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Heathski (173 KP) rated the Xbox 360 version of Bloodforge in Video Games
Feb 27, 2019 (Updated Feb 27, 2019)
Awesome hack and slash (1 more)
Cool art
Combat sometimes (1 more)
Camera angles
Bloody, awesome and a little infuriating
This is an awesome hack and slash game. When I want to vent some of my aggression, this is the one to reach for. It is similar to God of War except that its derived from Celtic mythology, which I love. It has had some negative reviews due to its basic combat, repetitive enemies and weak storyline. I disagree, I love it. The art is awesome, black and white and muted tones, with splashes or fountains of red. It is very bloody, grungy graphic novel style art. The main characters design is striking and unique. The combat can turn onto button mashing but, there are strategic combos which when performed correctly, have some cool and bloody, visual executions. You pick up different weapons on your adventure which opens up options for different fighting styles, combos and upgrades. The more combos you do, the more blood is spilled which means you can access RAGE mode. There is no blocking, so dodging is vital. Sometimes the gameplay mechanics are frustrating due to the annoying camera angles. Its a pretty awesome hack and slash game and love it.
Matthew Krueger (10051 KP) rated The Secret of Monkey Island in Video Games
May 8, 2020
Point and Click Away
The Secert of Monkey Island- is a 1990 point-and-click graphic adventure game developed and published by Lucasfilm Games.
It takes place in a fictional version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate and explores fictional islands while solving puzzles.
The early releases of the game came with copy-protection. A cardboard wheel, named "Dial-a-Pirate", was provided, and the player had to match the pirate shown on-screen with that of the wheel.
The Secret of Monkey Island is a 2D adventure game played from a third-person perspective. Via a point-and-click interface, the player guides protagonist Guybrush Threepwood through the game's world and interacts with the environment by selecting from twelve verb commands (nine in newer versions) such as "talk to" for communicating with characters and "pick up" for collecting items between commands and the world's objects in order to successfully solve puzzles and thus progress in the game.
The in-game action is frequently interrupted by cutscenes.
Like other LucasArts adventure games, The Secret of Monkey Island features a design philosophy that makes the player character's death nearly impossible (Guybrush does drown if he stays underwater for more than ten minutes.
Its a excellent and classic game.
It takes place in a fictional version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate and explores fictional islands while solving puzzles.
The early releases of the game came with copy-protection. A cardboard wheel, named "Dial-a-Pirate", was provided, and the player had to match the pirate shown on-screen with that of the wheel.
The Secret of Monkey Island is a 2D adventure game played from a third-person perspective. Via a point-and-click interface, the player guides protagonist Guybrush Threepwood through the game's world and interacts with the environment by selecting from twelve verb commands (nine in newer versions) such as "talk to" for communicating with characters and "pick up" for collecting items between commands and the world's objects in order to successfully solve puzzles and thus progress in the game.
The in-game action is frequently interrupted by cutscenes.
Like other LucasArts adventure games, The Secret of Monkey Island features a design philosophy that makes the player character's death nearly impossible (Guybrush does drown if he stays underwater for more than ten minutes.
Its a excellent and classic game.
The Craggus (360 KP) rated The Queens Corgi (2019) in Movies
Jul 8, 2019
The Queen's Corgi is a vicious mongrel
There’re so many problematic aspects to “The Queen’s Corgi” it’s kind of baffling it ever made it to cinema screens. A cute cartoon fable about the Queen’s beloved pets may seem like a slam-dunk for the Saturday kid’s club crowd and, if you’re determined to see it, it’s definitely worth waiting for it to reach the bargain screening circuit. Nobody should pay full price to see this.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
Emma @ The Movies (1786 KP) rated Snowpiercer (2013) in Movies
Jun 7, 2020
You know when someone tells you you should watch something... and then someone else does... and after every new "oh my god, you haven't seen it?!" you become more stubborn about watching it? That's exactly why it has taken me so long to watch Snowpiercer.
With the world on the edge of a complete climate collapse scientists launched what they hoped was the solution to the crisis, they would cool the atmosphere and save everyone... but their solution proved to be the world's undoing. What's left of the human race now rides a purpose-built train outrunning an icy end. The people of the tail section are living a terrible life, no natural light, barely any food... they want things to change, but the rest of the train has other ideas.
There's an all star cast on board for Snowpiercer, they've definitely not scrimped in that department. Together everyone works, even with some strong character personalities.
Chris Evans plays our lead, Curtis. Evans can do a lot of different genres but this sort of science fiction didn't seem to suit him. Curtis is a flawed character by design but at no point did he feel like someone to get behind, it's possible to like a flawed leader but this one didn't have the strength to make it convincing.
Tilda Swinton pops up and gives us the much expected slightly nuts performance that only she could muster. While I enjoyed it I'm not sure what it added to the proceedings apart from a very over the top sci-fi edge.
In the confined spaces of the train you get a great sense of how they're living and the cameras are placed in such a way that it never feels claustrophobic. Even in the tail section where you'd expect that, the closeness boosts the bond between characters and the way their planning comes together.
The film has a very clear divide when it comes to life both inside and out of the train. The sweeping bright white landscape with the dark and vibrant interiors, the dull tones of the tail to the richness of the ticketed sections. There's a lot to see in all of it and I'm certainly keen to give it another watch to try and pick out more details from inside the train and what's hidden in the snow... though I have some issues believing that some of that stuff would have still been visible with the wind and weather... but anyway.
There's some movie "magic" that I have a problem with in Snowpiercer, specifically a shoot-out scene that I actively dislike because it's ridiculous. I happily suspend my logical thinking for so many things but this scene annoyed me a lot, there were so many alternative ways to do it that would have been believable... ugh... *deep breath*. I'm going to stop on that now to avoid ranting and spoilers.
It's a great idea and the original story from the graphic novel is an excellent piece to work off, and while the adaptation might not be faithful to that it does add something that's necessary for a single film format. Because of the story and the design of the set there's automatically a natural progression to everything but the film isn't entirely balanced. The beginning feels very heavy and drawn out then we get a sprint for the finish. There's a lot of opportunity for expanded story in the middle but it's not taken up, including it may have changed the tone of the film as it definitely wasn't in keeping with the rest but it would have been interesting to find out more about it. (This is one thing I'm hoping we get to see a bit more of in the TV show.)
Originally posted on: https://emmaatthemovies.blogspot.com/2020/06/snowpiercer-movie-review.html
With the world on the edge of a complete climate collapse scientists launched what they hoped was the solution to the crisis, they would cool the atmosphere and save everyone... but their solution proved to be the world's undoing. What's left of the human race now rides a purpose-built train outrunning an icy end. The people of the tail section are living a terrible life, no natural light, barely any food... they want things to change, but the rest of the train has other ideas.
There's an all star cast on board for Snowpiercer, they've definitely not scrimped in that department. Together everyone works, even with some strong character personalities.
Chris Evans plays our lead, Curtis. Evans can do a lot of different genres but this sort of science fiction didn't seem to suit him. Curtis is a flawed character by design but at no point did he feel like someone to get behind, it's possible to like a flawed leader but this one didn't have the strength to make it convincing.
Tilda Swinton pops up and gives us the much expected slightly nuts performance that only she could muster. While I enjoyed it I'm not sure what it added to the proceedings apart from a very over the top sci-fi edge.
In the confined spaces of the train you get a great sense of how they're living and the cameras are placed in such a way that it never feels claustrophobic. Even in the tail section where you'd expect that, the closeness boosts the bond between characters and the way their planning comes together.
The film has a very clear divide when it comes to life both inside and out of the train. The sweeping bright white landscape with the dark and vibrant interiors, the dull tones of the tail to the richness of the ticketed sections. There's a lot to see in all of it and I'm certainly keen to give it another watch to try and pick out more details from inside the train and what's hidden in the snow... though I have some issues believing that some of that stuff would have still been visible with the wind and weather... but anyway.
There's some movie "magic" that I have a problem with in Snowpiercer, specifically a shoot-out scene that I actively dislike because it's ridiculous. I happily suspend my logical thinking for so many things but this scene annoyed me a lot, there were so many alternative ways to do it that would have been believable... ugh... *deep breath*. I'm going to stop on that now to avoid ranting and spoilers.
It's a great idea and the original story from the graphic novel is an excellent piece to work off, and while the adaptation might not be faithful to that it does add something that's necessary for a single film format. Because of the story and the design of the set there's automatically a natural progression to everything but the film isn't entirely balanced. The beginning feels very heavy and drawn out then we get a sprint for the finish. There's a lot of opportunity for expanded story in the middle but it's not taken up, including it may have changed the tone of the film as it definitely wasn't in keeping with the rest but it would have been interesting to find out more about it. (This is one thing I'm hoping we get to see a bit more of in the TV show.)
Originally posted on: https://emmaatthemovies.blogspot.com/2020/06/snowpiercer-movie-review.html
Mothergamer (1521 KP) rated the PC version of Assassin's Creed: Brotherhood in Video Games
Apr 3, 2019
just got done playing Assassin's Creed Brotherhood and I'll level with you, the ending did cause me to have a what the heck is going on moment. The ending is abrupt and leaves you with a cliffhanger, only drawing forth more questions, and leaves one feeling a bit disappointed and frustrated. However, it does open up many possibilities for the story and for another Assassin's Creed game.
Cliffhanger ending aside, Brotherhood does not disappoint. You get to play as Ezio Auditore once again fighting against the Borgia clan. Ezio is now a leader and you can recruit assassins throughout the city of Rome and build up assassin signals to take out guards, enemies, and even send them out on contract missions. There are many great side quests, including one with Ezio's old friend Leonardo Da Vinci. Leonardo's Machines was one of my favorite side quests because not only was it fun to play, but it was interesting to see all the great designs spring to life for the various missions. The tank was my favorite by far! The rebuilding quest is back, only this time you rebuild Rome and there are many great rewards with it.
Brotherhood isn't completely perfect as there are a few bugs that the developers seem to have missed. One frustrating bug was if you went through one of the hidden tunnels before you were formally introduced to it in the game, you would spawn in front of it and desynchronize repeatedly. There was nothing to do about it, except start a new game. Another bug was a design graphic error with the cinematic of when you recruit an assassin to your cause. The new recruit was just a floating head with a body following it, and their neck was missing. There is also a bug where the game will freeze during game play for no reason at all and the only thing you can do is reboot everything. I only had this happen to me once, but a couple of my friends had it freeze up on them two or three times during missions.
Overall, the game was a blast to play and I did love that all you had to do was whistle or make a hand motion to call on several assassins to take out all your enemies. The historical notes are informative as well and the artwork and music enhance the experience of playing the main missions and the side ones. There's great downloadable content also to add to the fun. I will definitely be playing through it again and have a great time doing it. If you haven't picked up Assassin's Creed Brotherhood yet, I suggest you do so because it is a game that definitely entertains.
Cliffhanger ending aside, Brotherhood does not disappoint. You get to play as Ezio Auditore once again fighting against the Borgia clan. Ezio is now a leader and you can recruit assassins throughout the city of Rome and build up assassin signals to take out guards, enemies, and even send them out on contract missions. There are many great side quests, including one with Ezio's old friend Leonardo Da Vinci. Leonardo's Machines was one of my favorite side quests because not only was it fun to play, but it was interesting to see all the great designs spring to life for the various missions. The tank was my favorite by far! The rebuilding quest is back, only this time you rebuild Rome and there are many great rewards with it.
Brotherhood isn't completely perfect as there are a few bugs that the developers seem to have missed. One frustrating bug was if you went through one of the hidden tunnels before you were formally introduced to it in the game, you would spawn in front of it and desynchronize repeatedly. There was nothing to do about it, except start a new game. Another bug was a design graphic error with the cinematic of when you recruit an assassin to your cause. The new recruit was just a floating head with a body following it, and their neck was missing. There is also a bug where the game will freeze during game play for no reason at all and the only thing you can do is reboot everything. I only had this happen to me once, but a couple of my friends had it freeze up on them two or three times during missions.
Overall, the game was a blast to play and I did love that all you had to do was whistle or make a hand motion to call on several assassins to take out all your enemies. The historical notes are informative as well and the artwork and music enhance the experience of playing the main missions and the side ones. There's great downloadable content also to add to the fun. I will definitely be playing through it again and have a great time doing it. If you haven't picked up Assassin's Creed Brotherhood yet, I suggest you do so because it is a game that definitely entertains.
Daniel Boyd (1066 KP) rated The Dark Knight (2008) in Movies
Oct 31, 2017 (Updated Oct 31, 2017)
A stone cold classic at this point (2 more)
Nolan's direction
Fantastic performances all around
The Movie That Comic Book Fans Deserve
Contains spoilers, click to show
Almost 10 years on from the original release of this film, it is still the best superhero film ever made up until this point. While a few movies, such as Logan and Winter Soldier, have came close to the quality of TDK, nothing has surpassed it in the last decade. There is so much to love here, whether it is Nolan's deliberate and effective direction, Hans Zimmer's uplifting yet melancholy score, the beautifully epic cinematography provided by Wally Pfister and of course Heath Ledger's incredible, electrifying performance as the Clown Prince Of Crime.
The movie starts as it means to go on, with an awesome opening sequence introducing the Joker. It plays out like a short film that could even be viewed independently of the rest of the movie and still make complete sense. We see a group of criminals dressed in clown masks robbing a bank and offing each other one by one after they complete their part of the heist. This all builds up to the reveal of the enigmatic Joker, complete with an awesome Cesar Romero reference in the Joker's mask as well. The sequence works so well, because it shows even those who aren't comic book fans or aren't familiar with these characters, exactly what kind of villain we are dealing with.
On the other hand though, there is a lot here for long time fans of Batman comics as well. A good amount of plot elements in the movie were taken from one of my favourite Batman stories ever written: The Long Halloween. Things such as the Harvey Dent working with Jim Gordon and Batman to prevent crime to then go on to show his eventual transformation into the totally unhinged Two-Face. The character design for the characters is also clearly inspired by a comic by Brian Azzarello and Lee Bermejo, simply titled: Joker. Lastly, the ending of the movie shares similar elements to the ending of The Dark Knight Returns graphic novel, in that they both end with Batman being framed for a murder he didn't commit and having to go into hiding and retire from crime fighting.
Overall, this is a perfect movie in my opinion. It is an astonishing achievement for a comic book movie and it is a great crime epic in its own right as well. The performances across the board are great, with Heath Ledger being the obvious standout and absolutely stealing every single scene that he appears in. The technical elements of the movie are great and it is just a fantastic cinematic experience all around. I first saw the movie in IMAX and that definitely was the premium way to initially experience this movie, but no matter what format you watch it on, its hard to deny that it is a masterpiece.
The movie starts as it means to go on, with an awesome opening sequence introducing the Joker. It plays out like a short film that could even be viewed independently of the rest of the movie and still make complete sense. We see a group of criminals dressed in clown masks robbing a bank and offing each other one by one after they complete their part of the heist. This all builds up to the reveal of the enigmatic Joker, complete with an awesome Cesar Romero reference in the Joker's mask as well. The sequence works so well, because it shows even those who aren't comic book fans or aren't familiar with these characters, exactly what kind of villain we are dealing with.
On the other hand though, there is a lot here for long time fans of Batman comics as well. A good amount of plot elements in the movie were taken from one of my favourite Batman stories ever written: The Long Halloween. Things such as the Harvey Dent working with Jim Gordon and Batman to prevent crime to then go on to show his eventual transformation into the totally unhinged Two-Face. The character design for the characters is also clearly inspired by a comic by Brian Azzarello and Lee Bermejo, simply titled: Joker. Lastly, the ending of the movie shares similar elements to the ending of The Dark Knight Returns graphic novel, in that they both end with Batman being framed for a murder he didn't commit and having to go into hiding and retire from crime fighting.
Overall, this is a perfect movie in my opinion. It is an astonishing achievement for a comic book movie and it is a great crime epic in its own right as well. The performances across the board are great, with Heath Ledger being the obvious standout and absolutely stealing every single scene that he appears in. The technical elements of the movie are great and it is just a fantastic cinematic experience all around. I first saw the movie in IMAX and that definitely was the premium way to initially experience this movie, but no matter what format you watch it on, its hard to deny that it is a masterpiece.
Sophia (Bookwyrming Thoughts) (530 KP) rated Mask of Shadows in Books
Jan 23, 2020
<b><i>Review copy provided by SourcebooksFire via Netgalley</b></i>
I don’t think I follow enough people on social media, because I rarely see Mask of Shadows running around in my timeline and it deserves more hype if it hasn’t. I’ve also been reading a lot of “fluffy” reads with very little blood involved.
Mask of Shadows is a complete 180 from that. It is absolutely bloody and there are assassins involved, and sad to say, it is completely up my very dark alley of reading preferences.
My mother should be worried about me. “You’re a good kid compared to most of those I’ve seen out there. You don’t do drugs, don’t party, hang out with good people….”
I mean, has she seen the books I enjoy reading? (She would be very concerned.)
I honestly thought of The Hunger Games as an assassin edition while reading, even though the novel is pitched as Sarah J. Maas meets Leigh Bardugo. Our main character, Sal, finds an invitation to become one of the queen’s personal assassins, and sets off to audition in the hopes to get a new life. The auditions are full of trials and are a fight to the death – each of which are varied so there is never a dull moment. I’ve never read Maas, but I personally don’t see any comparisons to Bardugo unless we’re talking world building. The world building is absolutely amazing and stunning, and if I could actually draw some of the descriptions, I would totally do it. (Alas, I am just a graphic design minor.)
Emerald, a vision of steel and green silk, glided through the doorway. She was lithe and muscled, arms bare and flexed, streaked in scars with a pale silver dust twinkling over her skin like stars scattered across the evening sky. She walked past me in a breeze of perfume and peppermint, the apothecary scents clinging to her like the old, black ink of the dead runes scrawled across her. The silk layered and draped over her shoulders matched her high-cheeked, mouthless emerald mask perfectly. Beetle wings stitched into the train of her dress glittered in the light.
That is actually one of my favorite descriptions in the book. It is gorgeous.
Mask of Shadows is the first book I’ve read featuring a gender fluid character. Miller does a really good job of handling Sal’s character well, but the beginning seemed a little rocky, almost as though the author was trying to find the right foothold in the story. But after those rough patches, the story went along smoothly.
2017 was a fantastic reading year for me, and I am extremely happy to say that Mask of Shadows is one of my favorite books for the year. Miller’s debut novel is action packed and fast paced, and it will leave you turning the pages until the very end.
<a href="https://thatbookgal.wordpress.com/2018/03/23/guest-book-review-mask-of-shadows/">This review is originally posted on That Book Gal</a>
I don’t think I follow enough people on social media, because I rarely see Mask of Shadows running around in my timeline and it deserves more hype if it hasn’t. I’ve also been reading a lot of “fluffy” reads with very little blood involved.
Mask of Shadows is a complete 180 from that. It is absolutely bloody and there are assassins involved, and sad to say, it is completely up my very dark alley of reading preferences.
My mother should be worried about me. “You’re a good kid compared to most of those I’ve seen out there. You don’t do drugs, don’t party, hang out with good people….”
I mean, has she seen the books I enjoy reading? (She would be very concerned.)
I honestly thought of The Hunger Games as an assassin edition while reading, even though the novel is pitched as Sarah J. Maas meets Leigh Bardugo. Our main character, Sal, finds an invitation to become one of the queen’s personal assassins, and sets off to audition in the hopes to get a new life. The auditions are full of trials and are a fight to the death – each of which are varied so there is never a dull moment. I’ve never read Maas, but I personally don’t see any comparisons to Bardugo unless we’re talking world building. The world building is absolutely amazing and stunning, and if I could actually draw some of the descriptions, I would totally do it. (Alas, I am just a graphic design minor.)
Emerald, a vision of steel and green silk, glided through the doorway. She was lithe and muscled, arms bare and flexed, streaked in scars with a pale silver dust twinkling over her skin like stars scattered across the evening sky. She walked past me in a breeze of perfume and peppermint, the apothecary scents clinging to her like the old, black ink of the dead runes scrawled across her. The silk layered and draped over her shoulders matched her high-cheeked, mouthless emerald mask perfectly. Beetle wings stitched into the train of her dress glittered in the light.
That is actually one of my favorite descriptions in the book. It is gorgeous.
Mask of Shadows is the first book I’ve read featuring a gender fluid character. Miller does a really good job of handling Sal’s character well, but the beginning seemed a little rocky, almost as though the author was trying to find the right foothold in the story. But after those rough patches, the story went along smoothly.
2017 was a fantastic reading year for me, and I am extremely happy to say that Mask of Shadows is one of my favorite books for the year. Miller’s debut novel is action packed and fast paced, and it will leave you turning the pages until the very end.
<a href="https://thatbookgal.wordpress.com/2018/03/23/guest-book-review-mask-of-shadows/">This review is originally posted on That Book Gal</a>
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.
The Bandersnatch (199 KP) rated The High Lord (Black Magician Trilogy, #3) in Books
Nov 7, 2019
Contains spoilers, click to show
Released in 2003 The High Lord is the penultimate ending to Sonea's story......starting a year after beating a bully in a fight. Sonea has received the respect she deserves but still faces the challenge of her guardian and the High Lord of the guild Akkarin. After being Surprised by Akkarin with a book on Black Magic Sonea is pulled into learning black magic and attempting to protect the city and the country from a group known as the Icani. After going through hell and being thrown out of the guild and being exiled the pair return and aid their fellow magicians in the attack......resulting in may magicians dead including Akkarin and Sonea pregnant with his child.
My opinion of this book was that of a decent conclusion to a good storyline. I do think however that the love storyline between Sonea and Akkarin is a little cliché. Otherwise It was a decent book. I have to admit the fighting between magicians would make a decent movie montage.
Born in Kew, Melbourne Australia on October 23rd 1969 Trudi Canavan spent her formative years being extremely creative in the suburb of Ferntree Gully. Canavan decided to become a professional artist and went to the Melbourne college of Decoration achieving an advanced certificate in promotional display as well as an award for the highest aggregate mark in art subjects in 1988.
During the early 1990's Canavan worked for the Australian magazine Aurealis (a magazine for Australian science-fiction and fantasy work) as well as starting her own business The Telltale art which specialised in graphical design services. By working for Aurealis Canavan was able to write in her spare time.
In 1999 Canavan managed to win the Aurealis award for best fantasy short story with whispers of the mist children and cementing her work further with the release of the Magicians Guild in 2001 (book one of The Black Magician trilogy) the successive books The Novice (2002) and The Black Magician (2003) brought Canavan both widespread acclaim and nominations for both the Aurealis best Fantasy novel and Best Novel Ditmar Category. All three books ended up in the top ten Science Fiction books for Australia.
Canavan's second Trilogy Age of Five was also well received with the first book reaching No3 in the Sunday Times hardback fiction best sellers list and staying in the top ten for six weeks. Canavan went on to write a prequel/sequel to the black magician trilogy known as the magicians apprentice in 2009 this was followed by the traitor spy trilogy which was released between 2010 and 2012. Trudi Canavan now holds a vast array of written works under her belt which can be split into three book series and a group of short stories.
My opinion of Trudi Canavan is that she is a very dedicated writer. Excellent with detail and writing a strong character and story. I definitely respect her work ethic since she is both a writer and a graphic designer. I definitely would love to talk with her and have a discussion about books and writing in general. She is up there with Prof J. R. R. Tolkien, George R. R. Martin and Lewis Carroll in my books.
And there you have it a book for all the ages, definitely under the banner of Quality reading, I am positive this trilogy could end up being the NEXT it thing if they were ever made into a Movie Trilogy.
My opinion of this book was that of a decent conclusion to a good storyline. I do think however that the love storyline between Sonea and Akkarin is a little cliché. Otherwise It was a decent book. I have to admit the fighting between magicians would make a decent movie montage.
Born in Kew, Melbourne Australia on October 23rd 1969 Trudi Canavan spent her formative years being extremely creative in the suburb of Ferntree Gully. Canavan decided to become a professional artist and went to the Melbourne college of Decoration achieving an advanced certificate in promotional display as well as an award for the highest aggregate mark in art subjects in 1988.
During the early 1990's Canavan worked for the Australian magazine Aurealis (a magazine for Australian science-fiction and fantasy work) as well as starting her own business The Telltale art which specialised in graphical design services. By working for Aurealis Canavan was able to write in her spare time.
In 1999 Canavan managed to win the Aurealis award for best fantasy short story with whispers of the mist children and cementing her work further with the release of the Magicians Guild in 2001 (book one of The Black Magician trilogy) the successive books The Novice (2002) and The Black Magician (2003) brought Canavan both widespread acclaim and nominations for both the Aurealis best Fantasy novel and Best Novel Ditmar Category. All three books ended up in the top ten Science Fiction books for Australia.
Canavan's second Trilogy Age of Five was also well received with the first book reaching No3 in the Sunday Times hardback fiction best sellers list and staying in the top ten for six weeks. Canavan went on to write a prequel/sequel to the black magician trilogy known as the magicians apprentice in 2009 this was followed by the traitor spy trilogy which was released between 2010 and 2012. Trudi Canavan now holds a vast array of written works under her belt which can be split into three book series and a group of short stories.
My opinion of Trudi Canavan is that she is a very dedicated writer. Excellent with detail and writing a strong character and story. I definitely respect her work ethic since she is both a writer and a graphic designer. I definitely would love to talk with her and have a discussion about books and writing in general. She is up there with Prof J. R. R. Tolkien, George R. R. Martin and Lewis Carroll in my books.
And there you have it a book for all the ages, definitely under the banner of Quality reading, I am positive this trilogy could end up being the NEXT it thing if they were ever made into a Movie Trilogy.
Bob Mann (459 KP) rated 7500 (2019) in Movies
Jun 28, 2020
A 'small film' that packs a big punch
I'm not sure if there is an "IQ" table of Hollywood stars, but I would reckon if there is then Joseph Gordon-Levitt would rate pretty highly. Whenever I see him interviewed he comes across as a highly articulate and intelligent bloke. And that intelligence filters through into his choices of movie role. If you look back at his filmography on IMDB the first thing you notice is that his output is pretty sparse and selective, and the next is that the projects he's done mostly deliver a pretty strong hit rate: "500 Days of Summer"; "Inception", "Looper", "The Dark Knight Rises"; "Don Jon".... the list is impressive.
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
Here he stars (and really stars) in a small German film. It only had a $5 million budget and in some ways it shows: the speaking cast totals about a dozen; the single location used is the cockpit (an Airbus A320 simulator somewhere? Or a set? The production design is so good, it's difficult to tell) ; and the "score" is so minimalistic (a solo piano piece over the end titles) that it doesn't even merit an IMDB music credit!
But in many ways this is a case of 'small is beautiful'. For this is an extremely tense and claustrophobic action picture.
The Plot: German Captain Michael Lutzmann (Carlo Kitzlinger) and American Co-pilot Tobias Ellis (Joseph Gordon-Levitt) are about to pilot an Airbus A320 on a routine flight from Berlin to Paris. By coincidence, also on the flight is Tobias's partner and mother of his son, stewardess Gökce (Aylin Tezel). Shortly into the flight, three terrorists - Kenan (Murathan Muslu), Daniel (Paul Wollin) and youngster Vedat (Omid Memar) - take over the aircraft. Tobias issues a "7500" (hijack in progress) code. All that is protecting the injured pilots and the security of the 80 people on the flight is the cockpit door.
The film starts slowly, building atmosphere through the pre-flight chit-chat between the pilots and a leisurely take-off. I loved this development of character by Oscar-nominated shorts director Patrick Vollrath. But when the action starts, it starts with a bang and continues in truly tense and visceral style. There's a sense of creeping dread when you realise the terrorist's use of hostages to get the door open, and of who the hostages might be.
I note that one of the "thanks" for the film was director Paul Greengrass, who of course made the outstanding 9/11-themed "United 93" back in 2006. It would be fascinating to understand whether this was a "thank-you" for the inspiration the classic film gave Vollrath, or if there was some practical consultancy undertaken there.
Star of the show here is Joseph Gordon-Levitt who delivers a peerless performance as the pilot under extreme stress. Veering cyclically through terror, emotional breakdown and calm 'training-kicking-in' modes, it's a performance that is almost Oscar nomination-worthy in my book. He's on screen for virtually every shot of the film, and really earned his fee here. He makes for a very believable pilot.
I've read other comment that says the terrorists are rather 2-dimensional in their attempts to "do a 9/11". And to a degree I agree. A nice angle though is the relationship that develops between Tobias and young Vedat in the second half of the movie. There's a 'Stockholm Syndrome' vibe going on here, but this never quite gets resolved satisfactorily.
As such, unfortunately this 'back 9' never really quite lived up to the promise of the first 45 minutes for me. And as a single-location story that had nowhere else to go, the abrupt ending will not be to the liking of some I'm sure.
Not to be confused with the 2014 horror "Flight 7500", this is for once a B-movie that's real nail-biter. The movie doesn't pull its punches, and although there is little of the more graphic violence actually shown, the mind can fill in the gaps effectively which makes for some upsetting moments. Although it never quite lives up to its early promise at only 93 minutes it is strongly deserving of your attention. The movie is available for viewing via Amazon-Prime.
(For the full graphical review please check out One Mann's Movies here - https://bob-the-movie-man.com/2020/06/28/one-manns-movies-film-review-the-7500-2020/ .)
