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Lottie disney bookworm (1056 KP) rated The Odd Sisters: A Villains Novel (Villains #6) in Books
May 16, 2020
The Odd Sisters is the latest addition to the Disney Villains collection written by Serena Valentino. In truth I read this as soon as it came out but I have been so slow with my reviews that I am now looking forward to the next instalment this summer which focuses on the formidable Cruella De Vil.
As you may expect, the Odd Sisters focuses on the three witches whom we have come to recognise from every novel in the villain’s collection. When we left the sisters, they were trapped in the dreamscape; punished by Circe for the roles they had played in creating and revelling in the misfortune of others. This novel leads directly on from ‘Mother Knows Best’, with Circe scouring journals alongside Snow, revealing more and more of the story behind the sisters and their madness.
This is the one review of Serena’s novels that I have really struggled to write. Not because the book is not good! The story itself ties up all the loose ends from ‘Mother Knows Best’ but still leaves room for character development in the form of Tulip and Popinjay who have embarked upon their own adventure: I am sure it is not the last we will hear from them.
My struggles lie in not spoiling the story for a potential reader. This is one story which you just have to experience and read in the correct order! There is an established order for a reason people! Serena Valentino does not write and release these books on a whim- you must pay attention!
A unique characteristic of this novel is the addition of illustrations. The cover art for the series of villain tales is arguably iconic, yet, this is the first book which has included internal illustrations. These illustrations are beautiful as standalone drawings but they also bring a level of humanity to the Odd Sisters: quite apt, as this is the story which explains how they came to be so inhuman in their behaviour and values.
The inclusion of illustrations also allows the seamless addition of the sisters’ journal which eager readers have fallen on and devoured for clues of future villain tales. Later Serena Valentino herself (@blackbirdpirate) would reveal on Instagram that one fan had deduced these clues perfectly, leading us to expect upcoming tales from the likes of Lady Tremaine, Hades and the Shadowman.
‘The Odd Sisters’, although obviously centering around the three witches, seems to bend to Snow White as the main character in the tale. Snow’s journey concludes in this novel, finally allowing her to end her-frankly unhealthy- relationship with her stepmother. It also transpires that the odd sisters’ journey into madness began with Snow…but you will have to read the book to find out how.
Despite being significantly different from the previous villain tales, Valentino continues to keep us gripped with this almost cathartic novel. In tying up the loose ends such as the significance of the teacups (that has been bugging me for ages!), Valentino is able to build suspense in Circe’s journey and focus on dropping teasers for where the books will lead next. I for one, cannot wait to find out.
As you may expect, the Odd Sisters focuses on the three witches whom we have come to recognise from every novel in the villain’s collection. When we left the sisters, they were trapped in the dreamscape; punished by Circe for the roles they had played in creating and revelling in the misfortune of others. This novel leads directly on from ‘Mother Knows Best’, with Circe scouring journals alongside Snow, revealing more and more of the story behind the sisters and their madness.
This is the one review of Serena’s novels that I have really struggled to write. Not because the book is not good! The story itself ties up all the loose ends from ‘Mother Knows Best’ but still leaves room for character development in the form of Tulip and Popinjay who have embarked upon their own adventure: I am sure it is not the last we will hear from them.
My struggles lie in not spoiling the story for a potential reader. This is one story which you just have to experience and read in the correct order! There is an established order for a reason people! Serena Valentino does not write and release these books on a whim- you must pay attention!
A unique characteristic of this novel is the addition of illustrations. The cover art for the series of villain tales is arguably iconic, yet, this is the first book which has included internal illustrations. These illustrations are beautiful as standalone drawings but they also bring a level of humanity to the Odd Sisters: quite apt, as this is the story which explains how they came to be so inhuman in their behaviour and values.
The inclusion of illustrations also allows the seamless addition of the sisters’ journal which eager readers have fallen on and devoured for clues of future villain tales. Later Serena Valentino herself (@blackbirdpirate) would reveal on Instagram that one fan had deduced these clues perfectly, leading us to expect upcoming tales from the likes of Lady Tremaine, Hades and the Shadowman.
‘The Odd Sisters’, although obviously centering around the three witches, seems to bend to Snow White as the main character in the tale. Snow’s journey concludes in this novel, finally allowing her to end her-frankly unhealthy- relationship with her stepmother. It also transpires that the odd sisters’ journey into madness began with Snow…but you will have to read the book to find out how.
Despite being significantly different from the previous villain tales, Valentino continues to keep us gripped with this almost cathartic novel. In tying up the loose ends such as the significance of the teacups (that has been bugging me for ages!), Valentino is able to build suspense in Circe’s journey and focus on dropping teasers for where the books will lead next. I for one, cannot wait to find out.
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Paul Kellett (118 KP) rated Fallen Land: A Post Apocalyptic Board Game in Tabletop Games
May 9, 2019
Great theme, very immersive (2 more)
Solo playable
Plenty of replayability
A bit fiddly to keep track of things (1 more)
A lot of little rules to remember
An Immersive Post Apocalyptic survival game
I don't know where I was when this launched on Kickstarter, but it totally passed me by until I started seeing a few posts on Facebook groups a couple of weeks ago. My interest was piqued and after watching a few videos and reading the reviews here, I took the plunge and ordered it from Fallen Dominion Studios. I got the base came and the expansion which adds more cards, rules for an epic 6 player game as well as 2 solo variants. Delivery to the UK was super quick, about 10 days and the shipping price was good.
On first opening the box, you are greeted with a few punchboards, the game board and a ton of cards, there is a lot contained in such a small box.
After punching and organising everything, I read the rules, painted the little plastic faction tokens and made some character inventory sleeves to help keep the play area neat.
The rules are really well written and easy to follow & understand with plenty of examples and pictures. there is a helpful index on the inside back page so you can quickly find anything you need mid-game.
The first solo variant is basically just a "reach the victory point win in as few turns as possible" - a great way to quickly learn the basics of the game and very enjoyable. It will be good if you just want to play a fairly quick (60-90 minute) survival/exploration game.
The second solo rule set is where the game really kicks into high gear. You choose a number of opponent factions depending on how much of a challenge you want and during the Town Business Phase, roll a D10 for each faction, comparing the result to a chart in the book to see what each faction does. these results can boost each faction up one or both of the victory point tracks (getting to the top of either one is a win) or more importantly, initiating PvP combat against your faction.
While this is still not the same as playing against real opponents, it offers a great challenge that will test your luck and skill to beat.
So what sets this game out as a solo gem? It's one of the most immersive games I've played. It's part open-world survival boardgame, part rpg and part story book.
You are the leader of a faction of survivors following a devastating war that destroyed the US leaving pockets of survivors trying to eke out a living among the radioactive ruins. As you make your way around the map, trying to secure vital resources or checking out points of interest, you will be drawing encounter cards and trying to complete them.
You control a team of 5 characters plus a vehicle if you are lucky and start the game with 10 items (from assault rifles to baseball bats, med kits to body armour and everything in between) which you can equip to each character any way you see fit. Some characters will get a bonus if they have certain items and some items can grant boosts to your entire party.
Here is where the RPG feel comes in. Each character and Item has a row of skill attribute boxes along the bottom edge of the card with skills such as Combat, Survival, Medical, Mechanics and Diplomacy. Your character card has a maximum carrying capacity and each item a weight so your character can only carry a certain number of items.
Skill checks are simple, you add up the total values in each attribute column of your character plus his/her equipment. Every 10 is an automatic success. Then you roll a D10 and must roll equal to or lower than the unit value. So, if your combat total is 14, then you get 1 success for the 10 and then must roll 4 or less to get a second success. This makes equipping items very important as not only do you want your skills to be as high as possible, it's often preferable to store an item for later if it would result in a lower unit thus making the die roll harder.
On to the encounters. There are a lot of them. Seriously, loads and each one on them has a mini story delving into another aspect of life after 'the war'. These add so much to the feeling of being immersed in a full world and are varied and well written. Each encounter will list a series of skill checks and the number of successes you need to pass. This is Ameritrash at it's finest Read a story, roll a bunch of dice and the deal with the outcome. A successful result will see you off with a new stash of items, victory points or maybe even new characters you can rotate into your team to replace injured members or just improve your chances with better skills.
There is so much in this game, the sheer number of cards is immense. the replayability is sky high as you will never see everything this game can offer. There are character combinations that complement each other if used together (what are the chances of drawing a husband and his wife together out of a deck of over 100 cards?), locations and storylines that trigger bonus effects if you have the right gear and 10 different factions each with their own skills and bonuses.
This game is certainly not for everyone - if you don't like luck-based games then you might not enjoy the amount of dice rolling and card drawing in Fallen Land.
The art is also divisive. It's very stylized and cartoony but it works with the feel of the game. It's not a pretty experience, everything is broken and destroyed, it's a harsh, Mad Max world of brutal survival and the art on the cards kind of fits this feel and to be honest, most of it ends up covered up and you concentrate more on reading the stories and trying to survive.
All in all a great so experience and a fantastic, brutal multiplayer game.
On first opening the box, you are greeted with a few punchboards, the game board and a ton of cards, there is a lot contained in such a small box.
After punching and organising everything, I read the rules, painted the little plastic faction tokens and made some character inventory sleeves to help keep the play area neat.
The rules are really well written and easy to follow & understand with plenty of examples and pictures. there is a helpful index on the inside back page so you can quickly find anything you need mid-game.
The first solo variant is basically just a "reach the victory point win in as few turns as possible" - a great way to quickly learn the basics of the game and very enjoyable. It will be good if you just want to play a fairly quick (60-90 minute) survival/exploration game.
The second solo rule set is where the game really kicks into high gear. You choose a number of opponent factions depending on how much of a challenge you want and during the Town Business Phase, roll a D10 for each faction, comparing the result to a chart in the book to see what each faction does. these results can boost each faction up one or both of the victory point tracks (getting to the top of either one is a win) or more importantly, initiating PvP combat against your faction.
While this is still not the same as playing against real opponents, it offers a great challenge that will test your luck and skill to beat.
So what sets this game out as a solo gem? It's one of the most immersive games I've played. It's part open-world survival boardgame, part rpg and part story book.
You are the leader of a faction of survivors following a devastating war that destroyed the US leaving pockets of survivors trying to eke out a living among the radioactive ruins. As you make your way around the map, trying to secure vital resources or checking out points of interest, you will be drawing encounter cards and trying to complete them.
You control a team of 5 characters plus a vehicle if you are lucky and start the game with 10 items (from assault rifles to baseball bats, med kits to body armour and everything in between) which you can equip to each character any way you see fit. Some characters will get a bonus if they have certain items and some items can grant boosts to your entire party.
Here is where the RPG feel comes in. Each character and Item has a row of skill attribute boxes along the bottom edge of the card with skills such as Combat, Survival, Medical, Mechanics and Diplomacy. Your character card has a maximum carrying capacity and each item a weight so your character can only carry a certain number of items.
Skill checks are simple, you add up the total values in each attribute column of your character plus his/her equipment. Every 10 is an automatic success. Then you roll a D10 and must roll equal to or lower than the unit value. So, if your combat total is 14, then you get 1 success for the 10 and then must roll 4 or less to get a second success. This makes equipping items very important as not only do you want your skills to be as high as possible, it's often preferable to store an item for later if it would result in a lower unit thus making the die roll harder.
On to the encounters. There are a lot of them. Seriously, loads and each one on them has a mini story delving into another aspect of life after 'the war'. These add so much to the feeling of being immersed in a full world and are varied and well written. Each encounter will list a series of skill checks and the number of successes you need to pass. This is Ameritrash at it's finest Read a story, roll a bunch of dice and the deal with the outcome. A successful result will see you off with a new stash of items, victory points or maybe even new characters you can rotate into your team to replace injured members or just improve your chances with better skills.
There is so much in this game, the sheer number of cards is immense. the replayability is sky high as you will never see everything this game can offer. There are character combinations that complement each other if used together (what are the chances of drawing a husband and his wife together out of a deck of over 100 cards?), locations and storylines that trigger bonus effects if you have the right gear and 10 different factions each with their own skills and bonuses.
This game is certainly not for everyone - if you don't like luck-based games then you might not enjoy the amount of dice rolling and card drawing in Fallen Land.
The art is also divisive. It's very stylized and cartoony but it works with the feel of the game. It's not a pretty experience, everything is broken and destroyed, it's a harsh, Mad Max world of brutal survival and the art on the cards kind of fits this feel and to be honest, most of it ends up covered up and you concentrate more on reading the stories and trying to survive.
All in all a great so experience and a fantastic, brutal multiplayer game.
Movie Metropolis (309 KP) rated Geostorm (2017) in Movies
Jun 10, 2019
The 90's are back
I’ve got to start by telling you I wasn’t holding out much hope for Geostorm and that’s for quite a few reasons. Firstly, Gerard Butler’s career has been on a bit of a slide recently.
Last year was particularly rough for the Scotsman, with London Has Fallen and Gods of Egypt receiving less than 2 stars here at Movie Metropolis. Secondly, Geostorm has had one of the most turbulent productions of any blockbuster in recent memory.
It actually completed main shooting in 2014 but after a negative audience reaction, it’s release date was pushed back numerous times and costly reshoots were drafted in to sort out the presumed mess. Now, in Autumn 2017 it’s arrived. But what’s it like?
After an unprecedented series of natural disasters, the world’s leaders banded together to create an intricate net of satellites to control the global climate and keep people safe. But now, something is wrong: the system built to protect the planet is attacking it, and it becomes a race against the clock to uncover the real threat before a worldwide geostorm wipes out everything and everyone along with it.
Sounding like something straight from the SyFy channel, Geostorm’s premise is utterly ridiculous but disaster movies have never been particularly well-known for their deep, meaningful and accurate storylines. In fact, some of the very best films in the genre, Deep Impact, Armageddon, Volcano wrestled with significant plot holes – audiences don’t care about that when they can watch the planet getting destroyed.
Morbid, right? Most definitely, but the same applies here. The special effects are so darn good, as a tidal wave obliterates Dubai, and the action interspersed at the right intervals, that the lack of cohesive plot and at times hideous and expositional dialogue really doesn’t matter.
The cinematography by director Dean Devlin (in his first feature film) is really rather good. It’s not ground-breaking but considering 95% of the movie is CGI, he works with green screen well and the script’s twists and turns make it a damn sight more interesting than the majority of 2017’s blockbusters.
“Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully.”
Gerard Butler is actually very decent, but there is a lot more talent on offer here than you would first expect. Ed Harris is always dependable and Andy Garcia plays a President similar to Morgan Freeman’s turn in 1998s Deep Impact. It’s cheesier than a Dairylea triangle, but that’s exactly how disaster films are meant to be.
Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully. Dante’s Peak, Earthquake and Volcano can all be felt here. It takes itself a lot less seriously than 2015’s San Andreas, and has a decent sense of humour to boot.
The scenes on-board the International Space Station are a little dull and to be fair, for a film titled Geostorm, there could be a little more ‘storming’ going on, but it’s a fun, throwaway film that requires nothing but your mind to switch off.
Overall, despite a ridiculously turbulent birth, Geostorm is an honest film. Sure, it’s premise is plagued by plot inconsistencies and the characters aren’t fleshed out enough for us to care about their fates, but it’s a rollercoaster ride of special effects and disaster, which I’m not ashamed to say, I really enjoyed.
https://moviemetropolis.net/2017/10/21/geostorm-review/
Last year was particularly rough for the Scotsman, with London Has Fallen and Gods of Egypt receiving less than 2 stars here at Movie Metropolis. Secondly, Geostorm has had one of the most turbulent productions of any blockbuster in recent memory.
It actually completed main shooting in 2014 but after a negative audience reaction, it’s release date was pushed back numerous times and costly reshoots were drafted in to sort out the presumed mess. Now, in Autumn 2017 it’s arrived. But what’s it like?
After an unprecedented series of natural disasters, the world’s leaders banded together to create an intricate net of satellites to control the global climate and keep people safe. But now, something is wrong: the system built to protect the planet is attacking it, and it becomes a race against the clock to uncover the real threat before a worldwide geostorm wipes out everything and everyone along with it.
Sounding like something straight from the SyFy channel, Geostorm’s premise is utterly ridiculous but disaster movies have never been particularly well-known for their deep, meaningful and accurate storylines. In fact, some of the very best films in the genre, Deep Impact, Armageddon, Volcano wrestled with significant plot holes – audiences don’t care about that when they can watch the planet getting destroyed.
Morbid, right? Most definitely, but the same applies here. The special effects are so darn good, as a tidal wave obliterates Dubai, and the action interspersed at the right intervals, that the lack of cohesive plot and at times hideous and expositional dialogue really doesn’t matter.
The cinematography by director Dean Devlin (in his first feature film) is really rather good. It’s not ground-breaking but considering 95% of the movie is CGI, he works with green screen well and the script’s twists and turns make it a damn sight more interesting than the majority of 2017’s blockbusters.
“Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully.”
Gerard Butler is actually very decent, but there is a lot more talent on offer here than you would first expect. Ed Harris is always dependable and Andy Garcia plays a President similar to Morgan Freeman’s turn in 1998s Deep Impact. It’s cheesier than a Dairylea triangle, but that’s exactly how disaster films are meant to be.
Geostorm channels those brilliantly camp disaster movies from the 80s and 90s beautifully. Dante’s Peak, Earthquake and Volcano can all be felt here. It takes itself a lot less seriously than 2015’s San Andreas, and has a decent sense of humour to boot.
The scenes on-board the International Space Station are a little dull and to be fair, for a film titled Geostorm, there could be a little more ‘storming’ going on, but it’s a fun, throwaway film that requires nothing but your mind to switch off.
Overall, despite a ridiculously turbulent birth, Geostorm is an honest film. Sure, it’s premise is plagued by plot inconsistencies and the characters aren’t fleshed out enough for us to care about their fates, but it’s a rollercoaster ride of special effects and disaster, which I’m not ashamed to say, I really enjoyed.
https://moviemetropolis.net/2017/10/21/geostorm-review/
Movie Metropolis (309 KP) rated The Snowman (2017) in Movies
Jun 10, 2019
No, not that one
Nordic noir is big business at the moment, but with the incredible scenery of the locations lending themselves perfectly to film, is there any wonder?
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/
Movie Metropolis (309 KP) rated Bridget Jones's Baby (2016) in Movies
Jun 11, 2019
No Big Bloomers?
Bridget Jones’s Diary is a classic example of the perfect British rom-com. Upon its release in 2001, yes 15 years ago, it catapulted Renée Zellweger into the public eye and made household names of its other stars.
Its sequel, The Edge of Reason, on the other hand was a dramatic fall from grace, with a lowly 27% approval rating on Rotten Tomatoes. Since then, the series has fallen into a dormant state with talks of another sequel doing the rounds since as early as 2004.
Fast-forward 12 years and the prayers of fans the world over have finally been answered. However, the comedy genre has moved on from the warm, fuzzy rom-coms of the past and in its place are the foul-mouthed female-led films of the present. But does Bridget Jones’s Baby get the balance right? Or is it a good decade too late?
Breaking up with Mark Darcy (Colin Firth) leaves Bridget Jones (Renée Zellweger) over 40 and single again. Feeling that she has everything under control, Jones decides to focus on her career as a top news producer. Suddenly, her love life comes back from the dead when she meets a handsome American named Jack (Patrick Dempsey). Things couldn’t be better, until Bridget discovers that she is pregnant. From then on, the befuddled mum-to-be must figure out if the proud dad is Mark or Jack.
The casting choices throughout the film are spot on and it’s a pleasure to see Colin Firth back on the big screen. His quintessentially British persona has been a highlight of both previous films and it’s no exception here. Patrick Dempsey’s turn as the dashing American stallion is sheer perfection and both he and Firth remain intensely likeable as the movie progresses, despite their obvious flaws.
Of course, praise must go to Renée Zellweger who, despite 12 years in between filming, manages to channel that iconic character like it was yesterday. She may look different to how we all remember her, but as soon as she speaks, it’s impossible not to feel at home.
Elsewhere, Emma Thompson, Jim Broadbent and Celia Imrie all pop up from time to time with the former providing Bridget Jones’s Baby with some of its best comedic moments. Her character is sharp and very well written indeed.
It would be very easy to go picking around the plot; criticising its blatant lack of originality, but that’s not what director Sharon Maguire was aiming for. Instead, she cleverly crafts a film that remains faithful to its predecessors, all the while introducing a new generation of comedy fans to the titular character.
What does this mean? Well, it toes the line quite well between the heart-warming qualities of the original and the over-the-top hilarity of films like Bridesmaids and Spy. This may not sit well with some die-hard fans of the series, but it’s sure to be a winner for the more modern movie-goer.
Overall, Bridget Jones’s Baby is better than it ever had the right to be. It’s nostalgic, beautifully sweet, ridiculous, over-the-top and quite frankly, absolutely hilarious. I haven’t laughed that much in years, it’s a must see for fans and newcomers alike.
https://moviemetropolis.net/2016/09/17/no-big-bloomers-bridget-joness-baby-review/
Its sequel, The Edge of Reason, on the other hand was a dramatic fall from grace, with a lowly 27% approval rating on Rotten Tomatoes. Since then, the series has fallen into a dormant state with talks of another sequel doing the rounds since as early as 2004.
Fast-forward 12 years and the prayers of fans the world over have finally been answered. However, the comedy genre has moved on from the warm, fuzzy rom-coms of the past and in its place are the foul-mouthed female-led films of the present. But does Bridget Jones’s Baby get the balance right? Or is it a good decade too late?
Breaking up with Mark Darcy (Colin Firth) leaves Bridget Jones (Renée Zellweger) over 40 and single again. Feeling that she has everything under control, Jones decides to focus on her career as a top news producer. Suddenly, her love life comes back from the dead when she meets a handsome American named Jack (Patrick Dempsey). Things couldn’t be better, until Bridget discovers that she is pregnant. From then on, the befuddled mum-to-be must figure out if the proud dad is Mark or Jack.
The casting choices throughout the film are spot on and it’s a pleasure to see Colin Firth back on the big screen. His quintessentially British persona has been a highlight of both previous films and it’s no exception here. Patrick Dempsey’s turn as the dashing American stallion is sheer perfection and both he and Firth remain intensely likeable as the movie progresses, despite their obvious flaws.
Of course, praise must go to Renée Zellweger who, despite 12 years in between filming, manages to channel that iconic character like it was yesterday. She may look different to how we all remember her, but as soon as she speaks, it’s impossible not to feel at home.
Elsewhere, Emma Thompson, Jim Broadbent and Celia Imrie all pop up from time to time with the former providing Bridget Jones’s Baby with some of its best comedic moments. Her character is sharp and very well written indeed.
It would be very easy to go picking around the plot; criticising its blatant lack of originality, but that’s not what director Sharon Maguire was aiming for. Instead, she cleverly crafts a film that remains faithful to its predecessors, all the while introducing a new generation of comedy fans to the titular character.
What does this mean? Well, it toes the line quite well between the heart-warming qualities of the original and the over-the-top hilarity of films like Bridesmaids and Spy. This may not sit well with some die-hard fans of the series, but it’s sure to be a winner for the more modern movie-goer.
Overall, Bridget Jones’s Baby is better than it ever had the right to be. It’s nostalgic, beautifully sweet, ridiculous, over-the-top and quite frankly, absolutely hilarious. I haven’t laughed that much in years, it’s a must see for fans and newcomers alike.
https://moviemetropolis.net/2016/09/17/no-big-bloomers-bridget-joness-baby-review/
Nicole Hadley (380 KP) rated Upon a Spring Breeze (Every Amish Season, #1) in Books
Jun 18, 2018
Upon a Spring Breeze by Kelly Irvin is a beautiful, emotional Amish book. At 20 years old Bess is newly married and pregnant, life couldn't get better. Then, as she's making stew for her husband one evening she get's the news of his death. After her son is born he looks just like her late husband and coupled with her exhaustion and her babies colic she has a very hard time dealing with it. Her hormones are out of whack because she has postpartum depression and doesn't realize it. She feels like a total failure with things. Her mother-in law has dementia and thinks Bess's baby is her son who passed away and tries to care for him which just adds to Bess's stress. Bess takes a job at a Bed and Breakfast Inn close by and the son of the owner falls for her. he is an Englisher. She now has two men that have fallen for her, Dusty the Englisher and Aidan, who was her husbands best friend since childhood. Aidan has been in love with her since childhood but she married his best friend. He still carries the strong feelings for her.
Aidan, Caleb and Bess’ best friend since childhood, does his best to repress his guilt over Caleb’s passing. Try as he might, he blames himself for sending him into town that tragic day. He promises on Caleb’s dying breath to watch over Bess and their unborn child. He tries to make that a reality but his long standing feelings for Bess start to get in the way.
Bess tries to find her way working in a B and B in town. When the rumor mill runs wild with stories of her and the English owner’s son, she has to begin to face reality instead of living in her own world of grief. She soon learns to rely on a group of widows in her community. The guidance and love that they giver her along with Aiden’s unyielding support soon give Bess hope that there might be a future for her and young Joshua after all.
Kelly really has a way with bringing her characters to life. The reader is quickly drawn in as the characters are so easy to identify with and root for in their quest for happiness. I really enjoyed the many strong female voices in the book. The group of supporting widows that reached out to young Bess was easy to connect with and understand their loss and struggle with their own stories. Even though at first I was not a Mattie fan, my heart began to ache for her and the fact that Soloman left his wife’s dementia untreated for so long. The author did an excellent job delicately working Mattie’s tale into the story, although I hoped that in the epilogue she would have found treatment and possibly have recovered.
Kelly Irvin's writing is easy to follow. Intriguing, clean, and charming. The charcaters are believable. Their life situations are realistic. I was able to connect with both characters. Loss, grief, love, and faith are themes commonly found on every page.
I received an ARC from Thomas Nelson and Zondervan via NetGalley in exchange for an honest review.
Aidan, Caleb and Bess’ best friend since childhood, does his best to repress his guilt over Caleb’s passing. Try as he might, he blames himself for sending him into town that tragic day. He promises on Caleb’s dying breath to watch over Bess and their unborn child. He tries to make that a reality but his long standing feelings for Bess start to get in the way.
Bess tries to find her way working in a B and B in town. When the rumor mill runs wild with stories of her and the English owner’s son, she has to begin to face reality instead of living in her own world of grief. She soon learns to rely on a group of widows in her community. The guidance and love that they giver her along with Aiden’s unyielding support soon give Bess hope that there might be a future for her and young Joshua after all.
Kelly really has a way with bringing her characters to life. The reader is quickly drawn in as the characters are so easy to identify with and root for in their quest for happiness. I really enjoyed the many strong female voices in the book. The group of supporting widows that reached out to young Bess was easy to connect with and understand their loss and struggle with their own stories. Even though at first I was not a Mattie fan, my heart began to ache for her and the fact that Soloman left his wife’s dementia untreated for so long. The author did an excellent job delicately working Mattie’s tale into the story, although I hoped that in the epilogue she would have found treatment and possibly have recovered.
Kelly Irvin's writing is easy to follow. Intriguing, clean, and charming. The charcaters are believable. Their life situations are realistic. I was able to connect with both characters. Loss, grief, love, and faith are themes commonly found on every page.
I received an ARC from Thomas Nelson and Zondervan via NetGalley in exchange for an honest review.
My rating 3.5
<i>I received this book for free through Goodreads First Reads.</i>
Written by the English Pen Award winner Laia Jufresa (and excellently translated by Sophie Hughes) <i>Umami</i> is a story of the troubled lives of a small community in Mexico as they go through various stages of grief. What this story reveals is that everyone deals with heartache in his or her own personal way, however the things they do can affect everyone around them.
Set in Belldrop Mews, Mexico City, five characters give an account of their own experiences over a five-year period, which when combined together produce an overview of life within the mews. Firstly there is Ana (2004), a preteen determined to plant her own garden in the depressing back yard of her family home. Despite her steps to do something positive, she and her family are still mourning the death of her little sister Luz who drowned a few years ago. The second perspective comes from Marina Mendoza (2003), a young adult artist suffering from an eating disorder whilst dealing with memories of her childhood.
Alfonso, the aging owner of the mews, begins his story in 2002 a couple of years after the death of his wife. Previously he was an anthropologist obsessed with the concept of <i>umami</i>, a Japanese word meaning <i>“a savory taste; one of the five basic tastes.”</i> He is an old soul that has fallen into depression, feeling, like Ana, a misfit. The final two narrators are young girls: Pina (2001) who is Ana’s best friend, and Luz (2000), Ana’s five year old sister shortly before she died. Both speak of loneliness as they look at the world through childishly naïve eyes. Pina is suffering the effects of her parents’ constant fighting, whereas Luz is crying out for attention from her family who will not let her join in the “big girl” activities.
<i>Umami</i> may not be a happy book but it has a very powerful voice. None of the characters have yet completely recovered from their experiences however they are all (barring Luz) making positive progress. Without knowing it, each member of the Belldrop Mews community is encouraging the rest as they drag themselves out from the depths of their despair – some by aspiring to be like another, and others listening to what their neighbours are telling them.
The message of this story is about the benefits of a community. Whether big or small, being within a group of people can prevent you from wallowing in your dark feelings and begin to continue with your life instead. This is something that the world at large would profit from.
The unconventional style of <i>Umami</i> may not be agreeable with some readers due to its lack of a clear beginning, middle and end. In fact it does not have a conclusion at all, leaving nothing fully resolved. Yet Jufresa did not intend it to end “happily ever after,” real life is not like that; but what is true is that with time and exposure to positive relationships things can get better.
The aspect preventing a higher rating is the occasional allusion to sexual content, especially from the mouths of girls too young to fully understand the concept. This was uncomfortable to read, however thankfully the majority of the novel was free of unpleasant imagery. <i>Umami</i> is down to earth, relatable and moving; Laia Jufresa is definitely an author to watch.
<i>I received this book for free through Goodreads First Reads.</i>
Written by the English Pen Award winner Laia Jufresa (and excellently translated by Sophie Hughes) <i>Umami</i> is a story of the troubled lives of a small community in Mexico as they go through various stages of grief. What this story reveals is that everyone deals with heartache in his or her own personal way, however the things they do can affect everyone around them.
Set in Belldrop Mews, Mexico City, five characters give an account of their own experiences over a five-year period, which when combined together produce an overview of life within the mews. Firstly there is Ana (2004), a preteen determined to plant her own garden in the depressing back yard of her family home. Despite her steps to do something positive, she and her family are still mourning the death of her little sister Luz who drowned a few years ago. The second perspective comes from Marina Mendoza (2003), a young adult artist suffering from an eating disorder whilst dealing with memories of her childhood.
Alfonso, the aging owner of the mews, begins his story in 2002 a couple of years after the death of his wife. Previously he was an anthropologist obsessed with the concept of <i>umami</i>, a Japanese word meaning <i>“a savory taste; one of the five basic tastes.”</i> He is an old soul that has fallen into depression, feeling, like Ana, a misfit. The final two narrators are young girls: Pina (2001) who is Ana’s best friend, and Luz (2000), Ana’s five year old sister shortly before she died. Both speak of loneliness as they look at the world through childishly naïve eyes. Pina is suffering the effects of her parents’ constant fighting, whereas Luz is crying out for attention from her family who will not let her join in the “big girl” activities.
<i>Umami</i> may not be a happy book but it has a very powerful voice. None of the characters have yet completely recovered from their experiences however they are all (barring Luz) making positive progress. Without knowing it, each member of the Belldrop Mews community is encouraging the rest as they drag themselves out from the depths of their despair – some by aspiring to be like another, and others listening to what their neighbours are telling them.
The message of this story is about the benefits of a community. Whether big or small, being within a group of people can prevent you from wallowing in your dark feelings and begin to continue with your life instead. This is something that the world at large would profit from.
The unconventional style of <i>Umami</i> may not be agreeable with some readers due to its lack of a clear beginning, middle and end. In fact it does not have a conclusion at all, leaving nothing fully resolved. Yet Jufresa did not intend it to end “happily ever after,” real life is not like that; but what is true is that with time and exposure to positive relationships things can get better.
The aspect preventing a higher rating is the occasional allusion to sexual content, especially from the mouths of girls too young to fully understand the concept. This was uncomfortable to read, however thankfully the majority of the novel was free of unpleasant imagery. <i>Umami</i> is down to earth, relatable and moving; Laia Jufresa is definitely an author to watch.
Gareth von Kallenbach (980 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Jun 19, 2019
Attempting to continue the phenomenal literary and cinematic successes of the Harry Potter series of books and films is a daunting task for anyone to undertake. Even when series creator J.K. Rowling Rowling is involved, many would shy away from such a monumental taak.
However when you consider the books, movies, and merchandise have become a billion dollar industry and that rabid fans cannot get enough of the word that Rowlings created, it is not surprising that Rowlings and Warner Brothers have created a new cinematic series inspired by a story contained within the original book series.
In “Fantastic Beasts and Where to Find Them”, audiences are introduced to Newt Scamander (Eddie Redmayne), who is just embarking on his adventures which will later be turned into books that Harry and his friends will read some seventy years onward.
Set in 1926 New York amongst the secret community of wizards and witches; the film follows the arrival of Newt in America as he has come with a suitcase filled with magical creatures. When a non-magic user named Jacob Kowalski (Dan Fogler), accidentally mistakes the suitcase for his own and unleashes some of the creatures, chaos follows.
The timing of this mishap could not be worse for the magic community as magic users have lived in secret and the arrival of Nate and his creatures threatens to expose them and make a bad situational even worse. Further complicating matters are a series of events that have caused destruction in the city which has given rise to a group who are convinced that witches are amongst them and must be destroyed at all cost.
Being an unregistered magic user; Newt, is soon taken in by an agent in New York named Porpentina Goldstein (Katherine Waterston), who herself has fallen out of favor within her community of magic users. In time; Newt is taken into custody by Percival Graves (Collin Farrell), who not only seems to have a disdain for Newt, but is working with a member of the anti-witch group for his own ambitions.
Newt and his friends soon find themselves on the run as they attempt to gather the missing creatures and get to the bottom of a much bigger and more dangerous menace that threatens their community as well as the people of New York. What follows is a journey filled with magic, comedy, and danger that will delight fans.
The film is a pure delight and the Potter magic has continued in this highly-entertaining new series. The cast and characters are very enjoyable and the visual magic is wonderful to behold.
The story is filled with charm and humor but has a few nods to the previous films as well as a few surprises along the way.
I was easily swept up by the madcap adventure and cast that all gave solid performances. Never once did the characters let the dazzling array of visual effects overshadow the fact that this is a character driven story.
Redmayne and Fogler work very well with one another and the innocent fish out of water story that they both embark on makes them easily endearing to the audience.
It will be very interesting to see where the future films will go, but if this one is any indication of what is in store, there is plenty of magic left in this world and I cannot wait to see what comes next.
http://sknr.net/2016/11/15/fantastic-beasts-find/
However when you consider the books, movies, and merchandise have become a billion dollar industry and that rabid fans cannot get enough of the word that Rowlings created, it is not surprising that Rowlings and Warner Brothers have created a new cinematic series inspired by a story contained within the original book series.
In “Fantastic Beasts and Where to Find Them”, audiences are introduced to Newt Scamander (Eddie Redmayne), who is just embarking on his adventures which will later be turned into books that Harry and his friends will read some seventy years onward.
Set in 1926 New York amongst the secret community of wizards and witches; the film follows the arrival of Newt in America as he has come with a suitcase filled with magical creatures. When a non-magic user named Jacob Kowalski (Dan Fogler), accidentally mistakes the suitcase for his own and unleashes some of the creatures, chaos follows.
The timing of this mishap could not be worse for the magic community as magic users have lived in secret and the arrival of Nate and his creatures threatens to expose them and make a bad situational even worse. Further complicating matters are a series of events that have caused destruction in the city which has given rise to a group who are convinced that witches are amongst them and must be destroyed at all cost.
Being an unregistered magic user; Newt, is soon taken in by an agent in New York named Porpentina Goldstein (Katherine Waterston), who herself has fallen out of favor within her community of magic users. In time; Newt is taken into custody by Percival Graves (Collin Farrell), who not only seems to have a disdain for Newt, but is working with a member of the anti-witch group for his own ambitions.
Newt and his friends soon find themselves on the run as they attempt to gather the missing creatures and get to the bottom of a much bigger and more dangerous menace that threatens their community as well as the people of New York. What follows is a journey filled with magic, comedy, and danger that will delight fans.
The film is a pure delight and the Potter magic has continued in this highly-entertaining new series. The cast and characters are very enjoyable and the visual magic is wonderful to behold.
The story is filled with charm and humor but has a few nods to the previous films as well as a few surprises along the way.
I was easily swept up by the madcap adventure and cast that all gave solid performances. Never once did the characters let the dazzling array of visual effects overshadow the fact that this is a character driven story.
Redmayne and Fogler work very well with one another and the innocent fish out of water story that they both embark on makes them easily endearing to the audience.
It will be very interesting to see where the future films will go, but if this one is any indication of what is in store, there is plenty of magic left in this world and I cannot wait to see what comes next.
http://sknr.net/2016/11/15/fantastic-beasts-find/