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Bob Mann (459 KP) rated Arrival (2016) in Movies
Sep 29, 2021
Wow – what a surprise.
Sometimes I can get very irritated by a trailer for giving too much away (case in point, “Room” – which I recut – and more recently “Passengers”). Sometimes I can get very excited by a really good teaser trailer (case in point, “10 Cloverfield Lane”). But most of the time a “ho hum” trailer typically drives the expectation of a “ho hum” film: “Jack Reacher: Never Look Back” being a good recent example. Then there is “Arrival”…
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Make Dirty Millions the Clean Way!!
Book
How to make dirty millions the clean way, was written as part of my life's goal to end world hunger...
self-help
Chris Sawin (602 KP) rated Venom: Let There Be Carnage (2021) in Movies
Dec 14, 2021
Tom Hardy's performance. (2 more)
Better CGI than the first film.
The film is stupidly fun.
It is REALLY dumb. (2 more)
Shriek is a wasted character.
Woody Harrelson's "hair."
Idiotic Gold
Venom was an unlikely hit for Sony Pictures making over $850 million worldwide – despite being a sloppy mess of a film.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Mark @ Carstairs Considers (2450 KP) rated Death Waits in the Dark in Books
Apr 3, 2019
Don’t Wait in the Dark, Start Reading This Book
Summer has come to Blue Lake, Indiana, and with it the heat. Lena London and her mentor, bestselling author Camilla Graham, are trying to finish their latest manuscript, but the heat is making it hard to concentrate. However, a visit from Jane Wyland doesn’t prove to be a welcome distraction. Jane and Camilla were acquainted when Camilla first moved to the United States from England, but the two haven’t spoken in decades. Jane arrives to tell Camilla that she knows the secret the Graham family has been hiding, and Jane is going to share it with the world if Camilla doesn’t step up and acknowledge it first.
The trouble is, Camilla doesn’t know what secret Jane is talking about even when Jane implies that it is something from Camilla’s husband’s past. The next day, Camilla and Lena go to try to get more information from Jane so they can figure out what has the woman so upset. However, when they arrive, they discover that Jane has been murdered. What was this secret from the past, and did it get Jane killed?
As much as I enjoyed the first three books in this series, it was nice to see the plot move away from Lena’s boyfriend and focus on another character. This change also allowed the book to have even more of a gothic feel to it than the first three. While I’m not super familiar with that genre, I was definitely able to recognize elements of it as the book unfolded, and I enjoyed seeing how it was combined seamlessly with elements of a cozy mystery. The result works and we get a story that drew me in each time I picked up the book and made it hard to put down. The usual cast of characters are still here, and it was great to see them. The suspects didn’t get much page time, but they work perfectly for the story as it is told here since the main drive was to figure out what secret from the past upset Jane so much. This is a fun twist on the cozy mystery, and if you are looking for something slightly different, be sure to pick it up.
The trouble is, Camilla doesn’t know what secret Jane is talking about even when Jane implies that it is something from Camilla’s husband’s past. The next day, Camilla and Lena go to try to get more information from Jane so they can figure out what has the woman so upset. However, when they arrive, they discover that Jane has been murdered. What was this secret from the past, and did it get Jane killed?
As much as I enjoyed the first three books in this series, it was nice to see the plot move away from Lena’s boyfriend and focus on another character. This change also allowed the book to have even more of a gothic feel to it than the first three. While I’m not super familiar with that genre, I was definitely able to recognize elements of it as the book unfolded, and I enjoyed seeing how it was combined seamlessly with elements of a cozy mystery. The result works and we get a story that drew me in each time I picked up the book and made it hard to put down. The usual cast of characters are still here, and it was great to see them. The suspects didn’t get much page time, but they work perfectly for the story as it is told here since the main drive was to figure out what secret from the past upset Jane so much. This is a fun twist on the cozy mystery, and if you are looking for something slightly different, be sure to pick it up.
Kristy H (1252 KP) rated Best Day Ever in Books
Jan 21, 2018
Creepy, eerie narration (2 more)
Unreliable narrator
Tense and terrifying writing
Creepy, twisted tale
Paul Strom has the perfect life. He's a successful, wealthy advertising executive with a gorgeous wife, Mia, and two young sons. They live happily in a beautiful house and all is well. Paul is even taking Mia away for a romantic weekend to the couple's lake home--just to celebrate how good they have it. But the day starts off poorly--they are delayed when Paul takes a phone call, seemingly annoying Mia, and it's clear there is tension between the perfect couple. As they drive toward the lake, it appears as if nothing as is good and wonderful as it seems.
I'd heard a lot of good things about this book and was excited to receive it for Christmas. I have to say that Rouda definitely nails the unreliable narrator. The book is told entirely from Paul's perspective, and the result is an eerie, creepy tale. At first he seems like a slightly overbearing husband whose focus is on providing for his family. But as the story progresses, Paul drops a lot of clues that something (perhaps a lot of somethings) is off and more and more comes to light as the story unfolds that all is not as it seems with Paul and Mia.
As for Mia, we basically see her only from Paul's point of view, which is interesting. Is she truly this obedient wife, submitting to her husband's every whim? And is Paul truly fooling Mia as much as he thinks he is? We're along for the ride, subject to Paul's arrogance and forced to read between the lines as he tells us his tale.
In a way, not much happens in this novel, which basically covers one day--Paul and Mia's "best day ever" away at their lake house--and it can get slow at times. I kept waiting for some explosive surprise or reveal, but that never really materialized. Instead, the strength here is in the tense and terrifying writing and the characterization of Paul, which was beyond superb. As the hours tick by, you'll be on the edge of your seat and sucked into Paul's delusions. I sort of loved his machinations and was totally drawn into his sick little world. He reminded me a bit of Joe from You - just a great, albeit sick, character.
I'd heard a lot of good things about this book and was excited to receive it for Christmas. I have to say that Rouda definitely nails the unreliable narrator. The book is told entirely from Paul's perspective, and the result is an eerie, creepy tale. At first he seems like a slightly overbearing husband whose focus is on providing for his family. But as the story progresses, Paul drops a lot of clues that something (perhaps a lot of somethings) is off and more and more comes to light as the story unfolds that all is not as it seems with Paul and Mia.
As for Mia, we basically see her only from Paul's point of view, which is interesting. Is she truly this obedient wife, submitting to her husband's every whim? And is Paul truly fooling Mia as much as he thinks he is? We're along for the ride, subject to Paul's arrogance and forced to read between the lines as he tells us his tale.
In a way, not much happens in this novel, which basically covers one day--Paul and Mia's "best day ever" away at their lake house--and it can get slow at times. I kept waiting for some explosive surprise or reveal, but that never really materialized. Instead, the strength here is in the tense and terrifying writing and the characterization of Paul, which was beyond superb. As the hours tick by, you'll be on the edge of your seat and sucked into Paul's delusions. I sort of loved his machinations and was totally drawn into his sick little world. He reminded me a bit of Joe from You - just a great, albeit sick, character.
Goddess in the Stacks (553 KP) rated American Hippo (River of Teeth, #1-2) in Books
Jan 30, 2019
I actually read these volumes as separate books, so I have two separate reviews here.
River of Teeth (Part 1):
I somehow missed that this was a novella, every time I looked at it online. It wasn't until I checked it out from the library and was shocked at how small it was that I made that discovery. It was a welcome one, since I checked out seven other books that day, and finding something short was a relief!
And I AM SO GLAD I finally read this, because it's AMAZING. It opens on Winslow seducing a federal agent, and quickly moves to him gathering up a crew to drive feral hippos out of a marsh in Louisiana. I was expected a fun hippo-cowboy romp, and I got that - what I wasn't expected was strong, deadly women, a bisexual male hero, a nonbinary love interest, and hippo steeds. I don't know why hippo steeds didn't occur to me - it's not like they could wrangle hippos from atop horses! There is so much goodness packed into this little volume.
River of Teeth: short and sweet, action-packed with amazing characters and a fascinating, bizarre, but historical premise.
Taste of Marrow (Part 2):
Another quick novella, Taste of Marrow is the sequel to the bizarre alternate history novella River of Teeth. It picks up a few months after the ending of the first - people have had a chance to heal their injuries from the explosive ending of the first book, and hippos have begun to spread to previously safe waterways. The cast of this book consists of the surviving characters from the first, plus only one more semi-important character.
It's not quite as good as the first - no explosions and it's less of a rollercoaster - but there is some character development, and a deeper exploration of a few characters than we saw in the first book. I wish my library had the omnibus edition, because it includes two short stories set in the same world, and I'm very curious which aspects of the world she explored in those.
But this is a fun pair of books, very quick, easy reads, and it's just fun to say you're reading a book about hippos and cowboys!
You can find all my reviews at http://goddessinthestacks.com
River of Teeth (Part 1):
I somehow missed that this was a novella, every time I looked at it online. It wasn't until I checked it out from the library and was shocked at how small it was that I made that discovery. It was a welcome one, since I checked out seven other books that day, and finding something short was a relief!
And I AM SO GLAD I finally read this, because it's AMAZING. It opens on Winslow seducing a federal agent, and quickly moves to him gathering up a crew to drive feral hippos out of a marsh in Louisiana. I was expected a fun hippo-cowboy romp, and I got that - what I wasn't expected was strong, deadly women, a bisexual male hero, a nonbinary love interest, and hippo steeds. I don't know why hippo steeds didn't occur to me - it's not like they could wrangle hippos from atop horses! There is so much goodness packed into this little volume.
River of Teeth: short and sweet, action-packed with amazing characters and a fascinating, bizarre, but historical premise.
Taste of Marrow (Part 2):
Another quick novella, Taste of Marrow is the sequel to the bizarre alternate history novella River of Teeth. It picks up a few months after the ending of the first - people have had a chance to heal their injuries from the explosive ending of the first book, and hippos have begun to spread to previously safe waterways. The cast of this book consists of the surviving characters from the first, plus only one more semi-important character.
It's not quite as good as the first - no explosions and it's less of a rollercoaster - but there is some character development, and a deeper exploration of a few characters than we saw in the first book. I wish my library had the omnibus edition, because it includes two short stories set in the same world, and I'm very curious which aspects of the world she explored in those.
But this is a fun pair of books, very quick, easy reads, and it's just fun to say you're reading a book about hippos and cowboys!
You can find all my reviews at http://goddessinthestacks.com
Neon's Nerd Nexus (360 KP) rated Abominable (2019) in Movies
Oct 19, 2019
You darted Dave
Abominable movie was one of my most anticipated animated films of the year and while it didn't live up to my own hype me and my nephew had an absolute blast watching it. Being such a humongous Big Hero 6 fan when I first saw the Abominable trailer I couldnt help but get extremely excited as it looked like it was heavily inspired by the baymax adventure it in every way. However while Abominable does share similarities with Big Hero I feel it fails to capture its charm, humour and heart which is a huge shame. Dont get me wrong its tremendous fun, has some truly stunning set pieces and its story always felt interesting its just let down by a pace thats a little to fast, some shortcuts in animation and no down time to let us understand and truly connect with its main characters. Visually colour wise it really is great to look at and animation is good (especially Everest his character design is simply wonderful fluffy and cheeky) its just not quite up there with How to train your dragon standards meaning sometimes I did notice some terrible textures. Messages are also strong as our main character feels alone with no purpose in life struggling with loss and feeling held back by those around her. That is until she learns to gain the confidence to take charge of her life, face her demons, realise her worth, embrace the memories/motivations of her past and become a stronger more appreciative person with drive of her own. Its inspiring stuff especially for kids and it really feels like shes taken this journey changing as a character along the way. Villains here feel refreshing too with one having a sad surprising back story of his own that shows why his heart grew cold and his motives in life become confused and muddled. My nephew loved every minute of it but said he became tired when the villain was on screen because he didn't like him.He also said it was almost as good as Big Hero 6 but not quite as good. I did really enjoy this movie I just wish a bit more time had been put into the animation and to fleshing out the characters because with a bit more heart/soul those set pieces could of really made a much bigger impact emotionally.
156Reviews (7 KP) rated Extra Ordinary (2019) in Movies
May 1, 2020 (Updated May 1, 2020)
Ghosts, hell demons, possessed animals, sex, a car chase, people exploding, ware-wolves (Kind of), Extra Ordinary has it all. Is it some kind of Hollywood blockbuster staring Benedict Cumberbatch? No, it's a small independent Irish comedy staring little known actors, and Will Forte of course.
The film begins by introducing us to Rose Dooley (Maeve Higgins), a very single driving instructor in a small town who has a “Talent”. She can talk to Ghosts. After the death of her father when she was a child, Rose no longer uses these talents though. She spends her days teaching the locals how to drive, and her evenings with no trousers on, eating microwavable meals for one and ignoring messages on her phone from people asking for supernatural help. That is until she gets a call from Martin Martin, who is being haunted by his dead ex-wife, and her journey back to the exorcism business begins.
What this film does best is keep the ordinary and the supernatural events very grounded. Instead of screaming angry spirits howling in the night they see messages like “You must pay ..... The car tax” or “Dog has worms”. The dead don't stick around to terrorise, they are here to make sure we're doing the recycling properly, or donating enough money to charity. Even Christian Winter (Will Forte) the satanist pop-star dubbed “One hit Winter” seems like an every-day man, doing the ironing and making cups of tea between sacrifices and demon summoning.
As the films big-bad, Will Forte does a decent job of keeping the film flowing, even if it is almost identical to his Last man on Earth performance. It's Rose and Martins relationship that really pulls the film forward. After Martins Daughter starts floating in mid-air, he reaches out to Rose for help. Directors Mike Ahern and Enda Loughman succeed in making Rose and Martins journey through the mysterious, humorous yet believable, a will they-won't they without the cheesiness.
Overall this is a very funny, well made film, not afraid to take the time from driving the plot to include some great, if possibly unnecessary scenes, Christian Winter's driving lesson is a particular highlight. Everybody involved has done an excellent job making a great film. It's absurd, it's funny, it's weird, it's well worth a watch.
The film begins by introducing us to Rose Dooley (Maeve Higgins), a very single driving instructor in a small town who has a “Talent”. She can talk to Ghosts. After the death of her father when she was a child, Rose no longer uses these talents though. She spends her days teaching the locals how to drive, and her evenings with no trousers on, eating microwavable meals for one and ignoring messages on her phone from people asking for supernatural help. That is until she gets a call from Martin Martin, who is being haunted by his dead ex-wife, and her journey back to the exorcism business begins.
What this film does best is keep the ordinary and the supernatural events very grounded. Instead of screaming angry spirits howling in the night they see messages like “You must pay ..... The car tax” or “Dog has worms”. The dead don't stick around to terrorise, they are here to make sure we're doing the recycling properly, or donating enough money to charity. Even Christian Winter (Will Forte) the satanist pop-star dubbed “One hit Winter” seems like an every-day man, doing the ironing and making cups of tea between sacrifices and demon summoning.
As the films big-bad, Will Forte does a decent job of keeping the film flowing, even if it is almost identical to his Last man on Earth performance. It's Rose and Martins relationship that really pulls the film forward. After Martins Daughter starts floating in mid-air, he reaches out to Rose for help. Directors Mike Ahern and Enda Loughman succeed in making Rose and Martins journey through the mysterious, humorous yet believable, a will they-won't they without the cheesiness.
Overall this is a very funny, well made film, not afraid to take the time from driving the plot to include some great, if possibly unnecessary scenes, Christian Winter's driving lesson is a particular highlight. Everybody involved has done an excellent job making a great film. It's absurd, it's funny, it's weird, it's well worth a watch.
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