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Robert Capa: A Graphic Biography
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'If your pictures aren't good enough, you aren't close enough.' - Robert Capa. 'Robert Capa: A...
Age, Sex, Location
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A hilarious and refreshingly honest foray into modern dating, Age, Sex, Location is Bridget Jones's...
ArecRain (8 KP) rated Goddess of Yesterday in Books
Jan 18, 2018
First off, I should say that I absolutely love Greek mythology. I do not consider myself sufficiently schooled in the subject, but it is a passion of mine. I do not, however, like reading about the Trojan War. Therefore, I was a bit iffy when I request this book from book swap on goodreads.com . After reading it, I was pleased that the novel barely touched on the war.
There are so many thing that I love about this book that I dont know if I can even fit it all into one review. I normally do not like narratives, but I think this novel wouldnt have been the same if it hadnt been. When it first starts, the main character, Anaxandra, is only 5 years old and , thus, narrates through the eyes of a five year old (who knows how to express herself very well ). As the story progresses and Anaxandra grows older, the way she thinks and talks also evolves. You almost feel as if you grow with her, learning the things that she does and experiencing what she does with such clarity.
From page one, the plot unfolds, another thing I adore about any book. There is no excessive detail or long drawn out explanations of anything. Cooney wastes no time with excessive writing when she can sufficiently say it in a few sentences. Something I thought was very realistic considering the narrator. It almost reads like a stream on consciousness. It isnt staccato and rough like Hemingways writing, reading smoothing while still sounding like what is going through a young girl's mind during the time.
The plot actually wasnt too complicated. A young girl is given to a king as a companion for his daughter. Their village is sacked when she is older and she lies to Menalaus to save herself and thus becomes a companion for his young daughter. Helen meets Paris, and the rest is history. It sounds simple enough, but every page had something on it that progressed the storyline. It seemed that something was always happening.
Cooney's Helen of Troy had me clutching my book firmly in my claws, trying not to through it across the room in rage. I always picture Helen of Troy as a narcisstic woman who should have been put in her place. Cooney portrayed just that: a woman so caught in her own supposed birthright, beauty, and self bestowed power that, at time, Helen acted as if she was a goddess herself. She had accepted her life but was bored with it. It wasn't until someone as equally gorgeous and captivating as her came along, Paris, did she gain the courage to finally defy her husband.
I equally agreed with Cooney's portrayal of Paris. The young prince, who was also known to be quite the stud of his time, just bragged about his conquests and skills, of which, in truth, he had none.
What is not to love about two people wrapped up in themselves actually falling in love with each other? I wondered if they were only in love with the idea of them having a mate that compared to their unsurpassable looks.
All in all, there were far to many things in this novel that made me place it back on my shelf instead of donating it once I had finished. It lacks a certain maturity that I had grown use to from the other novels I have been reading as of late, but considering it is a young adult novel, I think Cooney can be forgiven for such a triviality.
If you like fiction about ancient Greece and Greek Mythology, I whole-heartedly recommend this little gem.
There are so many thing that I love about this book that I dont know if I can even fit it all into one review. I normally do not like narratives, but I think this novel wouldnt have been the same if it hadnt been. When it first starts, the main character, Anaxandra, is only 5 years old and , thus, narrates through the eyes of a five year old (who knows how to express herself very well ). As the story progresses and Anaxandra grows older, the way she thinks and talks also evolves. You almost feel as if you grow with her, learning the things that she does and experiencing what she does with such clarity.
From page one, the plot unfolds, another thing I adore about any book. There is no excessive detail or long drawn out explanations of anything. Cooney wastes no time with excessive writing when she can sufficiently say it in a few sentences. Something I thought was very realistic considering the narrator. It almost reads like a stream on consciousness. It isnt staccato and rough like Hemingways writing, reading smoothing while still sounding like what is going through a young girl's mind during the time.
The plot actually wasnt too complicated. A young girl is given to a king as a companion for his daughter. Their village is sacked when she is older and she lies to Menalaus to save herself and thus becomes a companion for his young daughter. Helen meets Paris, and the rest is history. It sounds simple enough, but every page had something on it that progressed the storyline. It seemed that something was always happening.
Cooney's Helen of Troy had me clutching my book firmly in my claws, trying not to through it across the room in rage. I always picture Helen of Troy as a narcisstic woman who should have been put in her place. Cooney portrayed just that: a woman so caught in her own supposed birthright, beauty, and self bestowed power that, at time, Helen acted as if she was a goddess herself. She had accepted her life but was bored with it. It wasn't until someone as equally gorgeous and captivating as her came along, Paris, did she gain the courage to finally defy her husband.
I equally agreed with Cooney's portrayal of Paris. The young prince, who was also known to be quite the stud of his time, just bragged about his conquests and skills, of which, in truth, he had none.
What is not to love about two people wrapped up in themselves actually falling in love with each other? I wondered if they were only in love with the idea of them having a mate that compared to their unsurpassable looks.
All in all, there were far to many things in this novel that made me place it back on my shelf instead of donating it once I had finished. It lacks a certain maturity that I had grown use to from the other novels I have been reading as of late, but considering it is a young adult novel, I think Cooney can be forgiven for such a triviality.
If you like fiction about ancient Greece and Greek Mythology, I whole-heartedly recommend this little gem.
Gareth von Kallenbach (980 KP) rated Black Sea (2015) in Movies
Aug 6, 2019
Jude Law stars as Robinson, a former submarine captain made redundant after a long career with an underwater salvage company. Left without a pension, and blaming the company for his failed marriage, he learns from a former co-worker that a vast sum of Nazi gold is lying in wait aboard a sunken German U-boat at the bottom of the Black Sea. Upon securing financing and a submarine that has most definitely seen better days, he pulls together a crew of both British and Russian sailors, assuring every man that an equal share of the loot is to be had. Tensions among the crew soon arise and as one character chillingly questions, “What happens when one of them starts to figure out that their share gets bigger, when there is less people to share it with?”
A few too many easy coincidences drive this plot along, but if you’re willing to suspend just a bit of disbelief, there’s a great tale of paranoia, claustrophobia, betrayal and greed beneath the surface. Even through Jude Law’s dodgy Scottish accent, every performance (particularly newcomer Bobby Schofield as the inexperienced Tobin) is top-notch as both he and the supporting cast provide true believability to the disregard and distrust the two groups of men come to have for each other. Between Black Sea and his unexpectedly good turn in Dom Hemingway last year, Jude Law is firmly back on my radar, as he seems to be following in Matthew McConaughey’s footsteps by taking darker, more complex and challenging roles at this point in his career. From playing a father-figure for a boy frightened of what the future holds, to a man possessed of the determination, no matter what the cost, to return home rich, Law hits every note right and is more than capable of leading a cast this talented.
My only substantial complaint is the ending. On leaving the theater, it seemed one of the better solutions to the potential corner the filmmakers were painting themselves into, though the longer its sits, the more I think a film of this unrelenting intensity deserves an ending with some poignancy. Admittedly, I would have found something bleaker to be more satisfying. The easy route out taken in the last five minutes by director Kevin Macdonald and writer Dennis Kelly are a bit of a let-down when compared with the pulse pounding hour and forty-five minutes that precedes it, and for me it will only detract from Black Sea’s memorability.
With the mention of a submarine drama, it is almost inevitable that comparisons to Das Boot will be drawn. For the purposes of reviewing Black Sea however, I have been unable to do so as my only viewing of it was about a decade ago, when I very foolishly had the ambition to see not only the uncut 6-hour mini-series version that was put together for German television, but to do so in a single sitting. I was successful, but only in terms of completing the task. I know it was great and that it is above equal in the genre of submarine films, but at this point I’d be hard pressed to recall even a few minutes of it. It would seem, in this case, that Black Sea got a fair shake to be judged on its own merits (and that I now have a German epic to revisit, albeit in the slightly more truncated director’s cut form this time).
A few nitpicky complaints aside, and in direct contradiction with my take on the abysmally poor Blackhat from the other week, this is a fine example of a well-made, wall-to-wall suspense-filled thriller, and the film I wish I had started the year off with. Released in early December in the UK, where it has received generally positive reviews, it’s unfortunate that it has landed stateside in the January/February season of no-hopes.
A few too many easy coincidences drive this plot along, but if you’re willing to suspend just a bit of disbelief, there’s a great tale of paranoia, claustrophobia, betrayal and greed beneath the surface. Even through Jude Law’s dodgy Scottish accent, every performance (particularly newcomer Bobby Schofield as the inexperienced Tobin) is top-notch as both he and the supporting cast provide true believability to the disregard and distrust the two groups of men come to have for each other. Between Black Sea and his unexpectedly good turn in Dom Hemingway last year, Jude Law is firmly back on my radar, as he seems to be following in Matthew McConaughey’s footsteps by taking darker, more complex and challenging roles at this point in his career. From playing a father-figure for a boy frightened of what the future holds, to a man possessed of the determination, no matter what the cost, to return home rich, Law hits every note right and is more than capable of leading a cast this talented.
My only substantial complaint is the ending. On leaving the theater, it seemed one of the better solutions to the potential corner the filmmakers were painting themselves into, though the longer its sits, the more I think a film of this unrelenting intensity deserves an ending with some poignancy. Admittedly, I would have found something bleaker to be more satisfying. The easy route out taken in the last five minutes by director Kevin Macdonald and writer Dennis Kelly are a bit of a let-down when compared with the pulse pounding hour and forty-five minutes that precedes it, and for me it will only detract from Black Sea’s memorability.
With the mention of a submarine drama, it is almost inevitable that comparisons to Das Boot will be drawn. For the purposes of reviewing Black Sea however, I have been unable to do so as my only viewing of it was about a decade ago, when I very foolishly had the ambition to see not only the uncut 6-hour mini-series version that was put together for German television, but to do so in a single sitting. I was successful, but only in terms of completing the task. I know it was great and that it is above equal in the genre of submarine films, but at this point I’d be hard pressed to recall even a few minutes of it. It would seem, in this case, that Black Sea got a fair shake to be judged on its own merits (and that I now have a German epic to revisit, albeit in the slightly more truncated director’s cut form this time).
A few nitpicky complaints aside, and in direct contradiction with my take on the abysmally poor Blackhat from the other week, this is a fine example of a well-made, wall-to-wall suspense-filled thriller, and the film I wish I had started the year off with. Released in early December in the UK, where it has received generally positive reviews, it’s unfortunate that it has landed stateside in the January/February season of no-hopes.
Gareth von Kallenbach (980 KP) rated Tusk (2014) in Movies
Jun 19, 2019
To legions of his many fans, writer, director, producer, and podcaster Kevin Smith is a man fanboys find easy to root for. His films have become pop-culture gold to comic book, science fiction, and general geekdom fans the world over. Smith has built a career on independent films with characters that are as real as they are raw and raunchy. The crude nature of his jokes often put him in a “love them or hate them” category for many critics as it is definitely not a style that is for the masses. That being said, the films are witty, honest, and most times relatable, no matter how bad the situations and the characters become. Recently, Smith took a detour to the darker side with his film “Red State” that looked at a group of kids who became the victims of a fanatical cult leader and his followers.
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/