining wheel is still awesome as it encompasses the depth of the landscape and surroundings of Stygia. The language in the game is very sharp. Characters will unleash salvos of profanity that would make a drill sergeant cringe, but they are often done in very funny and unique combinations.
The multiplay modes of the game shine as well. You can really enjoy teaming up for unique kills. The control system of the game is good as I was easily able to move between movement and fire modes without any issues which allowed me to concentrate on the game and its challenges rather than having to fight a control system. Bulletstorm is also very clever with the locations of the game as one minute I am flying in an airship taking on a gigantic creature whereas another time I was guiding a giant robotic dinosaur through an amusement park to dispatch the bad guys. I also enjoy playing the Echoes mode which requires players to complete various locales and creatively dispatching enemies to earn points which will unlock new levels.
Being able to play as Duke Nukem in both the campaign and online was fun as it allowed me to experience the game from a new perspective and it is always great to see Duke in action.
From the winning mix of action and humor to the numerous variations the gameplay offers Bulletstorm is a winner from top to bottom. Some may find the solo play campaign a bit short and may say that some of the boss battles were overly tricky. I prefer to see the game as a great action romp which is set up perfectly for a sequel and is still one of the best action shooters in recent history.
http://sknr.net/2017/04/10/bulletstorm-full-cliip-edition/
Thankfully the developer People Can Fly has teamed with Gearbox to bring us Bulletstorm: Full Clip Edition which returns the game with upgraded graphics and framerates to let it take advantage of the new generation of gaming platforms, as well as the ability to play the campaign and online content as Duke Nukem.
Bulletstorm: Full Clip Edition combines action, humor, and enjoyable gameplay to create a winning product. The game was tells the story of privateer Grayson Hunt who has spent the last ten years of his life on a mission of revenge against a corrupt general who has wronged him and his crew. When the opportunity for revenge arises, Grayson crashes his own ship in order to bring the generals ship down which strands them on the hostile world of Stygia. Stygia used to be a resort world and now scores of mutants, monsters, dangerous plants, and more roam the landscape making short work of all they encounter.
With his friend Sato in need of medical care following the crash, Grayson and Sato set out to find the general in order to get off the planet and to get Sato proper medical care less his cyborg implants take over his body. Along the way Grayson and Sato must face many challenges and battle against never ending hordes of bad guys. Thankfully they have some awesome firepower at their disposal ranging from shotguns to assault rifles as well as sniper rifles and rocket launchers. The game requires players to purchase new weapons and ammo as well as the ability to upgrade your weapons from dropships which are scattered throughout the landscape.
The more bad guys you dispatch and the more creative you are with your kills earns you more points to spend on your arsenal. One of my favorite weapons is the sniper rifle which allows you to steer your fired shot into your enemies, which comes in handy considering how much cover they like to take. Should you run out of ammo, you can always send a bad guy flying, thanks to a kick from Grayson who has no issue with kicking hordes of bad guys into various obstacles. The game awards you for being creative with your kills like kicking someone to impale them on an object which gets you a Voodoo Doll reward as does sending an enemy into an electrical field or sending them into the jaws of a deadly plant.
There are so many ways to take out enemies half the fun is finding out new ways to do so. I also liked being able to supercharge my weapon and vaporize any underlings that got in my way. The game also allows players a leash which fires an electrical tether to manipulate objects. I love latching onto enemies and pulling them into harms way, or towards me so I could kick them into harms way, or unleash a fury of bullets upon them.
The graphics of the game are solid as the Unreal engine has taken what was a great looking game and made it look even better and has brought it up to modern standards even in areas where the graphics may seem a bit dated. From scenic landscapes to epic monsters the game deftly handles them all. An early chase from a gigantic mining wheel is still awesome as it encompasses the depth of the landscape and surroundings of Stygia. The language in the game is very sharp. Characters will unleash salvos of profanity that would make a drill sergeant cringe, but they are often done in very funny and unique combinations.
The multiplay modes of the game shine as well. You can really enjoy teaming up for unique kills. The control system of the game is good as I was easily able to move between movement and fire modes without any issues which allowed me to concentrate on the game and its challenges rather than having to fight a control system. Bulletstorm is also very clever with the locations of the game as one minute I am flying in an airship taking on a gigantic creature whereas another time I was guiding a giant robotic dinosaur through an amusement park to dispatch the bad guys. I also enjoy playing the Echoes mode which requires players to complete various locales and creatively dispatching enemies to earn points which will unlock new levels.
Being able to play as Duke Nukem in both the campaign and online was fun as it allowed me to experience the game from a new perspective and it is always great to see Duke in action.
From the winning mix of action and humor to the numerous variations the gameplay offers Bulletstorm is a winner from top to bottom. Some may find the solo play campaign a bit short and may say that some of the boss battles were overly tricky. I prefer to see the game as a great action romp which is set up perfectly for a sequel and is still one of the best action shooters in recent history.
http://sknr.net/2017/04/10/bulletstorm-full-cliip-edition/
Chris Sawin (602 KP) rated Good Boys (2019) in Movies
Aug 14, 2019
Repetitive. (1 more)
Too similar to other R-rated teen comedies.
Thor Casts Anal Bead Nunchucks
“Bean Bag Boys for life!” In Good Boys, that’s the motto for three 12-year-old best friends that are finding the sixth grade way more profound and coercing than the fifth grade or any other grade before it ever was. Max (Jacob Tremblay) is at the age where girls aren’t so gross and are actually quite arousing, Thor (Brady Noon) is giving up on who he is and what he loves in a bold attempt to try to fit in with kids who he thinks are cool, and Lucas (Keith L. Williams) mostly just loves Magic: The Gathering, treating women with respect, and being honest.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.
Matthew Krueger (10051 KP) rated A Nightmare on Elm Street (1984) in Movies
Jul 3, 2020
Introduce a horror icon (3 more)
Robert Englund
Freddy
Wes Craven
Whatever you do, don’t fall asleep!
Contains spoilers, click to show
A Nightmare on Elm Street- is one of my all time favorite horror films. Its also one of the greatest horror movies of all time. That being said, the ending sucks and i will get to that, but first lets talk more about the film.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
Emma @ The Movies (1786 KP) rated Annabelle Comes Home (2019) in Movies
Jun 20, 2020
God help me I don't know why I went to see this.
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
Matthew Krueger (10051 KP) rated Frankenstein Meets the Wolf Man (1943) in Movies
Oct 15, 2020
Lon Chaney Jr. (1 more)
Bela Lugosi
Huge Disappointment
Contains spoilers, click to show
Frankenstien Meets The Wolf Man- was a huge disappointment but ill get to that later. First lets talk about the film.
The plot: Lawrence Stewart Talbot (Lon Chaney Jr.) is plagued by a physical oddity that turns him into a crazed werewolf after sundown. His desire to rid himself of this ailment leads him to the castle owned by mad scientist Dr. Frankenstein. Frankenstein, it turns out, is now dead, yet Talbot believes that the scientist's daughter, Baroness Elsa Frankenstein (Ilona Massey), can help him. However, his quest to right himself puts him on a collision course with Frankenstein's monster (Bela Lugosi).
This was the first of a series of "ensemble" monster films combining characters from several film series. This film, therefore, is both the fifth in the series of films based upon Mary Shelley's 1818 book Frankenstein; or, The Modern Prometheus, directly after The Ghost of Frankenstein, and a sequel to The Wolf Man.
As ultimately edited and released, Frankenstein Meets the Wolf Man is told in two almost equal parts. The opening scenes tell the story of Talbot's resurrection, killing spree, hospitalization, and escape across Europe. Much time is spent with a secondary policeman, Inspector Owen, and on scenes with a desperate Talbot hospitalized by Dr. Mannering. The discovery of the Monster and pursuit of Dr. Frankenstein's scientific notes do not begin until thirty-five minutes into the film. The second half introduces the Monster, Elsa, and the village of Vasaria and its inhabitants.
Immediately following his success in Dracula, Bela Lugosi had been the first choice to play the Monster in Universal's original Frankenstein film, but Lugosi famously turned down the nonspeaking, heavily made-up role: as conceived by the original director Robert Florey, the Monster was nothing more than a mindless killing machine and not suitable for Lugosi's rising stardom and career as a leading actor, and the original make-up for Lugosi's screen test was closely based on the doll-like clay robot in The Golem.
Eight years later, Lugosi joined the film as the Monster's twisted companion Ygor in Son of Frankenstein. He returned to the role in the sequel, The Ghost of Frankenstein, in which Ygor's brain is implanted into the Monster (now Chaney), causing the creature to take on Lugosi/Ygor's voice. After plans for Chaney to play both the Monster and the Wolf Man in the next film fell through for logistical reasons (Chaney demurred), the natural next step was for Lugosi, who turned 60 during the film's production, to take on the part that he once was slated to originate.
The original script — and indeed the film as originally filmed — had the Monster performing dialogue throughout the film, including references to the events of Ghost and indicating that the Monster is now blind (a side effect of the brain transplant as revealed at the end of the previous film, and the reason for his iconic stiff-armed "Frankenstein walk"). According to Siodmak, a studio screening audience reacted negatively to this, finding the idea of the Monster speaking with a Hungarian accent unintentionally funny (although the Monster spoke with Lugosi's voice at the end of Ghost, the audiences had been carefully prepared for it by the plot of the film). This has been generally accepted as the reason virtually all scenes in which Lugosi speaks were deleted (though two brief scenes remain in the film that show Lugosi's mouth moving without sound). All references to his being blind were also eliminated, rendering the Monster's groping gestures unmotivated for those unfamiliar with the ending of the previous film. Close-ups of Lugosi's eyes during the revitalization scene and his evil, knowing leer to Patric Knowles were supposed to indicate that his vision had been restored, but in the ultimate context of the film this means nothing. Consequently, Lugosi is onscreen literally for only a few minutes, leaving the Wolf Man as the film's primary focus.
Lugosi suffered exhaustion at some point during the filming, and his absence from the set, combined with his physical limitations at age 60, required the liberal use of stand-ins.
This would be the final Universal horror film in which the Monster played a major role; in the subsequent films The House of Frankenstein and House of Dracula, the Monster, played by Glenn Strange, is brought back to life only in the final scenes (in the 1948 Universal comedy Abbott and Costello Meet Frankenstein (the second and final film in which Lugosi plays Dracula), Strange has a larger role and the creature once again speaks, albeit with very limited dialogue, twice muttering, "Yes, Master."). It was also the last Universal horror film to feature an actual member of the Frankenstein family as a character.
A tribute to this meeting of two horror film legends happens near the beginning of the film Alien vs. Predator, when this film is seen playing on a television at the satellite receiving station. In the US version of the 1962 film King Kong vs. Godzilla (another pairing of prominent monsters), the music from the fight scene at the end of the film also plays during the final fight between Godzilla and Kong.
So the reason why this movie was a huge disappointments that it was universal first ensemble. A meet between two iconic monsters and boy did it disappointment. Their didnt meet until the last 5 minutes, no scratch that the last minute. Yes you read that right, the last minute their meet. Huge disappointment. It was also slow. I dont recordmend watching this one and skip it. The only reason im giving it a 5 is because of Lon Chaney Jr. and Bela Lugosi.
The plot: Lawrence Stewart Talbot (Lon Chaney Jr.) is plagued by a physical oddity that turns him into a crazed werewolf after sundown. His desire to rid himself of this ailment leads him to the castle owned by mad scientist Dr. Frankenstein. Frankenstein, it turns out, is now dead, yet Talbot believes that the scientist's daughter, Baroness Elsa Frankenstein (Ilona Massey), can help him. However, his quest to right himself puts him on a collision course with Frankenstein's monster (Bela Lugosi).
This was the first of a series of "ensemble" monster films combining characters from several film series. This film, therefore, is both the fifth in the series of films based upon Mary Shelley's 1818 book Frankenstein; or, The Modern Prometheus, directly after The Ghost of Frankenstein, and a sequel to The Wolf Man.
As ultimately edited and released, Frankenstein Meets the Wolf Man is told in two almost equal parts. The opening scenes tell the story of Talbot's resurrection, killing spree, hospitalization, and escape across Europe. Much time is spent with a secondary policeman, Inspector Owen, and on scenes with a desperate Talbot hospitalized by Dr. Mannering. The discovery of the Monster and pursuit of Dr. Frankenstein's scientific notes do not begin until thirty-five minutes into the film. The second half introduces the Monster, Elsa, and the village of Vasaria and its inhabitants.
Immediately following his success in Dracula, Bela Lugosi had been the first choice to play the Monster in Universal's original Frankenstein film, but Lugosi famously turned down the nonspeaking, heavily made-up role: as conceived by the original director Robert Florey, the Monster was nothing more than a mindless killing machine and not suitable for Lugosi's rising stardom and career as a leading actor, and the original make-up for Lugosi's screen test was closely based on the doll-like clay robot in The Golem.
Eight years later, Lugosi joined the film as the Monster's twisted companion Ygor in Son of Frankenstein. He returned to the role in the sequel, The Ghost of Frankenstein, in which Ygor's brain is implanted into the Monster (now Chaney), causing the creature to take on Lugosi/Ygor's voice. After plans for Chaney to play both the Monster and the Wolf Man in the next film fell through for logistical reasons (Chaney demurred), the natural next step was for Lugosi, who turned 60 during the film's production, to take on the part that he once was slated to originate.
The original script — and indeed the film as originally filmed — had the Monster performing dialogue throughout the film, including references to the events of Ghost and indicating that the Monster is now blind (a side effect of the brain transplant as revealed at the end of the previous film, and the reason for his iconic stiff-armed "Frankenstein walk"). According to Siodmak, a studio screening audience reacted negatively to this, finding the idea of the Monster speaking with a Hungarian accent unintentionally funny (although the Monster spoke with Lugosi's voice at the end of Ghost, the audiences had been carefully prepared for it by the plot of the film). This has been generally accepted as the reason virtually all scenes in which Lugosi speaks were deleted (though two brief scenes remain in the film that show Lugosi's mouth moving without sound). All references to his being blind were also eliminated, rendering the Monster's groping gestures unmotivated for those unfamiliar with the ending of the previous film. Close-ups of Lugosi's eyes during the revitalization scene and his evil, knowing leer to Patric Knowles were supposed to indicate that his vision had been restored, but in the ultimate context of the film this means nothing. Consequently, Lugosi is onscreen literally for only a few minutes, leaving the Wolf Man as the film's primary focus.
Lugosi suffered exhaustion at some point during the filming, and his absence from the set, combined with his physical limitations at age 60, required the liberal use of stand-ins.
This would be the final Universal horror film in which the Monster played a major role; in the subsequent films The House of Frankenstein and House of Dracula, the Monster, played by Glenn Strange, is brought back to life only in the final scenes (in the 1948 Universal comedy Abbott and Costello Meet Frankenstein (the second and final film in which Lugosi plays Dracula), Strange has a larger role and the creature once again speaks, albeit with very limited dialogue, twice muttering, "Yes, Master."). It was also the last Universal horror film to feature an actual member of the Frankenstein family as a character.
A tribute to this meeting of two horror film legends happens near the beginning of the film Alien vs. Predator, when this film is seen playing on a television at the satellite receiving station. In the US version of the 1962 film King Kong vs. Godzilla (another pairing of prominent monsters), the music from the fight scene at the end of the film also plays during the final fight between Godzilla and Kong.
So the reason why this movie was a huge disappointments that it was universal first ensemble. A meet between two iconic monsters and boy did it disappointment. Their didnt meet until the last 5 minutes, no scratch that the last minute. Yes you read that right, the last minute their meet. Huge disappointment. It was also slow. I dont recordmend watching this one and skip it. The only reason im giving it a 5 is because of Lon Chaney Jr. and Bela Lugosi.
Kara Skinner (332 KP) rated The Band 4: The Air We Breathe in Books
Sep 10, 2019
Genre: Contemporary, Inspirational
Page Count: 324 pages (of nauseation)
Average Goodreads Rating: 3/5 stars (why, Goodreads? You’re usually so tough on books)
My Rating: 1.5/ 5 stars
Truthfully, this is actually a great story. Yeah. So great. It’s the perfect backstory for its horror sequel: The Martins Trump Manson on Body Count.
As a romance it fucking sucks.
I don’t even know where to begin. This book is so full of sugary sap that it makes pasta covered in maple and chocolate syrup and marshmallows look appetizing.
original
Still not as sweet as The Air We Breathe
Here’s the thing: I’m not actually a bitter and cynical person. I like sap and fluff. I smile and giggle during romance scenes, I’ve obsessively written cute and romantic fanfiction and my boyfriend and I were arguably the most nauseatingly cute couple to ever walk the halls of John Bapst Memorial High School.
But I gagged reading this book for the amount of love-doveyness.
Marguerite is on holiday in London, recovering from the sudden deaths of her parents which liberated her from 27 years of being suffocated and controlled by them. While there, she has a random chance encounter with Chase Martin, a depressed rock star exhausted from touring with his band. Chase and Marguerite are drawn together by a strange unknown force. They don’t know why they have such a strong connection to each other, but they do know that life without the other would not be living at all.
I actually really liked the beginning and thought that it would shape up to be an interesting and sweet romance. We see them before they meet in the coffee shop, miserable and depressed, and then while sipping her drink and reading her book, Marguerite feels Chase’s anxiety. So she buys him a decaf drink and gives it to him, saying she could feel his anxiety from across the shop. That’s great.
The two of them realize they’re drawn together and can find each other happiness and Marguerite ends up spending the night at Chase’s house just so they can find comfort in having another human being near them. That’s great, too.
The beginning is by far my favorite part because it has promise for a good story and has more vivid scenes than any other part of the book.
But then it moves too quickly from there.
From that moment on, the two of them are so deep in love they make Romeo and Juliet look reserved and cautious. They are constantly “blown away” by each other and moved to tears every minute by each other. They “get a kick out of” every little joke they make to each other, and they start living together immediately after they meet. After a week (that’s right, a flipping week), Chase proposes to her.
And if I had a pin for every time one of those quoted phrases appeared in this novel, I could pulverize a voodoo doll. The repeated phrases and excessive emotion of the characters is definitely the worst part.
I’m still not that aggravated with this book, yet. Yeah, the insta love irks me, but I figure there will be a great plot with lots of trouble between the two of them after they marry. After all, they barely know each other and they need to figure out what this psychic connection means. Maybe they’re the incarnated souls of Hawkgirl and Hawkman and they’re about to get killed by an immortal psychopath (did I mention I’m a huge nerd?).
Nope. The two of them agree on everything, right down to how to decorate the house and the new rule that shoes are off upon entering. And things continue to be hunky dory for practically forever. All of Chase’s friends, and their girlfriends, love Marguerite and nobody questions their whirlwind romance. Yeah, because a severely depressed person getting engaged after a week of dating isn’t a cry for help or anything.
And there is so much to dislike about Chase’s and Marguerite’s decisions. Marguerite is forced to quit her job so she can move to London to be with Chase.
Never mind that she liked her job in Pennsylvania and didn’t express any wish to be a housewife. Never mind that Chase was getting tired of touring and thinking about quitting the band anyway. It’s her life that gets turned upside down.
Also, so much for her newfound freedom following her parents’ deaths! Now she’s shadowed by a bodyguard wherever she goes, needs to sneak into the backs of restaurant when she wants to eat out, and can’t even walk to the store for fear of being accosted by her husbands’ fans.
Yes, Chase’s life gets changed too. He now has a wife that cooks meals for him, cleans for him, furnishes and decorates his house for him, and hands him a cold towel when he walks off stage. He made some real damn sacrifices when he married Marguerite.
bitch_please_by_teslapunk-d32znko
But life goes on. With a lot of summary and over thirty years, it goes on.
Aside from dialogues and scenes peppered here and there, the book is mostly sweet and sappy summary of their lives. Dark things happen now and then but they’re glossed over and smothered in fluff.
If this storyline was done by a competent writer, this actually could have been an entertaining series about the Martin family. There is actually plenty of material between the psychic connection, Marguerite’s tragic background, a miscarriage, a huge celebrity drugging conspiracy, two sets of twins, a near death experience, and a baby on the doorstep.
But somehow it becomes boring and plotless when it’s all crammed into one book that seems to drag on forever. During all of this my main concern, the psychic connection, was never explained. It’s just a gift from God. One that turns their “perfect” (as in creepily well behaved and mature) children into kids from The Shining. Because they also have a psychic connection. They can “feel” each other and their parents. Oh, and talk to their dead sister, apparently, when their dead sister wants to tell them about babies being left on their doorstep.
“This is Baby Sarah,” Matt said.
“Baby Sarah?” Marguerite asked.
(Both sets of twins) said “Yes. We knew she was coming.”
Chase asked, “How did you know?”
“Baby Margaret told us,” Mark said.
Also, when Chase and Marguerite choose Sarah’s full name, all four children, in a different room, wake up from a dead sleep, sit up in unison, and announce that the baby is named.
May I present the newest additions to the Martin family?
If you want to read a rockstar romance, I recommend Love’s Rhythm by Lexxie Couper, which isn’t perfectly crafted, but leagues beyond The Band 4: The Air We Breathe.
Page Count: 324 pages (of nauseation)
Average Goodreads Rating: 3/5 stars (why, Goodreads? You’re usually so tough on books)
My Rating: 1.5/ 5 stars
Truthfully, this is actually a great story. Yeah. So great. It’s the perfect backstory for its horror sequel: The Martins Trump Manson on Body Count.
As a romance it fucking sucks.
I don’t even know where to begin. This book is so full of sugary sap that it makes pasta covered in maple and chocolate syrup and marshmallows look appetizing.
original
Still not as sweet as The Air We Breathe
Here’s the thing: I’m not actually a bitter and cynical person. I like sap and fluff. I smile and giggle during romance scenes, I’ve obsessively written cute and romantic fanfiction and my boyfriend and I were arguably the most nauseatingly cute couple to ever walk the halls of John Bapst Memorial High School.
But I gagged reading this book for the amount of love-doveyness.
Marguerite is on holiday in London, recovering from the sudden deaths of her parents which liberated her from 27 years of being suffocated and controlled by them. While there, she has a random chance encounter with Chase Martin, a depressed rock star exhausted from touring with his band. Chase and Marguerite are drawn together by a strange unknown force. They don’t know why they have such a strong connection to each other, but they do know that life without the other would not be living at all.
I actually really liked the beginning and thought that it would shape up to be an interesting and sweet romance. We see them before they meet in the coffee shop, miserable and depressed, and then while sipping her drink and reading her book, Marguerite feels Chase’s anxiety. So she buys him a decaf drink and gives it to him, saying she could feel his anxiety from across the shop. That’s great.
The two of them realize they’re drawn together and can find each other happiness and Marguerite ends up spending the night at Chase’s house just so they can find comfort in having another human being near them. That’s great, too.
The beginning is by far my favorite part because it has promise for a good story and has more vivid scenes than any other part of the book.
But then it moves too quickly from there.
From that moment on, the two of them are so deep in love they make Romeo and Juliet look reserved and cautious. They are constantly “blown away” by each other and moved to tears every minute by each other. They “get a kick out of” every little joke they make to each other, and they start living together immediately after they meet. After a week (that’s right, a flipping week), Chase proposes to her.
And if I had a pin for every time one of those quoted phrases appeared in this novel, I could pulverize a voodoo doll. The repeated phrases and excessive emotion of the characters is definitely the worst part.
I’m still not that aggravated with this book, yet. Yeah, the insta love irks me, but I figure there will be a great plot with lots of trouble between the two of them after they marry. After all, they barely know each other and they need to figure out what this psychic connection means. Maybe they’re the incarnated souls of Hawkgirl and Hawkman and they’re about to get killed by an immortal psychopath (did I mention I’m a huge nerd?).
Nope. The two of them agree on everything, right down to how to decorate the house and the new rule that shoes are off upon entering. And things continue to be hunky dory for practically forever. All of Chase’s friends, and their girlfriends, love Marguerite and nobody questions their whirlwind romance. Yeah, because a severely depressed person getting engaged after a week of dating isn’t a cry for help or anything.
And there is so much to dislike about Chase’s and Marguerite’s decisions. Marguerite is forced to quit her job so she can move to London to be with Chase.
Never mind that she liked her job in Pennsylvania and didn’t express any wish to be a housewife. Never mind that Chase was getting tired of touring and thinking about quitting the band anyway. It’s her life that gets turned upside down.
Also, so much for her newfound freedom following her parents’ deaths! Now she’s shadowed by a bodyguard wherever she goes, needs to sneak into the backs of restaurant when she wants to eat out, and can’t even walk to the store for fear of being accosted by her husbands’ fans.
Yes, Chase’s life gets changed too. He now has a wife that cooks meals for him, cleans for him, furnishes and decorates his house for him, and hands him a cold towel when he walks off stage. He made some real damn sacrifices when he married Marguerite.
bitch_please_by_teslapunk-d32znko
But life goes on. With a lot of summary and over thirty years, it goes on.
Aside from dialogues and scenes peppered here and there, the book is mostly sweet and sappy summary of their lives. Dark things happen now and then but they’re glossed over and smothered in fluff.
If this storyline was done by a competent writer, this actually could have been an entertaining series about the Martin family. There is actually plenty of material between the psychic connection, Marguerite’s tragic background, a miscarriage, a huge celebrity drugging conspiracy, two sets of twins, a near death experience, and a baby on the doorstep.
But somehow it becomes boring and plotless when it’s all crammed into one book that seems to drag on forever. During all of this my main concern, the psychic connection, was never explained. It’s just a gift from God. One that turns their “perfect” (as in creepily well behaved and mature) children into kids from The Shining. Because they also have a psychic connection. They can “feel” each other and their parents. Oh, and talk to their dead sister, apparently, when their dead sister wants to tell them about babies being left on their doorstep.
“This is Baby Sarah,” Matt said.
“Baby Sarah?” Marguerite asked.
(Both sets of twins) said “Yes. We knew she was coming.”
Chase asked, “How did you know?”
“Baby Margaret told us,” Mark said.
Also, when Chase and Marguerite choose Sarah’s full name, all four children, in a different room, wake up from a dead sleep, sit up in unison, and announce that the baby is named.
May I present the newest additions to the Martin family?
If you want to read a rockstar romance, I recommend Love’s Rhythm by Lexxie Couper, which isn’t perfectly crafted, but leagues beyond The Band 4: The Air We Breathe.
Dana (24 KP) rated A Court of Mist and Fury in Books
Mar 23, 2018
Wow. Just wow. There are going to be spoilers in this review, so read at your own peril.
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times
Dana (24 KP) rated A Court of Mist and Fury in Books
Mar 23, 2018
Wow. Just wow. There are going to be spoilers in this review, so read at your own peril.
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 16 May 2016, I have read it 4 times.
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 16 May 2016, I have read it 4 times.