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the Urbane Forager: Fruit & Nuts for Free
Book
"The perfect book for anyone wanting to launch themselves into foraging...without swapping their...
The Political Origins of Inequality: Why a More Equal World is Better for Us All
Book
Inequality is the defining issue of our time. But it is not just a problem for the rich world. It is...
Kristy H (1252 KP) rated The Stranger Behind You in Books
Jul 15, 2021
An atmospheric and twisty thriller
Reporter Joan Lurie becomes famous when her story in Manhatta exposes Globe owner Caspar Osgood as a sexual harasser. But as she returns home the night of the publication, she's attacked in her apartment. Terrified and feeling ill from a severe blow to the head, she moves to a super secure building in Manhattan, called the Refuge, to write a book that further details what she's discovered about Casper. At the Refuge, she meets her elderly neighbor, Lillian, who has lived there since it was the Magdalen Laundry and Refuge for Fallen Women in the 1940s. She becomes sucked into Lillian's stories, which often remind Joan of her own life. Meanwhile, Caspar's wife Melissa must deal with the aftermath of learning her husband is sexual predator. Soon, these women's lives will intertwine: in potentially dangerous ways.
"I'm here because four weeks ago someone tried to kill me."
This was an often confusing but incredibly intriguing book that combines the #MeToo movement with a story about wayward girls. You're never quite sure what's going on, as Joan can be an unreliable narrator (head injury + fear, anyone?), leaving one feeling very off balance for the entire book. There's a story within a story here, as Joan goes after Caspar and his transgressions, combined with Lillian's story and her past.
"What kind of person is more concerned about their hard drive than their body?"
I loved the 1940s piece, learning about Lily, the Magdalen laundry, and the Refuge when it was a home for girls. It's fascinating even while being quite sad. Joan could be a very frustrating character (just go to the doctor for your head injury and stop drinking already), but you cannot fault her reporting skills. Caspar's wife Melissa adds a certain depth to the tale, as she wrestles with what her husband has done. Telling the story from Joan and Melissa's point of view really expands what we learn. This is also an atmospheric read, with the Refuge becoming its own character, especially as we learn about its history from the 1940s on. Goodman is always excellent at setting the scene.
While I sometimes found this book frustrating, it was also a page-turner, with compelling characters and an interesting story with some great twists. 4 stars.
"I'm here because four weeks ago someone tried to kill me."
This was an often confusing but incredibly intriguing book that combines the #MeToo movement with a story about wayward girls. You're never quite sure what's going on, as Joan can be an unreliable narrator (head injury + fear, anyone?), leaving one feeling very off balance for the entire book. There's a story within a story here, as Joan goes after Caspar and his transgressions, combined with Lillian's story and her past.
"What kind of person is more concerned about their hard drive than their body?"
I loved the 1940s piece, learning about Lily, the Magdalen laundry, and the Refuge when it was a home for girls. It's fascinating even while being quite sad. Joan could be a very frustrating character (just go to the doctor for your head injury and stop drinking already), but you cannot fault her reporting skills. Caspar's wife Melissa adds a certain depth to the tale, as she wrestles with what her husband has done. Telling the story from Joan and Melissa's point of view really expands what we learn. This is also an atmospheric read, with the Refuge becoming its own character, especially as we learn about its history from the 1940s on. Goodman is always excellent at setting the scene.
While I sometimes found this book frustrating, it was also a page-turner, with compelling characters and an interesting story with some great twists. 4 stars.
Darren (1599 KP) rated Mongolian Death Worm (2010) in Movies
Oct 14, 2019
Characters – Daniel is a treasure hunter searching for the burial grounds of Genghis Khan but has made his own enemies in the land but also knows how to handle himself, he isn’t the kindest of people always doing things for money over the right reasons, Alicia is a doctor that has been helping the locals of Mongolia with a virus outbreak and she is willing to die to save these people. Timur is the sheriff that is one of the few people that enjoys the company of Daniel and understands that he is harmless at heart.
Performance – Sean Patrick Flanery does seem to have fallen from the graces where he was about to make it to the big time but he is the star of this show. Victoria Pratt is fine in the supporting role with the brains and beauty needed for the film and George Cheung gives us the laughs when needed.
Story – The story does mix myth with legend when it comes to dealing with new inhabitants to a land that must face the idea that a myth isn’t just a myth and must work together to defeat a creature in this case a Mongolian Death Worm. This is an easy to watch story as it is mostly a group of people needing to battle an unknown enemy before they take over the local area.
Action/Horror – The action is mostly chases through the film which works when it comes to the enemies the people are facing with the horror side of the movie all coming from the creature feature idea which is always a lot of fun to watch.
Settings – The film is set in Mongolia but this looks like it could be anywhere in the USA or anywhere that has dirt roads.
Special Effects – The effects are better than I was expecting but still within the budget of a TV movie.
That Moment That Annoyed Me – The film could have been filmed in any location it wouldn’t have made a difference.
Final Thoughts – This is a simple creature feature that is a lot better than what I was expecting without being one of the best creature features you will see, I do think the fact it isn’t laughably bad does hinder it though.
Overall: Solid creature feature.
Performance – Sean Patrick Flanery does seem to have fallen from the graces where he was about to make it to the big time but he is the star of this show. Victoria Pratt is fine in the supporting role with the brains and beauty needed for the film and George Cheung gives us the laughs when needed.
Story – The story does mix myth with legend when it comes to dealing with new inhabitants to a land that must face the idea that a myth isn’t just a myth and must work together to defeat a creature in this case a Mongolian Death Worm. This is an easy to watch story as it is mostly a group of people needing to battle an unknown enemy before they take over the local area.
Action/Horror – The action is mostly chases through the film which works when it comes to the enemies the people are facing with the horror side of the movie all coming from the creature feature idea which is always a lot of fun to watch.
Settings – The film is set in Mongolia but this looks like it could be anywhere in the USA or anywhere that has dirt roads.
Special Effects – The effects are better than I was expecting but still within the budget of a TV movie.
That Moment That Annoyed Me – The film could have been filmed in any location it wouldn’t have made a difference.
Final Thoughts – This is a simple creature feature that is a lot better than what I was expecting without being one of the best creature features you will see, I do think the fact it isn’t laughably bad does hinder it though.
Overall: Solid creature feature.
Sunless Sea
Games
App
LOSE YOUR MIND. EAT YOUR CREW. DIE. Failbetter’s award-winning PC game is now on iOS! Take the...
Talking Tom Bubble Shooter
Games
App
Play the exciting action-packed bubble shooter – your next favorite game from Talking Tom....
brightwheel - Early Education
Education and Social Networking
App
brightwheel is everything you need for your early education program all in one simple app. Our top...
RəX Regent (349 KP) rated Transformers: Dark of the Moon (2011) in Movies
Feb 25, 2019
Underrated
Contains spoilers, click to show
This is the third and final installment of the iconoclastic Transformers franchise. By the law of diminishing returns, this should have fallen well below the par from the excellent first outing; well, has it? The answer is a definite no. First off, it's not as good as good as Transformers, lacking much of the comedy and puerile action, but it would be on par with the Revenge Of The Fallen, which is not up to much in many critic's opinions, which was overly smashy, confused and missed some of the pacing of the first.
Dark Of the Moon carries on the tradition of complex back stories, tying in to U.S. Space Race history, this time, right back to 1962 and the inception of the Apollo programme. Here, they postulate that NASA's moon race was purely conceived to get to the Moon first to recover a massive Cybertron based space craft, which had crashed in the Moon after the final battle on the doomed Transformer planet.
At the crash site, Sentinel Prime is discovered and years later, Optimus Prime recovers him, as he was the true leader of the Autobots in their war with the Decepticons. Also, there are a collection of what are referred to as Pillars, very 3D friendly, yet still plausibly so, floating metallic rod styled devices which would play a pivotal role later. Meanwhile, Sam, Shia LaBeouf, has moved on from his Megan Fox girlfriend and has now, somewhat inexplicably, moved in with Victoria Secrets model, though in the film, she's supposed to be some form a P.A., played by the inept Rosie Huntington-Whiteley, which is simply ridiculous. This point is also brought up in the script as his own mother warns him that he would not get so lucky a third time!
The world is has now been invaded by Decepticons and Sam, along with his collection of mis-matched allies and seven remaining Autobots are all that stands between them and total destruction. Sounds like a good setup but with a typical running time 157 minutes, the plot was simply too thin to sustain itself, leading to patchy pacing and moments that begin to plod. I didn't find this to be all that bad but others felt that the word boring would more than a little apt.
You see for me, the pay off of robots beating the hell out of each other and taking the world down with them is worth the wait and the flaws in the narrative, but for others, this will not be the case. Leonard Nimoy's voice portrayal of Sentinel Prime was fine, but the constant need to remind us that it was Mr. Spock wasn't. This culminated in a completely unnecessary piece of dialogue where Sentinel reprises Spock's line from Star Trek II, "...The needs of the many, out way the needs of the few". This was a quote to far in my opinion, certainly when justifying some questionable and immoral acts...
Then there was the 3D, and what 3D it was! This finally proved that a blockbuster can be produced in 3D without sacrificing the cinematography for cynical dimensional gestures. The film looked as I would expect any 2D blockbustering actioner to look, with sweeping aerial action and objects flying towards the audience but the 3D effect only amplified this, and didn't make it. This was well conceived and I take my hats of to them. This is what 3D should look like and it was visually arresting.
Overall, the film provided all the thrills and spills that you would expect from Transformers, with acceptable acting for a film of this genre, with the gross exception of Rosie Huntington-Whiteley, who should stick to modeling and as acting or even speaking would seem to be light years beyond her. John Malkovich and Frances McDormand, deliver great cameos and bring some of the only really decent acting to the film, with the further exceptions of the returning John Turturro and the addition of Alan Tudyk, who both deliver most of the belly laughs in this outing.
It was fun but not as much fun as the previous films. DOTM was clearly trying to shift the tone and in doing so it succeeded at moving the film into a slightly darker, more action film place. This felt more like a straight forward 12 rated actioner such as Bay's other efforts, The Rock and Armageddon and a little less of the lighter more child friendly overtones of the previous two. Still, I enjoyed this and feel very strongly that the naysayers who would rate this film so lowly that you'd have to look for it in the gutter, have allowed themselves to take this way too seriously.
Is this the end of for Transformers? I hope so, but the door is still open and with the vast profits that it's already made, Transformers 4 could be just around the next corner. If that's the case, it is not what i would prefer, feeling that they've gone as far as they came but I would certainly run out to watch it!
Dark Of the Moon carries on the tradition of complex back stories, tying in to U.S. Space Race history, this time, right back to 1962 and the inception of the Apollo programme. Here, they postulate that NASA's moon race was purely conceived to get to the Moon first to recover a massive Cybertron based space craft, which had crashed in the Moon after the final battle on the doomed Transformer planet.
At the crash site, Sentinel Prime is discovered and years later, Optimus Prime recovers him, as he was the true leader of the Autobots in their war with the Decepticons. Also, there are a collection of what are referred to as Pillars, very 3D friendly, yet still plausibly so, floating metallic rod styled devices which would play a pivotal role later. Meanwhile, Sam, Shia LaBeouf, has moved on from his Megan Fox girlfriend and has now, somewhat inexplicably, moved in with Victoria Secrets model, though in the film, she's supposed to be some form a P.A., played by the inept Rosie Huntington-Whiteley, which is simply ridiculous. This point is also brought up in the script as his own mother warns him that he would not get so lucky a third time!
The world is has now been invaded by Decepticons and Sam, along with his collection of mis-matched allies and seven remaining Autobots are all that stands between them and total destruction. Sounds like a good setup but with a typical running time 157 minutes, the plot was simply too thin to sustain itself, leading to patchy pacing and moments that begin to plod. I didn't find this to be all that bad but others felt that the word boring would more than a little apt.
You see for me, the pay off of robots beating the hell out of each other and taking the world down with them is worth the wait and the flaws in the narrative, but for others, this will not be the case. Leonard Nimoy's voice portrayal of Sentinel Prime was fine, but the constant need to remind us that it was Mr. Spock wasn't. This culminated in a completely unnecessary piece of dialogue where Sentinel reprises Spock's line from Star Trek II, "...The needs of the many, out way the needs of the few". This was a quote to far in my opinion, certainly when justifying some questionable and immoral acts...
Then there was the 3D, and what 3D it was! This finally proved that a blockbuster can be produced in 3D without sacrificing the cinematography for cynical dimensional gestures. The film looked as I would expect any 2D blockbustering actioner to look, with sweeping aerial action and objects flying towards the audience but the 3D effect only amplified this, and didn't make it. This was well conceived and I take my hats of to them. This is what 3D should look like and it was visually arresting.
Overall, the film provided all the thrills and spills that you would expect from Transformers, with acceptable acting for a film of this genre, with the gross exception of Rosie Huntington-Whiteley, who should stick to modeling and as acting or even speaking would seem to be light years beyond her. John Malkovich and Frances McDormand, deliver great cameos and bring some of the only really decent acting to the film, with the further exceptions of the returning John Turturro and the addition of Alan Tudyk, who both deliver most of the belly laughs in this outing.
It was fun but not as much fun as the previous films. DOTM was clearly trying to shift the tone and in doing so it succeeded at moving the film into a slightly darker, more action film place. This felt more like a straight forward 12 rated actioner such as Bay's other efforts, The Rock and Armageddon and a little less of the lighter more child friendly overtones of the previous two. Still, I enjoyed this and feel very strongly that the naysayers who would rate this film so lowly that you'd have to look for it in the gutter, have allowed themselves to take this way too seriously.
Is this the end of for Transformers? I hope so, but the door is still open and with the vast profits that it's already made, Transformers 4 could be just around the next corner. If that's the case, it is not what i would prefer, feeling that they've gone as far as they came but I would certainly run out to watch it!
Movie Metropolis (309 KP) rated The Meg (2018) in Movies
Jun 10, 2019
Jurassic Shark
Ah the shark attack movie. A genre that has over the years changed itself from impactful horror suspense thriller to cheesy, throwaway popcorn entertainment. Apart from when Steven Spielberg changed cinema forever with his 1975 masterpiece, Jaws, audiences have been given few treats in the decades that followed.
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/