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Emma @ The Movies (1786 KP) rated Bloodshot (2020) in Movies
Mar 21, 2020
It's nice to get a different side of the comic book genre for once, I'm still suffering from Marvel/Avengers fatigue so this was a welcome diversion.
After a successful operation, soldier Ray Garrison has come home to take his beautiful wife of a well deserved break. What he doesn't realise is that he's being tracked by a team who are looking for information, and they'll do anything it takes to get it.
Waking up in a high tech lab with no memory Ray discovers that his body has been donated to a company after his death. RSC are pioneers in enhancements to the human body, taking people who might otherwise be given up on and giving them a new lease of life.
When you've had one of those days and you need some gratuitous violence you can't really go wrong with a Vin Diesel films... can you?
I can't say I ever go into films like this expecting a "masterpiece" of cinema, I was just hoping for some solid entertainment and it certainly gives that.
Enhanced humans always offer that level of escapism that allows for a few faux pas to come across as less obvious, but the trailer made me raise an eyebrow. The effects didn't look great in the few snippets we got, luckily, on seeing the final product thought I was pleasantly surprised. The close up action that wouldn't require major stunts were excellent and believable, I didn't feel like there were any holes to pick... until the elevator scene. You'll clearly see the graphic work and it's a real shame it is so bad in comparison to the rest, there's also a terrible chase scene that has no natural movement in it either.
It's not often Vin strays from a certain type of character so we get exactly what you'd expect from his portrayal of Ray Garrison, a driven "bad guy" with a reason to be mad at a lot of stuff. It's not groundbreaking but it's always fun to see.
Eiza Gonzalez as KT gets a good range to work with, she gives us an excellent character with a reasonable amount of depth compared to her counterparts... who I had to call Legs and Eyes in my notes because at no point did I notice if they had names or not.
Our bad guy was obviously Guy Pearce seems about right for him. It wasn't really out of his comfort zone either though and despite him being great as Dr Emil Harting it wasn't really pushing any boundaries.
Visually this film is pretty good, the fight sequence we get glimpses of during the trailer uses colour well and has some amusing little touches in it. A bit of humour and some shots that I'd associate with horror/thriller movies build that excitement and tension well. There's also a well edited montage that's used to great effect to show the audience an event succinctly without it becoming boring, which is always greatly appreciated in films.
There are a few comments I have but they definitely constitute spoilers so I'll keep them to myself, but there's nothing that majorly added or detracted from the film for me beyond what I've mentioned already.
As I said at the beginning, it's nice to have a different comic book entity on our screens and I think the story is a good one, we're thankfully given an interesting set of characters to focus on and that helps the story stay a little lighter. You know how I like an origin tale though and this seems a bit short on that bit of discovery. I've got the graphic novel to read though so I'm interested to see where it deviates. Despite its minor (and slightly major action CGI) issues I really enjoyed Bloodshot, Ray's anger issues really helped get out some frustration.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/bloodshot-movie-review.html
After a successful operation, soldier Ray Garrison has come home to take his beautiful wife of a well deserved break. What he doesn't realise is that he's being tracked by a team who are looking for information, and they'll do anything it takes to get it.
Waking up in a high tech lab with no memory Ray discovers that his body has been donated to a company after his death. RSC are pioneers in enhancements to the human body, taking people who might otherwise be given up on and giving them a new lease of life.
When you've had one of those days and you need some gratuitous violence you can't really go wrong with a Vin Diesel films... can you?
I can't say I ever go into films like this expecting a "masterpiece" of cinema, I was just hoping for some solid entertainment and it certainly gives that.
Enhanced humans always offer that level of escapism that allows for a few faux pas to come across as less obvious, but the trailer made me raise an eyebrow. The effects didn't look great in the few snippets we got, luckily, on seeing the final product thought I was pleasantly surprised. The close up action that wouldn't require major stunts were excellent and believable, I didn't feel like there were any holes to pick... until the elevator scene. You'll clearly see the graphic work and it's a real shame it is so bad in comparison to the rest, there's also a terrible chase scene that has no natural movement in it either.
It's not often Vin strays from a certain type of character so we get exactly what you'd expect from his portrayal of Ray Garrison, a driven "bad guy" with a reason to be mad at a lot of stuff. It's not groundbreaking but it's always fun to see.
Eiza Gonzalez as KT gets a good range to work with, she gives us an excellent character with a reasonable amount of depth compared to her counterparts... who I had to call Legs and Eyes in my notes because at no point did I notice if they had names or not.
Our bad guy was obviously Guy Pearce seems about right for him. It wasn't really out of his comfort zone either though and despite him being great as Dr Emil Harting it wasn't really pushing any boundaries.
Visually this film is pretty good, the fight sequence we get glimpses of during the trailer uses colour well and has some amusing little touches in it. A bit of humour and some shots that I'd associate with horror/thriller movies build that excitement and tension well. There's also a well edited montage that's used to great effect to show the audience an event succinctly without it becoming boring, which is always greatly appreciated in films.
There are a few comments I have but they definitely constitute spoilers so I'll keep them to myself, but there's nothing that majorly added or detracted from the film for me beyond what I've mentioned already.
As I said at the beginning, it's nice to have a different comic book entity on our screens and I think the story is a good one, we're thankfully given an interesting set of characters to focus on and that helps the story stay a little lighter. You know how I like an origin tale though and this seems a bit short on that bit of discovery. I've got the graphic novel to read though so I'm interested to see where it deviates. Despite its minor (and slightly major action CGI) issues I really enjoyed Bloodshot, Ray's anger issues really helped get out some frustration.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/bloodshot-movie-review.html
5 Minute Movie Guy (379 KP) rated The Kitchen (2019) in Movies
Aug 24, 2019
Married into a life with the mob, three women living in Hell’s Kitchen, New York City in the late ‘70s find themselves trapped in their husband’s shadows in Andrea Berloff’s debut film, The Kitchen. Based on a 2014 DC Comics graphic novel by the same name, the film focuses on these three female friends facing the aftermath of their husband’s botched crime and subsequent imprisonment. Their Italian crime family promised to take care of them while their spouses are locked away, but their measly support simply isn’t enough when they’ve got mouths to feed and bills to pay. Tired of being weak and dependent, the ladies band together to take control of their situation by trying to take over the mob.
The Kitchen stars actresses Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss as the female trio who work to rise to the top of their crime family by carrying the dead weight of the lazy men who lead it. McCarthy plays Kathy Brennan, a housewife and mother of two, whose seemingly good-natured husband is clearly involved in the wrong crowd. In spite of that, she appears to have a pleasant life at home, but her heavy reliance on her husband puts her in peril once he’s locked away. On the other hand, Haddish and Moss play Ruby and Claire, who are both victimized and disrespected by their husbands, with Claire even being regularly abused. These characteristics help to define the women and their actions as they attempt to upend the male-dominated establishment.
However, despite The Kitchen’s strong set-up, the characters themselves don’t show much depth beyond this, and the film’s performances leave a lot to be desired. McCarthy felt like she was acting in an entirely different movie. I’ve never seen a more passive and unconvincing crime boss. She’s struggling with a balancing act that sees her going between being tough, funny, ruthless, submissive, and sweet. By comparison to the rest of the movie, her whole character feels off-key. Then there’s Haddish who gives the worst acting performance I’ve seen in quite some time. I’m not really a fan of her brand of humor, but I didn’t like her dramatic turn here either. She just delivers snarky lines with attitude and death glares before walking off-camera in practically every shot she’s in. It’s almost funny how cheesy and over-the-top it is. You can’t just go mean-mugging your way through a whole major motion picture and expect to be taken seriously.
On a more positive note, Moss was much more impressive as Claire, who is fed up with being beaten down and bullied, and is determined to learn how to defend herself. She partners up with Domhnall Gleeson’s hitman character Gabriel who teaches her how to kill. Their relationship ends up being perhaps the most interesting aspect of the whole movie, and it has something of a Bonnie and Clyde quality to it. I only wish we could have seen it fleshed out a bit more.
For all of its potential, especially in terms of portraying female empowerment, The Kitchen regrettably winds up being a generic, inconsistent, and lethargic affair. I personally love the premise of the film. It’s a bad ass statement to any man who has ever said that a woman’s place is in the kitchen. It sticks up a middle finger to sexism by taking the action to the criminal streets of Hell’s Kitchen where the women rise to power. Unfortunately, despite the kick-ass feminist concept, I found that the film’s attempt at empowerment never really manifests into anything meaningful.
Instead, The Kitchen feels messy and uninspired. There isn’t a single scene in the entire film that I would consider to be good. The story is thin, the suspense is absent, the setting is bland, the tone is confusing, and the characters are mostly uninspired. I hate to even say it, but while watching it, I couldn’t help but be reminded of last year’s train-wreck of a film, Gotti, starring John Travolta. I think both of these films had a lot of promise, but seriously failed to deliver. As someone who loves a good gangster movie, I feel really disappointed.
There’s ultimately very little I liked about The Kitchen. The movie lacks a pulse, and the stakes never feel significant, not even as the body count piles up. The set design shows no strong sense of place or time period. Most of the settings outside seemed to be looking at nondescript sidewalks that could have been filmed anywhere. With the setting of Hell’s Kitchen, I can’t help but immediately think of The Godfather. Similarly, the use of The Rolling Stones in the trailer evokes thoughts of Scorsese and Goodfellas. Unfortunately, this movie clearly doesn’t even come close to comparing to either of those classics. This movie’s plot is weak, the betrayals are obvious, and the ending is uncomfortably idiotic. Despite it all, however, I find myself still interested in The Kitchen’s graphic novel at least, because I can’t imagine it being this bad.
The Kitchen stars actresses Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss as the female trio who work to rise to the top of their crime family by carrying the dead weight of the lazy men who lead it. McCarthy plays Kathy Brennan, a housewife and mother of two, whose seemingly good-natured husband is clearly involved in the wrong crowd. In spite of that, she appears to have a pleasant life at home, but her heavy reliance on her husband puts her in peril once he’s locked away. On the other hand, Haddish and Moss play Ruby and Claire, who are both victimized and disrespected by their husbands, with Claire even being regularly abused. These characteristics help to define the women and their actions as they attempt to upend the male-dominated establishment.
However, despite The Kitchen’s strong set-up, the characters themselves don’t show much depth beyond this, and the film’s performances leave a lot to be desired. McCarthy felt like she was acting in an entirely different movie. I’ve never seen a more passive and unconvincing crime boss. She’s struggling with a balancing act that sees her going between being tough, funny, ruthless, submissive, and sweet. By comparison to the rest of the movie, her whole character feels off-key. Then there’s Haddish who gives the worst acting performance I’ve seen in quite some time. I’m not really a fan of her brand of humor, but I didn’t like her dramatic turn here either. She just delivers snarky lines with attitude and death glares before walking off-camera in practically every shot she’s in. It’s almost funny how cheesy and over-the-top it is. You can’t just go mean-mugging your way through a whole major motion picture and expect to be taken seriously.
On a more positive note, Moss was much more impressive as Claire, who is fed up with being beaten down and bullied, and is determined to learn how to defend herself. She partners up with Domhnall Gleeson’s hitman character Gabriel who teaches her how to kill. Their relationship ends up being perhaps the most interesting aspect of the whole movie, and it has something of a Bonnie and Clyde quality to it. I only wish we could have seen it fleshed out a bit more.
For all of its potential, especially in terms of portraying female empowerment, The Kitchen regrettably winds up being a generic, inconsistent, and lethargic affair. I personally love the premise of the film. It’s a bad ass statement to any man who has ever said that a woman’s place is in the kitchen. It sticks up a middle finger to sexism by taking the action to the criminal streets of Hell’s Kitchen where the women rise to power. Unfortunately, despite the kick-ass feminist concept, I found that the film’s attempt at empowerment never really manifests into anything meaningful.
Instead, The Kitchen feels messy and uninspired. There isn’t a single scene in the entire film that I would consider to be good. The story is thin, the suspense is absent, the setting is bland, the tone is confusing, and the characters are mostly uninspired. I hate to even say it, but while watching it, I couldn’t help but be reminded of last year’s train-wreck of a film, Gotti, starring John Travolta. I think both of these films had a lot of promise, but seriously failed to deliver. As someone who loves a good gangster movie, I feel really disappointed.
There’s ultimately very little I liked about The Kitchen. The movie lacks a pulse, and the stakes never feel significant, not even as the body count piles up. The set design shows no strong sense of place or time period. Most of the settings outside seemed to be looking at nondescript sidewalks that could have been filmed anywhere. With the setting of Hell’s Kitchen, I can’t help but immediately think of The Godfather. Similarly, the use of The Rolling Stones in the trailer evokes thoughts of Scorsese and Goodfellas. Unfortunately, this movie clearly doesn’t even come close to comparing to either of those classics. This movie’s plot is weak, the betrayals are obvious, and the ending is uncomfortably idiotic. Despite it all, however, I find myself still interested in The Kitchen’s graphic novel at least, because I can’t imagine it being this bad.
Clare Parrott (294 KP) created a post
Jul 24, 2017
Gareth von Kallenbach (980 KP) rated 300: Rise of an Empire (2014) in Movies
Jun 19, 2019
Seven years have passed since Frank Miller’s classic Graphic Novel 300 was adapted into a hit film and made a star of the largely unknown Gerard Butler.
The follow up film, “300 Rise of an Empire” is both a sequel and a prequel to the original film as it takes place before and after the events of the first film and involves Themistocles (Sullivan Stapleton), a general from Athens who is tasked with defeating the invading Persian navy with only a handful of soldiers and ships who years earlier at the Battle of Marathon put the events of the two films in motion with his actions on the battlefield.
The film also chronicles the rise of the mortal turned god Xerxes (Rodrigo Santoro) and his brutal right hand Artemesia (Eva Green), who plays a deadly game against the Greeks and Themistocles based on a long standing desire for revenge against the Greeks despite being Greek herself.
While the film is slow getting started as there is a lot of back story and character introductions to chronicle, the film does start off nicely with the bloody battle of Marathon and then sets up several battles along the way.
Lena Headey is the only returning character of note aside from Xeres and she does a good job in her limited time as the Queen of Sparta who must make hard decisions for her people.
The film uses the same graphical style of the previous film and while there is tons of blood and splatter, it is done with CGI and this helps diminish the impact of seeing copious amounts of blood and gore flying through the air during the numerous battles.
The 3D in the film is effective and seeing the embers from the fires float around was a nice touch.
The cast was engaging and entertaining despite being largely unknown and Stapleton does a nice job with the lead as he does not try to recreate the performance of Butler and instead focuses on his own character.
While it plays out largely like it is, a film version of a comic, Zack Snyder who produced the film and wrote the screenplay has done a good job with the source material. Director Noam Murro keeps the action flowing and gives a nice mix of visuals and character to overcome some of the issues with plot and pacing.
In the end, the film is an enjoyable action film and a worthy follow up to the original which sets the stage well for future films.
http://sknr.net/2014/03/07/300-rise-of-an-empire/
The follow up film, “300 Rise of an Empire” is both a sequel and a prequel to the original film as it takes place before and after the events of the first film and involves Themistocles (Sullivan Stapleton), a general from Athens who is tasked with defeating the invading Persian navy with only a handful of soldiers and ships who years earlier at the Battle of Marathon put the events of the two films in motion with his actions on the battlefield.
The film also chronicles the rise of the mortal turned god Xerxes (Rodrigo Santoro) and his brutal right hand Artemesia (Eva Green), who plays a deadly game against the Greeks and Themistocles based on a long standing desire for revenge against the Greeks despite being Greek herself.
While the film is slow getting started as there is a lot of back story and character introductions to chronicle, the film does start off nicely with the bloody battle of Marathon and then sets up several battles along the way.
Lena Headey is the only returning character of note aside from Xeres and she does a good job in her limited time as the Queen of Sparta who must make hard decisions for her people.
The film uses the same graphical style of the previous film and while there is tons of blood and splatter, it is done with CGI and this helps diminish the impact of seeing copious amounts of blood and gore flying through the air during the numerous battles.
The 3D in the film is effective and seeing the embers from the fires float around was a nice touch.
The cast was engaging and entertaining despite being largely unknown and Stapleton does a nice job with the lead as he does not try to recreate the performance of Butler and instead focuses on his own character.
While it plays out largely like it is, a film version of a comic, Zack Snyder who produced the film and wrote the screenplay has done a good job with the source material. Director Noam Murro keeps the action flowing and gives a nice mix of visuals and character to overcome some of the issues with plot and pacing.
In the end, the film is an enjoyable action film and a worthy follow up to the original which sets the stage well for future films.
http://sknr.net/2014/03/07/300-rise-of-an-empire/
BankofMarquis (1832 KP) rated The Kitchen (2019) in Movies
May 17, 2020
Thinly written and directed
A rainy weekend is the perfect time to catch up with films that I meant to see in the Cineplex, but just didn't get around to it. So it was with some excitement that I flipped on the "Women Run The Mafia" movie THE KITCHEN from 2019.
I should have watched 21 BRIDGES.
Based on the DC/VERTIGO graphic novel, THE KITCHEN is set in the late 1970's in NYC and offers up the "what if" scenario of 3 women that take over the Mafia. A pretty interesting premise that could have been the GODFATHER or GOODFELLA's of the day (or...at least...another WIDOWS from 2018), but instead THE KITCHEN falls flat like the all female GHOSTBUSTERS from a few year's ago.
A star of that Ghostbuster's film, Melissa McCarthy leads the cast as Kathy Brennan, the wife of a mobster who was sent to jail and becomes the leader of the group. McCarthy has shown that she has the "chops" as an actress to tackle this role, but she never really gets there. There is no real depth or emotional stakes to her character throughout the course of the film. The screenplay (and McCarthy's performance) does pick up at the end, but by then, it is too little, too late. Also not fairing well is comedienne Tiffany Hadish as Ruby O'Carroll - an African-American female trying to dominate in a predominately white male world. Again...this character had potential, but the writing and, quite frankly, Hadish's performance just didn't quite succeed.
What did succeed is the always excellent Elisabeth Moss as the 3rd part of this triumvirate. Her "mousy, abused housewife turned stone cold killer" was interesting to watch - especially when paired with Domhnall Gleeson's assassin about 1/2 way through the movie. I wanted to watch a movie with these 2 criminals on the run.
I've mentioned the weak writing as part the issue here, so I'll have to mention first time Veteran Writer and first-time Director Andrea Berloff as the main culprit here. She wrote STRAIGHT OUTTA COMPTON so she has it in her, but here, the screenplay and characterizations are "thin". Perhaps, a good Director could have made something out of this, but she also made her Directing debut with this film, so it just didn't work well enough.
This isn't a bad film, it just isn't a very good - or very interesting - one.
Letter Grade B- (for the Moss/Gleeson portion of this film)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
I should have watched 21 BRIDGES.
Based on the DC/VERTIGO graphic novel, THE KITCHEN is set in the late 1970's in NYC and offers up the "what if" scenario of 3 women that take over the Mafia. A pretty interesting premise that could have been the GODFATHER or GOODFELLA's of the day (or...at least...another WIDOWS from 2018), but instead THE KITCHEN falls flat like the all female GHOSTBUSTERS from a few year's ago.
A star of that Ghostbuster's film, Melissa McCarthy leads the cast as Kathy Brennan, the wife of a mobster who was sent to jail and becomes the leader of the group. McCarthy has shown that she has the "chops" as an actress to tackle this role, but she never really gets there. There is no real depth or emotional stakes to her character throughout the course of the film. The screenplay (and McCarthy's performance) does pick up at the end, but by then, it is too little, too late. Also not fairing well is comedienne Tiffany Hadish as Ruby O'Carroll - an African-American female trying to dominate in a predominately white male world. Again...this character had potential, but the writing and, quite frankly, Hadish's performance just didn't quite succeed.
What did succeed is the always excellent Elisabeth Moss as the 3rd part of this triumvirate. Her "mousy, abused housewife turned stone cold killer" was interesting to watch - especially when paired with Domhnall Gleeson's assassin about 1/2 way through the movie. I wanted to watch a movie with these 2 criminals on the run.
I've mentioned the weak writing as part the issue here, so I'll have to mention first time Veteran Writer and first-time Director Andrea Berloff as the main culprit here. She wrote STRAIGHT OUTTA COMPTON so she has it in her, but here, the screenplay and characterizations are "thin". Perhaps, a good Director could have made something out of this, but she also made her Directing debut with this film, so it just didn't work well enough.
This isn't a bad film, it just isn't a very good - or very interesting - one.
Letter Grade B- (for the Moss/Gleeson portion of this film)
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated Station Eleven in Books
May 30, 2017
Horrifyingly Plausible
This ARC was provided by the publisher via NetGalley in exchange for an honest review
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
Kyera (8 KP) rated League of American Traitors in Books
Feb 1, 2018
The premise of this book is much more intriguing than its actual execution. Jasper is the descendant of Benedict Arnold, the most notorious traitor in American history. After the death of both of his parents, Jasper learns that there is more to his world than he ever knew. He learns that for hundreds of years, the descendants of both the heroes and villains from American history have been on opposing sides. The heroes' descendants, who call themselves the Sons of Liberty, challenge the descendants of the villains to a duel when they come of age. Unbeknownst to Jasper, his father was searching for a way out of the duel for his son. His untimely death leads Jasper down a path that forces him to question everything he's ever known.
I would like to mention that I was provided with an uncorrected e-galley to review this book. The fact that I was provided with the galley didn't affect my review, but the quality of the galley certainly influenced my enjoyment of the book. There were a number of grammatical or spelling errors throughout and that's something that pulls me out of the story. That is just a personal problem with the book and one I hope will not be present in the book when it is released on August 8th.
As a huge fan of history, I was incredibly intrigued by the premise of this book. It was sold as a mash-up of Hamilton and National Treasure - and who doesn't love those two things? It wasn't quite as fast-paced and thrilling as the premise would lead you to believe, but it is enjoyable.
I wish there was more character development in the novels because at times it was difficult to understand each character's motivations. They might have a complete change in perspective or opinion and it wasn't adequately explained leaving the reader questioning what was happening. There were so many characters in the book, many of which were quite prevalent that I understand that it probably wasn't possible to develop them all. That's just not feasible when writing a book, but I do think that the story would have benefitted greatly had there been just a bit more development.
The world that the author built was intriguing as he was able to blend authentic U.S. history in with his more dramatic narrative. Of course, settling one's qualms via a duel is a bit dramatic but he managed to raise the stakes. His characters' lives are on the line if they are not successful and yet the entire organization's framework could be altered if they are.
The plot of the book follows the course of American history with traitors and spies, secrets and betrayals, love and heartbreak. There are pacing issues with the book as it has moments that drag and others that seem to jump forward without enough context. There are some scenes that seem unnecessary to the plot and could be shorted to give more opportunities for character development. Overall, I feel that it is a good debut novel that could have been improved by culling extraneous scenes and delving more deeply into the world and characters.
Although it suffers from pacing issues and underdeveloped characters - it is still an entertaining read. I would recommend it to fans of history and action/adventure books, as it melds elements of both into a novel about the heroes and traitors of American history (and their descendants). There is a lot of violence in the book, but as it is not graphic I would not hesitate to allow a YA/teen reader to pick up this book. If you're a fan of historical fiction or action/adventures then you should definitely check out this book!
I would like to mention that I was provided with an uncorrected e-galley to review this book. The fact that I was provided with the galley didn't affect my review, but the quality of the galley certainly influenced my enjoyment of the book. There were a number of grammatical or spelling errors throughout and that's something that pulls me out of the story. That is just a personal problem with the book and one I hope will not be present in the book when it is released on August 8th.
As a huge fan of history, I was incredibly intrigued by the premise of this book. It was sold as a mash-up of Hamilton and National Treasure - and who doesn't love those two things? It wasn't quite as fast-paced and thrilling as the premise would lead you to believe, but it is enjoyable.
I wish there was more character development in the novels because at times it was difficult to understand each character's motivations. They might have a complete change in perspective or opinion and it wasn't adequately explained leaving the reader questioning what was happening. There were so many characters in the book, many of which were quite prevalent that I understand that it probably wasn't possible to develop them all. That's just not feasible when writing a book, but I do think that the story would have benefitted greatly had there been just a bit more development.
The world that the author built was intriguing as he was able to blend authentic U.S. history in with his more dramatic narrative. Of course, settling one's qualms via a duel is a bit dramatic but he managed to raise the stakes. His characters' lives are on the line if they are not successful and yet the entire organization's framework could be altered if they are.
The plot of the book follows the course of American history with traitors and spies, secrets and betrayals, love and heartbreak. There are pacing issues with the book as it has moments that drag and others that seem to jump forward without enough context. There are some scenes that seem unnecessary to the plot and could be shorted to give more opportunities for character development. Overall, I feel that it is a good debut novel that could have been improved by culling extraneous scenes and delving more deeply into the world and characters.
Although it suffers from pacing issues and underdeveloped characters - it is still an entertaining read. I would recommend it to fans of history and action/adventure books, as it melds elements of both into a novel about the heroes and traitors of American history (and their descendants). There is a lot of violence in the book, but as it is not graphic I would not hesitate to allow a YA/teen reader to pick up this book. If you're a fan of historical fiction or action/adventures then you should definitely check out this book!
Hazel (1853 KP) rated Station Eleven in Books
Dec 7, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review</i>
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
Heather Cranmer (2721 KP) rated Whickering Place (Legacy of Darkness #2) in Books
Nov 22, 2019
I've been a fan of London Clarke since I read her debut novel Wildfell. I was thrilled when Whickering Place, the second novel in the Legacy of Darkness series, came out. I really enjoyed the first book in the series The Meadows. I must say that Whickering Place really blew me away!
If you're a fan of vampires, ghosts, and a touch of romance, you will love Whickering Place. I'm not going to rehash the synopsis since you will have probably read it yourself, and the synopsis does such a great job at describing this book. Even though I'm not a fan of the whole vampire movement in media, I really did enjoy Whickering Place. The plot was done brilliantly. I very much enjoyed the world building. In fact, I couldn't find one fault with the world building. Clarke does a fantastic job at making sure you're left feeling like you are a bystander amidst all the action. While there is a cliffhanger at the end of Whickering Place, this was done intentionally and will hopefully all will be revealed in the next book in the series.
The pacing was slow for about the first quarter or so of the book as the backstory and plot were being set up. I will admit that I did think about just giving up on Whickering Place, but I'm glad I kept reading because wow, the pacing definitely picked up after that! Once it picked up, there was no going back. I devoured each page. The suspense kept me on my toes! I was heavily invested in the story and all of the characters in Whickering Place.
Each and every character no matter how minor or major was written fantastically! Each character had their own personality, and it felt as if I was reading about a real flesh and blood person instead of just a character in a book. Avery was a great character. I could sort of relate to her agoraphobia. I used to be almost as bad as her. I felt bad for her, and I was always hoping she would get better so she could have more of a life. I kept thinking that Avery and myself could become great friends if she was real. It was almost as if every decision she made was one that I would have made. Pearse was definitely an interesting character. I did feel bad for him when it came to The Colony. I was always hoping he'd be able to get away from them. He seemed like he had a good heart. I also felt bad for Colin when it came to Avery. It was very obvious that he cared deeply for her. Colin definitely came across as a stand up sort of guy! I didn't really care for Maris, not because she was written poorly. She was actually written quite well! She just reminded me of those pretty mean girls I knew back when I was in school. I didn't know what to think of Cassie. I liked Cassie, and I loved her personality and how willing she was to help out, but I was never sure if I could trust her 100 percent.
Trigger warnings for Whickering Place include profanity (there's not a lot though), sexual situations (although these aren't graphic, and there aren't many sexual scenes), murder, attempted murder, alcohol, dealings with the occult, demons, and violence.
Overall, Whickering Place is a thrilling read which such a fantastic set of characters and an intense plot! This is one of those books that even though it starts out slow, it does a fantastic job at pulling you right into its pages and doesn't let you go! I would definitely recommend Whickering Place by London Clarke to everyone aged 17+ who loves getting lost in a good thriller.
If you're a fan of vampires, ghosts, and a touch of romance, you will love Whickering Place. I'm not going to rehash the synopsis since you will have probably read it yourself, and the synopsis does such a great job at describing this book. Even though I'm not a fan of the whole vampire movement in media, I really did enjoy Whickering Place. The plot was done brilliantly. I very much enjoyed the world building. In fact, I couldn't find one fault with the world building. Clarke does a fantastic job at making sure you're left feeling like you are a bystander amidst all the action. While there is a cliffhanger at the end of Whickering Place, this was done intentionally and will hopefully all will be revealed in the next book in the series.
The pacing was slow for about the first quarter or so of the book as the backstory and plot were being set up. I will admit that I did think about just giving up on Whickering Place, but I'm glad I kept reading because wow, the pacing definitely picked up after that! Once it picked up, there was no going back. I devoured each page. The suspense kept me on my toes! I was heavily invested in the story and all of the characters in Whickering Place.
Each and every character no matter how minor or major was written fantastically! Each character had their own personality, and it felt as if I was reading about a real flesh and blood person instead of just a character in a book. Avery was a great character. I could sort of relate to her agoraphobia. I used to be almost as bad as her. I felt bad for her, and I was always hoping she would get better so she could have more of a life. I kept thinking that Avery and myself could become great friends if she was real. It was almost as if every decision she made was one that I would have made. Pearse was definitely an interesting character. I did feel bad for him when it came to The Colony. I was always hoping he'd be able to get away from them. He seemed like he had a good heart. I also felt bad for Colin when it came to Avery. It was very obvious that he cared deeply for her. Colin definitely came across as a stand up sort of guy! I didn't really care for Maris, not because she was written poorly. She was actually written quite well! She just reminded me of those pretty mean girls I knew back when I was in school. I didn't know what to think of Cassie. I liked Cassie, and I loved her personality and how willing she was to help out, but I was never sure if I could trust her 100 percent.
Trigger warnings for Whickering Place include profanity (there's not a lot though), sexual situations (although these aren't graphic, and there aren't many sexual scenes), murder, attempted murder, alcohol, dealings with the occult, demons, and violence.
Overall, Whickering Place is a thrilling read which such a fantastic set of characters and an intense plot! This is one of those books that even though it starts out slow, it does a fantastic job at pulling you right into its pages and doesn't let you go! I would definitely recommend Whickering Place by London Clarke to everyone aged 17+ who loves getting lost in a good thriller.
