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Story: P2 starts as businesswoman Angela (Nichols) starts running late to her family’s Christmas party after her work party, gets trapped inside her work structure after her car fails to start, leaving her at the hands of security guard Thomas (Bentley).
As the night unfolds Thomas puts Angela through a string off tests, before she tries to figure out a way to escape this psychopath.
Thoughts on P2
Characters – Angela is a businesswoman that finds herself working late too often becoming more distant from her family, while not starting her own. When another late night finds her car breaking down and missing her taxi, she finds herself locked in the parking structure being chased down by the crazed security guard. Thomas is the security guard that has his own plan for Christmas, to keep Angela locked inside completing his twisted ideas.
Performances – A crazy Wes Bentley is always something we like to see, but even he doesn’t reach the levels we would like to see him get too. Rachel Nichols is fine in the leading role as the damsel in distress, trying to fight back.
Story – The story is very simple, crazed man prevents girl from escaping her parking lot only to want to get involved in a game to se how far he can push her. There isn’t much more to this story, we get glimpses into the idea that he is doing this to protect her against men that have done wrong, but otherwise, it is a cut and dry story with little in the way of twists along the way.
Crime/Horror – The crime comes from what Thomas does, which works for the film, the horror never reaches the levels he could do for where the film tries to go.
Settings – The film is set inside the parking lot which does make for a good setting with no escape once locked in.
Special Effects – The effects are used when needed, the film doesn’t rely on them, when it could easily do so.
Scene of the Movie – Merry Christmas Thomas.
That Moment That Annoyed Me – She would know how to drive a car.
Final Thoughts – This is a crime horror that grabs the basic ingredients and does nothing interesting with the story to make it a stand out.
Overall: Not worth the time it takes.
As the night unfolds Thomas puts Angela through a string off tests, before she tries to figure out a way to escape this psychopath.
Thoughts on P2
Characters – Angela is a businesswoman that finds herself working late too often becoming more distant from her family, while not starting her own. When another late night finds her car breaking down and missing her taxi, she finds herself locked in the parking structure being chased down by the crazed security guard. Thomas is the security guard that has his own plan for Christmas, to keep Angela locked inside completing his twisted ideas.
Performances – A crazy Wes Bentley is always something we like to see, but even he doesn’t reach the levels we would like to see him get too. Rachel Nichols is fine in the leading role as the damsel in distress, trying to fight back.
Story – The story is very simple, crazed man prevents girl from escaping her parking lot only to want to get involved in a game to se how far he can push her. There isn’t much more to this story, we get glimpses into the idea that he is doing this to protect her against men that have done wrong, but otherwise, it is a cut and dry story with little in the way of twists along the way.
Crime/Horror – The crime comes from what Thomas does, which works for the film, the horror never reaches the levels he could do for where the film tries to go.
Settings – The film is set inside the parking lot which does make for a good setting with no escape once locked in.
Special Effects – The effects are used when needed, the film doesn’t rely on them, when it could easily do so.
Scene of the Movie – Merry Christmas Thomas.
That Moment That Annoyed Me – She would know how to drive a car.
Final Thoughts – This is a crime horror that grabs the basic ingredients and does nothing interesting with the story to make it a stand out.
Overall: Not worth the time it takes.
Neon's Nerd Nexus (360 KP) rated Frozen II (2019) in Movies
Dec 2, 2019 (Updated Dec 2, 2019)
The Cucumber
Frozen 2 is not only better than Frozen but it also manages to develop its characters futher, delves deeper into its lore and overall tells a tale thats much darker and way more mature. Its apparent from the start of the movie that this sequel has more to say than just being a cheap cash in and as we check in on Elsa we see that although at first everything might seem happy it becomes aparent shes still struggling with demons and troubled on the inside. They clearly are not children anymore and thus dealing with the loss of both their parents is really starting to hit home as they enter the grieving process. This seems to effect Elsa in more ways than she can begin to process and as she struggles to tame her depression and get a hold on her mental health she closes up and alienates the people that are close to her. Its all incredibly dark stuff and at times it became so bleak that it had both adults and children in our screening breaking out in tears. Olaf does lighten things up occasionally however with some genuinely funny comedy, silly facts and some nice philosophy too with a role that feels important this time rather than there for comic relief. Pact with cool mythology and stuning visuals the film also manages to create not only a great coldness but an incredible warmth to really drive home its message of the importance of family and heritage. Elemental effects are extremely impressive too as is the improved animation quality and while the songs arnt as catchy this time they flow with more heart/meaning and with way more creativity visually too. Frozen 2 might not be perfect but as an adult it spoke to me more than the last one did and seeing it have the guts to mature and progress rather than replicate is a bold move I really respected. A truly magical fable full to the brim with lore and mythology that deals with such grown up isuess so respectfully and realistically that it will speak way more this time to adults than it does kids. Frozen 2 successfully teaches us all the message that we dont have to 'let It Go' or deal with our problems alone and by remembering and talking about those that are gone warms the heart and keeps them alive in us.
JT (287 KP) rated Only God Forgives (2013) in Movies
Mar 10, 2020
Now here is a film that completely split critics. It’s not going to be everyone’s cup of tea and it’s clear to see why. Anyone expecting a well constructed follow up to Winding Refn’s hit Drive are going to be sorely disappointed, as Only God Forgives serves up a mix of beautiful neon visuals, character dreamscapes and minimal dialogue.
Julian (Ryan Gosling) runs a Thai boxing club deep in the heart of Bangkok using it as front for a drug smuggling ring with his brother. Events take a horrific turn when his brother rapes and murders an underage prostitute. Enter retired cop Chang (Vithaya Pansringarm), more well known as the ‘Angel of Vengeance’ who has a unique and almost godlike way of handing out retribution to those who cross his path.
When he allows Julian’s brother to be murdered by the father of the girl he killed, Julian’s mother Crystal and family matriarch heads out to demand that Julian take revenge for his brothers death.
Only God Forgives is a film doused in deep colours that awash the actors on screen and cast them in a variety of different lights. It feels a bit art house and at times arrogant. This must have been the easiest pay cheque that Gosling has ever picked up. He barely speaks and stamps any authority on screen by long drawn out stares of which he is the master.
Scott Thomas is not the mother figure that you would expect to have. Goading Julian into submission in a vile and disgusting manner she belittles him, prompting the question that he is half the man his brother is. She is one of the few standouts. All blonde hair and jewellery along with a arsenal of foul language. However, it will be Chang that leaves the afterthought, as he glides about unleashing his sword on those who stand in his way.
Only God Forgives is violent, and it is certainly not for the faint-hearted, the spilling of blood (particularly one hard to watch scene) is in keeping with the tonal colour of the setting. It doesn’t have Drive’s slickness but does come with an equally pulsating sound track.
There is no arguing that from a cinematography point of view this film his head and shoulders above others. But there is the odd occasion when you really have to question the director and what it was that he set out to achieve?
Julian (Ryan Gosling) runs a Thai boxing club deep in the heart of Bangkok using it as front for a drug smuggling ring with his brother. Events take a horrific turn when his brother rapes and murders an underage prostitute. Enter retired cop Chang (Vithaya Pansringarm), more well known as the ‘Angel of Vengeance’ who has a unique and almost godlike way of handing out retribution to those who cross his path.
When he allows Julian’s brother to be murdered by the father of the girl he killed, Julian’s mother Crystal and family matriarch heads out to demand that Julian take revenge for his brothers death.
Only God Forgives is a film doused in deep colours that awash the actors on screen and cast them in a variety of different lights. It feels a bit art house and at times arrogant. This must have been the easiest pay cheque that Gosling has ever picked up. He barely speaks and stamps any authority on screen by long drawn out stares of which he is the master.
Scott Thomas is not the mother figure that you would expect to have. Goading Julian into submission in a vile and disgusting manner she belittles him, prompting the question that he is half the man his brother is. She is one of the few standouts. All blonde hair and jewellery along with a arsenal of foul language. However, it will be Chang that leaves the afterthought, as he glides about unleashing his sword on those who stand in his way.
Only God Forgives is violent, and it is certainly not for the faint-hearted, the spilling of blood (particularly one hard to watch scene) is in keeping with the tonal colour of the setting. It doesn’t have Drive’s slickness but does come with an equally pulsating sound track.
There is no arguing that from a cinematography point of view this film his head and shoulders above others. But there is the odd occasion when you really have to question the director and what it was that he set out to achieve?
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Phillip McSween (751 KP) rated Barbarella (1968) in Movies
Aug 10, 2020
Vaguely Memorable
An outer space agent travels to another galaxy in search of a missing inventor.
Acting: 2
Good cast, none of whom are swinging for the fences in Barbarella. Honestly, I can compare the acting chops in this movie to the likes of a softcore porn. Science fiction or not, there is absolutely nothing believable about this movie in the slightest. The acting made the rest of the movie hard to watch.
Beginning: 10
Characters: 10
Despite the terrible acting, I didn’t hate the characters, namely the woman of the hour Barbarella (Jane Fonda). She’s quirky and I loved all of her inuendo references to sex. The movie is very sex-oriented and it succeeds, albeit minutely, in Barbarella’s experience and everyone else’s lack thereof. If they had given the movie more of a solid story, the characters would have had a fighting chance at being a part of a solid movie.
Cinematography/Visuals: 10
Not terrible in the way of sci-fi. They tried a number of cool things that really are fairly impressive for a 1968 movie. From the weapons to the numerous space settings, I wasn’t disappointed by what was showing up on screen.
Conflict: 6
I think Barbarella cared more about being trippy than having a true conflict to drive the story. There are points where I cared about the outcome, but it seems more often than not that the movie is satisfied with being light-hearted and slowly paced. There was not enough going on for me to overly care.
Entertainment Value: 9
Memorability: 6
There are a handful of moments that stand out, but there isn’t a lot of replay value here. Even as I rewatch it as we speak, there are some spots that I forgot even happened. Definitely not a movie I need to see twice.
Pace: 5
Plot: 1
Never a good sign when I have to look the story up on Rotten Tomatoes. It was honestly that forgettable. I think the 800 screenwriters on this movie cared more about being funny than they did writing a good movie. Not impressed.
Resolution: 2
Overall: 61
I wanted to like Barbarella, but they gave me nothing to work with unfortunately. I wouldn’t even advise the Amazon Prime users (where the movie is available) to give it a shot. Steer clear.
Acting: 2
Good cast, none of whom are swinging for the fences in Barbarella. Honestly, I can compare the acting chops in this movie to the likes of a softcore porn. Science fiction or not, there is absolutely nothing believable about this movie in the slightest. The acting made the rest of the movie hard to watch.
Beginning: 10
Characters: 10
Despite the terrible acting, I didn’t hate the characters, namely the woman of the hour Barbarella (Jane Fonda). She’s quirky and I loved all of her inuendo references to sex. The movie is very sex-oriented and it succeeds, albeit minutely, in Barbarella’s experience and everyone else’s lack thereof. If they had given the movie more of a solid story, the characters would have had a fighting chance at being a part of a solid movie.
Cinematography/Visuals: 10
Not terrible in the way of sci-fi. They tried a number of cool things that really are fairly impressive for a 1968 movie. From the weapons to the numerous space settings, I wasn’t disappointed by what was showing up on screen.
Conflict: 6
I think Barbarella cared more about being trippy than having a true conflict to drive the story. There are points where I cared about the outcome, but it seems more often than not that the movie is satisfied with being light-hearted and slowly paced. There was not enough going on for me to overly care.
Entertainment Value: 9
Memorability: 6
There are a handful of moments that stand out, but there isn’t a lot of replay value here. Even as I rewatch it as we speak, there are some spots that I forgot even happened. Definitely not a movie I need to see twice.
Pace: 5
Plot: 1
Never a good sign when I have to look the story up on Rotten Tomatoes. It was honestly that forgettable. I think the 800 screenwriters on this movie cared more about being funny than they did writing a good movie. Not impressed.
Resolution: 2
Overall: 61
I wanted to like Barbarella, but they gave me nothing to work with unfortunately. I wouldn’t even advise the Amazon Prime users (where the movie is available) to give it a shot. Steer clear.
Acanthea Grimscythe (300 KP) rated The Bone Witch (The Bone Witch, #1) in Books
May 16, 2018
The Bone Witch is set in a fantasy world comprised of eight kingdoms, each with their own distinct customs. Some of these kingdoms echo the cultures of the Middle East and others, namely Kion and the asha-ka, the home of the female magic users, are heavily influenced by Asian traditions. In fact, reading The Bone Witch was, in a way, a lot like reading Memoirs of a Geisha, only instead of preparing a girl's virginity for auction, the Houses of the asha-ka sell a much cleaner form of entertainment: performances and magic, to be specific. When they are discovered, the soon-to-be asha are taken away and trained so that they can properly use their abilities. Because of their talents, they are often respected - except for the bone witches, or Dark asha. These are the necromancers of the world that Chupeco has created.
Chupeco has spared nothing in the creation of her world, from elaborate cities and countries, to detailed garb, to the daeva, creatures of supposedly evil origin. She's even created a unique tradition among the denizens of her world, where they quite literally wear their hearts - only it is on their necks, rather than their sleeves. An individual's heartsglass reflects who and what they are, allowing potential asha and Deathseekers to begin their training early in their lives.
It is because of the daeva that bone witches are an unwanted necessity among the eight kingdoms, and it is by accident that we are introduced to Tea, a young girl who, after learning of her older brother's death, becomes so distraught that she accidentally raises him from his grave. From there, we follow Tea's journey to becoming a full-fledged asha, and while the story does have a bit of a lull in its center where nothing happens (I would have put it down if it weren't for the fact that I tend to do my best to finish advance copies), the ending picks up and twists in ways that are surprising. In fact, I found myself completely surprised by not one, but two of the revelations the reader encounters near the end of the book.
The Bone Witch switches between two perspectives in each chapter, with the first portion, the "flashback" for lack of a better word, told from Tea's perspective. At the end of each chapter, in italics, is a few short passages told from the perspective of a bard that has been exiled from his homeland. The italics take place in present day and hint at something much, much larger arriving in the near future while introducing the reader to the young woman that Tea has become.
There does seem to be lack of depth to many of the characters. Tea's brother, Fox, after he is risen from the grave, appears to lack personality. His only drive seems to be protecting his sister, though it is alluded to that in the future, we may see a lot of development to his character (or so I hope). Aside from those asha that belong to House Valerian, only a few of the characters seem to have truly dynamic characteristics.
In regards to that "lull" in the book, I must admit that it is nearly impossible to get through - especially if the reader has a short attention span. Too much time is spent on details that appear to be largely unimportant to the story - such as the fine tuning of Tea's training. Also, while the descriptions of the hua, the garb worn by the asha, are beautifully written, they are a bit too detailed. I could do with a bit less exposition in that regard.
Needless to say, it is going to be a long wait for the next book, and I can't wait for it - those last few chapters really made a difference. Thanks to NetGalley, the publisher, and Rin Chupeco for providing me with an advance copy of the book in exchange for an unbiased and honest review.
Chupeco has spared nothing in the creation of her world, from elaborate cities and countries, to detailed garb, to the daeva, creatures of supposedly evil origin. She's even created a unique tradition among the denizens of her world, where they quite literally wear their hearts - only it is on their necks, rather than their sleeves. An individual's heartsglass reflects who and what they are, allowing potential asha and Deathseekers to begin their training early in their lives.
It is because of the daeva that bone witches are an unwanted necessity among the eight kingdoms, and it is by accident that we are introduced to Tea, a young girl who, after learning of her older brother's death, becomes so distraught that she accidentally raises him from his grave. From there, we follow Tea's journey to becoming a full-fledged asha, and while the story does have a bit of a lull in its center where nothing happens (I would have put it down if it weren't for the fact that I tend to do my best to finish advance copies), the ending picks up and twists in ways that are surprising. In fact, I found myself completely surprised by not one, but two of the revelations the reader encounters near the end of the book.
The Bone Witch switches between two perspectives in each chapter, with the first portion, the "flashback" for lack of a better word, told from Tea's perspective. At the end of each chapter, in italics, is a few short passages told from the perspective of a bard that has been exiled from his homeland. The italics take place in present day and hint at something much, much larger arriving in the near future while introducing the reader to the young woman that Tea has become.
There does seem to be lack of depth to many of the characters. Tea's brother, Fox, after he is risen from the grave, appears to lack personality. His only drive seems to be protecting his sister, though it is alluded to that in the future, we may see a lot of development to his character (or so I hope). Aside from those asha that belong to House Valerian, only a few of the characters seem to have truly dynamic characteristics.
In regards to that "lull" in the book, I must admit that it is nearly impossible to get through - especially if the reader has a short attention span. Too much time is spent on details that appear to be largely unimportant to the story - such as the fine tuning of Tea's training. Also, while the descriptions of the hua, the garb worn by the asha, are beautifully written, they are a bit too detailed. I could do with a bit less exposition in that regard.
Needless to say, it is going to be a long wait for the next book, and I can't wait for it - those last few chapters really made a difference. Thanks to NetGalley, the publisher, and Rin Chupeco for providing me with an advance copy of the book in exchange for an unbiased and honest review.
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