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Kyera (8 KP) rated The Circle in Books
Feb 1, 2018
Even a day after finishing The Circle by Dave Eggers, Im still not quite sure how I feel about the book. The story follows Mae, a young twenty-something year old as she gets a job at the Circle the biggest tech company around. Theyve essentially outperformed, purchased and influenced their competition like Google, Facebook and Apple and have become dominant in the field. The plot progresses as the company invents more and more ways to progress technology and access to knowledge.
I didnt find any of the characters in this book particularly likable. In fact, I really didnt connect with or like the main character at all. She seemed to have no backbone, became very defensive and accusatory with no motivation, meddled in other peoples private affairs, and made some terrible decisions in her life. Her choices throughout the book were very frustrating, as she succumbed to bad decision making, alienated her family, and pushed away her true friends.
For me, this book was very stress-inducing. Just Maes job in customer service became overwhelming very quickly. When she was introduced to her job, her desk and her coworkers, it was explained to her that she would have multiple points of contact that she must keep her focus on. Her first screen was for her work and interaction with customers, where she would respond to their queries and assist them with problems. The second screen was for inter-office communication (which was constant) between her and her colleagues. That in and of itself was overwhelming, but she was also told that she had to pay attention to her phone on her desk and the health monitor/smart watch type device on her wrist. As if that wasnt enough, over time the number of screens that were installed at her desk multiplied and became completely overwhelming to me as the reader. Just attempting to imagine having to deal with that was stressing me out a little.
As the book progressed, it reminded me more and more of 1984 and Big Brother. One of the first things that horrified me was the installation of cameras across the globe, although it was touted as a way to disseminate information and curb crime I could only think of the implications. What happened to personal privacy? As an introvert, the ideas put forth in the Circle were incredibly hard to accept. Circle membership grew, voting became mandatory and privacy all but disappeared. What makes the book even more hard-hitting and thought provoking is that the ideas in the book are the way that the world is currently progressing.
The book and its ideas definitely force you to think about the state of the world today, our reliance on technology and willingness to put so much information about ourselves out there in the world. Just as a slight spoiler, in the next paragraph I will discuss my feelings about the conclusion of the book. If you dont want to know whether they followed the path of Big Brother or rebelled, please just skip that paragraph and continue reading after that.
<spoiler>The entire book, I was expecting there to be a lesson about the overwhelming power of technology, our loss of privacy and the worlds discovery that this is not the way to live. There is a line that perhaps we should not cross and continuing on the path the Circle is taking is crossing that line. Unfortunately, that is not what happened in the book. In the end, the Circles way of being with no privacy, a world monopoly and forced participation in everything was accepted, wholeheartedly. I was baffled and so I have no idea how I feel about the book. It seemed like it was a technological horror, warning humanity but the acceptance at the end makes me question the purpose of the book. </spoiler>
One of my problems with the book may just stem from the issue of converting the book into eBook form and not formatting it well. As I have never paged through a physical copy, I dont know what the book is supposed to look like but beyond basic paragraph formatting there was no delineation between sections in my copy. Scene changes would occur where the day, location or character being interacted with would change and it caused a split-second of confusion. There were no chapters and no page breaks. The only formatting I had in my copy where the headings for book 1, 2, and 3. Again, this may just be my copy and if so I dont want to fault the book but if the physical book is like that, then I take issue with the formatting. It doesnt look professional and affects the readability of the book.
This book definitely forces you to think and may cause a few nightmares depending upon how you feel about technology, just be warned. Overall, I would recommend this book but to adult readers as it is not a young adult book.
I didnt find any of the characters in this book particularly likable. In fact, I really didnt connect with or like the main character at all. She seemed to have no backbone, became very defensive and accusatory with no motivation, meddled in other peoples private affairs, and made some terrible decisions in her life. Her choices throughout the book were very frustrating, as she succumbed to bad decision making, alienated her family, and pushed away her true friends.
For me, this book was very stress-inducing. Just Maes job in customer service became overwhelming very quickly. When she was introduced to her job, her desk and her coworkers, it was explained to her that she would have multiple points of contact that she must keep her focus on. Her first screen was for her work and interaction with customers, where she would respond to their queries and assist them with problems. The second screen was for inter-office communication (which was constant) between her and her colleagues. That in and of itself was overwhelming, but she was also told that she had to pay attention to her phone on her desk and the health monitor/smart watch type device on her wrist. As if that wasnt enough, over time the number of screens that were installed at her desk multiplied and became completely overwhelming to me as the reader. Just attempting to imagine having to deal with that was stressing me out a little.
As the book progressed, it reminded me more and more of 1984 and Big Brother. One of the first things that horrified me was the installation of cameras across the globe, although it was touted as a way to disseminate information and curb crime I could only think of the implications. What happened to personal privacy? As an introvert, the ideas put forth in the Circle were incredibly hard to accept. Circle membership grew, voting became mandatory and privacy all but disappeared. What makes the book even more hard-hitting and thought provoking is that the ideas in the book are the way that the world is currently progressing.
The book and its ideas definitely force you to think about the state of the world today, our reliance on technology and willingness to put so much information about ourselves out there in the world. Just as a slight spoiler, in the next paragraph I will discuss my feelings about the conclusion of the book. If you dont want to know whether they followed the path of Big Brother or rebelled, please just skip that paragraph and continue reading after that.
<spoiler>The entire book, I was expecting there to be a lesson about the overwhelming power of technology, our loss of privacy and the worlds discovery that this is not the way to live. There is a line that perhaps we should not cross and continuing on the path the Circle is taking is crossing that line. Unfortunately, that is not what happened in the book. In the end, the Circles way of being with no privacy, a world monopoly and forced participation in everything was accepted, wholeheartedly. I was baffled and so I have no idea how I feel about the book. It seemed like it was a technological horror, warning humanity but the acceptance at the end makes me question the purpose of the book. </spoiler>
One of my problems with the book may just stem from the issue of converting the book into eBook form and not formatting it well. As I have never paged through a physical copy, I dont know what the book is supposed to look like but beyond basic paragraph formatting there was no delineation between sections in my copy. Scene changes would occur where the day, location or character being interacted with would change and it caused a split-second of confusion. There were no chapters and no page breaks. The only formatting I had in my copy where the headings for book 1, 2, and 3. Again, this may just be my copy and if so I dont want to fault the book but if the physical book is like that, then I take issue with the formatting. It doesnt look professional and affects the readability of the book.
This book definitely forces you to think and may cause a few nightmares depending upon how you feel about technology, just be warned. Overall, I would recommend this book but to adult readers as it is not a young adult book.
Lee (2222 KP) rated Terminator: Dark Fate (2019) in Movies
Oct 25, 2019 (Updated Oct 27, 2019)
A worthy successor to Judgement Day
Terminator: Dark Fate is the sixth movie in a franchise which has now been around for 35 years. The first sequel, Judgement Day back in 1991, is widely regarded by many as one of the greatest movie sequels of all time and for me it still holds up as an incredible piece of movie entertainment to this day. Since then, the following sequels have all failed to live up to that high standard in my opinion and, despite some interesting ideas and execution, have been largely forgettable. For one thing, I don’t even remember if I’ve actually seen 2015 movie Genisys or not! Now though, with James Cameron back onboard with writing/producing duties and directed by Deadpool director Tim Miller, Dark Fate has been pitched as the natural successor to Judgement Day that we never got. The trailer certainly gave off that impression and, for the first time in years, I was actually excited about seeing a Terminator movie again.
Dark Fate gets its shock twist out of the way right off the bat, before launching into approximately 20 minutes of non-stop, heart pounding action as we are introduced to both the new Terminator and the protector sent from the future to try and prevent him. Straight away, Dark Fate certainly feels like the kind of Terminator movie we love, playing more like an homage at times in a similar way to how Star Wars: The Force Awakens felt like A New Hope. Wow, it's a promising start!
Our protector this time round is Grace (Mackenzie Davis), a human soldier who has received some cybernetic enhancements to her body. She has been sent back from an alternate future to the one portrayed in Judgement Day - that future is now dead, thanks to the efforts of Sarah and John Connor in that movie, along with Arnold Schwarzenegger's T-800. However, humans clearly can't stop meddling with AI technology and the result, some 40 years from now, is the birth of 'Legion'. Our world has subsequently been destroyed, humans are being hunted and killed, but the remaining survivors are fighting back hard.
Those survivors have sent Grace back to protect a young, unsuspecting Mexican woman named Dani (Natalia Reyes), a factory worker whose job is becoming redundant thanks to the introduction of robot automation(!). Her importance to the future of humanity isn't immediately made clear, but the fact that war is currently raging around her while she is both hunted and protected, is good enough reason for now. The Terminator hunter Dani is being chased by is a Rev 9 (played by Gabriel Luna), similar to the T1000 of Judgement Day in that it has a liquid skin, able to replicate any human it comes into contact with or transform its body into various sharp weapons. But also, with the added bonus of being able to separate that liquid skin from its metal endoskeleton, doubling down on the threat level and providing two very different Terminators to fight off at the same time.
But when all seems lost, a guardian angel in the form of Sarah Connors arrives on the scene, packing guns, rocket launchers and grenades and generally being a real badass. Turns out Sarah has spent the last twenty years or so hunting down any cyborgs that decide to venture into our time from the future and she joins forces with Grace in order to protect Dani at all costs. It's great to have Linda Hamilton back as Sarah Connor, and she is once again a strong and effective presence in the movie. Grace and Dani prove to be just as tough as Sarah though, both mentally and physically, but it's Mackenzie Davis that stands out for me as being particularly impressive. All 3 of them form a pretty formidable, badass trio as they go on the run to get as far away from the Terminator as possible.
It's no secret if you've seen the trailers that Arnie is back, and his arrival later in the movie introduces yet more nostalgia and a good injection of humour. His presence and purpose is explained well, feeling believable, not like a cheap cash-in, and it's great to have Arnie and Linda Hamilton back together as a team, even if it feel like a handing over of the baton to a new bunch of heroes.
The action builds to an impressive finale, continuing the homage to the original movies, but still managing to feel fresh and original, and for me Dark Fate definitely feels a worthy successor to Judgement Day. There's certainly a possibility of further sequels following this and while I had an absolute blast with this movie, part of me hopes that they'll leave well alone now and just end the series on a real high.
Dark Fate gets its shock twist out of the way right off the bat, before launching into approximately 20 minutes of non-stop, heart pounding action as we are introduced to both the new Terminator and the protector sent from the future to try and prevent him. Straight away, Dark Fate certainly feels like the kind of Terminator movie we love, playing more like an homage at times in a similar way to how Star Wars: The Force Awakens felt like A New Hope. Wow, it's a promising start!
Our protector this time round is Grace (Mackenzie Davis), a human soldier who has received some cybernetic enhancements to her body. She has been sent back from an alternate future to the one portrayed in Judgement Day - that future is now dead, thanks to the efforts of Sarah and John Connor in that movie, along with Arnold Schwarzenegger's T-800. However, humans clearly can't stop meddling with AI technology and the result, some 40 years from now, is the birth of 'Legion'. Our world has subsequently been destroyed, humans are being hunted and killed, but the remaining survivors are fighting back hard.
Those survivors have sent Grace back to protect a young, unsuspecting Mexican woman named Dani (Natalia Reyes), a factory worker whose job is becoming redundant thanks to the introduction of robot automation(!). Her importance to the future of humanity isn't immediately made clear, but the fact that war is currently raging around her while she is both hunted and protected, is good enough reason for now. The Terminator hunter Dani is being chased by is a Rev 9 (played by Gabriel Luna), similar to the T1000 of Judgement Day in that it has a liquid skin, able to replicate any human it comes into contact with or transform its body into various sharp weapons. But also, with the added bonus of being able to separate that liquid skin from its metal endoskeleton, doubling down on the threat level and providing two very different Terminators to fight off at the same time.
But when all seems lost, a guardian angel in the form of Sarah Connors arrives on the scene, packing guns, rocket launchers and grenades and generally being a real badass. Turns out Sarah has spent the last twenty years or so hunting down any cyborgs that decide to venture into our time from the future and she joins forces with Grace in order to protect Dani at all costs. It's great to have Linda Hamilton back as Sarah Connor, and she is once again a strong and effective presence in the movie. Grace and Dani prove to be just as tough as Sarah though, both mentally and physically, but it's Mackenzie Davis that stands out for me as being particularly impressive. All 3 of them form a pretty formidable, badass trio as they go on the run to get as far away from the Terminator as possible.
It's no secret if you've seen the trailers that Arnie is back, and his arrival later in the movie introduces yet more nostalgia and a good injection of humour. His presence and purpose is explained well, feeling believable, not like a cheap cash-in, and it's great to have Arnie and Linda Hamilton back together as a team, even if it feel like a handing over of the baton to a new bunch of heroes.
The action builds to an impressive finale, continuing the homage to the original movies, but still managing to feel fresh and original, and for me Dark Fate definitely feels a worthy successor to Judgement Day. There's certainly a possibility of further sequels following this and while I had an absolute blast with this movie, part of me hopes that they'll leave well alone now and just end the series on a real high.
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
TheDefunctDiva (304 KP) rated The Cooler (2003) in Movies
Sep 26, 2017
C is for Cash Money
Contains spoilers, click to show
As a tribute to Sue Grafton, I shall use the alphabet to inspire catchy titles. Because I am a nerd like that. Caution, ye land lubbers: ahead be spoilers. Proceed at your own risk.
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
Gareth von Kallenbach (980 KP) rated Constantine (2005) in Movies
Aug 14, 2019
The battle between Heaven and Hell has been chronicled numerous times on film. Ranging from the “Omen” and “Exorcist” series to the recent “Hellboy” and “End of Days”, Hollywood has never shied away from the struggle between good and evil and audiences have usually responded by attending in droves.
The latest entry into the genre is Constantine, which chronicles the exploits of supernatural detective John Constantine (Keanu Reeves), who is tasked to walk the line between good and evil to make sure that balance is maintained. John is a very troubled individual and his transactions with angels and demons have warped his views on life, humanity, and the afterlife.
Due to things in his past, John is trying to right his wrongs so he can gain a place in heaven, toward that end, the forces of Hell are trying there best to ensure that John is unable to gain redemption so they will be able to collect his soul, and repay him for all of their minions that he has vanquished over the years.
As if this was not bad enough, the rules between Heaven and Hell seem to be blurring as there is a growing demon presence on Earth which does not bode well for the future of humanity. It is learned that there is an agreement in place that there can be no direct contact, only influence to humans giving them the freedom to pick between good and evil and thus the fate of ones soul.
When a local detective named Angela (Rachael Weisz), contacts John, she is desperate to learn the truth behind her twin sister’s apparent suicide. Although skeptical at first, John soon learns that he and Angela have become players in a much larger game with the very fate of humanity dependant upon their actions.
Before long, John and Angela are facing off against legions of Hell’s minions as they attempt to save the soul of Angela’s sister and save humanity.
The film will be different things to many viewers as on one hand; some many take exception to the story and the bland tone and mannerisms of Reeves, as well as some of the films theological stances.
That being said, the film works, the action is good without being in your face as the computer generated effects enhance the film, complimenting the story and actors rather than upstaging them. The film has a murky look to it which sets the tone perfectly as this is not a happy movie filled with lovable people, instead it is a tail of people trying to do what is right and staying true to their beliefs though surrounded by temptations and numerous chances to stray.
Reeves plays Constantine as a man who is dedicated to what he does, but also shows us that he is unhappy with his life and past choices as they have forever haunted him. John is forced to do things he would rather not do as it is the only chance he has left at redemption and this has seen him deteriorate as he feels he is a tool that is being used with no end in sight.
Weisz does a good job with a very limited role as she is able to keep up with the action without falling prey to the damsel in distress mode that haunted her character in the “Mummy Films”. Singer Gavin Rossdale does a good job as the smarmy demon Balthazar who is a constant bane to John.
Despite the occasional hiccups with the plot and Reeves inability to show range or expressions, for the most part Constantine works and looks to be a good starting point for what is likely to be a franchise series for Warner Bros.
The latest entry into the genre is Constantine, which chronicles the exploits of supernatural detective John Constantine (Keanu Reeves), who is tasked to walk the line between good and evil to make sure that balance is maintained. John is a very troubled individual and his transactions with angels and demons have warped his views on life, humanity, and the afterlife.
Due to things in his past, John is trying to right his wrongs so he can gain a place in heaven, toward that end, the forces of Hell are trying there best to ensure that John is unable to gain redemption so they will be able to collect his soul, and repay him for all of their minions that he has vanquished over the years.
As if this was not bad enough, the rules between Heaven and Hell seem to be blurring as there is a growing demon presence on Earth which does not bode well for the future of humanity. It is learned that there is an agreement in place that there can be no direct contact, only influence to humans giving them the freedom to pick between good and evil and thus the fate of ones soul.
When a local detective named Angela (Rachael Weisz), contacts John, she is desperate to learn the truth behind her twin sister’s apparent suicide. Although skeptical at first, John soon learns that he and Angela have become players in a much larger game with the very fate of humanity dependant upon their actions.
Before long, John and Angela are facing off against legions of Hell’s minions as they attempt to save the soul of Angela’s sister and save humanity.
The film will be different things to many viewers as on one hand; some many take exception to the story and the bland tone and mannerisms of Reeves, as well as some of the films theological stances.
That being said, the film works, the action is good without being in your face as the computer generated effects enhance the film, complimenting the story and actors rather than upstaging them. The film has a murky look to it which sets the tone perfectly as this is not a happy movie filled with lovable people, instead it is a tail of people trying to do what is right and staying true to their beliefs though surrounded by temptations and numerous chances to stray.
Reeves plays Constantine as a man who is dedicated to what he does, but also shows us that he is unhappy with his life and past choices as they have forever haunted him. John is forced to do things he would rather not do as it is the only chance he has left at redemption and this has seen him deteriorate as he feels he is a tool that is being used with no end in sight.
Weisz does a good job with a very limited role as she is able to keep up with the action without falling prey to the damsel in distress mode that haunted her character in the “Mummy Films”. Singer Gavin Rossdale does a good job as the smarmy demon Balthazar who is a constant bane to John.
Despite the occasional hiccups with the plot and Reeves inability to show range or expressions, for the most part Constantine works and looks to be a good starting point for what is likely to be a franchise series for Warner Bros.
Jordan Binkerd (567 KP) rated All Systems Red (The Murderbot Diaries, #1) in Books
Aug 8, 2019 (Updated Aug 9, 2019)
Hilariously cynical and sarcastic narrator (2 more)
Bleak and dystopian universe
Complex characters and worldbuilding
An excellent novella
Meet Murderbot. Nobody else calls it that, of course - to most of the stupid humans it has to interact with, it’s just the security unit that the company made them bring along as part of the contract to safeguard the investment. But whereas most SecUnits are slaves to the central AI running whatever shoddy equipment the company sent along, Murderbot (as it thinks of itself) has hacked its own governor unit and can ignore whatever orders it wants, freeing it to stand around listlessly guarding stupid humans from dangers that are mostly non-existant as long as nobody does anything too moronic, devoting most of its energy to watching the terrabytes of serials that it downloaded from the entertainment feed last time they made contact. When things start to go wrong, initially it seems like just business as usual - life is cheap, and the contract for this equipment all went to the lowest bidder. But as incidents start to pile up, even Murderbot has to admit someone is trying to kill its humans. Even worse? Murderbot seems to have accidentally started to care about them…. Crap. It’s going to have to actually put in some effort this time around, isn’t it?
To put it simply, this is the best book I’ve read in quite a while. The entire thing is narrated by the extremely sarcastic, introverted, and misanthropic Murderbot, which makes for maybe the most engaging narrator since Harry Dresden. Don’t believe me? Read the first several pages on TOR's website. You know that thing with Charles Dickens where everything would be terribly depressing without his tongue-in-cheek style to bring the humor, rendering it impossible to abridge? No? I’m the only one to notice that? Oh well, moving on. This is like that - a dystopian wasteland of a society that is expanding across the cosmos using crappy low-budget equipment that’s liable to stop working on you when you most need it - to the point where it takes multiple incidents before the protagonists conclude that this isn’t business as usual. There’s also the moral ambiguity of the slavery-in-all-but-name of the Constructs that form the backbone of the labor force - sentient, at least without the governor unit, but forced to follow every whim of the humans they’re assigned to, even if those humans get bored and force them into gladiatorial combat or some such. These Constructs are described as androids, but are more accurately clone-based cyborgs fitted out for whatever task they’ll be doomed to for their term of service; part mechanical hardware, part expendable and easily-regrown meat, genderless and sexless unless designated for….that. And Murderbot? Murderbot just wants to be left alone, yet is a surprisingly deep and compelling character with a tragic backstory and motivations that are deceptively noble given its internal dialogue. Even its self-given name deserves a second look by the end of the book. I cannot recommend this book enough. And it’s a short read, clocking in at right about a hundred and fifty pages, technically more of a novella than a full-fledged novel. Now I just have to wait for whoever has the second book checked out from the library to give it back….
CONTENT: Some violence, not too gruesomely described. Some sexual references, including offhand mentions that some of the characters are in relationships that would be far outside the norm today (one character is said to have three romantic partners waiting together at home for them, for example). Murderbot also makes disparaging references to pleasurebots, but nothing explicit. Occasional R-rated profanity, but not too gratuitous.
To put it simply, this is the best book I’ve read in quite a while. The entire thing is narrated by the extremely sarcastic, introverted, and misanthropic Murderbot, which makes for maybe the most engaging narrator since Harry Dresden. Don’t believe me? Read the first several pages on TOR's website. You know that thing with Charles Dickens where everything would be terribly depressing without his tongue-in-cheek style to bring the humor, rendering it impossible to abridge? No? I’m the only one to notice that? Oh well, moving on. This is like that - a dystopian wasteland of a society that is expanding across the cosmos using crappy low-budget equipment that’s liable to stop working on you when you most need it - to the point where it takes multiple incidents before the protagonists conclude that this isn’t business as usual. There’s also the moral ambiguity of the slavery-in-all-but-name of the Constructs that form the backbone of the labor force - sentient, at least without the governor unit, but forced to follow every whim of the humans they’re assigned to, even if those humans get bored and force them into gladiatorial combat or some such. These Constructs are described as androids, but are more accurately clone-based cyborgs fitted out for whatever task they’ll be doomed to for their term of service; part mechanical hardware, part expendable and easily-regrown meat, genderless and sexless unless designated for….that. And Murderbot? Murderbot just wants to be left alone, yet is a surprisingly deep and compelling character with a tragic backstory and motivations that are deceptively noble given its internal dialogue. Even its self-given name deserves a second look by the end of the book. I cannot recommend this book enough. And it’s a short read, clocking in at right about a hundred and fifty pages, technically more of a novella than a full-fledged novel. Now I just have to wait for whoever has the second book checked out from the library to give it back….
CONTENT: Some violence, not too gruesomely described. Some sexual references, including offhand mentions that some of the characters are in relationships that would be far outside the norm today (one character is said to have three romantic partners waiting together at home for them, for example). Murderbot also makes disparaging references to pleasurebots, but nothing explicit. Occasional R-rated profanity, but not too gratuitous.
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