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Ross (3284 KP) rated Reign of Madness in Books
Nov 30, 2018 (Updated Nov 30, 2018)
Good but needlessly long and slow
Following on from Free the Darkness, which ended somewhat abruptly ("we're going on an adventure, the end"), Reign of Madness sees Rezkin "Marty Stu" travelling to the King's Tournament with a group of fellow travellers. As before, his motives are somewhat hidden or confused but largely he is looking for answers to what his purpose was and why he had to kill all of his boyhood mentors.
In almost every chapter, something happens that makes it abundantly clear that Rezkin is of royal descent, and yet nobody picks up on the massive clanging hints that abound. Even right to the last page, his companions remain so stupid as to miss the obvious that it gets annoying. This might be Kade suggesting something of human nature / not wanting to accept the facts, but it comes across more that he hasn't hidden the clues as well as he thinks he has and only plain exposition could possibly lay them bare.
Part of this I think stems from the omniscient narrator again, the reader gets far too much information on everyone's thoughts and events so it is hard to put yourself in one character's position and their behaviours just seem so much more flawed than they would if we had only single person snapshot PoVs.
And Rezkin's character seems to be inconsistent - one minute he is meant to be a master of disguise and can insert himself into any situation, the next he doesn't understand any emotions; one chapter he nearly attacks a woman for approaching him quickly, the next he allows a grown man to hit him in anger as they grieve their recent bereavement.
As with book 1, the story is good, the action sequences well written and the underlying long-term plot is strong. However, some of the writing of it is clumsy (chapters of nothing but expository dialogue), the characters one-dimensional (especially the female characters) and a lot of the world (especially the magic such as it is) seems to be made up on the spot. And the whole thing just takes so long to get through. I think if you are dedicated and determined to plough through 20% plus a day this will be fine, if you pick it up now and then and get through less than 10% you will find yourself grinding to a halt through the first half of this book, where nothing happens except a donkey being healed and A LOT of dialogue about not a lot (which essentially just replaces things that should really have been explained in book 1).
I will carry on with the series but these long rambling tomes are stretching my tolerance (and the value for money from my Kindle Unlimited trial!).
In almost every chapter, something happens that makes it abundantly clear that Rezkin is of royal descent, and yet nobody picks up on the massive clanging hints that abound. Even right to the last page, his companions remain so stupid as to miss the obvious that it gets annoying. This might be Kade suggesting something of human nature / not wanting to accept the facts, but it comes across more that he hasn't hidden the clues as well as he thinks he has and only plain exposition could possibly lay them bare.
Part of this I think stems from the omniscient narrator again, the reader gets far too much information on everyone's thoughts and events so it is hard to put yourself in one character's position and their behaviours just seem so much more flawed than they would if we had only single person snapshot PoVs.
And Rezkin's character seems to be inconsistent - one minute he is meant to be a master of disguise and can insert himself into any situation, the next he doesn't understand any emotions; one chapter he nearly attacks a woman for approaching him quickly, the next he allows a grown man to hit him in anger as they grieve their recent bereavement.
As with book 1, the story is good, the action sequences well written and the underlying long-term plot is strong. However, some of the writing of it is clumsy (chapters of nothing but expository dialogue), the characters one-dimensional (especially the female characters) and a lot of the world (especially the magic such as it is) seems to be made up on the spot. And the whole thing just takes so long to get through. I think if you are dedicated and determined to plough through 20% plus a day this will be fine, if you pick it up now and then and get through less than 10% you will find yourself grinding to a halt through the first half of this book, where nothing happens except a donkey being healed and A LOT of dialogue about not a lot (which essentially just replaces things that should really have been explained in book 1).
I will carry on with the series but these long rambling tomes are stretching my tolerance (and the value for money from my Kindle Unlimited trial!).
Kristy H (1252 KP) rated The Last Time I Saw You in Books
Aug 23, 2019
Dr. Kate English's glamorous life comes to a screeching halt when her mother, Lily, dies--brutally murdered in her own home. At the funeral, Kate reunites with her close college friend, Blaire Barrington, whom she hasn't seen in fifteen years, since the two had a falling out. But Kate's grief and shock get even worse when she receives a text, "You think you're sad now, just wait. By the time I'm finished with you, you'll wish you had been buried today." Soon she finds herself threatened, wondering if she's being watched and targeted in her own home. She asks Blaire to help look into her mother's death. But Blaire's aggressive questions alienate Kate's friends, and all the while, Kate feels increasingly afraid for her own life. Who killed Lily, and are they coming for Kate next?
"Only days ago, Kate had been mulling over what to get her mother for Christmas. She couldn't have known that instead of choosing a gift, she'd be picking out a casket."
This was a creepy enough thriller, but boy, it was chock full of a cast of unlikable characters. It was impossible to find much sympathy for Kate, despite her grief over her mother. She was an irrational, annoying, wealthy woman and a terrible mother to her young daughter, whom she foisted on the nanny every chance she got. Blaire had few redeeming qualities; same with Kate's philandering husband, Simon. It seemed like poor Lily was probably the best in the bunch, but she was dead.
The writing in this one was tough for me. A lot of simplistic words and style, which was filled with much telling, but little showing. Stop telling me how everyone feels and let it all unfold naturally. This was coupled with a ton of very short, fake red herrings that kept getting thrown in every few chapters. I'm all for a red herring, but let it fully play out. Instead, it would be tossed in and then almost immediately ruled out, leaving you with the equivalent of literary whiplash.
There were also a lot of pretty major "coincidences" that left me feeling a bit dubious. Seriously, this is really happening? Many of the plot points were rather predictable, though there were a couple of good twists. It was a creepy read, though seemed oddly simple (I can't think of another way to describe it), and it did keep me reading.
Overall, not my favorite read, and doesn't motivate me to read the previous Liv Constantine book that much. My notes say "good enough," which is probably the best description I can come up with. I kept reading, but I didn't love it. 2.5 stars.
"Only days ago, Kate had been mulling over what to get her mother for Christmas. She couldn't have known that instead of choosing a gift, she'd be picking out a casket."
This was a creepy enough thriller, but boy, it was chock full of a cast of unlikable characters. It was impossible to find much sympathy for Kate, despite her grief over her mother. She was an irrational, annoying, wealthy woman and a terrible mother to her young daughter, whom she foisted on the nanny every chance she got. Blaire had few redeeming qualities; same with Kate's philandering husband, Simon. It seemed like poor Lily was probably the best in the bunch, but she was dead.
The writing in this one was tough for me. A lot of simplistic words and style, which was filled with much telling, but little showing. Stop telling me how everyone feels and let it all unfold naturally. This was coupled with a ton of very short, fake red herrings that kept getting thrown in every few chapters. I'm all for a red herring, but let it fully play out. Instead, it would be tossed in and then almost immediately ruled out, leaving you with the equivalent of literary whiplash.
There were also a lot of pretty major "coincidences" that left me feeling a bit dubious. Seriously, this is really happening? Many of the plot points were rather predictable, though there were a couple of good twists. It was a creepy read, though seemed oddly simple (I can't think of another way to describe it), and it did keep me reading.
Overall, not my favorite read, and doesn't motivate me to read the previous Liv Constantine book that much. My notes say "good enough," which is probably the best description I can come up with. I kept reading, but I didn't love it. 2.5 stars.
Gareth von Kallenbach (980 KP) rated Looper (2012) in Movies
Aug 7, 2019
In the world of 2072, it is learned that time travel has been invented and is declared illegal by all the governments of the world. Naturally, the criminal elements of the future embrace the technology. Apparently getting rid of bodies and people in the future is tricky because of innovative tagging and tracking technology.
The criminal bosses of the future send a man named Abe (Jeff Bridges) 30 years into the past to serve the criminals of the future with a new type of hit man called a Looper. In the new film “Looper” Joseph Gordon-Levitt stars as Joe, a Looper who never lets morals get in the way of his job. He is happy to promptly dispatch anyone sent from the future without a second thought.
Joe is well paid for his work, and is happy to enjoy the drugs and women that come with his job. Yet Joe desires to leave it all one day and travel to France. For a Looper to be retired, he is forced to kill a future version of himself, and in doing so, gets a fantastic retirement payout and 30 years to live it up since that is how long it will take for time travel to be invented. Naturally an older version of yourself cannot be sent back to be killed by your younger self for at least 30 years. But the increase in retirements is a bit disconcerting for Joe.
Things change drastically for Joe when his older self (Bruce Willis), appears and manages to escape before he can be killed by his younger self. For a Looper to have his target escape is a serious infraction, and in no time, Joe finds himself not only hunting his older self, but also on the run from his former friends and allies who have made him both older and younger a priority.
At this point in the film, I was hooked, as my mind raced with twists, possibilities, and the promise of the film. Sadly the momentum grinds to a halt in the second half as the older Joe attempts to ally with his younger self to stop a future crime boss while he is a child. This quickly becomes a very blatant “Terminator” rip off as older Joe attempts to locate and kill children who may be the future crime lord while younger Joe is biding his time hiding from his former associates while protecting a young child and his mother from his older self.
It does not take much thought to see where this is going but sadly the remainder of the movie is underwhelming and disappointing as the film recycles scenarios that we have seen many times before in better movies. The second half lacks any real action and climactic finale to give the audience the well-deserved payoff they waited for.
Willis, Bridges, and Gordon-Levitt do solid work but seem to be going through the motions as they never really earn any sympathy from the audience. Much like last year’s “In Time”, “Looper” has a great premise that starts well and then fails to live up to its potential.
The criminal bosses of the future send a man named Abe (Jeff Bridges) 30 years into the past to serve the criminals of the future with a new type of hit man called a Looper. In the new film “Looper” Joseph Gordon-Levitt stars as Joe, a Looper who never lets morals get in the way of his job. He is happy to promptly dispatch anyone sent from the future without a second thought.
Joe is well paid for his work, and is happy to enjoy the drugs and women that come with his job. Yet Joe desires to leave it all one day and travel to France. For a Looper to be retired, he is forced to kill a future version of himself, and in doing so, gets a fantastic retirement payout and 30 years to live it up since that is how long it will take for time travel to be invented. Naturally an older version of yourself cannot be sent back to be killed by your younger self for at least 30 years. But the increase in retirements is a bit disconcerting for Joe.
Things change drastically for Joe when his older self (Bruce Willis), appears and manages to escape before he can be killed by his younger self. For a Looper to have his target escape is a serious infraction, and in no time, Joe finds himself not only hunting his older self, but also on the run from his former friends and allies who have made him both older and younger a priority.
At this point in the film, I was hooked, as my mind raced with twists, possibilities, and the promise of the film. Sadly the momentum grinds to a halt in the second half as the older Joe attempts to ally with his younger self to stop a future crime boss while he is a child. This quickly becomes a very blatant “Terminator” rip off as older Joe attempts to locate and kill children who may be the future crime lord while younger Joe is biding his time hiding from his former associates while protecting a young child and his mother from his older self.
It does not take much thought to see where this is going but sadly the remainder of the movie is underwhelming and disappointing as the film recycles scenarios that we have seen many times before in better movies. The second half lacks any real action and climactic finale to give the audience the well-deserved payoff they waited for.
Willis, Bridges, and Gordon-Levitt do solid work but seem to be going through the motions as they never really earn any sympathy from the audience. Much like last year’s “In Time”, “Looper” has a great premise that starts well and then fails to live up to its potential.
Gareth von Kallenbach (980 KP) rated Turning Red (2022) in Movies
Mar 7, 2022
The digital animation geniuses at Pixar are back with “Turning Red” and it marks a departure for the studio known for the “Toy Story” and “Cars”, franchises.
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Gareth von Kallenbach (980 KP) rated Glass (2019) in Movies
Jun 19, 2019
It is hard to believe it has been 19 years since “Unbreakable” arrived in cinemas as the film seemed to setup a sequel but it did not look like it would come to fruition. That all changed in 2016 when “Split” arrived and shocked audiences with a late reveal that showed a connection to the film. Writer/Director M. Night Shyamalan has wasted no time in bringing the new film to fans with the arrival of “GLASS”. The film picks up soon after the events of “Split” as The Horde embodied by 23 personalities in the form of Kevin Wendell Crumb (James McAvoy) continues to kidnap young girls to serve to his highly dangerous 24th personality The Beast.
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Movie Metropolis (309 KP) rated Pompeii (2014) in Movies
Jun 11, 2019
The disaster movie has always been a genre guaranteed to create incredible box-office returns. If you look at Roland Emmerich’s impressive blockbuster hit 2012, which grossed over $750million, it is clear that destroying well-known landmarks = bums on seats.
However since 2012‘s 2009 release the genre has fallen into a dormant state. Nevertheless, four years later Paul W.S. Anderson attempts to reawaken this box-office behemoth with his take on the tragic true events at Pompeii, but does the film succeed in its task?
Partially is the short answer. Anderson’s first film since 2012’s disaster Resident Evil: Retribution is as cheesy as a Dairylea triangle, but it also has some stunning special effects to give it some life.
Game of Thrones’ Kit Harington stars as Milo, a slave captured by the Romans after they wiped out his entire family. He is taken to a gloriously recreated Pompeii and immediately sets his sights on the very beautiful Lady Cassia, played by a rather dull Emily Browning, who just so happens to be the daughter of the city ruler, Severus. I’m sure you can guess the plot…
What ensues is a cheesy mess of terrible acting and stilted dialogue that jars with the period nature of the film. Only the knowing of what is to come from Mt Vesuvius, which is beautifully rendered in CGI, stops the film from grinding to a halt.
Kiefer Sutherland dons a downright ridiculous English accent for the role of Senator Corvus, the chief antagonist in the film. He is on business in Pompeii to see if trade can be established and investment can be agreed with the great city of Rome – though this plot point gets lost along the way.
Another issue is the true story which Pompeii is based on. The great tale of tragedy and mother nature showing her ruthless side is one we all know – but all we really want to see is the mountain going boom. Unfortunately we must wait whilst Anderson tries his best to make us care about the characters with their sickly back-stories, for which he fails in breathtaking fashion.
Finally after nearly an hour of what feels like a poor-mans Gladiator we are treat to a stunning spectacle, as Mt Vesuvius explodes in rip-roaring style. As the mountain blows and the fireballs rage Anderson once again tries to get us interested in the paper-thin story, thankfully not pushing too hard this time, and he lets the special effects take over.
Historical accuracy is, surprisingly, very good. According to the director, Pompeii was faithfully recreated for the film with aerial shots of the city as it stands today topped up with CGI to show the thriving metropolis we see in the film.
Unfortunately, scientific accuracy takes a back-seat for the sake of high drama, which is the case with many films of this nature. The iconic pyroclastic flow, attributed to killing the majority of Pompeii’s inhabitants due to its huge speed and massive temperatures is slowed right down to ensure the film can last another ten minutes or so – though this is perhaps to be expected.
Overall, Paul W.S. Anderson has created a film which certainly looks the part, but is lacking in so many other areas. Kiefer Sutherland’s villain is completely upstaged by the constant shots of the volcano, which are almost pantomime like in their ‘it’s behind you’ staging, and the rest of the cast are wooden and not particularly likeable.
However, what it lacks in story and acting finesse it makes up in the beautiful special effects and engaging cinematography. It’s worth a watch just to see Pompeii get obliterated – which is probably not a very nice thing to say at all.
https://moviemetropolis.net/2014/05/03/pompeii-3d-review/
However since 2012‘s 2009 release the genre has fallen into a dormant state. Nevertheless, four years later Paul W.S. Anderson attempts to reawaken this box-office behemoth with his take on the tragic true events at Pompeii, but does the film succeed in its task?
Partially is the short answer. Anderson’s first film since 2012’s disaster Resident Evil: Retribution is as cheesy as a Dairylea triangle, but it also has some stunning special effects to give it some life.
Game of Thrones’ Kit Harington stars as Milo, a slave captured by the Romans after they wiped out his entire family. He is taken to a gloriously recreated Pompeii and immediately sets his sights on the very beautiful Lady Cassia, played by a rather dull Emily Browning, who just so happens to be the daughter of the city ruler, Severus. I’m sure you can guess the plot…
What ensues is a cheesy mess of terrible acting and stilted dialogue that jars with the period nature of the film. Only the knowing of what is to come from Mt Vesuvius, which is beautifully rendered in CGI, stops the film from grinding to a halt.
Kiefer Sutherland dons a downright ridiculous English accent for the role of Senator Corvus, the chief antagonist in the film. He is on business in Pompeii to see if trade can be established and investment can be agreed with the great city of Rome – though this plot point gets lost along the way.
Another issue is the true story which Pompeii is based on. The great tale of tragedy and mother nature showing her ruthless side is one we all know – but all we really want to see is the mountain going boom. Unfortunately we must wait whilst Anderson tries his best to make us care about the characters with their sickly back-stories, for which he fails in breathtaking fashion.
Finally after nearly an hour of what feels like a poor-mans Gladiator we are treat to a stunning spectacle, as Mt Vesuvius explodes in rip-roaring style. As the mountain blows and the fireballs rage Anderson once again tries to get us interested in the paper-thin story, thankfully not pushing too hard this time, and he lets the special effects take over.
Historical accuracy is, surprisingly, very good. According to the director, Pompeii was faithfully recreated for the film with aerial shots of the city as it stands today topped up with CGI to show the thriving metropolis we see in the film.
Unfortunately, scientific accuracy takes a back-seat for the sake of high drama, which is the case with many films of this nature. The iconic pyroclastic flow, attributed to killing the majority of Pompeii’s inhabitants due to its huge speed and massive temperatures is slowed right down to ensure the film can last another ten minutes or so – though this is perhaps to be expected.
Overall, Paul W.S. Anderson has created a film which certainly looks the part, but is lacking in so many other areas. Kiefer Sutherland’s villain is completely upstaged by the constant shots of the volcano, which are almost pantomime like in their ‘it’s behind you’ staging, and the rest of the cast are wooden and not particularly likeable.
However, what it lacks in story and acting finesse it makes up in the beautiful special effects and engaging cinematography. It’s worth a watch just to see Pompeii get obliterated – which is probably not a very nice thing to say at all.
https://moviemetropolis.net/2014/05/03/pompeii-3d-review/
Solar Alert: Protect your Life
Weather and Education
App
Solar Alert is the complete alert system whose purpose is to protect your life and warn you of the...
Ross (3284 KP) rated Foundryside in Books
Aug 31, 2020
Great world-building, good story
The world the author has created is very impressive. I hate to do it, but the magic system is very Brandon Sanderson-esque. Over time, symbols used by ancient civilisations to make contraptions and control objects have been deciphered and are now used in everyday life. Self-driven carts, guns, machinery: all are controlled by this clever magic system, but there is a feeling this is just the tip of the iceberg. The city of Tevanne is controlled by a council of the main merchant families, and each of those families is striving for the next big innovation in the use of these symbols. And with any major corporate hierarchy, there is a black market: a set of individuals striving to make things more cost effective, though of lower quality than the merchant houses.
Sancia is a key customer for some of this black market. She is a mercenary who will, for a fee, steal things. Not much of Sancia's past work is given, whether she is just a thief for hire, or has killed. She is a good strong, complicated character. Sancia has the ability to sense the thoughts of inanimate objects. For example, she can touch a wall and find out where the wall joins to other walls, whether there are gaps, whether someone is leaning on the other side, etc. This comes in handy when she successfully steals a box from a storage facility that contains a magical key that she can speak to.
There then follows a gripping plot to dethrone the merchant houses by seeking to stop them achieving more than just market share.
As with all the best fantasy worlds, the nature of things is revealed gradually over the course of the book. At times this verges on deus ex machina, but never quite goes over that line, things being mostly plausible given what we already know.
The dialogue of the book is where I have most of my issues with it. As with a number of recent books, the author is clearly an American and puts a number of Americanisms into the prose. While I am no language snob and can happily accept these in general, it is harder to do so in a fantasy book, especially one where other aspects of the language are clearly supposed to be more British English. The combination of a character saying "you all" or "most always" or "goddamn" and then using the word "arse" rather than "ass" just really ground my gears. It would have been much better to have been consistent and stick with "ass" and closer to the author's true voice.
Additionally, as with a number of fantasy books, new swear words are invented. These are partly explained and linked to the world, but it just comes across as a means of swearing without saying the actual "f" word. The word "scrumming" is far too twee a word to convey the same emotion as the word it is trying to replace and takes me right out of the book.
The pacing of the book was mostly fine, a few times it did seem to grind to a halt or there were long chapters of gradual exposition, but the action sequences, of which there were plenty, were thrilling and well told.
Overall, I did really enjoy this book, but the language used at times took me out of it and spoilt the mood a little. I can always tell how much I am enjoying a book by how quickly I read it and the number of comics I read simultaneously. My comic reading did go up a notch while reading this book.
Sancia is a key customer for some of this black market. She is a mercenary who will, for a fee, steal things. Not much of Sancia's past work is given, whether she is just a thief for hire, or has killed. She is a good strong, complicated character. Sancia has the ability to sense the thoughts of inanimate objects. For example, she can touch a wall and find out where the wall joins to other walls, whether there are gaps, whether someone is leaning on the other side, etc. This comes in handy when she successfully steals a box from a storage facility that contains a magical key that she can speak to.
There then follows a gripping plot to dethrone the merchant houses by seeking to stop them achieving more than just market share.
As with all the best fantasy worlds, the nature of things is revealed gradually over the course of the book. At times this verges on deus ex machina, but never quite goes over that line, things being mostly plausible given what we already know.
The dialogue of the book is where I have most of my issues with it. As with a number of recent books, the author is clearly an American and puts a number of Americanisms into the prose. While I am no language snob and can happily accept these in general, it is harder to do so in a fantasy book, especially one where other aspects of the language are clearly supposed to be more British English. The combination of a character saying "you all" or "most always" or "goddamn" and then using the word "arse" rather than "ass" just really ground my gears. It would have been much better to have been consistent and stick with "ass" and closer to the author's true voice.
Additionally, as with a number of fantasy books, new swear words are invented. These are partly explained and linked to the world, but it just comes across as a means of swearing without saying the actual "f" word. The word "scrumming" is far too twee a word to convey the same emotion as the word it is trying to replace and takes me right out of the book.
The pacing of the book was mostly fine, a few times it did seem to grind to a halt or there were long chapters of gradual exposition, but the action sequences, of which there were plenty, were thrilling and well told.
Overall, I did really enjoy this book, but the language used at times took me out of it and spoilt the mood a little. I can always tell how much I am enjoying a book by how quickly I read it and the number of comics I read simultaneously. My comic reading did go up a notch while reading this book.
Gareth von Kallenbach (980 KP) rated Glory Road (2006) in Movies
Aug 14, 2019
Sports films have long been a popular genre in Hollywood as classics such as Pride of the Yankees, The Natural, and Raging Bull are all examples of some of the finest examples of sports films which encapsulate the very essence of the sport they portray.
In the new film Glory Road Josh Lucas stars as Don Haskins, a girls Basketball coach who is given the chance to coach a Division 1 team at Texas Western in 1966.
The small school cannot offer the coach much in the way of amenities as Don and his family are required to live in the student’s dorm. Since his dreams of playing pro ball came to a halt after a knee injury, Haskins looks at his job as a chance for him to make a name for himself.
The task will be daunting as Texas Western is a very small school that puts the majority of its athletic budget into the football program leaving next to no money for the gym, new equipment, and recruiting of players.
After a frustrating attempt to recruit players at a local invitational, Haskins sets his sites on a young African American player who while big on attitude, is also big on potential.
With scholarships to offer, Haskins and his staff travel the nation and shock the conservative school by offering scholarships to 8 African American players. In a day and age when teams had at most 1-2 African American players; many of whom did not see much playing time; this is a risky move for the coach.
Undaunted, the coach begins the process of integrating his new players with his current players all of whom are Caucasian, which leads to some tension over starting rights, abilities, and styles.
Haskins is a no nonsense coach who is very strict in regards to grades, effort in practice, and above all avoiding late nights and carousing while the season is underway. Despite this, many players decide to test the will of the coach which raises issues of commitment to the team and discipline, all of which are standard staples of sports films.
When the season starts, a funny thing happens. Not only is the coach playing his African American players in a heavy rotation, but little Texas Western is winning their games and beating some of the more noted teams in the country in the process.
As their notoriety increases so does the amount of hostility directed towards the team from racially incensed fans who do not like the make up of the team and especially hate their success.
Despite this, the team finds itself in the National Championship game against powerful Kentucky coached by the legendary Adolph Rupp (Jon Voight), where Haskins makes history by starting and playing only his African American players which is a first in NCAA finals history.
While the marketing and trailers for the film certainly do not hesitate from telling you most of the above and underscoring that the team ends up in the finals and that the film is based on a true story, it is not about the final results, it is about the journey the team took getting there.
Producer Jerry Bruckheimer is a master at knowing what the fans want and director James Gartner gives viewers a by the number film that delivers the goods. Yes, the film heavily uses all the sporting clichés from the ailing player, the us against the world mentality, the team of misfits, and so on all of which combines to offer little cinematic tension as it is very clear early on and from the ads where this film will end up.
Despite tipping their hand early and throughout, the filmmakers have decided not to rock the boat and have stuck with a tried and true formula that results with a winning albeit very predictable film.
Lucas does a solid job in the roll and makes the best of the material he has to work with. The game sequences are well managed and rousing which had members of my preview audience cheering.
While it offers little originality, Glory Road is a lot of fun, and despite mining every cliché in the book, is an entertaining time at the movies.
In the new film Glory Road Josh Lucas stars as Don Haskins, a girls Basketball coach who is given the chance to coach a Division 1 team at Texas Western in 1966.
The small school cannot offer the coach much in the way of amenities as Don and his family are required to live in the student’s dorm. Since his dreams of playing pro ball came to a halt after a knee injury, Haskins looks at his job as a chance for him to make a name for himself.
The task will be daunting as Texas Western is a very small school that puts the majority of its athletic budget into the football program leaving next to no money for the gym, new equipment, and recruiting of players.
After a frustrating attempt to recruit players at a local invitational, Haskins sets his sites on a young African American player who while big on attitude, is also big on potential.
With scholarships to offer, Haskins and his staff travel the nation and shock the conservative school by offering scholarships to 8 African American players. In a day and age when teams had at most 1-2 African American players; many of whom did not see much playing time; this is a risky move for the coach.
Undaunted, the coach begins the process of integrating his new players with his current players all of whom are Caucasian, which leads to some tension over starting rights, abilities, and styles.
Haskins is a no nonsense coach who is very strict in regards to grades, effort in practice, and above all avoiding late nights and carousing while the season is underway. Despite this, many players decide to test the will of the coach which raises issues of commitment to the team and discipline, all of which are standard staples of sports films.
When the season starts, a funny thing happens. Not only is the coach playing his African American players in a heavy rotation, but little Texas Western is winning their games and beating some of the more noted teams in the country in the process.
As their notoriety increases so does the amount of hostility directed towards the team from racially incensed fans who do not like the make up of the team and especially hate their success.
Despite this, the team finds itself in the National Championship game against powerful Kentucky coached by the legendary Adolph Rupp (Jon Voight), where Haskins makes history by starting and playing only his African American players which is a first in NCAA finals history.
While the marketing and trailers for the film certainly do not hesitate from telling you most of the above and underscoring that the team ends up in the finals and that the film is based on a true story, it is not about the final results, it is about the journey the team took getting there.
Producer Jerry Bruckheimer is a master at knowing what the fans want and director James Gartner gives viewers a by the number film that delivers the goods. Yes, the film heavily uses all the sporting clichés from the ailing player, the us against the world mentality, the team of misfits, and so on all of which combines to offer little cinematic tension as it is very clear early on and from the ads where this film will end up.
Despite tipping their hand early and throughout, the filmmakers have decided not to rock the boat and have stuck with a tried and true formula that results with a winning albeit very predictable film.
Lucas does a solid job in the roll and makes the best of the material he has to work with. The game sequences are well managed and rousing which had members of my preview audience cheering.
While it offers little originality, Glory Road is a lot of fun, and despite mining every cliché in the book, is an entertaining time at the movies.
Purple Phoenix Games (2266 KP) rated Dingo's Dreams in Tabletop Games
Mar 25, 2020
If you’re like us, you are always on the lookout for great deals on board games. Our FLGS has a Used Game Sale every year, and it is a saving grace for me (and my wallet). If I’m lucky, I’ll find an OOP game that’s been on my wishlist forever, or I’ll find a game that may be new to me even if it isn’t new to the market. And 2 years ago at that Used Game Sale is where I stumbled upon Dingo’s Dreams.
In Dingo’s Dreams, the goal is to guide your spirit animal through the dream world and back home before your opponents do. How do you do that? By being the first to get your dreamscape to match the dream card pattern. To setup the game, each player takes the 25 tiles of their chosen animal, and creates a 5×5 grid in front of them. The tiles are double-sided, and the side with the animal should be face-down. There will be 1 extra tile, with the animal on both sides, which should be kept to the side. The Walkabout cards are shuffled and placed in a face-down deck, and a single dream card is revealed. Each turn of the game has 2 phases: Walkabout and Dreamtime. In the Walkabout phase, a card is revealed from the Walkabout deck and all players find the corresponding tile in their grid and flip it over so the animal side is face-up. In the Dreamtime phase, all players will take their extra tile and place it at the end of any row/column, thus forcing that line of tiles to shift over and push out a different tile. Play continues until one player has manipulated their grid to match that of the dream card. Once you do that, call out the name of your animal (Dingo!) and you win!
The rules and gameplay of Dingo’s Dreams are relatively simple, but how does it perform overall? It’s a pretty light game, but it does require some strategy. It takes some creative manipulation to shift your grid to victory. You have to be thinking a turn or two in advance to see if you can setup your grid for maximum benefit. That being said, the randomness of the grid setups and the Walkabout cards sometimes makes the game feel too luck-based. Yes, you do have the power to manipulate your own grid, but ultimately you are at the mercy of the cards and they can really work against you, no matter how strong your strategy is. Another drawback of Dingo’s Dreams is the lack of player interaction. This game is pretty much multi-player solitaire. Everyone is working on their own grids at the same time, and the only thing that affects you are the cards. It’s kind of a quiet and low energy game, which is not necessarily a bad thing, but it can halt the momentum of game night.
On that same note, one of the things that I do really like about Dingo’s Dreams is that it is so relaxed and simple. It makes for a great filler game and palette cleanser between some beefier games. The overall playtime is relatively short, and it can quickly be played multiple times in a row. Another great thing about Dingo’s Dreams is the option to increase the difficulty by adding Hazards. Hazards are tokens placed on certain spaces of the dream cards, and they mean that you cannot have an animal tile in that spot of your grid in order to win. It just adds another level of strategy and can up the ante around the table.
Overall, Dingo’s Dreams is a light and relaxing game that is perfect for playing between heavier games when you need a little break. Was this a good find for me at the Used Game sale? I would say so. It’s not one that I pull out at every single game night, but it’s one that I will use to introduce newer gamers to the hobby, and one that I will pull out when I just want a quiet night in. Purple Phoenix Games gives Dingo’s Dreams a fantasy-filled 13 / 18.
In Dingo’s Dreams, the goal is to guide your spirit animal through the dream world and back home before your opponents do. How do you do that? By being the first to get your dreamscape to match the dream card pattern. To setup the game, each player takes the 25 tiles of their chosen animal, and creates a 5×5 grid in front of them. The tiles are double-sided, and the side with the animal should be face-down. There will be 1 extra tile, with the animal on both sides, which should be kept to the side. The Walkabout cards are shuffled and placed in a face-down deck, and a single dream card is revealed. Each turn of the game has 2 phases: Walkabout and Dreamtime. In the Walkabout phase, a card is revealed from the Walkabout deck and all players find the corresponding tile in their grid and flip it over so the animal side is face-up. In the Dreamtime phase, all players will take their extra tile and place it at the end of any row/column, thus forcing that line of tiles to shift over and push out a different tile. Play continues until one player has manipulated their grid to match that of the dream card. Once you do that, call out the name of your animal (Dingo!) and you win!
The rules and gameplay of Dingo’s Dreams are relatively simple, but how does it perform overall? It’s a pretty light game, but it does require some strategy. It takes some creative manipulation to shift your grid to victory. You have to be thinking a turn or two in advance to see if you can setup your grid for maximum benefit. That being said, the randomness of the grid setups and the Walkabout cards sometimes makes the game feel too luck-based. Yes, you do have the power to manipulate your own grid, but ultimately you are at the mercy of the cards and they can really work against you, no matter how strong your strategy is. Another drawback of Dingo’s Dreams is the lack of player interaction. This game is pretty much multi-player solitaire. Everyone is working on their own grids at the same time, and the only thing that affects you are the cards. It’s kind of a quiet and low energy game, which is not necessarily a bad thing, but it can halt the momentum of game night.
On that same note, one of the things that I do really like about Dingo’s Dreams is that it is so relaxed and simple. It makes for a great filler game and palette cleanser between some beefier games. The overall playtime is relatively short, and it can quickly be played multiple times in a row. Another great thing about Dingo’s Dreams is the option to increase the difficulty by adding Hazards. Hazards are tokens placed on certain spaces of the dream cards, and they mean that you cannot have an animal tile in that spot of your grid in order to win. It just adds another level of strategy and can up the ante around the table.
Overall, Dingo’s Dreams is a light and relaxing game that is perfect for playing between heavier games when you need a little break. Was this a good find for me at the Used Game sale? I would say so. It’s not one that I pull out at every single game night, but it’s one that I will use to introduce newer gamers to the hobby, and one that I will pull out when I just want a quiet night in. Purple Phoenix Games gives Dingo’s Dreams a fantasy-filled 13 / 18.
