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Lucy Buglass (45 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Jun 20, 2019
Life Finds A Way
After really enjoying Jurassic World back in 2015, I was excited when they announced that a sequel was in the works. I felt optimistic about it because the ending of Jurassic World left it wide open for a story continuation, and I didn’t feel like they were just making a new one to milk a franchise. It’s no surprise that I can be hugely critical of sequels, but I was willing to give this one a fighting chance.
Jurassic World: Fallen Kingdom is set three years after the destruction of the Jurassic World park, and characters are faced with the dilemma of what to do now a volcano on the island is beginning to erupt. It’s a huge moral dilemma: let the dinosaurs die again, or move them to a safe location where they can thrive. Ultimately, Claire and Owen end up back on Isla Nublar with the help of a rescue team to round up the dinosaurs. As you can expect, things don’t go according to plan and we soon realise the rescue team has other, darker intentions.
Whilst this film is not the strongest in the franchise, it’s still an enjoyable watch. I wasn’t expecting it to be as thought provoking as it was, which was a pleasant surprise. I felt like the storyline had a lot of depth to it, and a lot of emotional moments too. One thing I really love about the Jurassic franchise is how they make you connect and feel emotions towards CGI dinosaurs. You know they aren’t real, yet you get so invested in the narrative that you quickly forget. In Jurassic World: Fallen Kingdom we see some familiar dinosaurs from the previous films, as well as some new ones too. In classic Jurassic nature, we also see a brand new dinosaur that humans thought was a good idea to create… for some reason.
Another thing that surprised me was the horror-like elements that were present in the film. Without giving too much away, there’s a couple of scenes that are very reminiscent of classic horror and plummets the film into a much darker, creepier atmosphere. These scenes were incredibly well done and didn’t feel out of place, even though they could’ve easily felt too jarring. It was fun to witness the franchise experimenting with this, and enhances the scary side of the dinosaurs. There’s some really impressive shots during these scenes too, that emphasises the imposing nature of these creatures.
My biggest criticism of this film is that I felt like too much was going on, and consequently the narrative felt rushed. Despite it running at just over 2 hours, I almost felt like we needed another half hour to properly tell the story without glossing over some really important plot points. The main narrative was paced okay but then we had random side storylines that seemed unnecessary and just left me confused more than anything. It’s a shame they tried to cram so much into such a short space of time as there was no need to do that.
Long time fans of Jurassic Park should definitely give this a go as I think it’s a solid entry into the franchise, though it doesn’t do enough to ascend above its predecessors. It’s what I’ve described as a “fun, Monday night film” to people who’ve asked, so if you’re looking for a visually impressive blockbuster with loud roars and some creepy elements, this film is perfect for you.
https://lucygoestohollywood.com/2018/06/24/life-finds-a-way-jurassic-world-fallen-kingdom-review/
Jurassic World: Fallen Kingdom is set three years after the destruction of the Jurassic World park, and characters are faced with the dilemma of what to do now a volcano on the island is beginning to erupt. It’s a huge moral dilemma: let the dinosaurs die again, or move them to a safe location where they can thrive. Ultimately, Claire and Owen end up back on Isla Nublar with the help of a rescue team to round up the dinosaurs. As you can expect, things don’t go according to plan and we soon realise the rescue team has other, darker intentions.
Whilst this film is not the strongest in the franchise, it’s still an enjoyable watch. I wasn’t expecting it to be as thought provoking as it was, which was a pleasant surprise. I felt like the storyline had a lot of depth to it, and a lot of emotional moments too. One thing I really love about the Jurassic franchise is how they make you connect and feel emotions towards CGI dinosaurs. You know they aren’t real, yet you get so invested in the narrative that you quickly forget. In Jurassic World: Fallen Kingdom we see some familiar dinosaurs from the previous films, as well as some new ones too. In classic Jurassic nature, we also see a brand new dinosaur that humans thought was a good idea to create… for some reason.
Another thing that surprised me was the horror-like elements that were present in the film. Without giving too much away, there’s a couple of scenes that are very reminiscent of classic horror and plummets the film into a much darker, creepier atmosphere. These scenes were incredibly well done and didn’t feel out of place, even though they could’ve easily felt too jarring. It was fun to witness the franchise experimenting with this, and enhances the scary side of the dinosaurs. There’s some really impressive shots during these scenes too, that emphasises the imposing nature of these creatures.
My biggest criticism of this film is that I felt like too much was going on, and consequently the narrative felt rushed. Despite it running at just over 2 hours, I almost felt like we needed another half hour to properly tell the story without glossing over some really important plot points. The main narrative was paced okay but then we had random side storylines that seemed unnecessary and just left me confused more than anything. It’s a shame they tried to cram so much into such a short space of time as there was no need to do that.
Long time fans of Jurassic Park should definitely give this a go as I think it’s a solid entry into the franchise, though it doesn’t do enough to ascend above its predecessors. It’s what I’ve described as a “fun, Monday night film” to people who’ve asked, so if you’re looking for a visually impressive blockbuster with loud roars and some creepy elements, this film is perfect for you.
https://lucygoestohollywood.com/2018/06/24/life-finds-a-way-jurassic-world-fallen-kingdom-review/
Jessica - Where the Book Ends (15 KP) rated This Savage Song (Monsters of Verity, #1) in Books
Jan 30, 2019
I’m new to this whole world of YA Fantasy and to Victoria Schwab’s work. This Savage Song has been repeatedly brought up on different BookTube channels and consistently been listed as favorite books by many different people. Schwab has a strong presence in the world of YA. I couldn’t let these recommendations go to waste, so I promptly went to my local book retailer and purchased my copy of This Savage Song. As soon as I got it home I knew I would be reading it right away. I must tell you; this book DID NOT disappoint.
The dystopian elements along with the fantasy elements weave together to create an alternate version of our world for us to escape to. I love the way Schwab created new monsters for us and didn’t resort to the same old monsters of lore. Obviously the Sunai are my favorite of the monsters. The juxtaposition between monsters who were created out of something terrible happening but then essentially working with the humans to keep the peace is a thing of beauty. She provides a fresh perspective. Imagine a monster that only need sing to steal your soul and kill you, or with a couple of strokes of the bow on a violin, you’re done for. These ideas just blew my mind. A fresh idea to stand out among all the rest. The best part for me was the fact that Schwab didn’t feel the need to overload the book with needless killing just to prove how cool the Sunai were. You see some a couple of kills in the first half of the book, but she teases you throughout the second half of the book leaving you craving to see what happens when a Sunai goes dark.
It bears mentioning the other two monsters in this story the Malchai which are solitary predators that use blood as a form of sustenance. They are weakened by sunlight and to me are like a vampire’s second cousin. Then you have the Corsai which move in swarms like a massive shadow and feed on flesh and bone. They have a hive mentality and everything they do is driven by fear.
This book focuses on two main characters Kate and August. They are from opposing families. She is portrayed as hard and guarded. August, is a Sunai and just wants to be human. These two characters are shoved together under the worse of circumstances and they learn to trust and rely on each other. Many times, throughout this book I found myself comparing them to Romeo & Juliet; however, Schwab doesn’t play the romance card in this book. I thought I was going to be upset about that, but in the end, I think it was smart because it would have detracted from the deeper relationship formed and the story wouldn’t have meant as much, in my opinion. There are several supporting characters like Ilsa, Henry, and Emily that I hope to learn more about in the Our Dark Duet.
I can’t wait to read Our Dark Duet, and I will have it as part of my March reading list for sure. I’m a huge fan of Schwab’s writing style and the depth of her characters. I’ve also added Vicious to my TBR as well as her upcoming book City of Ghosts.
I would love to hear everyone else thoughts about this book, or Schwab’s other books.
The dystopian elements along with the fantasy elements weave together to create an alternate version of our world for us to escape to. I love the way Schwab created new monsters for us and didn’t resort to the same old monsters of lore. Obviously the Sunai are my favorite of the monsters. The juxtaposition between monsters who were created out of something terrible happening but then essentially working with the humans to keep the peace is a thing of beauty. She provides a fresh perspective. Imagine a monster that only need sing to steal your soul and kill you, or with a couple of strokes of the bow on a violin, you’re done for. These ideas just blew my mind. A fresh idea to stand out among all the rest. The best part for me was the fact that Schwab didn’t feel the need to overload the book with needless killing just to prove how cool the Sunai were. You see some a couple of kills in the first half of the book, but she teases you throughout the second half of the book leaving you craving to see what happens when a Sunai goes dark.
It bears mentioning the other two monsters in this story the Malchai which are solitary predators that use blood as a form of sustenance. They are weakened by sunlight and to me are like a vampire’s second cousin. Then you have the Corsai which move in swarms like a massive shadow and feed on flesh and bone. They have a hive mentality and everything they do is driven by fear.
This book focuses on two main characters Kate and August. They are from opposing families. She is portrayed as hard and guarded. August, is a Sunai and just wants to be human. These two characters are shoved together under the worse of circumstances and they learn to trust and rely on each other. Many times, throughout this book I found myself comparing them to Romeo & Juliet; however, Schwab doesn’t play the romance card in this book. I thought I was going to be upset about that, but in the end, I think it was smart because it would have detracted from the deeper relationship formed and the story wouldn’t have meant as much, in my opinion. There are several supporting characters like Ilsa, Henry, and Emily that I hope to learn more about in the Our Dark Duet.
I can’t wait to read Our Dark Duet, and I will have it as part of my March reading list for sure. I’m a huge fan of Schwab’s writing style and the depth of her characters. I’ve also added Vicious to my TBR as well as her upcoming book City of Ghosts.
I would love to hear everyone else thoughts about this book, or Schwab’s other books.
Goddess in the Stacks (553 KP) rated Wintersong in Books
Dec 27, 2018
So I knew this was inspired by Jim Henson's Labyrinth. That's partially why I picked it up, as I love that movie and David Bowie as the Goblin King. I didn't expect to get, basically, Labyrinth fanfiction. That was my first impression. As the book carries on, though, and especially as you get into the second book, it's more like a musician's fever-dream of their favorite childhood movie. There are so many elements taken from the movie, but they are deconstructed and put back together in such unexpected ways.
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
Goddess in the Stacks (553 KP) rated Shadowsong (Wintersong #2) in Books
Dec 27, 2018
So I knew this was inspired by Jim Henson's Labyrinth. That's partially why I picked it up, as I love that movie and David Bowie as the Goblin King. I didn't expect to get, basically, Labyrinth fanfiction. That was my first impression. As the book carries on, though, and especially as you get into the second book, it's more like a musician's fever-dream of their favorite childhood movie. There are so many elements taken from the movie, but they are deconstructed and put back together in such unexpected ways.
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
You'll recognize a line or two from the movie. The fairies still bite. The Goblin King is still beautiful and angular and strange. Liesl's after a stolen sibling. But Liesl and her family live in rural, probably 18th century Bavaria. She is not a spoiled, baby-sitting half-sister. Her grandmother has taught her the old stories, and unbeknownst to her, she's played music for The Goblin King her entire childhood.
The first book concerns Liesl's first foray into the Underground to save her sister when The Goblin King steals her to be his bride. This is where the acid trip starts. If you're familiar with Labyrinth, remember the ballroom scene? With people whirling about and appearing and disappearing and mirrors and the sense of disorientation as it all falls apart? Yeah, that's basically the entire time in the Underground. Though there is a ball scene, and it is especially trippy.
While Liesl manages to save her sister (that's a spoiler, but it isn't much of one), she has a harder time saving herself. Whether she actually does or not could be debated.
The second book of the duology, Shadowsong, has an interesting author's note in the front of it. The author first gives a content warning for self-harm, suicidal ideations, addiction, and reckless behaviors. She goes on to say Liesl has bipolar disorder, and further, that so does she. (The author.) She says Wintersong was her bright mirror, and Shadowsong her dark one. I can see that. Wintersong is a much happier book than Shadowsong, but the story would be incomplete without both books. Wintersong does end in a satisfactory conclusion, but Shadowsong just completes the tale in a way that I, at least, really enjoyed.
Shadowsong also contains more throwbacks to the movie - she falls and is caught by goblin hands; goblins form a giant face that talks to her about the old laws. These things don't happen in the same scene, though.
I loved the elements of music woven throughout the story; Liesl is a composer, and music - her music - is almost a character in its own right. It's definitely a huge plot element. It's in her connection to her brother, and her connection to The Goblin King. It's her way into the Underground, and her way out, and her way to reach back in.
It's an enchanting duology; I don't know if it would be as good for someone who didn't love Labyrinth the way I do. If you dislike the movie, I would probably advise against reading these. But if you like it or have simply never seen it, these would be good, atmospheric books to read in the dead of winter.
You can read all my reviews at http://goddessinthestacks.com
Gareth von Kallenbach (980 KP) rated BloodRayne (2006) in Movies
Aug 14, 2019
Turning a video game into a feature film is often a daunting task. With a large built in audience, gamers tend to be very picky over film adaptations and agitate very easily over even the slightest deviation from the source material.
Often in games, storylines are kept to the basic elements in order to keep the action flowing, unhindered by dialogue, character development, and plot twists as the notion is that gamers want action and will become bored if they have to wait through the elements listed above.
It is ironic that in films bases on games, the paring down of plot and characters in favor of a more linear setup and action often draws the wrath of critics and gamers for doing what game makers have been doing for years, letting gamers get to the goods.
In the new film Bloodrayne based on the hit game series of the same name by Majesco, Director Uwe Boll has crafted a film that explores the how and whys of the game series, focusing on the origins of the title character Rayne (Kristanna Loken), who toils as the half-human, half-vampire Dhampir in remote 18th century Romania as a freak in a traveling circus. Here ability to be burned by water yet healed by the blood of animals is a big drawing card to the circus, who has no problem exploiting her only to lock her in an animal cage when the show is over.
Unknown to Rayne, her fate is about to become entwined with a man named Vladamir (Michael Madsen), a vampire hunter and member of a secret society dedicated to eliminating the threat they pose. It is learned that the land is under the control of a powerful vampire named Kagan (Ben Kinglsey), who is seeking to locate and reunite three vampire relics in an effort to gain absolute power.
In time Rayne is brought into the order that sees her as a tool for fighting back the ever increasing army of Kagan. This movie is not met well by certain members of the group, especially Katarin (Michelle Rodriquez), who is not certain that bringing a person who is part vampire into their midst is a good idea.
Despite rising tensions and a steamy attraction to a hunter named Sebastian (Matt Davis), Rayne soon finds herself part of the group and firmly matched up against Kagan and his minions with the fate of the world in the balance.
While the film has some issues such as a thin plot and at times stiff acting and basic dialogue it is a marked improvement for Boll who has received harsh criticisms of his past works. Bloodrayne blends exotic visuals with classic gothic touches in a manner that compliments the material and is never heavy handed. The action scenes while gory are engaging and abundant, especially the inclusion of so called Boss battles that are common in video games.
While Bloodrayne has its blemishes, the film has its moments and is not nearly as bad as several mean spirited campaigns against it and Boll have suggested.
I have seen far worse films in the last 6 months such as The Cave, Into the Blue and Bewitched to name a few. As vampire films go, Bloodrayne is better than most of the horror offerings we have been inundated with in recent years less we forget “Wrong Turn” and “House of Wax”
Often in games, storylines are kept to the basic elements in order to keep the action flowing, unhindered by dialogue, character development, and plot twists as the notion is that gamers want action and will become bored if they have to wait through the elements listed above.
It is ironic that in films bases on games, the paring down of plot and characters in favor of a more linear setup and action often draws the wrath of critics and gamers for doing what game makers have been doing for years, letting gamers get to the goods.
In the new film Bloodrayne based on the hit game series of the same name by Majesco, Director Uwe Boll has crafted a film that explores the how and whys of the game series, focusing on the origins of the title character Rayne (Kristanna Loken), who toils as the half-human, half-vampire Dhampir in remote 18th century Romania as a freak in a traveling circus. Here ability to be burned by water yet healed by the blood of animals is a big drawing card to the circus, who has no problem exploiting her only to lock her in an animal cage when the show is over.
Unknown to Rayne, her fate is about to become entwined with a man named Vladamir (Michael Madsen), a vampire hunter and member of a secret society dedicated to eliminating the threat they pose. It is learned that the land is under the control of a powerful vampire named Kagan (Ben Kinglsey), who is seeking to locate and reunite three vampire relics in an effort to gain absolute power.
In time Rayne is brought into the order that sees her as a tool for fighting back the ever increasing army of Kagan. This movie is not met well by certain members of the group, especially Katarin (Michelle Rodriquez), who is not certain that bringing a person who is part vampire into their midst is a good idea.
Despite rising tensions and a steamy attraction to a hunter named Sebastian (Matt Davis), Rayne soon finds herself part of the group and firmly matched up against Kagan and his minions with the fate of the world in the balance.
While the film has some issues such as a thin plot and at times stiff acting and basic dialogue it is a marked improvement for Boll who has received harsh criticisms of his past works. Bloodrayne blends exotic visuals with classic gothic touches in a manner that compliments the material and is never heavy handed. The action scenes while gory are engaging and abundant, especially the inclusion of so called Boss battles that are common in video games.
While Bloodrayne has its blemishes, the film has its moments and is not nearly as bad as several mean spirited campaigns against it and Boll have suggested.
I have seen far worse films in the last 6 months such as The Cave, Into the Blue and Bewitched to name a few. As vampire films go, Bloodrayne is better than most of the horror offerings we have been inundated with in recent years less we forget “Wrong Turn” and “House of Wax”
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