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Purple Phoenix Games (2266 KP) rated Mysterium in Tabletop Games
Jul 6, 2019
Murder! A poor soul has been murdered in this house, and the homeowner has hired a group of mediums to solve the crime and give the spirit peace. One problem – the ghost can’t remember for sure who did it! Through a seance, the ghost sends visions to the mediums to lead them to potential suspects, crime scenes, and murder weapons. It is up to the mediums to work together and decipher the visions, narrow down the field, and find the criminal! Time is limited however – unless the culprit is caught in 7 hours, the magic of the seance will run out and the crime will remain a mystery!
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Mysterium is a cooperative game of deduction in which players take on the roles of mediums trying to solve the murder, and one player takes on the role of the ghost who is haunting the estate. Every turn, the ghost sends Visions (in the form of illustrated cards) to each medium in an attempt to guide them to investigate different suspects, locations, and potential murder weapons. The visions are not always clear, however, so the mediums must use their imaginations and deduction skills to decipher any hidden hints or clues contained in the visions. If all mediums are able to identify their suspects/locations/weapons before the 7th hour has passed, the ghost then sends one final Vision to all mediums to guide them to the true culprit. After receiving and deciphering this final Vision, the mediums must all vote on whom they believe the culprit to be. If the majority of the mediums select the correct culprit, the mystery has been solved and the ghost can be laid to rest! If not, however, the mystery remains and the ghost must wait an entire year before the magic ritual can be performed again…
I love Mysterium. I seriously think it’s a great game. One reason why I love it is because it’s a deduction game that is cooperative. Most of the deduction games I’ve played before are competitive or involve some form of bluffing. And I’m pretty terrible at lying, so I never really do well in those. What I like about Mysterium is that you’re still trying to figure out your own cards, but you’re allowed (and encouraged!) to ask your fellow mediums for their thoughts. It’s cool to see how everyone interprets the Vision cards because someone might notice or see something on your Vision card in a way you didn’t think of on your own. Your friends may be able to provide insight to help you through the game, just as you can help them decipher their clues. Especially since the game can’t be won unless everyone has found their cards, it really is in your best interest to cooperate and help everyone out.
Another thing I love about Mysterium is that it can be played with up to 7 players. I’ve probably mentioned this before, but I have 4 siblings, and sometimes finding engaging games for 5+ people can be pretty hard. Not an issue at all with Mysterium. It’s actually a favorite of my siblings to play, so I always bring it with me for holidays and family gatherings! I personally think Mysterium works better at higher player counts, so that really bodes well for me and my family!
One final thing I really like about Mysterium is the dynamic created between the mediums and the ghost player. The ghost is allowed to communicate with the mediums through visions only – no verbal communication at all! That means that as the ghost player, you’re trying to anticipate how each medium will interpret different visions so you can give them the one that will guide them to their specific card. When you’re a medium, you’re trying to think how the ghost player thinks – why did they give me this card and what did they want me to notice? In either role, you’re trying to get in the mind of your counterpart, and that just adds a fun little bonus twist for me.
I think Mysterium is a great game. Deduction drives the game and it keeps you constantly engaged, questioning every card you see. It’s an entertaining and lighthearted cooperative game for any player count, and it thrives with great non-confrontational player interaction. Mysterium was one of the first games in my collection – I was in my FLGS, picked it up off the shelf, and having done no research on it at all, I bought it. And boy oh boy am I glad I did. Definitely give Mysterium a try – it’s a good blend of mystery and fun! Purple Phoenix Games gives it an ethereal 11 / 12.
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Mysterium is a cooperative game of deduction in which players take on the roles of mediums trying to solve the murder, and one player takes on the role of the ghost who is haunting the estate. Every turn, the ghost sends Visions (in the form of illustrated cards) to each medium in an attempt to guide them to investigate different suspects, locations, and potential murder weapons. The visions are not always clear, however, so the mediums must use their imaginations and deduction skills to decipher any hidden hints or clues contained in the visions. If all mediums are able to identify their suspects/locations/weapons before the 7th hour has passed, the ghost then sends one final Vision to all mediums to guide them to the true culprit. After receiving and deciphering this final Vision, the mediums must all vote on whom they believe the culprit to be. If the majority of the mediums select the correct culprit, the mystery has been solved and the ghost can be laid to rest! If not, however, the mystery remains and the ghost must wait an entire year before the magic ritual can be performed again…
I love Mysterium. I seriously think it’s a great game. One reason why I love it is because it’s a deduction game that is cooperative. Most of the deduction games I’ve played before are competitive or involve some form of bluffing. And I’m pretty terrible at lying, so I never really do well in those. What I like about Mysterium is that you’re still trying to figure out your own cards, but you’re allowed (and encouraged!) to ask your fellow mediums for their thoughts. It’s cool to see how everyone interprets the Vision cards because someone might notice or see something on your Vision card in a way you didn’t think of on your own. Your friends may be able to provide insight to help you through the game, just as you can help them decipher their clues. Especially since the game can’t be won unless everyone has found their cards, it really is in your best interest to cooperate and help everyone out.
Another thing I love about Mysterium is that it can be played with up to 7 players. I’ve probably mentioned this before, but I have 4 siblings, and sometimes finding engaging games for 5+ people can be pretty hard. Not an issue at all with Mysterium. It’s actually a favorite of my siblings to play, so I always bring it with me for holidays and family gatherings! I personally think Mysterium works better at higher player counts, so that really bodes well for me and my family!
One final thing I really like about Mysterium is the dynamic created between the mediums and the ghost player. The ghost is allowed to communicate with the mediums through visions only – no verbal communication at all! That means that as the ghost player, you’re trying to anticipate how each medium will interpret different visions so you can give them the one that will guide them to their specific card. When you’re a medium, you’re trying to think how the ghost player thinks – why did they give me this card and what did they want me to notice? In either role, you’re trying to get in the mind of your counterpart, and that just adds a fun little bonus twist for me.
I think Mysterium is a great game. Deduction drives the game and it keeps you constantly engaged, questioning every card you see. It’s an entertaining and lighthearted cooperative game for any player count, and it thrives with great non-confrontational player interaction. Mysterium was one of the first games in my collection – I was in my FLGS, picked it up off the shelf, and having done no research on it at all, I bought it. And boy oh boy am I glad I did. Definitely give Mysterium a try – it’s a good blend of mystery and fun! Purple Phoenix Games gives it an ethereal 11 / 12.
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One golden family. One fateful summer. Four lives changed forever. Amber Alton knows that the hours...
Bob Mann (459 KP) rated Manchester by the Sea (2016) in Movies
Sep 29, 2021
Wow! I’d heard all about the Oscar hype surrounding this film but to be honest, while I thought I would be seeing a solid and well-made indie film, I went into it without great expectations of having an ‘enjoyable’ time: the trailer had “angst” written all over it. And – sure – it is emotional and harrowing in places. However, I was completely knocked out by the depth, the intelligence and the humour of this masterpiece.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
Chris Sawin (602 KP) rated The Northman (2022) in Movies
Apr 30, 2022
The bloody action. (2 more)
The rhythmic, pounding score.
Amleth's visions and strange encounters.
May be too weird or slow for some. (2 more)
Won't change your opinion of Robert Eggers if you already dislike him as a filmmaker.
...Did you say fart sniffing?
A Gory Viking Epic Forged in Boisterous Greatness
The Northman is director Robert Eggers third feature length film after The Witch and The Lighthouse. The film is written by Eggers and Sjón (Lamb, frequent collaborator with Björk). The Northman is described as an epic historical action drama, but is essentially a Viking revenge film. Taking place in AD 895, King Aurvandill War-Raven (Ethan Hawke) is killed by his brother, Fjölnir (Claes Bang). Aurvandill’s son, Amleth (Oscar Novak portrays young Amleth) flees and swears revenge on his uncle while vowing to save his mother Queen Gudrún (Nicole Kidman).
In AD 914, a now adult Amleth (Alexander Skarsgård) has been raised as a Viking and was enlisted as a berserker. Seemingly losing his focus in furious battle, Amleth is reminded of his vengeful mission a few years later by a Seeress (Björk) that predicts that Amleth will soon get his sought after revenge on his uncle.
The film is based on the story of Amleth, which was written sometime before the year 1200 and inspired Shakespeare’s Hamlet. The Northman feels like it’s forged by the same cinematic swordsmith that created the likes of Conan the Barbarian, Beowulf, and Gladiator, but with a bloodier, and slightly trippier ambiance Robert Eggers tends to be known for.
Amleth’s opening voiceover as the film opens with a monstrously intimidating volcano on the verge of erupting is haunting. Alexander Skarsgård has this gruff and nearly grunt-like growl to his speech that you can feel reverberate in your chest as he speaks. The score to the film is also just as memorable and incredible. On paper, it’s just a series of loud drumming or pounding, a fancy string arrangement, and some harmless chanting. But all of those elements together suddenly become this impressive musical declaration of war. The score constantly crescendos and always finds a way to ignite a fire within you.
It’s humorous to think that most will have seen Willem Dafoe last in Spider-Man: No Way Home. Dafoe’s role as Heimir the Fool is also a leap in a different direction even when compared to his role as Thomas Wake in The Lighthouse. Heimir’s key role in the story is to oversee the spiritual journey Almeth takes with Aurvandill right before his death. It’s a bizarre sequence as both grown men and young boy are dressed in nothing but loin cloths as they act like dogs, get on their hands and knees, drink water from a bowl, belch, and take turns sniffing each other’s farts. It’s an intriguing role for Dafoe as he’s this crowd pleasing jester one minute and a spiritual guide the next.
The barbaric action is fairly straightforward in The Northman, but what complicates things are Amleth’s visions. Beginning with his encounter with the Seeress, Amleth also battles an undead spirit for the Night Blade, has a vision of a Valkyrie taking him to Valhalla, and sees his unborn children in rare glimpses of the future. These surreal sequences have a palpable dream-like quality to them. It makes you wonder if they’re actually occurring or are only in Amleth’s head.
Nicole Kidman is exceptional as Queen Gudrún. The character is written in a way that makes her seem like a damsel in distress, but she’s much more evil and manipulative. At first, she seems like the typical Queen character that is pushed aside in order to give the spotlight to the king. But once Gudrún comes face to face with an adult Amleth, she strikes like a snake with venomous words that pierce Amleth deeper than any weapon actually could. Kidman shines in the role as well as you seem to love the fact that a mother could be so cruel to one of her children.
Spoiling a film is no fun, but since The Northman is kind of bombing at the box office right now ($23.5 million opening weekend on a $70-$90 million budget) this is worth mentioning. The finale of the film takes place at the volcano Hekla, which resides at the Gates of Hel. Lava is spilling out everywhere as smoke fills the air and two grown men sword duel to the death. That’s right, the ending of The Northman has two naked men sword fighting at the base of an erupting volcano. It’s freaking nuts.
The Northman is a bloody and ferocious battle cry of a revenge film. The action is brutal and the performances are extraordinary. This is Robert Eggers at his most savage and masterful.
In AD 914, a now adult Amleth (Alexander Skarsgård) has been raised as a Viking and was enlisted as a berserker. Seemingly losing his focus in furious battle, Amleth is reminded of his vengeful mission a few years later by a Seeress (Björk) that predicts that Amleth will soon get his sought after revenge on his uncle.
The film is based on the story of Amleth, which was written sometime before the year 1200 and inspired Shakespeare’s Hamlet. The Northman feels like it’s forged by the same cinematic swordsmith that created the likes of Conan the Barbarian, Beowulf, and Gladiator, but with a bloodier, and slightly trippier ambiance Robert Eggers tends to be known for.
Amleth’s opening voiceover as the film opens with a monstrously intimidating volcano on the verge of erupting is haunting. Alexander Skarsgård has this gruff and nearly grunt-like growl to his speech that you can feel reverberate in your chest as he speaks. The score to the film is also just as memorable and incredible. On paper, it’s just a series of loud drumming or pounding, a fancy string arrangement, and some harmless chanting. But all of those elements together suddenly become this impressive musical declaration of war. The score constantly crescendos and always finds a way to ignite a fire within you.
It’s humorous to think that most will have seen Willem Dafoe last in Spider-Man: No Way Home. Dafoe’s role as Heimir the Fool is also a leap in a different direction even when compared to his role as Thomas Wake in The Lighthouse. Heimir’s key role in the story is to oversee the spiritual journey Almeth takes with Aurvandill right before his death. It’s a bizarre sequence as both grown men and young boy are dressed in nothing but loin cloths as they act like dogs, get on their hands and knees, drink water from a bowl, belch, and take turns sniffing each other’s farts. It’s an intriguing role for Dafoe as he’s this crowd pleasing jester one minute and a spiritual guide the next.
The barbaric action is fairly straightforward in The Northman, but what complicates things are Amleth’s visions. Beginning with his encounter with the Seeress, Amleth also battles an undead spirit for the Night Blade, has a vision of a Valkyrie taking him to Valhalla, and sees his unborn children in rare glimpses of the future. These surreal sequences have a palpable dream-like quality to them. It makes you wonder if they’re actually occurring or are only in Amleth’s head.
Nicole Kidman is exceptional as Queen Gudrún. The character is written in a way that makes her seem like a damsel in distress, but she’s much more evil and manipulative. At first, she seems like the typical Queen character that is pushed aside in order to give the spotlight to the king. But once Gudrún comes face to face with an adult Amleth, she strikes like a snake with venomous words that pierce Amleth deeper than any weapon actually could. Kidman shines in the role as well as you seem to love the fact that a mother could be so cruel to one of her children.
Spoiling a film is no fun, but since The Northman is kind of bombing at the box office right now ($23.5 million opening weekend on a $70-$90 million budget) this is worth mentioning. The finale of the film takes place at the volcano Hekla, which resides at the Gates of Hel. Lava is spilling out everywhere as smoke fills the air and two grown men sword duel to the death. That’s right, the ending of The Northman has two naked men sword fighting at the base of an erupting volcano. It’s freaking nuts.
The Northman is a bloody and ferocious battle cry of a revenge film. The action is brutal and the performances are extraordinary. This is Robert Eggers at his most savage and masterful.
Acanthea Grimscythe (300 KP) rated The Graveyard Apartment in Books
May 16, 2018
I've spent the past few days buried up to my eyeballs in Mariko Koike's The Graveyard Apartment, and to say I thoroughly enjoyed the book would be a lie; in fact, it failed to live up to my expectations and I am left wanting. Before I delve into my review, I would like to thank NetGalley, Thomas Dunne Books, and the author and translator, for providing me with an advanced reader's copy for the purpose of an unbiased review.
Horror is my ultimate weakness. Anything that has the potential to be spooky or scary, I am likely to gobble up without a second thought: or, at the very least, take the time to sit down and read or watch. After reading the synopsis for Mariko Koike's The Graveyard Apartment, I eagerly applied for the opportunity to review a copy of the book prior to release. Now that I've finished devouring it, I find myself with many unanswered questions.
The Graveyard Apartment takes place in the late 80s, and was, in fact, originally published in 1986. It tells the tale of a small family, the Kanos, that has made their first real estate purchase: a comfortable, two bedroom apartment located on the eight floor of a new apartment building that, as the book's title indicates, is located near a graveyard... and a temple... and a crematorium. Apparently that's not enough to warn off potential buyers though, because the Kanos are not the only ones duped into purchasing one of the fourteen apartments. Once they've settled in, strange occurrences begin and they quickly find themselves in a living nightmare.
Beginning with the characters, I find nearly all of them to be unlikable in one way or another, with the exception of the daughter, Tamao. Her parents, Misao and Teppei Kano, strike me as extremely self-centered and one-dimensional, as do her aunt and uncle, Naomi and Tatsuji. Their downstairs neighbors, the Inoues, are precisely what you'd expect of a more outgoing family, and the managers of the apartment are rather dry in comparison. I felt little to no sympathy at any point for anyone other than the daughter, the dog, and the finch and for this, especially in something that has been labeled a psychological thriller, is extremely disappointing. Without being able to form a connection to the characters, I tend to find it difficult to actually care about what happens to them, and so upon the conclusion of the book, I simply shrugged and closed my Kindle app.
The story itself has a lot of potential, and yes I am aware that is a word I throw around a lot in my reviews. When I look at a plot, I tend to form my own thoughts regarding what could happen, and a lot of times that does lead to me being let down. For instance, in The Graveyard Apartment we learn that Misao is Teppei's second wife, the first having been lost to tragedy. Though Teppei's first wife, Reiko, is mentioned very often in the book, and made to seem as if there is a key role to be played by her, there actually isn't: it's all useless information that has been thrown out to the reader, but has no real connotation on the story. Likewise, Misao discovers that there had originally been plans to build an underground mall in the area back in the 60s. Given the strange things that happen throughout the book, one might expect to see and learn a lot more about this supposed mall and the aftermath of its construction having been canceled. We don't. Again, it is an element to the story that is not fully fleshed out, even though it is clearly a major factor in the history of the apartment building that the Kanos have moved into.
As if those two players weren't enough of a disappointment, the book does not come to a conclusion, and for me this is a disappointment. I don't care much for happy endings; in fact, I rather prefer unhappy endings. The Graveyard Apartment robs us of any sense of finality, though, and in truth fails to draw the story to a true close. As a reader, we can surmise the outcome based on the book's epilogue, but that's about as much we can do. We can figure out what happened to the Kanos and their fate, but we do not learn why. Instead, Koike continues to hint at a malevolent being haunting a recently built apartment complex whose origins are unknown, and whose origins no one really seems to be overly curious about. Sure, they're scared, but they don't really seem to care beyond that. There wasn't any shortage of clues either, as to why the place may have been haunted; only a lack of motivation in regards to finding out why that extends beyond Teppei's initial apprehension.
I really, truly can't wrap my head around how much was wasted in this book. It was like watching a B-rated horror flick where someone forgot to tie up the loose ends. Honestly, I would have liked to see more revealed regarding Reiko and the failed underground mall.
Horror is my ultimate weakness. Anything that has the potential to be spooky or scary, I am likely to gobble up without a second thought: or, at the very least, take the time to sit down and read or watch. After reading the synopsis for Mariko Koike's The Graveyard Apartment, I eagerly applied for the opportunity to review a copy of the book prior to release. Now that I've finished devouring it, I find myself with many unanswered questions.
The Graveyard Apartment takes place in the late 80s, and was, in fact, originally published in 1986. It tells the tale of a small family, the Kanos, that has made their first real estate purchase: a comfortable, two bedroom apartment located on the eight floor of a new apartment building that, as the book's title indicates, is located near a graveyard... and a temple... and a crematorium. Apparently that's not enough to warn off potential buyers though, because the Kanos are not the only ones duped into purchasing one of the fourteen apartments. Once they've settled in, strange occurrences begin and they quickly find themselves in a living nightmare.
Beginning with the characters, I find nearly all of them to be unlikable in one way or another, with the exception of the daughter, Tamao. Her parents, Misao and Teppei Kano, strike me as extremely self-centered and one-dimensional, as do her aunt and uncle, Naomi and Tatsuji. Their downstairs neighbors, the Inoues, are precisely what you'd expect of a more outgoing family, and the managers of the apartment are rather dry in comparison. I felt little to no sympathy at any point for anyone other than the daughter, the dog, and the finch and for this, especially in something that has been labeled a psychological thriller, is extremely disappointing. Without being able to form a connection to the characters, I tend to find it difficult to actually care about what happens to them, and so upon the conclusion of the book, I simply shrugged and closed my Kindle app.
The story itself has a lot of potential, and yes I am aware that is a word I throw around a lot in my reviews. When I look at a plot, I tend to form my own thoughts regarding what could happen, and a lot of times that does lead to me being let down. For instance, in The Graveyard Apartment we learn that Misao is Teppei's second wife, the first having been lost to tragedy. Though Teppei's first wife, Reiko, is mentioned very often in the book, and made to seem as if there is a key role to be played by her, there actually isn't: it's all useless information that has been thrown out to the reader, but has no real connotation on the story. Likewise, Misao discovers that there had originally been plans to build an underground mall in the area back in the 60s. Given the strange things that happen throughout the book, one might expect to see and learn a lot more about this supposed mall and the aftermath of its construction having been canceled. We don't. Again, it is an element to the story that is not fully fleshed out, even though it is clearly a major factor in the history of the apartment building that the Kanos have moved into.
As if those two players weren't enough of a disappointment, the book does not come to a conclusion, and for me this is a disappointment. I don't care much for happy endings; in fact, I rather prefer unhappy endings. The Graveyard Apartment robs us of any sense of finality, though, and in truth fails to draw the story to a true close. As a reader, we can surmise the outcome based on the book's epilogue, but that's about as much we can do. We can figure out what happened to the Kanos and their fate, but we do not learn why. Instead, Koike continues to hint at a malevolent being haunting a recently built apartment complex whose origins are unknown, and whose origins no one really seems to be overly curious about. Sure, they're scared, but they don't really seem to care beyond that. There wasn't any shortage of clues either, as to why the place may have been haunted; only a lack of motivation in regards to finding out why that extends beyond Teppei's initial apprehension.
I really, truly can't wrap my head around how much was wasted in this book. It was like watching a B-rated horror flick where someone forgot to tie up the loose ends. Honestly, I would have liked to see more revealed regarding Reiko and the failed underground mall.
Purple Phoenix Games (2266 KP) rated Nyctophobia: Vampire Encounter in Tabletop Games
Jun 12, 2019
When it comes to board gaming, there are many tried and true mechanics that appear in most games. If it ain’t broke, don’t fix it, right? That being said, it’s always neat when a game creates an entirely new mechanic that has never been seen before. Nyctophobia is one of those games. When I heard about it, I knew I had to try it. It’s quite a clever idea and it makes for a unique and fun game!
DISCLAIMER: There are technically 2 versions of this game – the OG version and the Vampire version. Thematically, they may be different, but mechanically and gameplay-wise, they’re the same! For the purposes of this review, we will be playing the Vampire Encounter version. -L
A lighthearted trip to the woods has taken a startling turn when you and your friends come across a Vampire! And to make things worse, the Vampire has managed to lure one of your buddies deep into the woods with him! You can’t just turn tail and run – you’ve gotta save your friend! The sun has set, though, and the woods are way more ominous than you thought. You and your friends must cooperate to carefully and quietly navigate in total darkness to avoid disclosing your position to the Vampire while searching for your friend. Will you manage to not only find your buddy, but make it back to the car for your getaway? Or will the Vampire manage to pick you all off, one by one, as he creeps around in the darkness waiting for the opportunity to pounce?
Nyctophobia: Vampire Encounter is a semi-cooperative 1-vs-All memory game with a twist – all players (except for the Vampire player) must wear black-out glasses and cannot see the board. All turns and movement are taken based on feel. You ARE in the dark woods after all – it’s not like you can see your surroundings. Basically how it works is that the Vampire player kind of acts as a GM for the game. They can see the board, and help guide the players’ hands to their pieces and move the player pieces as requested. The players are blind and must rely on feeling their way around the board (avoiding trees and the Vampire!) and communicating the perceived layout to their comrades. The Vampire player then sneaks around the board, silently trying to corner the other players and abduct them. Each player gets a special ability to use on their turns, and there’s a small combat element involved if a player ever runs into the Vampire. The goal of the game, for regular players, is to work with your friends to find the kidnapped NPC (represented by a cardboard standee) and get back to the car to escape. The goal of the game for the Vampire player is to pick off all other players until none remain.
I think this is a super neat game. It’s pretty unique and it’s fun to play! You’re trying to cooperate with your friends to create a strategy for a board that you can’t see. It’s definitely a challenge, but it’s presented in such a novel way that makes it enjoyable. The overall atmosphere of the game is great. The nerves and pressure can really get to the players as they are (quite literally) flailing around in the dark. The Vampire player can have a lot of fun as the GM – do you taunt your players and make them second-guess every move, or do you lay low and stay quiet until juuuust the right moment? Nyctophobia feels like more than just a game while you’re playing, and that is what makes it so exciting.
The only real issue I’ve run into with this game has to do with the components themselves. The board is an 8×8 grid, with the layout set up in secret by the Vampire player. On a regular player turn, you can feel up to 1 space in each adjacent direction to your current location. The only issue is that sometimes, unless the player is diligent, they could accidentally (or purposefully?) feel too many spaces than are allowed – either diagonally or 2 or more spaces away, for example. The way I’ve come up with to alleviate this issue is to have players use only 1 finger when interacting with their piece/the board. That way there can be no extra feeling. And I also, as the Vampire player, will move player pieces for them – the player tells me in which direction to move and I move the piece before guiding their hand back. Maybe if the board were a little larger, this problem would be eliminated? I’m really not sure, but the method I’ve come up with to combat it has worked well so far!
Overall, I enjoy Nyctophobia. It’s a neat game with a unique mechanical aspect and fun player interactions. Is it my favorite game to play? No. But it’s one that I like breaking out for newer gamers and for some lighthearted fun! If you haven’t done so already, give Nyctophobia a try because it’s a refreshingly new take on the modern board game. Purple Phoenix Games gives it a haunting 15 / 18.
https://purplephoenixgames.wordpress.com/2019/05/14/nyctophobia-review/
DISCLAIMER: There are technically 2 versions of this game – the OG version and the Vampire version. Thematically, they may be different, but mechanically and gameplay-wise, they’re the same! For the purposes of this review, we will be playing the Vampire Encounter version. -L
A lighthearted trip to the woods has taken a startling turn when you and your friends come across a Vampire! And to make things worse, the Vampire has managed to lure one of your buddies deep into the woods with him! You can’t just turn tail and run – you’ve gotta save your friend! The sun has set, though, and the woods are way more ominous than you thought. You and your friends must cooperate to carefully and quietly navigate in total darkness to avoid disclosing your position to the Vampire while searching for your friend. Will you manage to not only find your buddy, but make it back to the car for your getaway? Or will the Vampire manage to pick you all off, one by one, as he creeps around in the darkness waiting for the opportunity to pounce?
Nyctophobia: Vampire Encounter is a semi-cooperative 1-vs-All memory game with a twist – all players (except for the Vampire player) must wear black-out glasses and cannot see the board. All turns and movement are taken based on feel. You ARE in the dark woods after all – it’s not like you can see your surroundings. Basically how it works is that the Vampire player kind of acts as a GM for the game. They can see the board, and help guide the players’ hands to their pieces and move the player pieces as requested. The players are blind and must rely on feeling their way around the board (avoiding trees and the Vampire!) and communicating the perceived layout to their comrades. The Vampire player then sneaks around the board, silently trying to corner the other players and abduct them. Each player gets a special ability to use on their turns, and there’s a small combat element involved if a player ever runs into the Vampire. The goal of the game, for regular players, is to work with your friends to find the kidnapped NPC (represented by a cardboard standee) and get back to the car to escape. The goal of the game for the Vampire player is to pick off all other players until none remain.
I think this is a super neat game. It’s pretty unique and it’s fun to play! You’re trying to cooperate with your friends to create a strategy for a board that you can’t see. It’s definitely a challenge, but it’s presented in such a novel way that makes it enjoyable. The overall atmosphere of the game is great. The nerves and pressure can really get to the players as they are (quite literally) flailing around in the dark. The Vampire player can have a lot of fun as the GM – do you taunt your players and make them second-guess every move, or do you lay low and stay quiet until juuuust the right moment? Nyctophobia feels like more than just a game while you’re playing, and that is what makes it so exciting.
The only real issue I’ve run into with this game has to do with the components themselves. The board is an 8×8 grid, with the layout set up in secret by the Vampire player. On a regular player turn, you can feel up to 1 space in each adjacent direction to your current location. The only issue is that sometimes, unless the player is diligent, they could accidentally (or purposefully?) feel too many spaces than are allowed – either diagonally or 2 or more spaces away, for example. The way I’ve come up with to alleviate this issue is to have players use only 1 finger when interacting with their piece/the board. That way there can be no extra feeling. And I also, as the Vampire player, will move player pieces for them – the player tells me in which direction to move and I move the piece before guiding their hand back. Maybe if the board were a little larger, this problem would be eliminated? I’m really not sure, but the method I’ve come up with to combat it has worked well so far!
Overall, I enjoy Nyctophobia. It’s a neat game with a unique mechanical aspect and fun player interactions. Is it my favorite game to play? No. But it’s one that I like breaking out for newer gamers and for some lighthearted fun! If you haven’t done so already, give Nyctophobia a try because it’s a refreshingly new take on the modern board game. Purple Phoenix Games gives it a haunting 15 / 18.
https://purplephoenixgames.wordpress.com/2019/05/14/nyctophobia-review/
Gareth von Kallenbach (980 KP) rated Doctor Sleep (2019) in Movies
Nov 7, 2019
Some nightmares you wake up from, wipe the sweat from your brow, and go back to wonderful slumber as though it never occurred. Others follow you in both your sleep and waking hours. For Dan Torrance (Ewan McGregor) the nightmare that began at the Overlook Hotel in Stephen King’s best-selling novel (and movie directed by Stanley Kubrick) The Shining continue to follow him through his childhood years. With the help of a friendly spirit (Carl Lumbly) Dan learns how to contain the malevolent spirits that followed him from his nightmarish experience, but at almost the cost of his sanity. Falling back on his fathers’ previous crutch, Dan drinks and fights his demons away every night, consumed by a different type of spirit to manage the pain and fear that he has been running from.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Dan is about to hit rock bottom when he encounters a man who has certainly suffered with his own demons in the past, who offers him a place to stay, a job, and an escape from the alcohol that held him in his own personal hell for several years. After eight years of sobriety he strikes up a psychic pen-pal friendship with a young girl named Abra Stone (Kyliegh Curran), who shares his powers. His wish to push his “shining” deep down inside him, and not let it come out is interrupted when Abra witnesses a murder of a young boy. Using her gift, she uncovers a group of beings so evil, that their desire for immortality requires them to snuff out the lives of those who share the same special gift as Dan and Abra. Dan and Abra must join forces, and let their lights shine, if they are to defeat this evil and save themselves and others like them in the process.
Doctor Sleep is the long-awaited sequel to The Shining released (on film at least) back in 1980. While the original film was lauded by most and reviled by some in the way that Stanley Kubrick brought the story to life, it serves as the backdrop to this sequel. Blending reshoots of the original film (using the current actors) as flash backs, it provides the necessary background to those who may have never had the opportunity to see the original, and visual reminders to those who have. While artistically the film doesn’t hold a shine to the original, it tells a far more consumable story, with less focus on the imagery and symbolism in each shot then Stanly Kubrick’s masterpiece.
The bond between Ewan McGregor and upcoming star Kyliegh Curran is not only believable but magical. The chemistry that the two share both in separate scenes and together show the tight bond they certainly must have felt on set. The movie is blessed with an entire cast of supporting characters, that bring the believability and professionalism to the big screen. Rebecca Ferguson, as our duos’ primary adversary Rose the Hat, provides an outstanding performance. Surrounded by her fellow shine-pires, Grandpa Flick (Carel Struycken), Snakebite Andi (Emily Alyn Lind) and Crow Daddy (Zahn McClarnon) to name just a few, the group reminds me of The Lost Boys in their cunning and hunger.
Doctor Sleep is not a scary movie, at least not when it’s put beside The Shining. While it has scary moments, this is a movie about putting aside your fear and challenging evil, regardless of the cost. Dan must put the past behind him and dig deep within himself to find his purpose and with this purpose will come a lot of loss, but acceptance at the same time. The movie begins a little slow and picks up midway through. While the battle against many of the shine-pires may feel a little hollow at first, it’s nothing to what will compare with the ultimate climax between good and evil.
Fans of the Stanley Kubrick film will see lots of familiar locations and costumes throughout the two-and-a-half-hour show. Even the re-created scenes share the same visual imagery and spectacle, just as if it was simply a re-master. I actually liked that they reshot the pivotal scenes and characters, while no one can perfectly mimic the master of Jack Nicholson, I felt that Henry Thomas did an amazing job in his portrayal of the young Jack Torrance. Alex Essoe portrayed an outstanding Wendy Torrance, a role that was masterfully played by Shelley Duvall back in the day.
With the magnitude of Stephen King movies (and series) being released in the recent years, it could easily feel as if we have all been teleported back to the 80’s. There have been some homeruns in recent years (and some foul balls), but Doctor Sleep easily ranks up there as one of the better of the Stephen King movies to be released in recent memory. While the movie is much more action-oriented and doesn’t deliver on the sheer terror of the original, it suits the story, and does a commendable way of bringing closure to some of Stephen King’s more notable characters. Both fans and non-fans of the original will find a lot to like, and for those looking for more story (and less artistry) will be extremely pleased with the way director Mike Flanagan (The Haunting of Hill House series / Hush) brings this rendition to the screen. So, let your light shine and go see Doctor Sleep.
Gareth von Kallenbach (980 KP) rated The Girl with the Dragon Tattoo (2011) in Movies
Aug 7, 2019
Following the very successful adaptation of Stieg Larssons millennium trilogy into three very successful Swedish language films, it came as no surprise when Hollywood announced that it would be making an English-language version of the series. Director David Fincher was announced to craft the first book in the series, The Girl with the Dragon Tattoo. The new version follows very close to the original material with one fairly big exception which I will detail later in the review.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.
Gareth von Kallenbach (980 KP) rated The Batman (2022) in Movies
Feb 28, 2022
In 1989 Michael Keaton was seen as a very controversial choice to wear the Cowl of Batman but soon proved his doubters wrong by turning “Batman” and its subsequent sequel “Batman Returns” into massive Box Office success before leaving the cape behind.
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5
Great writing (1 more)
Unpredictable
Some typos (1 more)
The mom was a waste of a character
In horror books and movies, we often see dolls as the main source of scares( such as Annabelle or Child's Play). In K.R. Alexander's Bury Me we get another scary doll to add to the list with some pretty good spine chilling moments, too.
We start with Kimberly Rice, who is a kid with a vivid imagination that can imagine up anything her heart desires, but because of this, people don't believe her when strange things begin to happen in Copper Hollow. She has two friends named Alicia and James- - -but Kimberly feels like she doesn't fit in with them because they live in houses while she lives in a trailer. "I wait for them to say, Hey, Kimberly, do you want to come over for dinner? They don't. They never have. It hurt my feelings at first, but I got over it fast. They're still my best and only friends, so I can't really complain when they don't have me over to their houses. It's not like I can really invite them over to mine. " Kimberly explains.
Although she states that they are her best friends, there is another part that may suggest otherwise. At first, we read about Kimberly being ashamed of her home although she states she has never tried to invite her friends over - - - as far as we know - - - but during a scene where Kimberly goes over to Alicia's home for help with this doll, Alicia doesn't invite her inside, which Kimberly points out.
But Kimberly's dysfunctional friendships aren't what the story is about. The book is about a doll that suddenly shows up with the words 'bury me' written across its dress in black ink. The perfect setting for a horror story. Kimberly teams up with her friends, Alicia and James, to figure out what this doll wants.
Alicia convinces Kimberly to do what the doll's dress says: 'bury me.' But even after they do this, the doll somehow shows up again, without having disturbed its burial place. They finally begin to question whether or not the doll is possessed by an evil spirit because the doll's mouth moves on its own, making frowns and even seeming to silently scream at one point, and no matter what they do, the doll always comes back completely intact. Yet, the only one the doll seems to be 'haunting' is Kimberly, although James and Alicia participate in trying to get rid of it. Kimberly is also haunted by dreams that aren't exactly her own, but she doesn't reveal these to her friends- - - which doing so may have helped in the long run. As a result, the friends never really figure out how to get rid of the doll, it seems that only Kimberly's dreams can figure this out (it just takes her nearly the entire book to figure it out).
The horror elements in this story are pretty good, but as the book recommended age states, it's for pre-teens. Yet, Alexander did a better job on this than 'The Collector' when it came to those elements. I honestly really enjoyed this book, even as an adult.
We continue with Alicia and James beginning to question Kimberly, thinking that this is just a prank she has come up with because their town is boring: " 'Did you do this?' Alicia asks, looking straight at me. Once more, my heart throbs- - -but this time, with a note of anger.
'Why would I do something like this?' I ask.
'Because Copper Hollow is boring and you're trying to make it fun with another one of your wild stories?' She doesn't sound accusatory; she sounds like she's running out of options that make sense, and she doesn't like that at all. "
Kimberly also has to deal with a history book on Copper Hollow that only shows blank pages to her, even when she shows it to adults, they seem to go into a daze as if the book doesn't even exist to them. Even when she asks the Mayor about this very book, he has no idea what she's speaking of. " I try to change the subject. 'I finished that book. The one about our history.'
'Book? ' Mayor Couch asks. 'What book?'
'The one I showed you.'
He chuckles. 'You and your imagination. I don't remember you showing me a book. ' "
Readers and Kimberly still have no idea what is going half way through the book. "Something weird is going on with him. It makes me wonder. . . is it linked to the doll? Or maybe he just has some sort of memory loss? "
While Kimberly is going through all of this, her mother seems like a wasted character to introduce. She, who is rarely home and works double shifts throughout the entire book, is never there for Kimberly, but also,Kimberly never goes to her mother for help.
The story starts quickly, getting right into the doll appearing, and by the end, we learn something that was not predictable - - -this is good writing. Bury Me is what YA horror books should be: suspense, unpredictable moments and likable characters. And compared to Alexander's first book, The Collector, his story telling is getting better to the point that I am looking forward to reading his other recent books, but hopefully he sticks to telling stories with children and not adults.
I highly recommend this book to fans of R.L. Stine's 'Goosebumps,' because I truly believe we have our next R.L. Stine. Great story, great writing.
We start with Kimberly Rice, who is a kid with a vivid imagination that can imagine up anything her heart desires, but because of this, people don't believe her when strange things begin to happen in Copper Hollow. She has two friends named Alicia and James- - -but Kimberly feels like she doesn't fit in with them because they live in houses while she lives in a trailer. "I wait for them to say, Hey, Kimberly, do you want to come over for dinner? They don't. They never have. It hurt my feelings at first, but I got over it fast. They're still my best and only friends, so I can't really complain when they don't have me over to their houses. It's not like I can really invite them over to mine. " Kimberly explains.
Although she states that they are her best friends, there is another part that may suggest otherwise. At first, we read about Kimberly being ashamed of her home although she states she has never tried to invite her friends over - - - as far as we know - - - but during a scene where Kimberly goes over to Alicia's home for help with this doll, Alicia doesn't invite her inside, which Kimberly points out.
But Kimberly's dysfunctional friendships aren't what the story is about. The book is about a doll that suddenly shows up with the words 'bury me' written across its dress in black ink. The perfect setting for a horror story. Kimberly teams up with her friends, Alicia and James, to figure out what this doll wants.
Alicia convinces Kimberly to do what the doll's dress says: 'bury me.' But even after they do this, the doll somehow shows up again, without having disturbed its burial place. They finally begin to question whether or not the doll is possessed by an evil spirit because the doll's mouth moves on its own, making frowns and even seeming to silently scream at one point, and no matter what they do, the doll always comes back completely intact. Yet, the only one the doll seems to be 'haunting' is Kimberly, although James and Alicia participate in trying to get rid of it. Kimberly is also haunted by dreams that aren't exactly her own, but she doesn't reveal these to her friends- - - which doing so may have helped in the long run. As a result, the friends never really figure out how to get rid of the doll, it seems that only Kimberly's dreams can figure this out (it just takes her nearly the entire book to figure it out).
The horror elements in this story are pretty good, but as the book recommended age states, it's for pre-teens. Yet, Alexander did a better job on this than 'The Collector' when it came to those elements. I honestly really enjoyed this book, even as an adult.
We continue with Alicia and James beginning to question Kimberly, thinking that this is just a prank she has come up with because their town is boring: " 'Did you do this?' Alicia asks, looking straight at me. Once more, my heart throbs- - -but this time, with a note of anger.
'Why would I do something like this?' I ask.
'Because Copper Hollow is boring and you're trying to make it fun with another one of your wild stories?' She doesn't sound accusatory; she sounds like she's running out of options that make sense, and she doesn't like that at all. "
Kimberly also has to deal with a history book on Copper Hollow that only shows blank pages to her, even when she shows it to adults, they seem to go into a daze as if the book doesn't even exist to them. Even when she asks the Mayor about this very book, he has no idea what she's speaking of. " I try to change the subject. 'I finished that book. The one about our history.'
'Book? ' Mayor Couch asks. 'What book?'
'The one I showed you.'
He chuckles. 'You and your imagination. I don't remember you showing me a book. ' "
Readers and Kimberly still have no idea what is going half way through the book. "Something weird is going on with him. It makes me wonder. . . is it linked to the doll? Or maybe he just has some sort of memory loss? "
While Kimberly is going through all of this, her mother seems like a wasted character to introduce. She, who is rarely home and works double shifts throughout the entire book, is never there for Kimberly, but also,Kimberly never goes to her mother for help.
The story starts quickly, getting right into the doll appearing, and by the end, we learn something that was not predictable - - -this is good writing. Bury Me is what YA horror books should be: suspense, unpredictable moments and likable characters. And compared to Alexander's first book, The Collector, his story telling is getting better to the point that I am looking forward to reading his other recent books, but hopefully he sticks to telling stories with children and not adults.
I highly recommend this book to fans of R.L. Stine's 'Goosebumps,' because I truly believe we have our next R.L. Stine. Great story, great writing.