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Hazel (1853 KP) rated All Fall Down (Embassy Row, #1) in Books
Dec 14, 2018
<i>I received this book for free through a Books With Bite giveaway.</i>
Ally Carter has become well known for her <i>Gallagher Girls</i> series, which was followed by <i>Heist Society</i>. Now she is back with a brand new young adult series: <i>Embassy Row</i>. After witnessing the death of her mother three years earlier, sixteen year old Grace is shipped off to Adria to live with her ambassador grandfather at the United States embassy. Well known for her dare devil, rebellious history, she is now expected to settle down, become more ladylike and attend international balls. Grace, however, has other plans.
Grace is convinced her mother was murdered and that she knows whom the murderer was. The only problem is no one believes her; not her grandfather, not the many psychiatrists; and even her friends have their doubts. So, Grace does what any “self-respecting mentally unbalanced teenager” would do and takes matters into her own hands.
It is exciting to read about Grace putting pieces of the puzzle together by investigating underground tunnels, tailing a scarred man around the city and, all in all, behaving rather like James Bond. As the plot begins to climax it is difficult not to rush through the novel to discover how it ends, where the reader is left with another mystery.
As well as the mystery storyline, Ally Carter also explores the theme of mental health. Naturally Grace has had issues since the death of her mother and finds herself, time and again, trying to convince people she is not crazy. Readers who have experienced mental health problems may relate to not being taken seriously and understand Grace’s frustration.
Overall, <i>All Fall Down</i> is a fantastic and exciting story to read. The air of mystery and feeling of suspense keeps the reader on their toes as they race through the book. It is also refreshing to read a young adult novel that does not focus on a teenage love story. The only problem is the wait for the second book to be published!
Ally Carter has become well known for her <i>Gallagher Girls</i> series, which was followed by <i>Heist Society</i>. Now she is back with a brand new young adult series: <i>Embassy Row</i>. After witnessing the death of her mother three years earlier, sixteen year old Grace is shipped off to Adria to live with her ambassador grandfather at the United States embassy. Well known for her dare devil, rebellious history, she is now expected to settle down, become more ladylike and attend international balls. Grace, however, has other plans.
Grace is convinced her mother was murdered and that she knows whom the murderer was. The only problem is no one believes her; not her grandfather, not the many psychiatrists; and even her friends have their doubts. So, Grace does what any “self-respecting mentally unbalanced teenager” would do and takes matters into her own hands.
It is exciting to read about Grace putting pieces of the puzzle together by investigating underground tunnels, tailing a scarred man around the city and, all in all, behaving rather like James Bond. As the plot begins to climax it is difficult not to rush through the novel to discover how it ends, where the reader is left with another mystery.
As well as the mystery storyline, Ally Carter also explores the theme of mental health. Naturally Grace has had issues since the death of her mother and finds herself, time and again, trying to convince people she is not crazy. Readers who have experienced mental health problems may relate to not being taken seriously and understand Grace’s frustration.
Overall, <i>All Fall Down</i> is a fantastic and exciting story to read. The air of mystery and feeling of suspense keeps the reader on their toes as they race through the book. It is also refreshing to read a young adult novel that does not focus on a teenage love story. The only problem is the wait for the second book to be published!
JT (287 KP) rated Takers (2010) in Movies
Mar 10, 2020
The bank heist, it’s been done to death in Hollywood over the years but it still seems to be a film favourite. You’d be hard pressed to find a really bad one out there and most of the ones that I have seen have been exceptional films.
Of course they all follow a very similar pattern. Group steals money, plan one last job which will inevitable go wrong where someone will get double crossed and not everyone walks off into the sunset with the money.Its a no brainer really and only an idiot could really mess up that style of plot.
Takers is no different from any other before it, the cast here seem to be a bit mismatched in places. There are real life rappers Chris Brown and T.I. aka Clifford Joseph Harris Jr., eye candy favourites Matt Dillon and Paul Walker with Brit Idris Elba making it the most unconventional mix of cops and robbers ever.
The film’s highlights are the well choreographed set pieces including a decent hotel gun fight, a hiest that goes wrong leading to more gun play, and an impressive chase through the city. Even the opening does well to set the story and character back grounds.
Where the film let’s itself down, through no fault of its own, is the way in which we are always one step ahead of the plot. This is just down to all the hiest films we have seen before and we’re pretty much going to make our own assumptions as to what is going to happen and who is going to get away with what at the climax.
There are a couple of wasted back stories which do little to the film such as Matt Dillon’s corrupt partner or Idris Elba’s crackhead sister. Zoe Saldana is a virtual unknown in this and pops up from time to time doing nothing but enlighten the screen with her clear beauty.
It’s never going to compete against the big boys such as Heat, Point Break or The Town, but it does well enough to hold the attention for 90 minutes or so.
Of course they all follow a very similar pattern. Group steals money, plan one last job which will inevitable go wrong where someone will get double crossed and not everyone walks off into the sunset with the money.Its a no brainer really and only an idiot could really mess up that style of plot.
Takers is no different from any other before it, the cast here seem to be a bit mismatched in places. There are real life rappers Chris Brown and T.I. aka Clifford Joseph Harris Jr., eye candy favourites Matt Dillon and Paul Walker with Brit Idris Elba making it the most unconventional mix of cops and robbers ever.
The film’s highlights are the well choreographed set pieces including a decent hotel gun fight, a hiest that goes wrong leading to more gun play, and an impressive chase through the city. Even the opening does well to set the story and character back grounds.
Where the film let’s itself down, through no fault of its own, is the way in which we are always one step ahead of the plot. This is just down to all the hiest films we have seen before and we’re pretty much going to make our own assumptions as to what is going to happen and who is going to get away with what at the climax.
There are a couple of wasted back stories which do little to the film such as Matt Dillon’s corrupt partner or Idris Elba’s crackhead sister. Zoe Saldana is a virtual unknown in this and pops up from time to time doing nothing but enlighten the screen with her clear beauty.
It’s never going to compete against the big boys such as Heat, Point Break or The Town, but it does well enough to hold the attention for 90 minutes or so.
Gareth von Kallenbach (971 KP) rated 30 Minutes or Less (2011) in Movies
Aug 7, 2019
You don’t have to be imaginative to envision the plot behind “30 Minutes or Less”, because this is a story that is wildly over told. Just listing the components make it clear that no inventive or unexpected plot devices were considered in the creation of this summer comedy. There is the pizza boy who finds himself in the wrong place at the wrong time, a set of bumbling idiots who are planning a bank heist and even a girl who is oblivious to the longstanding affection of her brother’s best friend. But somehow even with this wildly over told plot the movie manages to be sporadically very funny.
“ 30 Minutes or Less” is, like so many of the big comedy hits of the last few years, a film that centers around well crafted honest yet crass dialogue between experienced comedic actors. Timing is critical to the success of the film and thankfully the actors in “30 Minutes or Less” are funny people who repeatedly manage to execute good lines.
The cast is the shining aspect of the film; a hodgepodge crew of comedians you likely already know. The best friend Chet is portrayed by the ever funny Aziz Ansari of Televisions’ “Parks and Recreation”. The bomb clad pizza boy Nick is played by Jesse Einsenberg who also starred in “The Social Network” and “Zombieland”. And this role is not a far cry from Einsenberg’s role in “Zombieland” aside from the lack of character development and on screen chemistry leading lady Kate, played by former TV “Greek” bad girl Dilshad Vadsaria.
The film is backed by a fun soundtrack of grooves that significantly assist in maintaining a quickened pace, even when the story is less than laughably slow. There are also a number of diverse yet comedic fight scenes that spot the film, from a juvenile slap fight to the use of a blow torch.
But the smattering of creative lines, sure to be repeated in excess by the post-emo generation, did not manage to hold up this film that unfortunately ran out of steam within “30 Minutes or Less”.
“ 30 Minutes or Less” is, like so many of the big comedy hits of the last few years, a film that centers around well crafted honest yet crass dialogue between experienced comedic actors. Timing is critical to the success of the film and thankfully the actors in “30 Minutes or Less” are funny people who repeatedly manage to execute good lines.
The cast is the shining aspect of the film; a hodgepodge crew of comedians you likely already know. The best friend Chet is portrayed by the ever funny Aziz Ansari of Televisions’ “Parks and Recreation”. The bomb clad pizza boy Nick is played by Jesse Einsenberg who also starred in “The Social Network” and “Zombieland”. And this role is not a far cry from Einsenberg’s role in “Zombieland” aside from the lack of character development and on screen chemistry leading lady Kate, played by former TV “Greek” bad girl Dilshad Vadsaria.
The film is backed by a fun soundtrack of grooves that significantly assist in maintaining a quickened pace, even when the story is less than laughably slow. There are also a number of diverse yet comedic fight scenes that spot the film, from a juvenile slap fight to the use of a blow torch.
But the smattering of creative lines, sure to be repeated in excess by the post-emo generation, did not manage to hold up this film that unfortunately ran out of steam within “30 Minutes or Less”.
Bob Mann (459 KP) rated Army of the Dead (2021) in Movies
Sep 28, 2021
A gory Zombie-rich take on Oceans 11.
Zac Snyder’s glossy zombie flick is a valiant attempt, and it has its moments. The story neatly blends a zombie apocalypse with an “Oceans” heist movie. You even get some stirring “Die Hard”-style vault opening music! But a weak script and a flabby running time make this rather hard work to get through in one sitting. If Snyder could get a bit of self-control and come out with a nice 100-minute movie, he’d get more of my vote.
Positives:
Park brain at door. You gotta love the splatter-fest of a zombie-movie once in a while, and this one delivers a lot of requisite gore and a zombie white tiger to boot! You have to admit that Zack Snyder does have an eye for style. There are some neat moments in this… like when the casino power comes back on and the silence is filled with that familiar slot machine noise and Elvis track that you only ever hear at scale in Vegas!
Dave Bautista is nearly always either in an ensemble piece or a bit-part “heavy” – the only other film I can immediately think of is the (very funny) comedy “Stuber“. He’s seldom the lead. But, understanding that the script is horribly vomit-inducing in places, he’s pretty good in this. I also liked Ella Purnell who plays his daughter, although couldn’t get over how much she looks like Olivia Cooke!
The special effects and prosthetics work is pretty impressive. This would have been good to see on the big screen.
Negatives:
Interspersed amongst the (often entertaining) action sequences are some horribly soupy sections of dialogue where the forward momentum of the movie completely stalls.
Some of the acting is on the decidedly ropey side and makes the glossy piece feel more like a B-movie.
A number of elements of the story really don’t make sense. The most blatant happens at the end: Tanaka could have got the money anyway!
At nearly two and a half hours, it’s another Snyder bladder-tester.
Positives:
Park brain at door. You gotta love the splatter-fest of a zombie-movie once in a while, and this one delivers a lot of requisite gore and a zombie white tiger to boot! You have to admit that Zack Snyder does have an eye for style. There are some neat moments in this… like when the casino power comes back on and the silence is filled with that familiar slot machine noise and Elvis track that you only ever hear at scale in Vegas!
Dave Bautista is nearly always either in an ensemble piece or a bit-part “heavy” – the only other film I can immediately think of is the (very funny) comedy “Stuber“. He’s seldom the lead. But, understanding that the script is horribly vomit-inducing in places, he’s pretty good in this. I also liked Ella Purnell who plays his daughter, although couldn’t get over how much she looks like Olivia Cooke!
The special effects and prosthetics work is pretty impressive. This would have been good to see on the big screen.
Negatives:
Interspersed amongst the (often entertaining) action sequences are some horribly soupy sections of dialogue where the forward momentum of the movie completely stalls.
Some of the acting is on the decidedly ropey side and makes the glossy piece feel more like a B-movie.
A number of elements of the story really don’t make sense. The most blatant happens at the end: Tanaka could have got the money anyway!
At nearly two and a half hours, it’s another Snyder bladder-tester.
Gareth von Kallenbach (971 KP) rated Wonder Woman 1984 (2020) in Movies
Dec 23, 2020
Gal Gadot returns as Diana Prince in “Wonder Woman 1984” which has seen its release date shift a few times due to the Covid-19 pandemic. The film has started to open overseas and will arrive in the U.S. on Christmas day with a limited debut on HBO Max as well.
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
The story sees Diana now living in Washington D.C. in 1984. Diana is popular but has refused male companionship as she still longs for her late love Steve Trevor (Chris Pine).
Diana works in the Smithsonian Institute in antiquities and keeps her secret identity under wraps even when a daring mall heist forces her to leap into action.
A shy and passive employee named Barbara (Kirsten Wiig); who is afraid of her own shadow and largely ignored by her peers is befriended by Diana and they discover one item from the heist is inscribed with the ability to grant a wish. Unknowingly Diana wishes for Steve to return and Barbara wishes to be more like Diana which sets a chain of events into motion.
A shady business man named Maxwell Lord (Perdro Pascal) has his site on obtaining the relic as he believes having the ability to grant wishes will allow him to save his failing business and give him the power he craves.
With such a promising setup; the film ultimately does not deliver on its premise and becomes bogged down in drawn out sequences with surprisingly little action and gaps in logic that defy even standards for a comic book film.
The first 90 minutes of the film has roughly 10-15 minutes of action tops and we are instead given lengthy scenes of Steve trying to find an 80s fashion look; flying over fireworks, and Maxwell trashing from one locale to another without much needed continuity.
An action scene involving a convoy chase through the desert seems very inspired by “Raiders of the Lost Ark” and ultimately does not deliver especially with such a long gape between the action sequences.
The final act does attempt to redeem the film as seeing Barbara transform into her new persona is interesting and Wiig does a very solid job with the role. This sadly is undermined with a single line of dialogue which takes away a big part of the transformation that audiences deserved to see.
There was also a sequence where Diana races down the streets and takes to flight with her Lasso and then discovers she can fly like Superman. Not only is this not in keeping with the character; but we see this extended fast moving sequence where she is clearly heading away from D.C. at great speed only to arrive at a destination with an item which had been established to be back at her home in D.C. It is this sort of sloppiness that really detracts from the film. There is also the fact that Steve has to fly her around on a jet that even as a pilot he should not know how to fly as he has never flown a jet aircraft in his life.
When the big confrontation comes it is a letdown as it is not overly epic and the CGI really does not seem to mesh. What is an even bigger disappointment is that a certain character stands emoting for several minutes while Diana gives such a bland and extended speech that even my wife had to ask “who wrote these lines”.
The film was not a total disaster as the characters were interesting and worked well with one another making the film entertaining in parts despite being really disappointed with it.
The film strikes me as a product of the talented Patty Jenkins being able to do whatever she wanted after the success of the first film. Jenkins not only Directed but did the screenplay for it. Considering the amazing job she did writing “Monster” I had high expectations for the film but to me it seemed like it could have used a bit more attention to several aspects.
My summary would be the following… good cast, entertaining in parts, not much action over two hours, takes huge liberties with Diana and her abilities, massive gaps in logic even for a comic movie. It aims to be epic and comes up lacking. At least the mid. credit scene was worth it.
3 stars out of 5
Bob Mann (459 KP) rated King of Thieves (2018) in Movies
Sep 28, 2021
No f-ing honour among f-ing thieves.
What a cast! Micheal Caine; Jim Broadbent; Tom Courtenay; Michael Gambon; Ray Winstone; Paul Whitehouse…. Just one look at the poster and you think yes, Yes, YES! But would this be a case where my expectations would be dashed?
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.
Ross (3282 KP) rated Priest of Bones in Books
Oct 3, 2018
Fantastic low fantasy gangster heist book
*** Disclosure: I received a free advance copy of this book in return for an honest review ***
The main character of this book believes in having "the right person doing the right job". In that case, my job will be reading this book, because I absolutely adored every single word of it.
Tomas Piety is returning to his hometown of Ellinburg (the city sometimes referred to as Old Reekie due to its tanneries - a nice little parallel to Edinburgh's "Auld Reekie") having been conscripted to fight for his country at war. Piety was previously the proud owner of a number of brothels, taverns and gambling/drugs dens and the purveyor of the finest protection racket in town. He returns with his regiment of fellow conscripts ("war is over, sling your hook") promising jobs and wealth for good honest work, only to find that his empire is not what it once was. Therein lies the plot of the book - Tomas and The Pious Men battling to take back control of the streets and properties he once oversaw.
The action is grim and nasty, and as well described as any book I can think of.
The dialogue is funny and gritty, and rivals Joe Abercrombie.
The main character has had a troubled past and has buried his own secrets.
The scope of the book is fairly small and benefits from that, not getting away from itself. There is more than enough going on to keep the action coming and the intrigue simmering along.
There is a lot of nasty, not niceness throughout this book, a feature of a lot of modern fantasy. However here the tale is told by Tomas himself, so we are treated to some of his inner monologue and get an insight into why he thinks these things need to be done. How he justifies some horrific actions and decisions defines his character well.
Frankly, this is one of the most immersive books I have read for a long time. The narration meant that for once I could truly visualise the city, the mess, the smells, the nastiness, the honour amongst gangsters. Not since the early Discworld books have I felt this so strongly.
To put it simply: I really really loved this book and cannot wait (though wait I must) for the next instalment.
The main character of this book believes in having "the right person doing the right job". In that case, my job will be reading this book, because I absolutely adored every single word of it.
Tomas Piety is returning to his hometown of Ellinburg (the city sometimes referred to as Old Reekie due to its tanneries - a nice little parallel to Edinburgh's "Auld Reekie") having been conscripted to fight for his country at war. Piety was previously the proud owner of a number of brothels, taverns and gambling/drugs dens and the purveyor of the finest protection racket in town. He returns with his regiment of fellow conscripts ("war is over, sling your hook") promising jobs and wealth for good honest work, only to find that his empire is not what it once was. Therein lies the plot of the book - Tomas and The Pious Men battling to take back control of the streets and properties he once oversaw.
The action is grim and nasty, and as well described as any book I can think of.
The dialogue is funny and gritty, and rivals Joe Abercrombie.
The main character has had a troubled past and has buried his own secrets.
The scope of the book is fairly small and benefits from that, not getting away from itself. There is more than enough going on to keep the action coming and the intrigue simmering along.
There is a lot of nasty, not niceness throughout this book, a feature of a lot of modern fantasy. However here the tale is told by Tomas himself, so we are treated to some of his inner monologue and get an insight into why he thinks these things need to be done. How he justifies some horrific actions and decisions defines his character well.
Frankly, this is one of the most immersive books I have read for a long time. The narration meant that for once I could truly visualise the city, the mess, the smells, the nastiness, the honour amongst gangsters. Not since the early Discworld books have I felt this so strongly.
To put it simply: I really really loved this book and cannot wait (though wait I must) for the next instalment.
Debbiereadsbook (1097 KP) rated Confined Desires (Rehoboth Pact #1) in Books
Mar 25, 2021
It's not especially explicit, but it IS full of love and passion
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
Mia splits with her boyfriend and comes home, to Sky since she has nowhere else to go. Then the world comes crazy and there is stay at home order. Can Sky and Mia manage in a tiny one bed flat, in close proximity, and keep their hands off each other?
I have to commend Ms McIntyre. For a while she only wrote male/female pairings. The last book I read of her's was a M/M pairing, and this is a F/F pairing. And she nailed this, as she did Midnight Heist!
Sky has lusted, LOVED Mia since high school. She's not sure she can cope with them being so close for an extended time. Mia is, quite simply, the only woman for her. Mia, in turn has had feelings for Sky for equally as long. She just wasn't exactly sure WHAT she was feeling then, but she is now.
It's great watching them dance around each other for a while, and then fall headlong over that cliff. Only for Sky to mess it all up by keeping her mouth shut. Oh, I wanted to punch her then, I really did, especially as Mia poured her heart out to her!
It's not especially explicit, but it IS full of love and passion. It's emotional too, with Sky dealing with the loss of her sister, and Mia's female parental unit (I don't like her, can you tell?!?)
It is the first 'virus' book I've read, and I expect there to be more, but every one of those books will have to stand against this one, in that regard, cos it is so well done!
The title of the series is the Rehoboth Pact. I loved the reason for that, and that Aubrey evokes said pact when Sky acts stoopid! There is a third friend, Kyle, in the pact. We didn't meet her yet though. Aubs is here though, and she's a lot of fun! So, I'm assuming that the series will be around these three girls. Can't wait to read them!
It's not a compliacted read, just a story of two girls seeing who is right in front of them, and acting on your feelings.
4 solid stars
**same worded review will appear elsewhere**
Mia splits with her boyfriend and comes home, to Sky since she has nowhere else to go. Then the world comes crazy and there is stay at home order. Can Sky and Mia manage in a tiny one bed flat, in close proximity, and keep their hands off each other?
I have to commend Ms McIntyre. For a while she only wrote male/female pairings. The last book I read of her's was a M/M pairing, and this is a F/F pairing. And she nailed this, as she did Midnight Heist!
Sky has lusted, LOVED Mia since high school. She's not sure she can cope with them being so close for an extended time. Mia is, quite simply, the only woman for her. Mia, in turn has had feelings for Sky for equally as long. She just wasn't exactly sure WHAT she was feeling then, but she is now.
It's great watching them dance around each other for a while, and then fall headlong over that cliff. Only for Sky to mess it all up by keeping her mouth shut. Oh, I wanted to punch her then, I really did, especially as Mia poured her heart out to her!
It's not especially explicit, but it IS full of love and passion. It's emotional too, with Sky dealing with the loss of her sister, and Mia's female parental unit (I don't like her, can you tell?!?)
It is the first 'virus' book I've read, and I expect there to be more, but every one of those books will have to stand against this one, in that regard, cos it is so well done!
The title of the series is the Rehoboth Pact. I loved the reason for that, and that Aubrey evokes said pact when Sky acts stoopid! There is a third friend, Kyle, in the pact. We didn't meet her yet though. Aubs is here though, and she's a lot of fun! So, I'm assuming that the series will be around these three girls. Can't wait to read them!
It's not a compliacted read, just a story of two girls seeing who is right in front of them, and acting on your feelings.
4 solid stars
**same worded review will appear elsewhere**
Chris Sawin (602 KP) rated Ambulance (2022) in Movies
Apr 18, 2022
Repetitive drone camera work (2 more)
Cringey humor and dialogue
An outdated and juvenile screenplay
Ambulance Review: Action At Its Dumbest And Gaudiest
Ambulance is a remake of a 2005 Danish film of the same name. Michael Bay’s version of the film follows former Marine Will Sharp (Yahya Abdul-Mateen II) as he struggles to find a job and support his family; his wife requires an experimental surgery that their health insurance won’t pay for.
Will turns to his estranged yet wealthy adopted brother Danny (Jake Gyllenhaal). Danny wants Will to participate in a bank heist worth $32 million. Will takes the job out of desperation, but when the heist goes sideways the two brothers hijack an ambulance and take a wounded cop along with a paramedic named Cam (Elza Gonzalez) as hostages.
The performances from Yahya Abdul-Mateen II and Jake Gyllenhall save Ambulance from being nothing more than an explosive, gyrating mess of a film. You don’t necessarily walk out of the theater feeling sympathy for Will, but you understand why the character turns to robbing a bank after serving his country through the heartfelt actions of Abdul-Mateen’s performance.
Jake Gyllenhaal is a memorable psychopath as Danny Sharp. Gyllenhaal has a ton of charisma as the character and can be incredibly likeable at times, but he has a temper that ignites without warning. Gyllenhaal is able to become intense and unhinged whenever Danny loses control of the situation, which is quite often over the course of 136-minutes.
The action thriller is dripping with what has either made you a fan of Michael Bay’s work or made you despise the Los Angeles born filmmaker for the majority of his career. The editing of the film is spastic and frenetic. There doesn’t seem to be a single sequence that lasts longer than eight seconds before cutting to another angle.
There are several references to other Michael Bay films in Ambulance; The Rock, 13 Hours, Armageddon, and Pearl Harbor. There’s also stuff you’d expect to find in a Michael Bay film like countless explosions and extravagant car wrecks. The film also seems to recycle the rotating camera Bay utilized in Bad Boys to highlight intense conversations between Will and Danny when they’re not confined to being inside the ambulance.
Despite working with a screenwriter whose first screenwriting credit is this film, Ambulance has writing that feels like it was something Bay produced over a decade ago. The dialogue feels extremely outdated and juvenile as characters walk this thin line between cringey humor and being downright sexist or racist. It feels like Bay was trying to feature a strong, independent woman in Ambulance with Cam. She's a competent single woman who is good at her job and doesn’t have to rely on anyone for anything. But the reveal of why she’s cold and remorseless is entirely cliché. The male characters have no real character development either though as their defining quality is that they all want to fight each other any chance they possibly get.
The Will character is also written in a way that is insulting and kind of offensive. So because he served his country he can get away with robbing a bank, shooting a cop, and participating in and driving the getaway vehicle during a massive car chase? He has a wife and daughter and his wife needs “experimental surgery” for an undisclosed illness and we’re supposed to root for this guy? Are we really this dumb?
It couldn’t be a film set in Los Angeles without someone making a reference to how terrible drivers are in LA. The secondary storylines don’t make sense or are just a complete waste of time. That conversation Danny has with his assistant about futbol/soccer and the lawn flamingos was obviously something extremely relevant to the overall story of the film. A cop also tries to ask out a bank teller while the bank is being robbed and literally doesn’t notice. We also have these other massively relevant and not pointless at all story points; bringing a dog to a car chase, Danny joking about walking around with herpes, and performing surgery in the back of an ambulance while stopping the bleeding with a hair clip.
Revoke Michael Bay’s license to utilize drones in his films. Every outside sequence seemed to have the same establishing shot of the camera flying up into the air turning around and zooming back down towards the ground. The camera in this film never stops moving. That combined with the film’s brutal rapid fire editing style will have you wanting to barf long before Danny calls upon the cartel for back up.
Buried deep within Ambulance’s loud, flashy action, sickening editing, overstimulated filming techniques, and a screenplay that seems like it was fished out of a port-a-potty is a somewhat thrilling action film. Jake Gyllenhaal is a cashmere obsessed lunatic that you can’t help but love, but Ambulance is a gaudy and sloppy excuse of an action film otherwise.
Will turns to his estranged yet wealthy adopted brother Danny (Jake Gyllenhaal). Danny wants Will to participate in a bank heist worth $32 million. Will takes the job out of desperation, but when the heist goes sideways the two brothers hijack an ambulance and take a wounded cop along with a paramedic named Cam (Elza Gonzalez) as hostages.
The performances from Yahya Abdul-Mateen II and Jake Gyllenhall save Ambulance from being nothing more than an explosive, gyrating mess of a film. You don’t necessarily walk out of the theater feeling sympathy for Will, but you understand why the character turns to robbing a bank after serving his country through the heartfelt actions of Abdul-Mateen’s performance.
Jake Gyllenhaal is a memorable psychopath as Danny Sharp. Gyllenhaal has a ton of charisma as the character and can be incredibly likeable at times, but he has a temper that ignites without warning. Gyllenhaal is able to become intense and unhinged whenever Danny loses control of the situation, which is quite often over the course of 136-minutes.
The action thriller is dripping with what has either made you a fan of Michael Bay’s work or made you despise the Los Angeles born filmmaker for the majority of his career. The editing of the film is spastic and frenetic. There doesn’t seem to be a single sequence that lasts longer than eight seconds before cutting to another angle.
There are several references to other Michael Bay films in Ambulance; The Rock, 13 Hours, Armageddon, and Pearl Harbor. There’s also stuff you’d expect to find in a Michael Bay film like countless explosions and extravagant car wrecks. The film also seems to recycle the rotating camera Bay utilized in Bad Boys to highlight intense conversations between Will and Danny when they’re not confined to being inside the ambulance.
Despite working with a screenwriter whose first screenwriting credit is this film, Ambulance has writing that feels like it was something Bay produced over a decade ago. The dialogue feels extremely outdated and juvenile as characters walk this thin line between cringey humor and being downright sexist or racist. It feels like Bay was trying to feature a strong, independent woman in Ambulance with Cam. She's a competent single woman who is good at her job and doesn’t have to rely on anyone for anything. But the reveal of why she’s cold and remorseless is entirely cliché. The male characters have no real character development either though as their defining quality is that they all want to fight each other any chance they possibly get.
The Will character is also written in a way that is insulting and kind of offensive. So because he served his country he can get away with robbing a bank, shooting a cop, and participating in and driving the getaway vehicle during a massive car chase? He has a wife and daughter and his wife needs “experimental surgery” for an undisclosed illness and we’re supposed to root for this guy? Are we really this dumb?
It couldn’t be a film set in Los Angeles without someone making a reference to how terrible drivers are in LA. The secondary storylines don’t make sense or are just a complete waste of time. That conversation Danny has with his assistant about futbol/soccer and the lawn flamingos was obviously something extremely relevant to the overall story of the film. A cop also tries to ask out a bank teller while the bank is being robbed and literally doesn’t notice. We also have these other massively relevant and not pointless at all story points; bringing a dog to a car chase, Danny joking about walking around with herpes, and performing surgery in the back of an ambulance while stopping the bleeding with a hair clip.
Revoke Michael Bay’s license to utilize drones in his films. Every outside sequence seemed to have the same establishing shot of the camera flying up into the air turning around and zooming back down towards the ground. The camera in this film never stops moving. That combined with the film’s brutal rapid fire editing style will have you wanting to barf long before Danny calls upon the cartel for back up.
Buried deep within Ambulance’s loud, flashy action, sickening editing, overstimulated filming techniques, and a screenplay that seems like it was fished out of a port-a-potty is a somewhat thrilling action film. Jake Gyllenhaal is a cashmere obsessed lunatic that you can’t help but love, but Ambulance is a gaudy and sloppy excuse of an action film otherwise.
JT (287 KP) rated The Sweeney (2012) in Movies
Mar 10, 2020
Nick Love’s take on the ’70s TV cop show of the same name packs every bit a hard knuckled punch as you would expect it to. The director of such films as The Football Factory and The Business even manages to stay clear of Danny Dyer and cast a slick and talented bunch of individuals, led by Ray Winstone.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.