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Bob Mann (459 KP) rated Lion (2016) in Movies
Sep 29, 2021
Lost in Train-station.
As January progresses, the quality Oscar films just keep on coming! India’s vibrant and teeming tapestry of life is a natural gift for film-makers, without a word needing to be spoken, and director Garth Davis – in an impressive feature film debut – utilizes that backdrop to the max.
In a true life story, five-year-old Saroo (Sunny Pawar, in an astonishingly adept child performance) is accidentally separated from his family in the Madhya Pradesh region of Western India and goes on a journey by train of hundreds of miles to Calcutta: a city full of people who don’t even speak his language.
Lost, alone and facing the perils of a street child in a dangerous city, Saroo is eventually adopted by a kindly Australian couple (played by Nicole Kidman (“Before I Go To Sleep“) and David Wenham (Faramir in “The Lord of the Rings”)).
Growing up in a comfortable, loving, but not – ultimately – idyllic home environment, Saroo (now Dev Patel, “The Best Exotic Marigold Hotel”) grows up and in his late teens goes to Melbourne University to study Hotel Management (Dev Patel? Hotel Management? What were the odds?!). While there, memories of the past resurface and an obsessive need to trace his Indian origins takes hold, disrupting both his career plans and his relationship with the love of his life Lucy (Rooney Mara, “Carol“). But with a remembered home-town name that doesn’t exist, only hazy memories of the train station he departed from, and thousands and thousands of train stations across India, how could he ever succeed?
India is enormously photogenic and cinematographer Greig Fraser (“Rogue One“, “Foxcatcher“) takes the maximum advantage of that with some memorable and dramatic landscapes: work that has been Oscar nominated. Also Oscar nominated and contributing strongly to the look and feel of the film is a well-judged and effectively used piano score by Volker Bertelmann and Dustin O’Halloran.
In the acting stakes, Dev Patel gives his best ever performance and his Oscar nomination – curiously for Best Supporting actor since, I presume, Sunny Pawar has the most screen time – is very well deserved. A moving performance, particularly at the tearful end of the movie, for which a box of tissues is recommended.
Nicole Kidman, not an actress I have ever hugely warmed to, is excellent here as the fragile adoptive mother, despite having to sport a crazy red curly wig. Another Oscar nomination.
Also worthy of note is young Abhishek Bharate as Saroo’s brother Guddu: the touching chemistry between the thieving young rascals at the start of the movie grounds the whole family relationship that’s sets up the emotional heart of the subsequent quest.
Luke Davies’ adapted screenplay is also Oscar nominated, although perhaps not as deserving to win as some of the other nominees. I would (naively perhaps) assume that adapting a screenplay from a true-life story must be an easier task, since the facts have to speak for themselves. But besides that, while the first half of the film, with the scenes in India, is exceptionally good, the Australian section became a more patchy with the motivations of Saroo’s actions and the impact they have on his adoptive family not feeling completely fleshed out.
While I’m sure being a street urchin in Calcutta in the mid-80’s was a horribly difficult and perilous existence, the screenplay paints the sense that that almost EVERY male in the city is either a pedophile or hopelessly corrupt: something that if I was a Calcutta resident I would likely take offence to.
However, this is a hugely involving and enjoyable movie, and a “Best Film” rounds off the impressive haul of six Oscar nominations. You might be cynical and view the subject matter as being comfortable Oscar-bait… but you can hardly argue about the absolute quality of the film-making on show here.
By the way, if you are curious as to where the title of the film comes from, you need to wait until the end titles: a masterly touch that I really liked!
The end titles also lay out the fact that the perils of street kids in India is still real and present, and the film is supporting charitable work to help. If you were moved by the film (as I was) you can make a donation at http://lionmovie.com (as I did)!
Highly recommended.
In a true life story, five-year-old Saroo (Sunny Pawar, in an astonishingly adept child performance) is accidentally separated from his family in the Madhya Pradesh region of Western India and goes on a journey by train of hundreds of miles to Calcutta: a city full of people who don’t even speak his language.
Lost, alone and facing the perils of a street child in a dangerous city, Saroo is eventually adopted by a kindly Australian couple (played by Nicole Kidman (“Before I Go To Sleep“) and David Wenham (Faramir in “The Lord of the Rings”)).
Growing up in a comfortable, loving, but not – ultimately – idyllic home environment, Saroo (now Dev Patel, “The Best Exotic Marigold Hotel”) grows up and in his late teens goes to Melbourne University to study Hotel Management (Dev Patel? Hotel Management? What were the odds?!). While there, memories of the past resurface and an obsessive need to trace his Indian origins takes hold, disrupting both his career plans and his relationship with the love of his life Lucy (Rooney Mara, “Carol“). But with a remembered home-town name that doesn’t exist, only hazy memories of the train station he departed from, and thousands and thousands of train stations across India, how could he ever succeed?
India is enormously photogenic and cinematographer Greig Fraser (“Rogue One“, “Foxcatcher“) takes the maximum advantage of that with some memorable and dramatic landscapes: work that has been Oscar nominated. Also Oscar nominated and contributing strongly to the look and feel of the film is a well-judged and effectively used piano score by Volker Bertelmann and Dustin O’Halloran.
In the acting stakes, Dev Patel gives his best ever performance and his Oscar nomination – curiously for Best Supporting actor since, I presume, Sunny Pawar has the most screen time – is very well deserved. A moving performance, particularly at the tearful end of the movie, for which a box of tissues is recommended.
Nicole Kidman, not an actress I have ever hugely warmed to, is excellent here as the fragile adoptive mother, despite having to sport a crazy red curly wig. Another Oscar nomination.
Also worthy of note is young Abhishek Bharate as Saroo’s brother Guddu: the touching chemistry between the thieving young rascals at the start of the movie grounds the whole family relationship that’s sets up the emotional heart of the subsequent quest.
Luke Davies’ adapted screenplay is also Oscar nominated, although perhaps not as deserving to win as some of the other nominees. I would (naively perhaps) assume that adapting a screenplay from a true-life story must be an easier task, since the facts have to speak for themselves. But besides that, while the first half of the film, with the scenes in India, is exceptionally good, the Australian section became a more patchy with the motivations of Saroo’s actions and the impact they have on his adoptive family not feeling completely fleshed out.
While I’m sure being a street urchin in Calcutta in the mid-80’s was a horribly difficult and perilous existence, the screenplay paints the sense that that almost EVERY male in the city is either a pedophile or hopelessly corrupt: something that if I was a Calcutta resident I would likely take offence to.
However, this is a hugely involving and enjoyable movie, and a “Best Film” rounds off the impressive haul of six Oscar nominations. You might be cynical and view the subject matter as being comfortable Oscar-bait… but you can hardly argue about the absolute quality of the film-making on show here.
By the way, if you are curious as to where the title of the film comes from, you need to wait until the end titles: a masterly touch that I really liked!
The end titles also lay out the fact that the perils of street kids in India is still real and present, and the film is supporting charitable work to help. If you were moved by the film (as I was) you can make a donation at http://lionmovie.com (as I did)!
Highly recommended.
Chris Sawin (602 KP) rated The Unbearable Weight of Massive Talent (2022) in Movies
Apr 24, 2022
The performances of Nicolas Cage and Pedro Pascal. (1 more)
A simple concept wrapped in a ton of adult humor.
Could be a bit too meta at times. (1 more)
The second half of the film isn't quite as good as the first half.
The R-Rated Action Comedy of a Lifetime
Nicolas Cage portrays an exaggerated version of himself in The Unbearable Weight of Massive Talent. In the film, Nick Cage is struggling as an actor. He’s in a crazy amount of debt, he can’t find steady work, and his ex-wife Olivia (Sharon Horgan) and daughter Addy (Anna MacDonald) feel like he’s too full of himself to fit them into his life. Nick contemplates retiring from acting altogether and is intending to do so after an awkward $1 million gig of being on an island as the guest of honor at a birthday party.
But the birthday is for a gargantuan Nicolas Cage super fan named Javi Gutierrez (Pedro Pascal). Javi and Nick become fast friends, but the CIA abducts Nick one evening and informs him that Javi is actually an arms dealer that is responsible for the kidnapping of the daughter of an anti-crime politician. Nick becomes torn between snitching for the government and seeing where his newfound friendship with Javi goes, which revolves around Nick having the most fun he’s had in years.
What makes The Unbearable Weight of Massive Talent so entertaining is the bromance between Nicolas Cage and Pedro Pascal. The two seem like legitimate best friends and there’s essentially chemistry with the two actors as soon as they meet each other on screen. As Nick Cage, the real Cage is totally self-absorbed as the character. He’s blinded by his own interests and what he has going on in his life to really understand or pay attention to anyone else. The whole world revolves around Nick Cage. Meanwhile, Javi is more humble. He has so much Nicolas Cage memorabilia that his room devoted to him could be considered as a museum or shrine to the actor. The two surprisingly have a lot in common and end up being hilarious together.
The first hour of the film is basically the Cage and Pascal show with the two running around like idiots in the best kind of way. Nick and Javi bond over Paddington 2, possibly making a movie together, and doing acid together. The acid taking sequence in general is probably the funniest part of the film, especially with their uncontrollable paranoia and Pascal’s fake laughing.
The remaining 47 minutes is devoted to the two men attempting to kill one another. Nick believing that Javi is this guns dealing madman and Javi discovering that Nick has been working with the CIA. The film snowballs further and further into ridiculous territory and you just gobble it up because it’s so great. The R-rated action comedy is loaded with incredibly detailed movie references and Nicolas Cage being funnier than he has ever been.
Pedro Pascal has dabbled in comedy since leaving Game of Thrones and it has never really worked out. He was the best part of The Bubble, which dropped on Netflix earlier this month, but that’s not saying much since the film was so bad. This is the first time Pascal has gotten to showcase his comedic chops in a film that is legitimately funny, surprisingly sentimental, and enormously entertaining from beginning to end.
Throughout the film, Nick Cage argues with Nicky – the younger and more successful version of himself from Wild at Heart. Nicky is basically the devil on Nick Cage’s shoulder as he encourages him to take more risks and do whatever he wants simply because he is Nick freaking Cage. It’s incredible seeing two versions of Cage argue and interact on screen, but it nearly melts your brain from simply being too awesome for our Nicolas Cage admiring brains to process.
It certainly seems like The Unbearable Weight of Massive Talent will have a deeper impact on you if you’re at least somewhat of a fan of Nicolas Cage’s work, but could also be amusing for fans of absurd adult comedies. Pedro Pascal is the humorous wingman we all wish we could have; soft spoken and yet a priceless factor in the overall ludicrous nature of the film. Meanwhile, Nicolas Cage continues to reign supreme as a talented lunatic at the top of his game. The Unbearable Weight of Massive Talent is an outrageous and uproarious expedition into hilarity and absurdity. Nicolas Cage and Pedro Pascal are an unlikely yet brilliant comical duo that will have you rolling on the sticky movie theater floor with laughter.
But the birthday is for a gargantuan Nicolas Cage super fan named Javi Gutierrez (Pedro Pascal). Javi and Nick become fast friends, but the CIA abducts Nick one evening and informs him that Javi is actually an arms dealer that is responsible for the kidnapping of the daughter of an anti-crime politician. Nick becomes torn between snitching for the government and seeing where his newfound friendship with Javi goes, which revolves around Nick having the most fun he’s had in years.
What makes The Unbearable Weight of Massive Talent so entertaining is the bromance between Nicolas Cage and Pedro Pascal. The two seem like legitimate best friends and there’s essentially chemistry with the two actors as soon as they meet each other on screen. As Nick Cage, the real Cage is totally self-absorbed as the character. He’s blinded by his own interests and what he has going on in his life to really understand or pay attention to anyone else. The whole world revolves around Nick Cage. Meanwhile, Javi is more humble. He has so much Nicolas Cage memorabilia that his room devoted to him could be considered as a museum or shrine to the actor. The two surprisingly have a lot in common and end up being hilarious together.
The first hour of the film is basically the Cage and Pascal show with the two running around like idiots in the best kind of way. Nick and Javi bond over Paddington 2, possibly making a movie together, and doing acid together. The acid taking sequence in general is probably the funniest part of the film, especially with their uncontrollable paranoia and Pascal’s fake laughing.
The remaining 47 minutes is devoted to the two men attempting to kill one another. Nick believing that Javi is this guns dealing madman and Javi discovering that Nick has been working with the CIA. The film snowballs further and further into ridiculous territory and you just gobble it up because it’s so great. The R-rated action comedy is loaded with incredibly detailed movie references and Nicolas Cage being funnier than he has ever been.
Pedro Pascal has dabbled in comedy since leaving Game of Thrones and it has never really worked out. He was the best part of The Bubble, which dropped on Netflix earlier this month, but that’s not saying much since the film was so bad. This is the first time Pascal has gotten to showcase his comedic chops in a film that is legitimately funny, surprisingly sentimental, and enormously entertaining from beginning to end.
Throughout the film, Nick Cage argues with Nicky – the younger and more successful version of himself from Wild at Heart. Nicky is basically the devil on Nick Cage’s shoulder as he encourages him to take more risks and do whatever he wants simply because he is Nick freaking Cage. It’s incredible seeing two versions of Cage argue and interact on screen, but it nearly melts your brain from simply being too awesome for our Nicolas Cage admiring brains to process.
It certainly seems like The Unbearable Weight of Massive Talent will have a deeper impact on you if you’re at least somewhat of a fan of Nicolas Cage’s work, but could also be amusing for fans of absurd adult comedies. Pedro Pascal is the humorous wingman we all wish we could have; soft spoken and yet a priceless factor in the overall ludicrous nature of the film. Meanwhile, Nicolas Cage continues to reign supreme as a talented lunatic at the top of his game. The Unbearable Weight of Massive Talent is an outrageous and uproarious expedition into hilarity and absurdity. Nicolas Cage and Pedro Pascal are an unlikely yet brilliant comical duo that will have you rolling on the sticky movie theater floor with laughter.
BankofMarquis (1832 KP) rated West Side Story (2021) in Movies
Mar 7, 2022
Very Good...but could have (SHOULD HAVE) been GREAT
One of the biggest disappointments in watching a Motion Picture is when a Film has all of the ingredients to be a GREAT film, but is knocked off this tier by one flaw - and sometimes - is knocked down to merely good by an egregious flaw.
Such is the case with Stephen Spielberg’s adaptation of the 1957 Broadway Musical WEST SIDE STORY - it has all of the ingredients to be considered a great film, but it has a problem at it’s core that knocks it down to very good (and maybe just “good”).
The 1961 version of West Side Story, of course, swept the 1962 Oscars, winning 10 Oscars - including Best Picture. This musical, of course, is based on William Shakespeare’s Romeo & Juliet about a doomed love relationship set in a time of battling factions.
There is much to like in this adaptation - and let’s start with Spielberg’s Oscar nominated Direction. It is “spot-on”, for the most part in this telling of this tale, keeping the events rolling, and the tension taught (and rising) throughout the course of the film and orchestrating well deserved Production Design, Sound, Cinematography and Costume Oscar nominations. This film is a treat to watch (and listen to) and is the very definition of a film deserving of Awards. These are all top notch professionals in their fields delivering top notch results and having the Songs of Leonard Bernstein (Music) and Stephen Sondheim (Lyrics) so beautifully depicted is a treat, indeed.
Spielberg, wisely, ethnically cast this movie appropriately. Having Latino performers playing one faction of these warring entities and White performers playing the Anglos in this film is the correct move. Spielberg (and playwright Tony Kushner who adapted Arthur Laurents book) decided to have some of the scenes performed in Spanish (as they would be in “real life”) with no subtitles. As a non-Spanish speaking Anglo, these scenes worked very well for me.
Add to all of this strong performances across the cast. David Alvarez as Bernardo, Mike Faist as Riff, Josh Andres Rivera as Chino all shine as does Iris Menas as Anybodys. Stealing the show, of course, is Ariana DeBose (HAMILTON) as the hot-blooded Anita, a performance that will, IMHO, win the Oscar for Best Supporting Actress. If she does win, she will be the 2nd Actress to win the Oscar for playing this role in a film. Rita Moreno won it in 1961 - and let’s talk about her work in this film. Spielberg, wisely, gender-swapped the “Doc” role in this film - and gave it to Moreno. Her Valentino is the heart and soul of this film and it was a risky, and wise, choice to give Valentino the song “Somewhere” - and it works beautifully. I would have been happy to see the EGOT winning, 90-something year old Moreno get an Oscar nomination as well.
You will notice that the 2 leads - Tony (Ansel Elgort) and Maria (Rachel Zegler) have yet to be mentioned and, therein, lies the problem with this film.
Individually, their performances are “good”. Zegler’s Maria is young, sweet and innocent and she is “pitch-perfect” for this role. Most critics point to Elgort’s work as the reason that this film falls short of greatness and I think that this is unfair to Elgort. Remember, Tony has been tucked away in jail for a few years for almost killing a rival gang member with his fists, so he needs to be somewhat older than the others and he needs to have a temper simmering underneath that is ready to explode. Elgort plays this role as Directed by Spielberg and is a good fit for the interpretation of this role as formed through the eyes of his talented Director.
The issue is when Tony and Maria are put together on the screen - there just is no chemistry between the two and the age difference (at least how the 2 characters look and are portrayed on screen) is jarring and is almost creepy. I never felt the love connection between Tony and Maria, a factor that is so important to the spine of this film that when it is missing - as it is here - the movie fell flat.
Ultimately, you have to fault the Director for this and that is too bad, for the other aspects of the film - and Spielberg’s Direction - are so good and so strong that the disappointment of the black hole that is central to this film is crushing.
Letter Grade: A- (heading towards B+)
8 stars out of 10 (it could have…SHOULD HAVE…been a 9 or a 10) and you can take that to the Bank(ofMarquis)
Such is the case with Stephen Spielberg’s adaptation of the 1957 Broadway Musical WEST SIDE STORY - it has all of the ingredients to be considered a great film, but it has a problem at it’s core that knocks it down to very good (and maybe just “good”).
The 1961 version of West Side Story, of course, swept the 1962 Oscars, winning 10 Oscars - including Best Picture. This musical, of course, is based on William Shakespeare’s Romeo & Juliet about a doomed love relationship set in a time of battling factions.
There is much to like in this adaptation - and let’s start with Spielberg’s Oscar nominated Direction. It is “spot-on”, for the most part in this telling of this tale, keeping the events rolling, and the tension taught (and rising) throughout the course of the film and orchestrating well deserved Production Design, Sound, Cinematography and Costume Oscar nominations. This film is a treat to watch (and listen to) and is the very definition of a film deserving of Awards. These are all top notch professionals in their fields delivering top notch results and having the Songs of Leonard Bernstein (Music) and Stephen Sondheim (Lyrics) so beautifully depicted is a treat, indeed.
Spielberg, wisely, ethnically cast this movie appropriately. Having Latino performers playing one faction of these warring entities and White performers playing the Anglos in this film is the correct move. Spielberg (and playwright Tony Kushner who adapted Arthur Laurents book) decided to have some of the scenes performed in Spanish (as they would be in “real life”) with no subtitles. As a non-Spanish speaking Anglo, these scenes worked very well for me.
Add to all of this strong performances across the cast. David Alvarez as Bernardo, Mike Faist as Riff, Josh Andres Rivera as Chino all shine as does Iris Menas as Anybodys. Stealing the show, of course, is Ariana DeBose (HAMILTON) as the hot-blooded Anita, a performance that will, IMHO, win the Oscar for Best Supporting Actress. If she does win, she will be the 2nd Actress to win the Oscar for playing this role in a film. Rita Moreno won it in 1961 - and let’s talk about her work in this film. Spielberg, wisely, gender-swapped the “Doc” role in this film - and gave it to Moreno. Her Valentino is the heart and soul of this film and it was a risky, and wise, choice to give Valentino the song “Somewhere” - and it works beautifully. I would have been happy to see the EGOT winning, 90-something year old Moreno get an Oscar nomination as well.
You will notice that the 2 leads - Tony (Ansel Elgort) and Maria (Rachel Zegler) have yet to be mentioned and, therein, lies the problem with this film.
Individually, their performances are “good”. Zegler’s Maria is young, sweet and innocent and she is “pitch-perfect” for this role. Most critics point to Elgort’s work as the reason that this film falls short of greatness and I think that this is unfair to Elgort. Remember, Tony has been tucked away in jail for a few years for almost killing a rival gang member with his fists, so he needs to be somewhat older than the others and he needs to have a temper simmering underneath that is ready to explode. Elgort plays this role as Directed by Spielberg and is a good fit for the interpretation of this role as formed through the eyes of his talented Director.
The issue is when Tony and Maria are put together on the screen - there just is no chemistry between the two and the age difference (at least how the 2 characters look and are portrayed on screen) is jarring and is almost creepy. I never felt the love connection between Tony and Maria, a factor that is so important to the spine of this film that when it is missing - as it is here - the movie fell flat.
Ultimately, you have to fault the Director for this and that is too bad, for the other aspects of the film - and Spielberg’s Direction - are so good and so strong that the disappointment of the black hole that is central to this film is crushing.
Letter Grade: A- (heading towards B+)
8 stars out of 10 (it could have…SHOULD HAVE…been a 9 or a 10) and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated The Ice Age Adventures of Buck Wild (2022) in Movies
Jan 30, 2022
The mimicking raptor (1 more)
The, "power of our spleens," line of dialogue.
Horrendously ugly animation. (2 more)
A terribly boring screenplay.
Humor that is so painfully unfunny.
The Ice Age Adventures of Buck Wild is the first Disney produced film of the franchise and the first Ice Age film to go directly to streaming. None of the original cast members return other than Simon Pegg as Buck Wild. Scrat is nowhere to be found and the animation is a noticeable downgrade. This project began with the intention of being a new Ice Age TV series, but was then repurposed into an 81-minute feature-length film.
Crash and Eddie (now voiced by Vincent Tong and Aaron Harris) have gotten the itch to branch out on their own. Being a part of the herd with Manny, Diego, Sid, and Ellie has finally reached a boiling point. After ruining a summer getaway with an ice-alanche, Manny encourages Crash and Eddie to go off on their own adventure. He never thought the death portraying duo would take his words to heart.
The possums venture back deep below the ice and back to The Lost World where they are reunited with Buck Wild (Pegg). However, their reunion is bittersweet as a big-headed and big-brained Protoceratops named Orson (Utkarsh Ambudkar, Free Guy) has just returned from exile where he intends to use his raptor henchmen to rule over every living mammal.
This new Ice Age film is animated by Canadian animation company Bardel Entertainment. Other CGI related works Bardel has had a hand in producing include Angry Birds Blues, Teenage Mutant Ninja Turtles (2012), All Hail King Julien, The Adventures of Puss in Boots, and the Monsters vs. Aliens TV series. The animation in Adventures of Buck Wild is incredibly ugly. Scenery and background characters are minimally detailed and look like poorly colored blobs with a limited color palette.
The film has a very direct-to-video ambiance to it. It’s kind of like watching Reboot or Beast Wars: Transformers today, but what those series lack in animation they make up for with exceptional writing. The Adventures of Buck Wild mostly feels like Disney’s quick attempt at a cash grab after dissolving Blue Sky Studios in 2021. The animation is a bit better when it comes to close-ups of characters as strands of hair have more detail. It still doesn’t help the horrendous character design. Orson is basically the dinosaur version of Yosemite Sam while his raptors look like Wheelie from Transformers: Revenge of the Fallen.
Directed by John C. Donkin (producer of the first three Ice Age films, Rio and Rio 2, and Robots) and written by Ray DeLaurentis (Fairly Oddparents), Jim Hecht (Ice Age: The Meltdown), and William Schifrin (Quest for Camelot), Adventures of Buck Wild has stale writing that has a few noteworthy moments. Most of the attempts at humor are met with eyerolling, severe facepalms, or shaking your head with disgust. The raptor that copies everything Orson does may be the best comedic relief the films has and the, “Power of spleens,” bit is easily the best line of dialogue.
Buck Wild is a seriously bizarre character though. He formed his own team and inadvertently destroyed it since he last met Crash and Eddie. Being alone has obviously taken its toll on him. He now talks to his left hand in a silly voice and has a pumpkin daughter that is babysat by a cucumber. Zee, a former team member and ex-best friend of Buck, is a zorilla/striped polecat. She looks like a raccoon, but is super agile and can spray like a skunk. Her and Buck are incredibly similar other than the fact that Buck likes to rush into battle without any sort of preparation whereas Zee likes to train and plan before facing an enemy.
It would have been so incredibly satisfying if Disney had debuted an Ice Age film with solid animation, laugh out loud humor, a well-written story, and likeable or even downright despicable characters. Having those elements would have at least given fans of the franchise thus far that Disney had a vision of where to take Ice Age in the foreseeable future. Instead we get this lackluster dud of a film that is boring to look at and is mostly massively unfunny while making most of the characters – old and new – forgettable. When Zee first meets Crash and Eddie, Buck says something along the lines of, “What they lack in courage they make up for with bumbling ineptitude.” That is all The Adventures of Buck Wild is; an unnecessary animated excursion into bumbling ineptitude.
Crash and Eddie (now voiced by Vincent Tong and Aaron Harris) have gotten the itch to branch out on their own. Being a part of the herd with Manny, Diego, Sid, and Ellie has finally reached a boiling point. After ruining a summer getaway with an ice-alanche, Manny encourages Crash and Eddie to go off on their own adventure. He never thought the death portraying duo would take his words to heart.
The possums venture back deep below the ice and back to The Lost World where they are reunited with Buck Wild (Pegg). However, their reunion is bittersweet as a big-headed and big-brained Protoceratops named Orson (Utkarsh Ambudkar, Free Guy) has just returned from exile where he intends to use his raptor henchmen to rule over every living mammal.
This new Ice Age film is animated by Canadian animation company Bardel Entertainment. Other CGI related works Bardel has had a hand in producing include Angry Birds Blues, Teenage Mutant Ninja Turtles (2012), All Hail King Julien, The Adventures of Puss in Boots, and the Monsters vs. Aliens TV series. The animation in Adventures of Buck Wild is incredibly ugly. Scenery and background characters are minimally detailed and look like poorly colored blobs with a limited color palette.
The film has a very direct-to-video ambiance to it. It’s kind of like watching Reboot or Beast Wars: Transformers today, but what those series lack in animation they make up for with exceptional writing. The Adventures of Buck Wild mostly feels like Disney’s quick attempt at a cash grab after dissolving Blue Sky Studios in 2021. The animation is a bit better when it comes to close-ups of characters as strands of hair have more detail. It still doesn’t help the horrendous character design. Orson is basically the dinosaur version of Yosemite Sam while his raptors look like Wheelie from Transformers: Revenge of the Fallen.
Directed by John C. Donkin (producer of the first three Ice Age films, Rio and Rio 2, and Robots) and written by Ray DeLaurentis (Fairly Oddparents), Jim Hecht (Ice Age: The Meltdown), and William Schifrin (Quest for Camelot), Adventures of Buck Wild has stale writing that has a few noteworthy moments. Most of the attempts at humor are met with eyerolling, severe facepalms, or shaking your head with disgust. The raptor that copies everything Orson does may be the best comedic relief the films has and the, “Power of spleens,” bit is easily the best line of dialogue.
Buck Wild is a seriously bizarre character though. He formed his own team and inadvertently destroyed it since he last met Crash and Eddie. Being alone has obviously taken its toll on him. He now talks to his left hand in a silly voice and has a pumpkin daughter that is babysat by a cucumber. Zee, a former team member and ex-best friend of Buck, is a zorilla/striped polecat. She looks like a raccoon, but is super agile and can spray like a skunk. Her and Buck are incredibly similar other than the fact that Buck likes to rush into battle without any sort of preparation whereas Zee likes to train and plan before facing an enemy.
It would have been so incredibly satisfying if Disney had debuted an Ice Age film with solid animation, laugh out loud humor, a well-written story, and likeable or even downright despicable characters. Having those elements would have at least given fans of the franchise thus far that Disney had a vision of where to take Ice Age in the foreseeable future. Instead we get this lackluster dud of a film that is boring to look at and is mostly massively unfunny while making most of the characters – old and new – forgettable. When Zee first meets Crash and Eddie, Buck says something along the lines of, “What they lack in courage they make up for with bumbling ineptitude.” That is all The Adventures of Buck Wild is; an unnecessary animated excursion into bumbling ineptitude.
Andy Meakin (5 KP) rated War for the Planet of the Apes (2017) in Movies
Jan 8, 2018
Apes...together...strong!
The recent revival of the Apes franchise has managed to defy all expectations by not only being a worthy entry into the franchise, but also being strong films on their own merit. Working as a kind-of-prequel-reboot of the old franchise, and ignoring the Tim Burton film completely, it is strange to realise this is only the third film since the reboot. Lesser franchises would have churned out one every year or two, and be up to part five by now, but not the Apes films. It genuinely feels like they are taking time to ensure each film is worthy. Which is where another expectation is defied – the films don’t seem to diminish in quality, nor feel repetitive. Each entry so far has had its own feel and worked to move the story along. War for the Planet of the Apes is no exception, and is one of the finest blockbuster films of this year.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
Haley Mathiot (9 KP) rated Gateway to Dreamworld in Books
Apr 27, 2018
Gateway to Dreamworld
by Brenda Estacio
Rating: 3.5/5
My Summary: Jean and Brad have a wonderful life with wonderful kids. But through several awful things that happen to them, like the car accident that put Pete in a wheelchair for his life and the depression that Brad experienced from it, the family has slipped apart. Jason, the oldest son, goes up into his hideout in the Lighthouse to try to escape the stress of his family falling apart. While up there, a stroke of lightning hits the lighthouse and creates a magical Gateway from the real world to Dreamworld, a place that only the pure of heart can access in their dreams. Jason has to decide whether or not he wants to stay in Dreamworld for the rest of his life, where everything is perfect and nobody gets sick or dies, or whether he wants to stay in the real world with his family. When Jason finds out that his mom is pregnant and ill, he is sure she is going to die. Then Jason finds out that he can save his mom and heal his brother by taking his family to Dreamworld—but he has to do it before the Gateway closes up forever…
My thoughts: Gateway to Dreamworld is an interesting yet odd read. It’s fast paced, covering a whole beginning of a relationship, two births, a death and a few other major events in the first few chapters and moving through important story lines very quickly—almost too quickly. I wished the author had slowed down and taken more time developing the story line in the first 100 pages, rather than just telling it all so fast—the first ten chapters or so felt rushed, as if she was in a hurry to get it over with and explain it so she could move on to what she wanted to write about. The pdf that I read from was 358 pages, and it got really interesting on chapter 13, page 118. That being said, it wasn’t that I didn’t enjoy the first 100 pages, they were very interesting and showed the life of a realistic family.
The only thing about this book that I didn’t like was that it had what I call “happy-land” syndrome—everything is working out perfectly, or is resolved too quickly. The father slipped into depression, and it was totally expected and realistic, however he was jerked out of it too fast (Maybe only people who have experienced depression can testify, but it doesn’t go away that quickly—it takes months of talking, treatment, and sometimes medication, not one talk with a pastor and a few tears.). When the grandma died, the character’s reactions were realistic—but family members “got over it” so fast that it left me frowning. This was all in the earliest part of the book, again I felt that the author just wanted to be done with the explaining part so she could move onto the interesting part.
Plot: this was a science fiction book, and it’s been a long time since I’ve read a sci fi. I loved getting lost in the idea of Dreamworld and The Gateway and the fear of the Unknown was horrific. During one of the crucial moments at the end of the book I could feel my blood speed up as I read it. The end of this book was a bit of a shock, not at all what I expected. I’m not sure if I was disappointed or satisfied, but it was certainly intriguing.
Characters: I personally didn’t connect with the characters very well because they were two adults and two young children, however my favorite character would have to be Pete, the little brother who gets paralyzed. He’s such a brave kid, trusting of his brother, and loving to his parents.
The Writing: The writing seemed very formal—I don’t think there was a single contraction in the whole book, and the character’s lines were detailed, specific, honest, and humble— they almost felt like robots the way they were never greedy, never mean. The word that came to mind as I read it was “quaint,” because it was told from third person omniscient perspective, and there wasn’t a lot of dialogue.
Recommendation: I think ages 9-14 would enjoy this book a lot more than I did (not to say I didn’t) because of the young characters and the science fiction aspect. However, there were a few scenes of husband and wife relationship that were not detailed, but were not suitable for an eleven or twelve-year-old either. It’s hard to place a specific age on this book, but I will say that anyone who read and enjoyed Madeleine L'Engle’s Many Waters (A Wrinkle In Time series) will enjoy this book as well.
All in all, I immensely enjoyed this book and found myself needing to finish it, I couldn’t stop in the middle. It was highly addicting and exciting, and I look forward to more from this author.
Thank You to Brenda Estacio for the e-book to review!
~Haleyknitz
by Brenda Estacio
Rating: 3.5/5
My Summary: Jean and Brad have a wonderful life with wonderful kids. But through several awful things that happen to them, like the car accident that put Pete in a wheelchair for his life and the depression that Brad experienced from it, the family has slipped apart. Jason, the oldest son, goes up into his hideout in the Lighthouse to try to escape the stress of his family falling apart. While up there, a stroke of lightning hits the lighthouse and creates a magical Gateway from the real world to Dreamworld, a place that only the pure of heart can access in their dreams. Jason has to decide whether or not he wants to stay in Dreamworld for the rest of his life, where everything is perfect and nobody gets sick or dies, or whether he wants to stay in the real world with his family. When Jason finds out that his mom is pregnant and ill, he is sure she is going to die. Then Jason finds out that he can save his mom and heal his brother by taking his family to Dreamworld—but he has to do it before the Gateway closes up forever…
My thoughts: Gateway to Dreamworld is an interesting yet odd read. It’s fast paced, covering a whole beginning of a relationship, two births, a death and a few other major events in the first few chapters and moving through important story lines very quickly—almost too quickly. I wished the author had slowed down and taken more time developing the story line in the first 100 pages, rather than just telling it all so fast—the first ten chapters or so felt rushed, as if she was in a hurry to get it over with and explain it so she could move on to what she wanted to write about. The pdf that I read from was 358 pages, and it got really interesting on chapter 13, page 118. That being said, it wasn’t that I didn’t enjoy the first 100 pages, they were very interesting and showed the life of a realistic family.
The only thing about this book that I didn’t like was that it had what I call “happy-land” syndrome—everything is working out perfectly, or is resolved too quickly. The father slipped into depression, and it was totally expected and realistic, however he was jerked out of it too fast (Maybe only people who have experienced depression can testify, but it doesn’t go away that quickly—it takes months of talking, treatment, and sometimes medication, not one talk with a pastor and a few tears.). When the grandma died, the character’s reactions were realistic—but family members “got over it” so fast that it left me frowning. This was all in the earliest part of the book, again I felt that the author just wanted to be done with the explaining part so she could move onto the interesting part.
Plot: this was a science fiction book, and it’s been a long time since I’ve read a sci fi. I loved getting lost in the idea of Dreamworld and The Gateway and the fear of the Unknown was horrific. During one of the crucial moments at the end of the book I could feel my blood speed up as I read it. The end of this book was a bit of a shock, not at all what I expected. I’m not sure if I was disappointed or satisfied, but it was certainly intriguing.
Characters: I personally didn’t connect with the characters very well because they were two adults and two young children, however my favorite character would have to be Pete, the little brother who gets paralyzed. He’s such a brave kid, trusting of his brother, and loving to his parents.
The Writing: The writing seemed very formal—I don’t think there was a single contraction in the whole book, and the character’s lines were detailed, specific, honest, and humble— they almost felt like robots the way they were never greedy, never mean. The word that came to mind as I read it was “quaint,” because it was told from third person omniscient perspective, and there wasn’t a lot of dialogue.
Recommendation: I think ages 9-14 would enjoy this book a lot more than I did (not to say I didn’t) because of the young characters and the science fiction aspect. However, there were a few scenes of husband and wife relationship that were not detailed, but were not suitable for an eleven or twelve-year-old either. It’s hard to place a specific age on this book, but I will say that anyone who read and enjoyed Madeleine L'Engle’s Many Waters (A Wrinkle In Time series) will enjoy this book as well.
All in all, I immensely enjoyed this book and found myself needing to finish it, I couldn’t stop in the middle. It was highly addicting and exciting, and I look forward to more from this author.
Thank You to Brenda Estacio for the e-book to review!
~Haleyknitz
Acanthea Grimscythe (300 KP) rated The Ill-kept Oath in Books
May 16, 2018
Actual Rating: 3.5 Stars
Set in the early 1800s, The Ill-Kept Oath is a cross between historical fantasy and paranormal romance, though it leans heavily in the latter of the two genres for the majority of the novel. Prudence Fairfeather and her brother Edward are orphans taken in by Lord Middlemere. Raised as nobility, Prudence has nothing to her name and must wed well for her future. Her cousin, Josephine Weston, is Lord Middlemere’s only child and, a couple years younger than Prudence, also finds herself in the path of a relationship that, though she desperately wishes, is beneath her. As if the stress of needing to marry wasn’t enough, the two discover that they have the Inheritance, which is, more or less, magic that has been passed on through the generations. Both girls are also recipients of Talismans that once belonged to their mothers and these items appear to have a gravitational pull that neither girl can withstand, which lands them in trouble on more than one account. In addition to romance and magic, there are trolls, rebellious magic users, and a very real reason for Prudence to fear for her very life, lending a sense of urgency to the book.
That sense of urgency is not dealt with in a timely manner though, it seems. While I adored reading The Ill-Kept Oath, I can’t help but feel that there were moments in which the book simply dragged on. Granted, I’m not much of a fan of romance and what truly piqued my interest in regards to this book was the idea of magic and rebellion, two topics that I am most definitely a large fan of. These two subjects, though largely used in the book’s description, are almost minor elements in comparison to Prudence’s debut for the London Season. In fact, the main conflict of the book itself seems to take a backseat to the romance side of the story which, while bittersweet in its telling, might strike the reader as something that ought to come second to the fact that there are trolls rampaging around the countryside.
It isn’t until near the end of the book that things begin to pick up and start falling into place. Here we learn that the romance side of things play a very important, unseen role in a vile plot to rebel against laws put in place several years prior. Without giving away spoilers, the parts of the book that we slag through are all, despite how mundane they appear, vital to the situation that unfolds. Every element finds a way of coming together, and there are certainly moments that, as I read them, I was able to appreciate the earlier, seemingly pointless interactions of characters. In that regard, I must commend C. C. Aune’s ability to implement small pieces of seemingly pointless knowledge that are, in fact, pivotal to the story. With that in mind, even without being a fan of romance, I was able to at least appreciate Prudence’s involvement in the Marriage Mart.
One of the things I actually liked about The Ill-Kept Oath is the depth to each of its characters. Unlike many of the books that I’ve read lately where the characters are one-dimensional with no point of existence except to fill a certain role and none other, the characters that Aune has breathed life into are colorful and real. Josephine is sixteen, on the cusp of adulthood, and bears the qualities of a teen-aged girl, soon to be woman, that we expect to see, from immaturity to accepting the changes in her own feelings and emotions. Prudence has just crossed into adulthood, and as a reader I was able to sense and truly feel her reluctance to accept a marriage out of necessity, rather than love. Her frustration, and her way of deflecting offers, are not merely glazed over, but written with depth. Even Edward, Prudence’s brother, shows the awkwardness to be expected of a young man still in university that has, unfortunately, developed some less than favorable emotions.
I really wish that more had been explained about the Inheritance and that there wasn’t so much left open to guessing. I assume this is something that will be more fully addressed later on, assuming there will be a sequel, and if that is the case I certainly look forward to reading it. What The Ill-Kept Oath gives us is a mere glimpse into a dark, dark world with many secrets left to be uncovered. A place where things happen with little care for the results, as long as an end is obtained. Overall, I enjoyed the book, though I feel that the story could have had a heavier focus on the magical side of things, along with a quicker pace.
Finally, I would like to offer a heart-felt thanks to Netgalley, Wise Ink Creative Publishing, and C. C. Aune for an advanced copy of The Ill-Kept Oath in exchange for an unbiased review.
Set in the early 1800s, The Ill-Kept Oath is a cross between historical fantasy and paranormal romance, though it leans heavily in the latter of the two genres for the majority of the novel. Prudence Fairfeather and her brother Edward are orphans taken in by Lord Middlemere. Raised as nobility, Prudence has nothing to her name and must wed well for her future. Her cousin, Josephine Weston, is Lord Middlemere’s only child and, a couple years younger than Prudence, also finds herself in the path of a relationship that, though she desperately wishes, is beneath her. As if the stress of needing to marry wasn’t enough, the two discover that they have the Inheritance, which is, more or less, magic that has been passed on through the generations. Both girls are also recipients of Talismans that once belonged to their mothers and these items appear to have a gravitational pull that neither girl can withstand, which lands them in trouble on more than one account. In addition to romance and magic, there are trolls, rebellious magic users, and a very real reason for Prudence to fear for her very life, lending a sense of urgency to the book.
That sense of urgency is not dealt with in a timely manner though, it seems. While I adored reading The Ill-Kept Oath, I can’t help but feel that there were moments in which the book simply dragged on. Granted, I’m not much of a fan of romance and what truly piqued my interest in regards to this book was the idea of magic and rebellion, two topics that I am most definitely a large fan of. These two subjects, though largely used in the book’s description, are almost minor elements in comparison to Prudence’s debut for the London Season. In fact, the main conflict of the book itself seems to take a backseat to the romance side of the story which, while bittersweet in its telling, might strike the reader as something that ought to come second to the fact that there are trolls rampaging around the countryside.
It isn’t until near the end of the book that things begin to pick up and start falling into place. Here we learn that the romance side of things play a very important, unseen role in a vile plot to rebel against laws put in place several years prior. Without giving away spoilers, the parts of the book that we slag through are all, despite how mundane they appear, vital to the situation that unfolds. Every element finds a way of coming together, and there are certainly moments that, as I read them, I was able to appreciate the earlier, seemingly pointless interactions of characters. In that regard, I must commend C. C. Aune’s ability to implement small pieces of seemingly pointless knowledge that are, in fact, pivotal to the story. With that in mind, even without being a fan of romance, I was able to at least appreciate Prudence’s involvement in the Marriage Mart.
One of the things I actually liked about The Ill-Kept Oath is the depth to each of its characters. Unlike many of the books that I’ve read lately where the characters are one-dimensional with no point of existence except to fill a certain role and none other, the characters that Aune has breathed life into are colorful and real. Josephine is sixteen, on the cusp of adulthood, and bears the qualities of a teen-aged girl, soon to be woman, that we expect to see, from immaturity to accepting the changes in her own feelings and emotions. Prudence has just crossed into adulthood, and as a reader I was able to sense and truly feel her reluctance to accept a marriage out of necessity, rather than love. Her frustration, and her way of deflecting offers, are not merely glazed over, but written with depth. Even Edward, Prudence’s brother, shows the awkwardness to be expected of a young man still in university that has, unfortunately, developed some less than favorable emotions.
I really wish that more had been explained about the Inheritance and that there wasn’t so much left open to guessing. I assume this is something that will be more fully addressed later on, assuming there will be a sequel, and if that is the case I certainly look forward to reading it. What The Ill-Kept Oath gives us is a mere glimpse into a dark, dark world with many secrets left to be uncovered. A place where things happen with little care for the results, as long as an end is obtained. Overall, I enjoyed the book, though I feel that the story could have had a heavier focus on the magical side of things, along with a quicker pace.
Finally, I would like to offer a heart-felt thanks to Netgalley, Wise Ink Creative Publishing, and C. C. Aune for an advanced copy of The Ill-Kept Oath in exchange for an unbiased review.
The first half of The Serpent and the Moon mainly deals with Francois I's reign as king and has little to do with the love triangle. Frankly, the whole book itself hasn't much to do with the love triangle or "one of the great love stories of all time," but more to do with the political intrigue of Henri I and his father's reigns. Oh, and lest I forget, Henri, Diane, and both of their symbols, monograms, etc. I honestly don't know what the whole fascination of that was all about, but it showed up everywhere.
On page 187 the princess tells us that it is a man's way of thinking that Diane wouldn't have become Henri's mistress if he hadn't become dauphin. I disagree, it is a realist's view, and frankly, I think it's fully possible that was how it started. Yes, maybe she was flattered by his attention too, but to consider having him as a lover in light of how much she was in his life growing up, it's a bit creepy. Oedipus comes to mind. I believe he was infatuated with her from a young age and it most likely progressed into love, for both of them. I envision her grabbing the chance at being the mistress of a king and being older, she knew how to mould and persuade him. Whether or not it was a true love story, I really don't know; I'm not sure anyone does and I don't care all that much.
As many other reviewers have stated, there is an obvious bias. The readers are warned in the introduction, but even if you know that, there's still the possibility that the work as a whole might be neutral. Unfortunately, that's not the case. Maybe if it had only been a slight bias, I wouldn't have cared so much, but when an author heaps praise on one person and how they accomplish everything, and then turn around and bash someone else for the exact same thing. Well, that's just hypocrisy.
From the book, the author would have you believe that Diane de Poitiers got to where she was merely by being a good, honest, gracious, and pious woman and Catherine de' Medici did it by being a cold, heartless, evil, spiteful person. I'm sorry but you cannot have climbed to the heights Diane did, especially in those times, without being conniving in one way or the other. I'm sure she did the same things Catherine did, so quit holding Diane up on a pedestal; she's really not a goddess, just a woman. Diane is a white light, Catherine is black as death and there isn't any grey between them for most of the book. By the end of the book I really took the "history" lightly, mainly that of these two women, more than anything else; it was just an unfair assessment. And with the author's snarky and catty remarks directed towards Catherine, saying she has a "fat little heart," well, that was just uncalled for. Then at the end, her words were so disgusting about Catherine's behavior towards Diane, saying how petty she was and she did things purely due to "feminine spite". Catherine could have done much worse to her but she didn't! Of course, Ms. Perfect D. was always so respectful and exemplary of Catherine. Give me a break. Maybe some of the things said in the book were true about both women, but then again, maybe not. Most is lost to history.
If Princess Michael of Kent's plan was for me to sympathize and idolize Diane de Poitiers, as she does, it backfired. Now I don't ever care to ever hear about her again, and I love history of all kinds. On the other hand, I have already ordered two books about Catherine de' Medici from the library. Most likely the opposite of what she wanted. I honestly don't blame Catherine if she was bitter, who wouldn't be in that situation? Even if it was a different time, circumstance, and an arranged marriage? I refuse to believe Diane was this perfect being, a goddess, virtuous as can be, a victim - nobody is all these things and I don't know why the author cannot see any imperfections and insists on romanticizing her.
Even though I hated how biased this book was, I still appreciate the amount of research this must have taken, it was fairly well-written in form, and there was loads of information. I'd only recommend this to Catherine haters, loathers, or serious dislikers. With the princess's flair for the dramatic and speculation on feelings and actions, she might want to focus on writing works of fiction instead. I have no desire to read anything by this author again.
On page 187 the princess tells us that it is a man's way of thinking that Diane wouldn't have become Henri's mistress if he hadn't become dauphin. I disagree, it is a realist's view, and frankly, I think it's fully possible that was how it started. Yes, maybe she was flattered by his attention too, but to consider having him as a lover in light of how much she was in his life growing up, it's a bit creepy. Oedipus comes to mind. I believe he was infatuated with her from a young age and it most likely progressed into love, for both of them. I envision her grabbing the chance at being the mistress of a king and being older, she knew how to mould and persuade him. Whether or not it was a true love story, I really don't know; I'm not sure anyone does and I don't care all that much.
As many other reviewers have stated, there is an obvious bias. The readers are warned in the introduction, but even if you know that, there's still the possibility that the work as a whole might be neutral. Unfortunately, that's not the case. Maybe if it had only been a slight bias, I wouldn't have cared so much, but when an author heaps praise on one person and how they accomplish everything, and then turn around and bash someone else for the exact same thing. Well, that's just hypocrisy.
From the book, the author would have you believe that Diane de Poitiers got to where she was merely by being a good, honest, gracious, and pious woman and Catherine de' Medici did it by being a cold, heartless, evil, spiteful person. I'm sorry but you cannot have climbed to the heights Diane did, especially in those times, without being conniving in one way or the other. I'm sure she did the same things Catherine did, so quit holding Diane up on a pedestal; she's really not a goddess, just a woman. Diane is a white light, Catherine is black as death and there isn't any grey between them for most of the book. By the end of the book I really took the "history" lightly, mainly that of these two women, more than anything else; it was just an unfair assessment. And with the author's snarky and catty remarks directed towards Catherine, saying she has a "fat little heart," well, that was just uncalled for. Then at the end, her words were so disgusting about Catherine's behavior towards Diane, saying how petty she was and she did things purely due to "feminine spite". Catherine could have done much worse to her but she didn't! Of course, Ms. Perfect D. was always so respectful and exemplary of Catherine. Give me a break. Maybe some of the things said in the book were true about both women, but then again, maybe not. Most is lost to history.
If Princess Michael of Kent's plan was for me to sympathize and idolize Diane de Poitiers, as she does, it backfired. Now I don't ever care to ever hear about her again, and I love history of all kinds. On the other hand, I have already ordered two books about Catherine de' Medici from the library. Most likely the opposite of what she wanted. I honestly don't blame Catherine if she was bitter, who wouldn't be in that situation? Even if it was a different time, circumstance, and an arranged marriage? I refuse to believe Diane was this perfect being, a goddess, virtuous as can be, a victim - nobody is all these things and I don't know why the author cannot see any imperfections and insists on romanticizing her.
Even though I hated how biased this book was, I still appreciate the amount of research this must have taken, it was fairly well-written in form, and there was loads of information. I'd only recommend this to Catherine haters, loathers, or serious dislikers. With the princess's flair for the dramatic and speculation on feelings and actions, she might want to focus on writing works of fiction instead. I have no desire to read anything by this author again.
Mothergamer (1521 KP) rated the PC version of Stardew Valley in Video Games
Apr 3, 2019
I know it's odd that I had never played Stardew Valley before, but there are so many games that it takes me time to catch up or choose a game I want to play. A friend suggested I check out Stardew Valley because they knew that I love the Harvest Moon games. I was intrigued so I got Stardew Valley and I started playing. When you start the game you can play as a guy or a girl who has inherited a plot of land with a house from their grandfather in a place called Pelican Town. It looks like a cute 8 bit game and you can pick out the color and style you want your clothes. You then get to choose from five farms the style of farm you want to play the game depending on your style ranging from a beginner farm to a farm with extra foraging. The farm is overrun with boulders, weeds, and tree stumps. You need to clear these out in order to restart the farm and plant crops.
Starting on the beginner farm with a few crops.
When you are working on your farm you have tools that you can use in your inventory. The controls for the farming aspect of the game are fairly easy to navigate. You can also talk to the villagers and there are twelve possible people that your character can date and then marry. You can give a gift that they like or love, but you can only give them one gift a day and two gifts a week. You have to wait until the week resets usually on Sunday in order to give them gifts again. You also can talk to the other NPC villagers and sometimes they will have requests for items such as crops from your farm or items you can find foraging.
All the tools you need for farming in your inventory.
Farming isn't the only thing you can do. It's clear how Harvest Moon inspired Stardew Valley, but Stardew is very much its own game in the best way. You can run around to the forest or to the beach to forage for things such as berries or seashells which you can sell. You can also explore the mines to get stone, ore, and minerals you need for crafting. Be careful though, because there are monsters in the mines and you do have to fight them. This is where the nearby Adventurer's Guild comes in handy because you can buy weapons and accessories to help you battle the monsters. The monsters drop items as well that can be sold and used for various items in your crafting.
You can go fishing too and fishing is a bit of a challenge. There is definitely a learning curve to fishing and it took me a bit figure out the controls. Fishing is not really my favorite thing in the game because of that steep learning curve, but once I got the hang of it it wasn't so bad. That's the beauty of Stardew Valley. There is no pressure and no time limit to do everything all at once. You can take your time with it, relax, and have fun.
Trying out fishing in Stardew Valley.
Once you get the hang of everything, you get a rhythm down for all the things you want to do. You can grow different crops in the seasons and when Winter comes you can forage and explore the mines. The mines save your progress every five floors which is pretty nice. You can also get to know your neighbors and you do get some heart events with your love interest at varying points in the game.
Getting the hang of this farming thing.
You don't have to just plant crops, you can also raise animals such as cows, chickens, goats, and sheep. This gives you more things you can sell like milk, eggs, and wool. There are also festivals you can go to. The calendar for the seasons are twenty eight days with two festival days. The festivals are a lot of fun ranging from a dance festival to a spooky Halloween festival. These are a great way to break up the farming stuff and it gives you a chance to talk to all your neighbors while enjoying yourself. I love Stardew Valley. It is a wonderful game that is fun to play and quite relaxing as well. I can't wait to check out the other farms in other playthroughs. Stardew Valley is a great game that offers a lot of fun, with beautiful music, and a love of gaming. If you love games like Harvest Moon and Animal Crossing you will enjoy it. Now, I have more exploring in the mines to do. See you at the next adventure!
Starting on the beginner farm with a few crops.
When you are working on your farm you have tools that you can use in your inventory. The controls for the farming aspect of the game are fairly easy to navigate. You can also talk to the villagers and there are twelve possible people that your character can date and then marry. You can give a gift that they like or love, but you can only give them one gift a day and two gifts a week. You have to wait until the week resets usually on Sunday in order to give them gifts again. You also can talk to the other NPC villagers and sometimes they will have requests for items such as crops from your farm or items you can find foraging.
All the tools you need for farming in your inventory.
Farming isn't the only thing you can do. It's clear how Harvest Moon inspired Stardew Valley, but Stardew is very much its own game in the best way. You can run around to the forest or to the beach to forage for things such as berries or seashells which you can sell. You can also explore the mines to get stone, ore, and minerals you need for crafting. Be careful though, because there are monsters in the mines and you do have to fight them. This is where the nearby Adventurer's Guild comes in handy because you can buy weapons and accessories to help you battle the monsters. The monsters drop items as well that can be sold and used for various items in your crafting.
You can go fishing too and fishing is a bit of a challenge. There is definitely a learning curve to fishing and it took me a bit figure out the controls. Fishing is not really my favorite thing in the game because of that steep learning curve, but once I got the hang of it it wasn't so bad. That's the beauty of Stardew Valley. There is no pressure and no time limit to do everything all at once. You can take your time with it, relax, and have fun.
Trying out fishing in Stardew Valley.
Once you get the hang of everything, you get a rhythm down for all the things you want to do. You can grow different crops in the seasons and when Winter comes you can forage and explore the mines. The mines save your progress every five floors which is pretty nice. You can also get to know your neighbors and you do get some heart events with your love interest at varying points in the game.
Getting the hang of this farming thing.
You don't have to just plant crops, you can also raise animals such as cows, chickens, goats, and sheep. This gives you more things you can sell like milk, eggs, and wool. There are also festivals you can go to. The calendar for the seasons are twenty eight days with two festival days. The festivals are a lot of fun ranging from a dance festival to a spooky Halloween festival. These are a great way to break up the farming stuff and it gives you a chance to talk to all your neighbors while enjoying yourself. I love Stardew Valley. It is a wonderful game that is fun to play and quite relaxing as well. I can't wait to check out the other farms in other playthroughs. Stardew Valley is a great game that offers a lot of fun, with beautiful music, and a love of gaming. If you love games like Harvest Moon and Animal Crossing you will enjoy it. Now, I have more exploring in the mines to do. See you at the next adventure!
Lee (2222 KP) rated Shazam! (2019) in Movies
Apr 8, 2019 (Updated Apr 8, 2019)
Shazam is the latest DC superhero to land himself a standalone movie and continues to highlight the fact that these self contained DC offerings really do seem to be a lot better than their rushed ensemble movie output. It also shows how much better they can be when straying from the traditional dark DC gloom and deciding to inject a bit more humour and fun into it all. Aquaman recently showed just how much of a box office success that formula can be, Wonder Woman before it to a certain extent, and although Shazam does certainly have some dark themes and moments, it’s ultimately a lot more fun than either of those.
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!
Shazam does take it’s time in introducing our superhero though, not to mention our super-villain, and the result is a much more grounded and believable movie. We begin with young boy Thaddeus Sivana, traveling by car with his elder brother and father. It’s the first of a number of dark scenes involving the Sivana family, really helping us to get a better understanding and appreciation of the man he later becomes and the motivation that drives him. We then head to present day Philadelphia, where 15 year old Billy Batson is using whatever means possible, legal or otherwise, to try and locate the birth mother he became separated from as a young boy while at a crowded funfair. Since then, Billy has been in the foster care system, and now finds himself in the care of Victor and Rosa – former foster kids themselves, who now run a home for a small group of foster children. Billy is sharing a room with Freddy, a disabled boy with an interest in superheroes and the proud owner of some pretty cool superhero memorabilia, including a batarang from Batman and a genuine bullet, flattened from having bounced off the man of steel himself! The foster home is a pretty close knit group and Billy initially struggles to fit into this large new ready made family.
And then one day, while on the run after standing up to a couple of older kids who were bullying Freddy, Billy finds himself transported to a dark mysterious cave where he inherits the powers of aged wizard Shazam (Djimon Hounsoul). The wizard is the last Shazam, currently protecting the world from an invasion of the Seven Deadly Sins, but now so weak that he must transfer his powers to someone who is true of heart. Absorbing his power, Billy becomes a grown up superhero (Zachari Levy), but by saying the word Shazam he is able to alternate between his teen body and that of the mighty superhero whenever he wants.
Once he manages to convince Freddy that he is in fact Billy and not some crazy guy in a suit, they have a lot of fun trying to work out which powers Shazam actually has and how to best make use of them. If you’ve seen the trailer, you’ll know that this is where a lot of the fun lies within the movie and it’s definitely very entertaining. But Billy eventually begins having a little too much fun for Freddy’s liking, and when all he is doing is skipping school to go shoot off lightning bolts for a gathered crowd, Freddy becomes frustrated that he is wasting his gift. With great power comes great responsibility and all that. Meanwhile, young Thaddeus Sivana has now become Dr Sivana (Mark Strong), acquiring some pretty impressive powers of his own and forging his own dark path in a scene which really pushes the 12A age rating for the movie. All his life, Sivana has been seeking the power that Billy has now acquired, so when this larger than life hero shows up, goofing around and not really taking that power seriously, Dr Sivana goes after Shazam to try and take the power for himself.
From there, the rest of the movie is pretty much a cat and mouse chase between Sivana and Shazam across the city, up in the sky and down on the streets as they smash through shopping malls and buildings before culminating in a fairground showdown. It’s actually a lot more fun than it sounds, although the whole movie could probably benefit from having about 10-15 minutes cut from it. Also, the dark threat introduced so shockingly earlier on in the movie, suddenly doesn’t become so shocking or menacing towards the end. It’s indicative of the tone of the movie as a whole really, trying to remain rooted in the traditional DC gloom, but striving for family friendly box office success. These are all very minor negatives for me though – overall Shazam is a lot of fun and very lighthearted, with a lot to say about the importance of family. And the Boardman family had an absolute blast watching it!