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Gareth von Kallenbach (980 KP) rated Good Boys (2019) in Movies
Aug 16, 2019
Every generation has a coming of age classic that they can point to and say that it resonated with them. Whether it be classic John Hughes movies such as Pretty in Pink or The Breakfast Club, there is always something that defines the youth of that generation. Whether it be the situations that the main characters find themselves in, or even something as simple as the music and fashion, there is usually something that will strike a familiar chord with the audience. Even when I go back and rewatch the classics, it reminds me of a simpler time, when my life struggles involved asking a girl to a dance or attempting to fit in to any number of awkward first-time moments that each of us at one time or another go through. Good Boys is such a movie, about the awkwardness and naivety of youth, even if the kids had a bigger potty mouth than I did as a child.
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
Lottie disney bookworm (1056 KP) rated Mirror, Mirror in Books
Aug 16, 2019
Review by Disney Bookworm
Contains spoilers, click to show
If I’m honest I initially thought the tagline to this Snow White twisted tale novel was a massive plot spoiler but, when you are 300 pages into a book and no-one has eaten a poisoned apple, it may be the ideal opportunity to admit you were wrong. This book is not that simple!
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
Mirror, Mirror explores the traditional Grimm fairy tale of Snow White through the eyes of the two main characters: the Evil Queen and Snow White herself. The reader is completely under the control of these two women: finding themselves with no choice but to witness the familiar story from their perspective.
Jen Calonita’s novel is also heavily built on story telling through flashbacks. In my opinion, this is a genius idea as it provides an undeniable depth to her characters. Let’s be honest, everyone knows the story of Snow White but not everyone knows the story before Snow White and it is here where the twisted tale evolves.
Through these flashbacks we meet Katherine and Ingrid: two sisters whom have lost their mother and are being raised by their neglectful, sometimes violent, father. As a result of their upbringing, Ingrid, the elder sister, has adopted a motherly role towards her younger sister Katherine and strives to protect the innocent girl at all times. They leave home, finding work on a farm where Katherine finds her passion within the apple orchard, cultivating a new variety of apple which will later attract the attention of the King.
Ingrid however, always wants more than what she has. Older and more aware of the hardship life can bring, Ingrid is not as sweet and innocent as her sister: people do not dote on Ingrid as they do Katherine and eventually Ingrid finds that she cannot settle for a simple life- instead opting for a job in a small shop known for its association with dark magic and the home of a certain mirror.
You may have guessed by now that Ingrid is, in fact, the Evil Queen and her sister Katherine is Snow White’s mother! I know what you are thinking, I have just described how protective Ingrid was of the future Queen: surely she wouldn’t “off” her own sister and try to collect her niece’s heart in a box?
This is where the complexity of Ingrid’s character really shines through and where, (if hats suited me) I will take my hat off to Jen Calonita. Mirror Mirror takes you on a journey with Ingrid. You experience her love for her sister first-hand as well as her frustration with her sheltered life but later you also witness her lust for power and how easily Ingrid’s choices lead her down the wrong path.
I also believe that Ingrid is truly scarred by her past. She sneers upon her sister’s kindness and villainises Katherine for letting a man, and later her baby, come between them. Ingrid views herself as wiser and more intelligent than her little sister: believing that she would certainly rule the Kingdom more efficiently and not stopping until this becomes a reality.
Despite being a formidable woman, Ingrid is not devoid of vulnerabilities and, as the story progresses, the readers will witness Ingrid’s ghosts and note how one in particular never leaves her until the very end.
Of course, Ingrid’s enabler is the magic mirror. Calonita paints a picture of a mirror identical to the one we remember from the Disney 1938 classic animated film with a haunting mask dominating and manipulating The Evil Queen with every chance it gets.
The mirror creates an obsession and dependence within Ingrid that is chillingly portrayed. It is undoubtedly the real villain of the story: demanding blood from the start and weakening Ingrid until she cleaves to its will. However, we all know who is standing between the mirror and its plans for domination and undisputed power: the princess Snow White.
In the past, I have made no secret of the fact that Snow is my least favourite Disney princess. Her voice in the film grated on me and I just genuinely found her irritating. Thankfully Calonita’s Snow White is more akin to the ‘Once Upon A Time’ interpretation and so much easier to form a relationship with as a reader.
While fulfilling our expectations of being kind, innocent and prone to falling in love with conveniently handsome Princes: Mirror Mirror’s Snow White is bolder than we are used to and, as her story progresses, becomes more confident in herself as the heir to the kingdom. Her priorities are more political in nature, with a strong focus on rebuilding her kingdom and her bravery shines through almost from the very beginning. Snow does encounter challenges and dark thoughts as any person does but earns her Disney princess badge by helping true love to save the day!
Similarly, the seven dwarves are not as one-dimensional as the classic movie. They assist the Princess of course and shelter her in the forest but they also seem more street-wise (or should that be forest-wise?), squirreling away diamonds for bartering and mustering armies for Snow’s cause. There isn’t too much focus on the seven men in Mirror Mirror but I don’t think that the book is necessarily missing this. I think the characters are so well-known that too much character development would stray away from the main plot.
Mirror, Mirror is a modern adaptation of the familiar fairytale: centring itself around two very strong women in their own right but polar opposites in terms of their characters and choices in life.
The novel makes several nods to the iconic images formed in 1938 by Walt Disney such as the apple, the glass coffin and, of course, the seven dwarves. However, the recurring theme of choosing your own story and the complex backgrounds to her characters cause Jen Calonita’s novel to stand out on its own.
It may not have been the traditional “happy ever after” but this adaptation of Snow White was, in my opinion, the “fairest of them all”.
Written by The Disney Bookworm:
https://disneybookworm.home.blog
Emma @ The Movies (1786 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
This was another screening that needed a second viewing because of challenging people, so now I've seen it in 2D and 3D. I'm seeing more films in 3D recently that actually work, I'm still not quite convinced by it but I'm certainly not annoyed by it.
The pre-"hype" for this was very mixed. I had been looking forward to the film for a long time but when the first trailer dropped I was disappointed and underwhelmed, it was however nice to see that others were having the opposite reaction to me. Perhaps I had just built it up too much in my head beforehand.
As we eeked closer the vibe became decidedly negative around it, and for the most part I avoided articles and rants as I just don't see the point in speculating so wildly about something that hasn't been seen. That climaxed again when the preview screening was interrupted by a fire alarm, and then when the internet seemed to go nuts over the fact the review embargo was so late. (It's not like embargos are unusual, I don't see how you can draw conclusions from release and embargo being on the same day... this seems entirely logical. *deep breath*)
Something I would like to query is the fact that someone decided it was sensible to put a reaction video of three of the stars seeing the Dark Phoenix trailer in 4DX. It's a little bit of fun, but frustrating if you've been trying to avoid trailers and spoilers before seeing the film.
Wow... waffle... to the film!
The team take on a mission to space when a shuttle loses control and is in the path of what appears to be solar flares. The mission seems successful until they realise there's still a crew member trapped. With the shuttle disintegrating the only ones who can safely make it are Jean and Nightcrawler. As Jean holds the shuttle in place Nightcrawler rescues the last man from the wreckage but when he returns for her she's already encountered the strange space energy.
Somehow despite the destruction of the shuttle Jean survives floating in space, Nightcrawler brings her back to the X-Jet and the whole team return to Earth as heroes. Jean wasn't left unchanged by her encounter though, she's changing, and as her mind begins to open the danger starts to grow.
Almost all of the characters in Dark Phoenix go through some sort of change. Jean comes face to face with her past and a power that is even more difficult to control than her own. Professor Xavier is less of a friend in his current persona than he's ever been before, and in this moment may not be the leader the X-Men need. Certainly by the end of the film each character has grown in some way. I'm not sure I was a fan of the changes in Professor Xavier, they were necessary in some respects but in the context of the rest of the series are a bit of a shock and out of the blue.
Thankfully some things don't change, and Quicksilver is still very funny, the occasional laugh was needed in what was quite a serious film.
Very briefly I want to talk about the effects. There's obviously a lot of them but I didn't spot anything that was outright terrible. (There's one moment in Cerebro, but that's more to do with how they choose to depict Cerebral's general imagery than anything.) My real standout moment is Jean's hair when she is embracing Dark Phoenix. We are given the floating underwater swirling effect that we should have seen in Aquaman.
It's been a while since I've seen all of the other films, although I did rewatch Last Stand and Apocalypse in the run up to this. There were a few moments where I saw flashes of Last Stand in Dark Phoenix which I thought was a nice touch.
I'm not sure there's a lot of point dwelling much on the acting for the main cast, it's consistent and what you'd expect for the franchise. Nicholas Hoult was able to bring a slightly bigger performance and he's probably one of the only regulars that had the ability to do that with his story.
Our villains were led by Jessica Chastain as Vuk. Vuk as a character and most of her group in general are actually quite bland. As emotionless aliens there's little to either love or hate. Had they been slightly more human than drone-like then they might have had a bigger impact. The only moment where I saw some good acting was when Vuk is with Jean near the very end and a look comes across her face and I thought, "oooh, acting!"
I wasn't entirely sure what was happening with Raven. She seemed to be a bundle of contradictions and got a terrible hand when it came to the script. I did want to slap her at one point, there was no need for what she did! NO NEED!
[Random thought: If Raven's scales/skin ripples when she transforms then how does she manage to do that when she's wearing an X-Suit? And also, why does she bother changing to her human look when she's in the mansion?]
The actions sequences were very good, the train scene felt like it had been crafted perfectly. Possibly a little too organised, but overall the entire scene came together. I particularly liked the choice of music when it coincided with Storm's piece, wonderfully atmospheric. (A pun? Perhaps.)
If there's anything I've taken from this it's that Dark Phoenix annoyed me less than Endgame did. It's not epic, but then I've never felt like the franchise has ever been that high on the scale. I'm reasonably happy with where it's left the sequence and what the future of the franchise might hold. I honestly don't think it deserves the hate that it's been getting.
What you should do
I think that you should go and see it, the action is good and a nice diversion for a couple of hours.
Movie thing you wish you could take home
I'd always want a superpower, but my choice changes more than Raven does.
The pre-"hype" for this was very mixed. I had been looking forward to the film for a long time but when the first trailer dropped I was disappointed and underwhelmed, it was however nice to see that others were having the opposite reaction to me. Perhaps I had just built it up too much in my head beforehand.
As we eeked closer the vibe became decidedly negative around it, and for the most part I avoided articles and rants as I just don't see the point in speculating so wildly about something that hasn't been seen. That climaxed again when the preview screening was interrupted by a fire alarm, and then when the internet seemed to go nuts over the fact the review embargo was so late. (It's not like embargos are unusual, I don't see how you can draw conclusions from release and embargo being on the same day... this seems entirely logical. *deep breath*)
Something I would like to query is the fact that someone decided it was sensible to put a reaction video of three of the stars seeing the Dark Phoenix trailer in 4DX. It's a little bit of fun, but frustrating if you've been trying to avoid trailers and spoilers before seeing the film.
Wow... waffle... to the film!
The team take on a mission to space when a shuttle loses control and is in the path of what appears to be solar flares. The mission seems successful until they realise there's still a crew member trapped. With the shuttle disintegrating the only ones who can safely make it are Jean and Nightcrawler. As Jean holds the shuttle in place Nightcrawler rescues the last man from the wreckage but when he returns for her she's already encountered the strange space energy.
Somehow despite the destruction of the shuttle Jean survives floating in space, Nightcrawler brings her back to the X-Jet and the whole team return to Earth as heroes. Jean wasn't left unchanged by her encounter though, she's changing, and as her mind begins to open the danger starts to grow.
Almost all of the characters in Dark Phoenix go through some sort of change. Jean comes face to face with her past and a power that is even more difficult to control than her own. Professor Xavier is less of a friend in his current persona than he's ever been before, and in this moment may not be the leader the X-Men need. Certainly by the end of the film each character has grown in some way. I'm not sure I was a fan of the changes in Professor Xavier, they were necessary in some respects but in the context of the rest of the series are a bit of a shock and out of the blue.
Thankfully some things don't change, and Quicksilver is still very funny, the occasional laugh was needed in what was quite a serious film.
Very briefly I want to talk about the effects. There's obviously a lot of them but I didn't spot anything that was outright terrible. (There's one moment in Cerebro, but that's more to do with how they choose to depict Cerebral's general imagery than anything.) My real standout moment is Jean's hair when she is embracing Dark Phoenix. We are given the floating underwater swirling effect that we should have seen in Aquaman.
It's been a while since I've seen all of the other films, although I did rewatch Last Stand and Apocalypse in the run up to this. There were a few moments where I saw flashes of Last Stand in Dark Phoenix which I thought was a nice touch.
I'm not sure there's a lot of point dwelling much on the acting for the main cast, it's consistent and what you'd expect for the franchise. Nicholas Hoult was able to bring a slightly bigger performance and he's probably one of the only regulars that had the ability to do that with his story.
Our villains were led by Jessica Chastain as Vuk. Vuk as a character and most of her group in general are actually quite bland. As emotionless aliens there's little to either love or hate. Had they been slightly more human than drone-like then they might have had a bigger impact. The only moment where I saw some good acting was when Vuk is with Jean near the very end and a look comes across her face and I thought, "oooh, acting!"
I wasn't entirely sure what was happening with Raven. She seemed to be a bundle of contradictions and got a terrible hand when it came to the script. I did want to slap her at one point, there was no need for what she did! NO NEED!
[Random thought: If Raven's scales/skin ripples when she transforms then how does she manage to do that when she's wearing an X-Suit? And also, why does she bother changing to her human look when she's in the mansion?]
The actions sequences were very good, the train scene felt like it had been crafted perfectly. Possibly a little too organised, but overall the entire scene came together. I particularly liked the choice of music when it coincided with Storm's piece, wonderfully atmospheric. (A pun? Perhaps.)
If there's anything I've taken from this it's that Dark Phoenix annoyed me less than Endgame did. It's not epic, but then I've never felt like the franchise has ever been that high on the scale. I'm reasonably happy with where it's left the sequence and what the future of the franchise might hold. I honestly don't think it deserves the hate that it's been getting.
What you should do
I think that you should go and see it, the action is good and a nice diversion for a couple of hours.
Movie thing you wish you could take home
I'd always want a superpower, but my choice changes more than Raven does.
Emma @ The Movies (1786 KP) rated Terminator: Dark Fate (2019) in Movies
Nov 7, 2019
I'd managed to see the Terminator and T2 in a double bill at the cinema and was shocked to discover I hadn't seen the first one... I really thought I had! Retro films on the big screen are amazing and I need to find the person I need to bribe to get some of my favourites shown.
Dani is working hard to help support her family, she's happy and carefree living with her father, brother and dog, Taco. But today is going to change her life forever.
Grace drops into the world violently, her mission is to protect Dani from a machine sent back to kill her. It's a familiar story, but the Rev-9's aren't like the Terminators, they're relentless and nearly indestructible. Grace and Dani find some unexpected back-up when Sarah Connor joins the hunt, aiding their escape and leading them to another ally for their mission.
Straight off the bat I want to say I loved this film, I'm going to compare it to 2018's Halloween. Neither franchise is something I'm an expert in but these new incarnations to me feel quite respectful to the originals and manage to give us a successful modern take. They both create a homage of things that came before them, and I like that.
The film opens in a great way with the interview tape of Sarah Connor and I thought it was really clever to mix it with consistent effects onto the studio logos/trailers. I was also impressed with the flashback scene of Sarah and John... I genuinely thought I'd missed something from the previous films because I hadn't seen this footage. It was in fact done with a body double and some CGI from what I've read. The quality of the effects in this bit were amazing and I couldn't tell that it wasn't actual footage, it really threw me for a loop.
Our original characters have both developed since their outing in T2. Sarah is much more purposeful but I have to wonder what she was doing between the times she recounts during the film. The Terminator has managed to adapt to his own sort of "human" life, which again, looks like it's got a few holes in it, but neither case really had me pondering until after the film. Linda Hamilton gives a relaxed kick-ass action performance, Sarah has clearly honed her skills and has little emotion apart from hatred coursing through her veins when she's on a mission, it gave a satisfying little lift to things for me. I couldn't help but believe her attitude to everything, still a little bit of the crazy about her but her determination to keep the machines from rising gives her laser focus.
The Terminator, now going by the name Carl is left to do his own thing after completing his mission. I don't know how I feel about this, would there not have been programming beyond his original mission? Anyway, I can't go down that rabbit hole. I thought Arnie's performance was really good, he's still got that "unintentionally" funny thing down well and the chemistry between him and Hamilton really shone through. He's also done well to get Carl to be quite natural while still being a giant robot, had he played it human I don't think I'd have been so onboard... though I don't know how I felt about his new career.
Having the enhanced human character of Grace stopped the sequences from being too flat. With the emotionless side of things previously it was difficult to engage with all the scenes. Mackenzie Davis gets to do the Terminator acting while still being human, you get the human panic and the machine reacting and the blend works well. Her relationship with Dani is a nice one to follow and getting to see her backstory in flashbacks... wait, flashforwards... really added to it all.
Sadly I was disappointed with Dani in general, she's just kind of dragged along with everything and even though she was essentially our Sarah Connor of this film there's very little happening with her. Her character doesn't have enough substance, she doesn't have enough in her to play with the big boys around her. Dani is also confusing in the future story for several reasons, including issues with time travel which I'm not even going to get into.
Overall the effects were very good. The way the Rev-9 movies is unnatural and enthralling to watch and Gabriel Luna's performance was impressive when you think about how he'd have to act and react to some of the more sci-fi moments. The effects weren't great throughout though and in the underwater scene with Arnie and the Rev-9 I was frowning slightly at the screen. The whole thing had a rather misty feel to it and was much more distracting than you'd think.
The other thing I feel is worth mentioning is that there are some odd choices with slow-motion shots. I couldn't see any correlation between the shots and why they'd been chosen for this effect, some happened close together and others happened out on their own and hardly any fit naturally into the scenes. The only one that felt right was Grace sizing up her shot early on, it showed us one of her abilities and that worked well, but after that they felt more like they were trying to show off more than actually picking spots that would have any impact.
Dark Fate has a lot of nice little nods back to the originals and that made for a satisfying watch. There's subtle humour and surprisingly some emotional scenes too, I came out of this and felt really content having seen it. Despite my quibbles, or which I now realise there were many, I really enjoyed this film.
What you should do
It's definitely worth a watch, it's some good mindless action and I think it's a good follow on to the original two films.
Movie thing you wish you could take home
Some super robot enhancements wouldn't go amiss.
Dani is working hard to help support her family, she's happy and carefree living with her father, brother and dog, Taco. But today is going to change her life forever.
Grace drops into the world violently, her mission is to protect Dani from a machine sent back to kill her. It's a familiar story, but the Rev-9's aren't like the Terminators, they're relentless and nearly indestructible. Grace and Dani find some unexpected back-up when Sarah Connor joins the hunt, aiding their escape and leading them to another ally for their mission.
Straight off the bat I want to say I loved this film, I'm going to compare it to 2018's Halloween. Neither franchise is something I'm an expert in but these new incarnations to me feel quite respectful to the originals and manage to give us a successful modern take. They both create a homage of things that came before them, and I like that.
The film opens in a great way with the interview tape of Sarah Connor and I thought it was really clever to mix it with consistent effects onto the studio logos/trailers. I was also impressed with the flashback scene of Sarah and John... I genuinely thought I'd missed something from the previous films because I hadn't seen this footage. It was in fact done with a body double and some CGI from what I've read. The quality of the effects in this bit were amazing and I couldn't tell that it wasn't actual footage, it really threw me for a loop.
Our original characters have both developed since their outing in T2. Sarah is much more purposeful but I have to wonder what she was doing between the times she recounts during the film. The Terminator has managed to adapt to his own sort of "human" life, which again, looks like it's got a few holes in it, but neither case really had me pondering until after the film. Linda Hamilton gives a relaxed kick-ass action performance, Sarah has clearly honed her skills and has little emotion apart from hatred coursing through her veins when she's on a mission, it gave a satisfying little lift to things for me. I couldn't help but believe her attitude to everything, still a little bit of the crazy about her but her determination to keep the machines from rising gives her laser focus.
The Terminator, now going by the name Carl is left to do his own thing after completing his mission. I don't know how I feel about this, would there not have been programming beyond his original mission? Anyway, I can't go down that rabbit hole. I thought Arnie's performance was really good, he's still got that "unintentionally" funny thing down well and the chemistry between him and Hamilton really shone through. He's also done well to get Carl to be quite natural while still being a giant robot, had he played it human I don't think I'd have been so onboard... though I don't know how I felt about his new career.
Having the enhanced human character of Grace stopped the sequences from being too flat. With the emotionless side of things previously it was difficult to engage with all the scenes. Mackenzie Davis gets to do the Terminator acting while still being human, you get the human panic and the machine reacting and the blend works well. Her relationship with Dani is a nice one to follow and getting to see her backstory in flashbacks... wait, flashforwards... really added to it all.
Sadly I was disappointed with Dani in general, she's just kind of dragged along with everything and even though she was essentially our Sarah Connor of this film there's very little happening with her. Her character doesn't have enough substance, she doesn't have enough in her to play with the big boys around her. Dani is also confusing in the future story for several reasons, including issues with time travel which I'm not even going to get into.
Overall the effects were very good. The way the Rev-9 movies is unnatural and enthralling to watch and Gabriel Luna's performance was impressive when you think about how he'd have to act and react to some of the more sci-fi moments. The effects weren't great throughout though and in the underwater scene with Arnie and the Rev-9 I was frowning slightly at the screen. The whole thing had a rather misty feel to it and was much more distracting than you'd think.
The other thing I feel is worth mentioning is that there are some odd choices with slow-motion shots. I couldn't see any correlation between the shots and why they'd been chosen for this effect, some happened close together and others happened out on their own and hardly any fit naturally into the scenes. The only one that felt right was Grace sizing up her shot early on, it showed us one of her abilities and that worked well, but after that they felt more like they were trying to show off more than actually picking spots that would have any impact.
Dark Fate has a lot of nice little nods back to the originals and that made for a satisfying watch. There's subtle humour and surprisingly some emotional scenes too, I came out of this and felt really content having seen it. Despite my quibbles, or which I now realise there were many, I really enjoyed this film.
What you should do
It's definitely worth a watch, it's some good mindless action and I think it's a good follow on to the original two films.
Movie thing you wish you could take home
Some super robot enhancements wouldn't go amiss.
Sophia (Bookwyrming Thoughts) (530 KP) rated Cruel Beauty in Books
Jan 23, 2020
I'm a sucker for fairy tales. I love retellings, myths, anything that's a complete spin from a well-known tale. I'm curious as to what authors come up with – problem is, Sleeping Beauty and Snow White needs a major upgrade or I might mentally blow a gasket one day. I promise it won't be pretty. No rants involved. Maybe a post about diversity in fairy tales instead (don't you take that post idea if no one's come up with it before o_o).
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
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Ivana A. | Diary of Difference (1171 KP) rated The Language Of Thorns in Books
Feb 3, 2020
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<b>3.8 ★, to be exact. </b>
Sometimes, we enter a library, not really knowing what we are looking for. One day, I entered the library, only to return a few books. Instead, I returned with two more. The first one didn’t impress me, but the second one was this book – The Language of Thorns by Leigh Bardugo. I only picked it up, because I liked the cover. And I know, we shouldn’t judge a book by its cover, but I guess the magic worked on me this time around.
This book featured six stories, all six magical and beautiful in their own way. Some attracted me more, some a bit less, but I, overall, feel delighted to have read this book. I haven’t read Leigh’s previous books, so I didn’t know about this world before, but these are apparently the same woods featured in those books as well.
I will give a brief opinion on all stories, and the main rating will be the average from them all. Let’s go.
<b><i>1. Ayama and the Thorn Wood – ★★★★★</i></b>
<b>‘’Interesting things only happen to pretty girls.’’</b>
A beautiful tale that will show you how beauty comes from within. The King and Queen have two sons – one is a beautiful man, the future king, and the other one is a monster. They are scared and ashamed of the monster-boy, and let him live his life in the labyrinth they made for him. In the village, in a poor family, there are two daughters, one as beautiful as the sun, and the other one ugly. When the monster escapes the labyrinth and starts ruining fields and make disasters, everyone is scared to go and talk to him and beg for forgiveness, so the ugly lady is sent to her woods – quite certain she will never return…
<b>‘’This little prince was shaped a bit like a boy but more like a wolf, his body covered in slick black fur from crown to clawed foot. His eyes were red as blood, and the nubs of two budding horns protruded from his head.’’</b>
<b><i>2. The Too-Clever Fox – ★★★★★</i></b>
<b>‘’Freedom is a burden, but you will learn to bear it.’’</b>
I loved this story the most, out of all six of them. It reminded me of home, and of how we tell stories back there. The whole ‘’Once Upon a Time’’ is real, and I enjoyed every moment of it. The winter theme, the hunting, the girl and the fox. This is a story that will teach you to not be assured you can outsmart everyone. Foxes in stories have always been presented as the smart ones, outsmarting every animal in the woods. This reminds me of Aesop’s Tales, which I really loved as a little girl. But sometimes, you will get outsmarted, and it might cost you your life. The twist was definitely unexpected, but indeed satisfying.
<b><i>3. The Witch of Duva – ★★★</i></b>
A story where girls disappear, and one girl decides to go into the woods and try to figure out why. This story upset me, and I didn’t like it. But deep inside, it’s a good one. Very creepy though, and very horror-y, but worth reading. Turn the lights off, get under a blanket, turn your torch on, and only then you will be ready to know the deep secrets this story tells you.
<b><i>4. Little Knife – ★★★★</i></b>
The shortest story in the book, but by all means not the least intriguing. A story that features a woman that is too beautiful, that men lose their mind as soon as they see her. To get the chance to marry her, men will have to go through a various of tasks. The twist at the end is incredible, and I really liked it. It starts off as a usual story, but it goes wild.
<b><i>5. The Soldier Prince – ★★</i></b>
This was a story I enjoyed the least. It all screamed ‘’The Nutcracker’’ to me, and I couldn’t see it as original. It was a re-make, and it was very different that the story we know, but it just didn’t work for me. This is a story about a man who makes toys and gives them life. And when one toy sort of ‘’wakes up’’, interesting things start to happen. Quite a creepy story. I usually like those, but this one was not my cup of tea.
<b><i>6. When Water Sand Fire – ★★★★</i></b>
<b>‘’ We were not made to please princes.’’</b>
This one is the longest story in the book. It features a world of creatures living underwater, and Ulla, who can sing and create magic, but who, as the people believe, is not a true born, but a mix between the underwater world and the humans. She is asked to help the prince become a king, but when the magic price is too high to paid, it doesn’t seem like she has a choice. I truly enjoyed this story, as it’s a beautiful mix of emotions while you read it. It was a bit disappointing that it seems as a remake of the creation of the character of Ursula from The Little Mermaid, at least to me.
Have you read this book, or any of Leigh Bardugo’s books? Let me know in the comments, I love to chat with you!
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<b>3.8 ★, to be exact. </b>
Sometimes, we enter a library, not really knowing what we are looking for. One day, I entered the library, only to return a few books. Instead, I returned with two more. The first one didn’t impress me, but the second one was this book – The Language of Thorns by Leigh Bardugo. I only picked it up, because I liked the cover. And I know, we shouldn’t judge a book by its cover, but I guess the magic worked on me this time around.
This book featured six stories, all six magical and beautiful in their own way. Some attracted me more, some a bit less, but I, overall, feel delighted to have read this book. I haven’t read Leigh’s previous books, so I didn’t know about this world before, but these are apparently the same woods featured in those books as well.
I will give a brief opinion on all stories, and the main rating will be the average from them all. Let’s go.
<b><i>1. Ayama and the Thorn Wood – ★★★★★</i></b>
<b>‘’Interesting things only happen to pretty girls.’’</b>
A beautiful tale that will show you how beauty comes from within. The King and Queen have two sons – one is a beautiful man, the future king, and the other one is a monster. They are scared and ashamed of the monster-boy, and let him live his life in the labyrinth they made for him. In the village, in a poor family, there are two daughters, one as beautiful as the sun, and the other one ugly. When the monster escapes the labyrinth and starts ruining fields and make disasters, everyone is scared to go and talk to him and beg for forgiveness, so the ugly lady is sent to her woods – quite certain she will never return…
<b>‘’This little prince was shaped a bit like a boy but more like a wolf, his body covered in slick black fur from crown to clawed foot. His eyes were red as blood, and the nubs of two budding horns protruded from his head.’’</b>
<b><i>2. The Too-Clever Fox – ★★★★★</i></b>
<b>‘’Freedom is a burden, but you will learn to bear it.’’</b>
I loved this story the most, out of all six of them. It reminded me of home, and of how we tell stories back there. The whole ‘’Once Upon a Time’’ is real, and I enjoyed every moment of it. The winter theme, the hunting, the girl and the fox. This is a story that will teach you to not be assured you can outsmart everyone. Foxes in stories have always been presented as the smart ones, outsmarting every animal in the woods. This reminds me of Aesop’s Tales, which I really loved as a little girl. But sometimes, you will get outsmarted, and it might cost you your life. The twist was definitely unexpected, but indeed satisfying.
<b><i>3. The Witch of Duva – ★★★</i></b>
A story where girls disappear, and one girl decides to go into the woods and try to figure out why. This story upset me, and I didn’t like it. But deep inside, it’s a good one. Very creepy though, and very horror-y, but worth reading. Turn the lights off, get under a blanket, turn your torch on, and only then you will be ready to know the deep secrets this story tells you.
<b><i>4. Little Knife – ★★★★</i></b>
The shortest story in the book, but by all means not the least intriguing. A story that features a woman that is too beautiful, that men lose their mind as soon as they see her. To get the chance to marry her, men will have to go through a various of tasks. The twist at the end is incredible, and I really liked it. It starts off as a usual story, but it goes wild.
<b><i>5. The Soldier Prince – ★★</i></b>
This was a story I enjoyed the least. It all screamed ‘’The Nutcracker’’ to me, and I couldn’t see it as original. It was a re-make, and it was very different that the story we know, but it just didn’t work for me. This is a story about a man who makes toys and gives them life. And when one toy sort of ‘’wakes up’’, interesting things start to happen. Quite a creepy story. I usually like those, but this one was not my cup of tea.
<b><i>6. When Water Sand Fire – ★★★★</i></b>
<b>‘’ We were not made to please princes.’’</b>
This one is the longest story in the book. It features a world of creatures living underwater, and Ulla, who can sing and create magic, but who, as the people believe, is not a true born, but a mix between the underwater world and the humans. She is asked to help the prince become a king, but when the magic price is too high to paid, it doesn’t seem like she has a choice. I truly enjoyed this story, as it’s a beautiful mix of emotions while you read it. It was a bit disappointing that it seems as a remake of the creation of the character of Ursula from The Little Mermaid, at least to me.
Have you read this book, or any of Leigh Bardugo’s books? Let me know in the comments, I love to chat with you!
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Gareth von Kallenbach (980 KP) rated G.I. Joe: Retaliation (2013) in Movies
Aug 7, 2019
Who didn’t grow up as a child of the eighties and nineties and not play with G.I. Joes? And of those, who can honestly say they were not thoroughly disappointed in G.I. Joe: The Rise of Cobra? Surprisingly, I can say that I wasn’t thoroughly disappointed, but I know the movie could have been so much more than it was. Could it have done without the surreal technology, the sappy love story and the unrealistic action scenes in the movie? Yes. Many fans cried out about this. G.I. Joe: Retaliation set out to respond.
Did they succeed? That’s debatable, but they did a lot of things right in the go-around. Don’t get me wrong, it’s not award winning or anything, and you should never expect a movie like this to be that. But let’s run through a check list. Sappy out of place love-story: gone. Surreal technology: less. Let’s face it, despite what some people felt about the first movie, it did kind of set that precedent. Retaliation is considered a true follow up to The Rise of Cobra. So would it honestly make any sense to go from one extreme of nearly impossible gadgets to none at all? Absolutely not. Besides, the cartoon series also had technology in it. I am not trying to defend the use of it, and there were some pretty crazy gadgets going on in this movie, but it seemed to jive better with what I remember of it as a kid. And they found a really unique way to tone it down without it not seeming right. Unfortunately, there is still a fair amount of unrealistic action in this movie, but that’s kind of become the norm for most action movies these days.
We pick up fairly close to where we left off in The Rise of Cobra. Duke (Channing Tatum) is now commanding a unit of the Joes with Roadblock, Lady Jaye, Flint and Snake Eyes (Dwayne Johnson, Adrianne Palicki, D.J. Cotrona and Ray Park respectively) under his command. The Joes are sent out on a mission, a good rapport is built between Duke and Roadblock, but then they go and destroy that when their convoy gets attacked by Cobra eliminating Duke from the rest of the film. Go cry spoiler somewhere else, this happens in the beginning of the movie, and it’s been everywhere since the delay of the movie from last year. I was hoping they would somehow managed to keep him in the movie, especially after seeing the chemistry between Tatum and Johnson, but alas…
So the convoy attacked, and all the Joes presumed dead. Only Roadblock, Jaye and Flint actually survive and try to get to the bottom of everything. Meanwhile President Zartan (remember how the last movie ended) is up to his own nefarious plans in breaking out Cobra Commander with the aide of Storm Shadow. The Joes work their magic, still have access to some technology (though not over the top like The Rise of Cobra), and recruit people to help them along the way, including the man who is the reason the Joes were started: General Joe Coulton (played epic-ly by Bruce Willis).
The movie was entertaining, had a lot of great and clever humor that wasn’t thrown in your face, and had some great action scenes (if you can get past the fact that in one scene they are fighting Cirque Du Soleil style on the side of a cliff). But it’s some of the little things in this movie that prevent it from redeeming the franchise after the first iteration, including the casting of RZA in a part that looks like it is meant to be serious, but his horrible acting make you really wonder if it was supposed to be a serious role or not. The other gripe I had with the movie was the unlikely resolution of the main conflict. With the Cobra Commander so confident in his plan, why would he, or any self-respecting super villain, deliver a way to foil the evil plan with literally half a second left on a silver platter. The last issue I had with the movie was Storm Shadow. I really liked the conflict between him and Snake Eyes in The Rise of Cobra, but they seemed to discredit his character a lot in this movie. Ultimately they changed the nature of Storm Shadow to make it seem as if he might switch sides in any future installments of the franchise, and that’s just not cool. The character was awesome the way he was.
As for the 3D aspect, it’s said this was the reason that the studio delayed the movie for a year. They wanted to add more effects to it. This tells me two things: the movie was shot in 2D and they had little faith in it. Honestly, I think we all know they tried to add more Duke to the movie in this time (which it’s really hard to tell if they did), but you can tell there was work done with 3D aspect. Too much. It was very distracting at points, and it seemed liked they added elements to scenes just to have 3D. For instance there was a scene where you were in a situation room viewing information on a monitor. It literally looked like they just super imposed a shoulder into the lower right of the screen so they could have in 3D as if you were looking over someone’s shoulder. That’s just silly.
All that being said. I had fun watching the movie. Dwayne Johnson is becoming a powerhouse that everyone was expecting him to years ago. I hope that he can continue this streak with some good movies (he’s got two more within the next month alone). I own the first one on Blu Ray, and I will probably buy this one when comes out as well. I would watch it in theater just for the enormity of the action on the big screen, but skip the 3D.
Did they succeed? That’s debatable, but they did a lot of things right in the go-around. Don’t get me wrong, it’s not award winning or anything, and you should never expect a movie like this to be that. But let’s run through a check list. Sappy out of place love-story: gone. Surreal technology: less. Let’s face it, despite what some people felt about the first movie, it did kind of set that precedent. Retaliation is considered a true follow up to The Rise of Cobra. So would it honestly make any sense to go from one extreme of nearly impossible gadgets to none at all? Absolutely not. Besides, the cartoon series also had technology in it. I am not trying to defend the use of it, and there were some pretty crazy gadgets going on in this movie, but it seemed to jive better with what I remember of it as a kid. And they found a really unique way to tone it down without it not seeming right. Unfortunately, there is still a fair amount of unrealistic action in this movie, but that’s kind of become the norm for most action movies these days.
We pick up fairly close to where we left off in The Rise of Cobra. Duke (Channing Tatum) is now commanding a unit of the Joes with Roadblock, Lady Jaye, Flint and Snake Eyes (Dwayne Johnson, Adrianne Palicki, D.J. Cotrona and Ray Park respectively) under his command. The Joes are sent out on a mission, a good rapport is built between Duke and Roadblock, but then they go and destroy that when their convoy gets attacked by Cobra eliminating Duke from the rest of the film. Go cry spoiler somewhere else, this happens in the beginning of the movie, and it’s been everywhere since the delay of the movie from last year. I was hoping they would somehow managed to keep him in the movie, especially after seeing the chemistry between Tatum and Johnson, but alas…
So the convoy attacked, and all the Joes presumed dead. Only Roadblock, Jaye and Flint actually survive and try to get to the bottom of everything. Meanwhile President Zartan (remember how the last movie ended) is up to his own nefarious plans in breaking out Cobra Commander with the aide of Storm Shadow. The Joes work their magic, still have access to some technology (though not over the top like The Rise of Cobra), and recruit people to help them along the way, including the man who is the reason the Joes were started: General Joe Coulton (played epic-ly by Bruce Willis).
The movie was entertaining, had a lot of great and clever humor that wasn’t thrown in your face, and had some great action scenes (if you can get past the fact that in one scene they are fighting Cirque Du Soleil style on the side of a cliff). But it’s some of the little things in this movie that prevent it from redeeming the franchise after the first iteration, including the casting of RZA in a part that looks like it is meant to be serious, but his horrible acting make you really wonder if it was supposed to be a serious role or not. The other gripe I had with the movie was the unlikely resolution of the main conflict. With the Cobra Commander so confident in his plan, why would he, or any self-respecting super villain, deliver a way to foil the evil plan with literally half a second left on a silver platter. The last issue I had with the movie was Storm Shadow. I really liked the conflict between him and Snake Eyes in The Rise of Cobra, but they seemed to discredit his character a lot in this movie. Ultimately they changed the nature of Storm Shadow to make it seem as if he might switch sides in any future installments of the franchise, and that’s just not cool. The character was awesome the way he was.
As for the 3D aspect, it’s said this was the reason that the studio delayed the movie for a year. They wanted to add more effects to it. This tells me two things: the movie was shot in 2D and they had little faith in it. Honestly, I think we all know they tried to add more Duke to the movie in this time (which it’s really hard to tell if they did), but you can tell there was work done with 3D aspect. Too much. It was very distracting at points, and it seemed liked they added elements to scenes just to have 3D. For instance there was a scene where you were in a situation room viewing information on a monitor. It literally looked like they just super imposed a shoulder into the lower right of the screen so they could have in 3D as if you were looking over someone’s shoulder. That’s just silly.
All that being said. I had fun watching the movie. Dwayne Johnson is becoming a powerhouse that everyone was expecting him to years ago. I hope that he can continue this streak with some good movies (he’s got two more within the next month alone). I own the first one on Blu Ray, and I will probably buy this one when comes out as well. I would watch it in theater just for the enormity of the action on the big screen, but skip the 3D.
Bob Mann (459 KP) rated Dolittle (2020) in Movies
Feb 23, 2020
A complete mess, but kids will probably love it.
With the words of Mark Kermode's review ringing in my ears ("It's shockingly poor... and that's the same in any language") I was bracing myself when I went to see this latest incarnation of Hugh Lofting's famous animal-chatting character. And I have to agree that it is a shocking mess of a film, given $175 million was poured into this thing. But, and I say this cautiously without first-hand empirical evidence, I *think* this is a movie that kids in the 6 to 10 age range might fall in love with.
Doctor Doolittle (Robert Downey Jnr) - famed animal doctor, with the unique ability to communicate with any animal - is now holed up in his animal sanctuary, a recluse. His beloved wife - adventurer Lily - was lost at sea (in a cartoon sequence that could have just used the same clip from "Frozen"). He's lost the will to practice; and almost lost the will to live.
Impinging on his morose life come two humans: Tommy Stubbings (Harry Collett), a reluctant hunter with a wounded squirrel, and Lady Rose (Carmel Laniado), daughter of the Queen of England. (We'll quietly ignore the coincidence that, after what looks like several years of mourning, these two independently pitch up at Chez Doolittle within ten minutes of each other!).
For the Queen (the omnipresent Jessie Buckley) is dying, and noone (other than us viewers, let in on the deal) suspect foul play might be at work in the form of Lord Thomas Badgley (the ever-reliable Jim Broadbent) and the Queen's old leech-loving doctor Blair Müdfly (a moustache-twiddling Michael Sheen).
Doolittle must engage in a perilous journey to find the only cure that will save both the Queen and his animal sanctuary - the fruit of the tree on a missing island that his long lost love was searching for.
Let's start with the most obvious point first up. Robert Downey Jnr's Welsh accent is quite the most terrible, most preposterous, most unintelligible, most offensive (to the Welsh) attempt at an accent in a mainstream film in movie history. And that's really saying something when you have Laurence Olivier's Jewish father from "The Jazz Singer" and Russell Crowe's English cum Irish cum Scottish cum Yugoslavian "Robin Hood" in the list. Why? Just why? Was it to distance this version from Rex Harrison's? (Since most younger movie goers will be going "Rex who?" at this point, this seems unlikely). It's a wholly curious decision.
It turns RDj's presence in the movie from being an asset to a liability.
The movie has had a tortuous history. Filmed in 2018 at enormous expense, the film completely bombed at test screenings so they brought in more script writers to make it funnier and did extensive additional filming.
I actually disagree with the general view that the film is unfunny. For there are a few points in the movie where I laughed out loud. A fly's miraculous, if temporary, escape was one such moment. The duck laying an egg in fright, another.
However, these seem to stand out starkly in isolation as 'the funny bits they inserted'. Much of the rest of the movie's comedy falls painfully flat.
In terms of the acting, there are the obvious visual talents on show of Michael Sheen (doing a great English accent for a Welshman.... #irony), Jim Broadbent, Jessie Buckley, Joanna Page (blink and you'll miss her) and Antonio Banderas, as the swashbuckling pirate king cum father-in-law.
But the end titles are an amazing array of "Ah!" moments as the vocal performances are revealed: Emma Thompson as the parrot; Rami Malek as the gorilla; John Cena as the polar bear; Kumail Nanjiani at the ostrich; Octavia Spencer at the duck; Tom Holland as the dog; Selena Gomez as the giraffe; Marion Cotillade as the fox, Frances de la Tour as a flatulent dragon and Ralph Fiennes as an evil tiger with mummy issues. It's a gift for future contestants on "Pointless"!
There are a lot of poe-faced critics throwing brick-bats at this movie, and to a degree it's deserved. They lavished $175 million on it, and it looked like it was going to be a thumping loss. (However, against all the odds, at the time of writing it has grossed north of $184 million. And it only opened yesterday in China. So although not stellar in the world of blockbuster movies it's not going to be a studio-killer like "Heaven's Gate").
And I suspect there's a good reason for that latent salvation. I think kids are loving this movie, driving repeat viewings and unexpected word of mouth. It is certainly a family friendly experience. There are no truly terrifying scenes that will haunt young children. A dragon-induced death, not seen on screen, is - notwithstanding the intro Frozen-esque cartoon sequence - the only obvious one in the movie and is (as above) played for laughs. There are fantastical sets and landscapes. Performing whales. A happy-ending (albeit not the one I was cynically expecting). And an extended dragon-farting scene, and what kids are not going to love that!!
Directed by Stephen Gaghan ("Syriana", but better known as a writer than a director) it's a jumbled messy bear of a movie but is in no way an unpleasant watch. I would take a grandkid along to watch this again. It even has some nuggets of gold hidden within its matted coat.
As this is primarily one for the kids, I'm giving the movie two ratings: 4/10 for adults and 8/10 for kids... the Smashbomb rating is the mean of these.
(For the full graphical review, please check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/02/22/doolittle-2019/ . Thanks).
Doctor Doolittle (Robert Downey Jnr) - famed animal doctor, with the unique ability to communicate with any animal - is now holed up in his animal sanctuary, a recluse. His beloved wife - adventurer Lily - was lost at sea (in a cartoon sequence that could have just used the same clip from "Frozen"). He's lost the will to practice; and almost lost the will to live.
Impinging on his morose life come two humans: Tommy Stubbings (Harry Collett), a reluctant hunter with a wounded squirrel, and Lady Rose (Carmel Laniado), daughter of the Queen of England. (We'll quietly ignore the coincidence that, after what looks like several years of mourning, these two independently pitch up at Chez Doolittle within ten minutes of each other!).
For the Queen (the omnipresent Jessie Buckley) is dying, and noone (other than us viewers, let in on the deal) suspect foul play might be at work in the form of Lord Thomas Badgley (the ever-reliable Jim Broadbent) and the Queen's old leech-loving doctor Blair Müdfly (a moustache-twiddling Michael Sheen).
Doolittle must engage in a perilous journey to find the only cure that will save both the Queen and his animal sanctuary - the fruit of the tree on a missing island that his long lost love was searching for.
Let's start with the most obvious point first up. Robert Downey Jnr's Welsh accent is quite the most terrible, most preposterous, most unintelligible, most offensive (to the Welsh) attempt at an accent in a mainstream film in movie history. And that's really saying something when you have Laurence Olivier's Jewish father from "The Jazz Singer" and Russell Crowe's English cum Irish cum Scottish cum Yugoslavian "Robin Hood" in the list. Why? Just why? Was it to distance this version from Rex Harrison's? (Since most younger movie goers will be going "Rex who?" at this point, this seems unlikely). It's a wholly curious decision.
It turns RDj's presence in the movie from being an asset to a liability.
The movie has had a tortuous history. Filmed in 2018 at enormous expense, the film completely bombed at test screenings so they brought in more script writers to make it funnier and did extensive additional filming.
I actually disagree with the general view that the film is unfunny. For there are a few points in the movie where I laughed out loud. A fly's miraculous, if temporary, escape was one such moment. The duck laying an egg in fright, another.
However, these seem to stand out starkly in isolation as 'the funny bits they inserted'. Much of the rest of the movie's comedy falls painfully flat.
In terms of the acting, there are the obvious visual talents on show of Michael Sheen (doing a great English accent for a Welshman.... #irony), Jim Broadbent, Jessie Buckley, Joanna Page (blink and you'll miss her) and Antonio Banderas, as the swashbuckling pirate king cum father-in-law.
But the end titles are an amazing array of "Ah!" moments as the vocal performances are revealed: Emma Thompson as the parrot; Rami Malek as the gorilla; John Cena as the polar bear; Kumail Nanjiani at the ostrich; Octavia Spencer at the duck; Tom Holland as the dog; Selena Gomez as the giraffe; Marion Cotillade as the fox, Frances de la Tour as a flatulent dragon and Ralph Fiennes as an evil tiger with mummy issues. It's a gift for future contestants on "Pointless"!
There are a lot of poe-faced critics throwing brick-bats at this movie, and to a degree it's deserved. They lavished $175 million on it, and it looked like it was going to be a thumping loss. (However, against all the odds, at the time of writing it has grossed north of $184 million. And it only opened yesterday in China. So although not stellar in the world of blockbuster movies it's not going to be a studio-killer like "Heaven's Gate").
And I suspect there's a good reason for that latent salvation. I think kids are loving this movie, driving repeat viewings and unexpected word of mouth. It is certainly a family friendly experience. There are no truly terrifying scenes that will haunt young children. A dragon-induced death, not seen on screen, is - notwithstanding the intro Frozen-esque cartoon sequence - the only obvious one in the movie and is (as above) played for laughs. There are fantastical sets and landscapes. Performing whales. A happy-ending (albeit not the one I was cynically expecting). And an extended dragon-farting scene, and what kids are not going to love that!!
Directed by Stephen Gaghan ("Syriana", but better known as a writer than a director) it's a jumbled messy bear of a movie but is in no way an unpleasant watch. I would take a grandkid along to watch this again. It even has some nuggets of gold hidden within its matted coat.
As this is primarily one for the kids, I'm giving the movie two ratings: 4/10 for adults and 8/10 for kids... the Smashbomb rating is the mean of these.
(For the full graphical review, please check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/02/22/doolittle-2019/ . Thanks).
Purple Phoenix Games (2266 KP) rated Bob Ross: Art of Chill Game in Tabletop Games
Jun 30, 2021
Bob Ross is a household name in the United States and has been for quite a while. The man is a legend and part of the Trinity of Mankind (which also includes Mister Rogers and Steve Irwin). Anyone who has watched this man paint instantly recognizes a beautiful human being with extreme talent and the ability to lull audiences into a state of euphoria as he paints mountains, creeks, cabins, and trees. And of course, every one should have a friend. His wholesomeness goes to 11! So what do I find one day whilst perusing the strange board game wares in my local Target one day three years ago but a Bob Ross game. I wasn’t expecting much, but had to have it for nostalgic reasons. Was my money wasted or is there something in this box worth actually playing?
Bob Ross: Art of Chill is a set collection, hand management, card drafting game that has its players attempting to complete masterful paintings before the master does in order to collect bonus “chill points” to win the game. Whomever manages to reach ultimate chill status will be victorious and can return to feeding Peapod, their rascally pocket squirrel.
To setup, place the easel and one of the shuffled painting panels upon it. Place the other panels (paintings) nearby. Place the main scoreboard nearby as well and place the shuffled Chill Cards on its space upon the board. The Technique Cards deck and the Art Supplies Card decks will be shuffled separately and placed below the board with four cards from each deck revealed as an offer. Place the Bob Mover (Bobeeple) on the easel in the first location printed on the panel. Each player will receive a palette, the scoring cube of their color to be placed on the scoreboard, the three Feature Markers, and three random Art Supplies Cards. The game may now begin!
On a turn players will be rolling the Bob die and carrying out its action. These actions are playing a paint card from hand onto their palette, drawing one Art Supplies Card from the deck to their hand, performing one free Action prior to the Action phase, or resolving the Bob die face. The Bob die face requires players to reveal a new Chill Card and resolve its immediate effects, or effects that will remain in play until a new Chill Card is revealed. Secondly, the Bobeeple will move to the next printed stopping point on the panel.
Once the die has been rolled and resolved, the active player will be able to take any three actions available in any order: Draw an Art Supplies Card (from the deck or from the offer), Sweep the Art Supplies Card (discard all face-up cards and reveal four new ones), Apply Paint to Your Palette (by placing it on your palette from your hand of cards), Wash Your Palette (by discarding cards from one of the palette areas to clear it), Earn a Technique Card (by discarding two like-cards from the hand of cards in order to score more VP for painting features in the future), or Paint a Feature (by discarding the required brush from the player’s hand of cards and the correct matching paints already applied to their palette).
Once complete, the next player will take their turn of rolling the die and completing three actions. Should players paint a feature on the panel before Bob moves to that spot on the panel the player(s) will gain extra bonus Chill points. Players may still paint features for points if Bob already has as well, they just will not receive the bonus Bob points. Turns will continue in this fashion until the moment one player has reached ultimate Chill and won the game.
Components. This game has a fair amount of components and I am happy to say they are all great! The cardboard components (palettes, score board) are good. The cards are all lovely linen-finished. The other player components are fine as well. The painting panels are excellent and feature actual Bob Ross masterpieces, and there are 15 double-sided panels in the box! The coolest component is certainly the easel though. It seems to be a somewhat real and functional easel (not that you would really want to paint on it) and it amps up the table appeal when setup and in play. I love the components and I am so glad that Big G Creative made a Bob Ross game with beautiful components. Anything less would be sacrilege.
It probably comes as no surprise that I love this game. I have always loved watching Bob Ross from when I was a child even up through my adulthood and I am relieved to be able to still watch him in action via Netflix. The game, though, is rather surprising. I certainly wasn’t expecting to like this as much as I do and was quite shocked to find out that there was actual substance in a Bob Ross game. Especially when it was stationed next to “games” like Who Wants to Be a Millionaire, Throw Throw Burrito, and the like. I enjoy the nostalgia in seeing my favorite colors in my hands like Phthalo Blue, Cadmium Orange, and Sap Green.
I don’t know if I would really consider this a gateway game, though I believe it really depends on the gamers with whom you are playing. There will be many times when you are concentrating on collecting the colors needed to finish a feature before Bob only to frustratingly never see that color on offer nor in the cards you draw and then the painting has to be refreshed because people can’t seem to stop rolling Bob on the die. However, if you play with people who can literally chill when things don’t go their way, this is a gem. Purple Phoenix Games gives Bob Ross: Art of Chill a 21 / 24. The only thing missing here is a way to, “beat the devil out of it,” and it would make my heart sing.
Bob Ross: Art of Chill is a set collection, hand management, card drafting game that has its players attempting to complete masterful paintings before the master does in order to collect bonus “chill points” to win the game. Whomever manages to reach ultimate chill status will be victorious and can return to feeding Peapod, their rascally pocket squirrel.
To setup, place the easel and one of the shuffled painting panels upon it. Place the other panels (paintings) nearby. Place the main scoreboard nearby as well and place the shuffled Chill Cards on its space upon the board. The Technique Cards deck and the Art Supplies Card decks will be shuffled separately and placed below the board with four cards from each deck revealed as an offer. Place the Bob Mover (Bobeeple) on the easel in the first location printed on the panel. Each player will receive a palette, the scoring cube of their color to be placed on the scoreboard, the three Feature Markers, and three random Art Supplies Cards. The game may now begin!
On a turn players will be rolling the Bob die and carrying out its action. These actions are playing a paint card from hand onto their palette, drawing one Art Supplies Card from the deck to their hand, performing one free Action prior to the Action phase, or resolving the Bob die face. The Bob die face requires players to reveal a new Chill Card and resolve its immediate effects, or effects that will remain in play until a new Chill Card is revealed. Secondly, the Bobeeple will move to the next printed stopping point on the panel.
Once the die has been rolled and resolved, the active player will be able to take any three actions available in any order: Draw an Art Supplies Card (from the deck or from the offer), Sweep the Art Supplies Card (discard all face-up cards and reveal four new ones), Apply Paint to Your Palette (by placing it on your palette from your hand of cards), Wash Your Palette (by discarding cards from one of the palette areas to clear it), Earn a Technique Card (by discarding two like-cards from the hand of cards in order to score more VP for painting features in the future), or Paint a Feature (by discarding the required brush from the player’s hand of cards and the correct matching paints already applied to their palette).
Once complete, the next player will take their turn of rolling the die and completing three actions. Should players paint a feature on the panel before Bob moves to that spot on the panel the player(s) will gain extra bonus Chill points. Players may still paint features for points if Bob already has as well, they just will not receive the bonus Bob points. Turns will continue in this fashion until the moment one player has reached ultimate Chill and won the game.
Components. This game has a fair amount of components and I am happy to say they are all great! The cardboard components (palettes, score board) are good. The cards are all lovely linen-finished. The other player components are fine as well. The painting panels are excellent and feature actual Bob Ross masterpieces, and there are 15 double-sided panels in the box! The coolest component is certainly the easel though. It seems to be a somewhat real and functional easel (not that you would really want to paint on it) and it amps up the table appeal when setup and in play. I love the components and I am so glad that Big G Creative made a Bob Ross game with beautiful components. Anything less would be sacrilege.
It probably comes as no surprise that I love this game. I have always loved watching Bob Ross from when I was a child even up through my adulthood and I am relieved to be able to still watch him in action via Netflix. The game, though, is rather surprising. I certainly wasn’t expecting to like this as much as I do and was quite shocked to find out that there was actual substance in a Bob Ross game. Especially when it was stationed next to “games” like Who Wants to Be a Millionaire, Throw Throw Burrito, and the like. I enjoy the nostalgia in seeing my favorite colors in my hands like Phthalo Blue, Cadmium Orange, and Sap Green.
I don’t know if I would really consider this a gateway game, though I believe it really depends on the gamers with whom you are playing. There will be many times when you are concentrating on collecting the colors needed to finish a feature before Bob only to frustratingly never see that color on offer nor in the cards you draw and then the painting has to be refreshed because people can’t seem to stop rolling Bob on the die. However, if you play with people who can literally chill when things don’t go their way, this is a gem. Purple Phoenix Games gives Bob Ross: Art of Chill a 21 / 24. The only thing missing here is a way to, “beat the devil out of it,” and it would make my heart sing.
Kirk Bage (1775 KP) rated The Lighthouse (2019) in Movies
Jan 22, 2021
Robert Eggers made a striking introduction for himself in 2015 with the moody and disconcerting The Witch, bringing a future star to the world’s attention in Anya Taylor-Joy in the process. You could argue after seeing his sophomore effort, The Lighthouse, that in terms of creating deliberately nauseating landscapes his work is the third cog in the arthouse revival of intellectual “horror”, after Ari Aster (Hereditary / Midsommar) and Jordan Peele (Get Out / Us). The group actually sits quite well together, as there is an obvious social commentary by metaphor crossover going on here, as well as just a little bit of “crazy”.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.