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Merissa (11704 KP) rated The Impact Zone (Ryder Bay #2) in Books
Mar 1, 2019
The Impact Zone (Ryder Bay #2) by Jordan Ford
The Impact Zone is the second book in the Ryder Bay series, and whilst I enjoyed my foray back to Ryder Bay, I didn't quite enjoy it as much as the first book... and I don't really know why!
Skylar is still in a coma, and Savannah is drowning in responsibilities. You find out more about Aiden and their break up through Savannah's eyes, including how she becomes friends with Harley. Savannah is a genuinely nice person, and very mature for her age as life experiences haven't always been easy. Griffin is the perfect match for her, but he isn't sure if he will stay in Ryder Bay or not, due to his own story.
With Aiden, Harley, and even Jed, playing a part in this story, I couldn't help but relax and enjoy as the story moved along. This did feel like a transitional book though, and I think that's why I didn't enjoy it as much. Griffin and Savannah get their HFN, but you are left with a major event happening right at the end, which may impact on just who Savannah is exactly.
I still thoroughly enjoyed this book, and I can't wait to continue the series, AND see how the characters continue to change and grow. I really want them to all be happy, but with some of the darker characters still in play, this isn't guaranteed! Excellent writing once again, and I'm left wanting more.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Skylar is still in a coma, and Savannah is drowning in responsibilities. You find out more about Aiden and their break up through Savannah's eyes, including how she becomes friends with Harley. Savannah is a genuinely nice person, and very mature for her age as life experiences haven't always been easy. Griffin is the perfect match for her, but he isn't sure if he will stay in Ryder Bay or not, due to his own story.
With Aiden, Harley, and even Jed, playing a part in this story, I couldn't help but relax and enjoy as the story moved along. This did feel like a transitional book though, and I think that's why I didn't enjoy it as much. Griffin and Savannah get their HFN, but you are left with a major event happening right at the end, which may impact on just who Savannah is exactly.
I still thoroughly enjoyed this book, and I can't wait to continue the series, AND see how the characters continue to change and grow. I really want them to all be happy, but with some of the darker characters still in play, this isn't guaranteed! Excellent writing once again, and I'm left wanting more.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Oliver Loving: A Novel
Book
"A dazzling novel about love, loss, and the mysteries of the mind." -- David Ebershoff,...
fiction
Mark @ Carstairs Considers (2072 KP) rated Christmas Cocoa Murder in Books
Sep 26, 2019
Snuggle Up for this Christmas Novella Collection
Kensington has released another Christmas novella collection, this time featuring three authors that haven’t been featured before. All three stories feature hot cocoa is some capacity. Up first is “Christmas Cocoa Murder” by Carlene O’Connor, which takes place in an Irish village leading up to Christmas. Her series main character, Siobhan O’Sullivan, is just a couple of weeks away from joining the police force, but she gets pulled in early when the village’s Santa’s stunt at the annual panto goes horribly wrong and he’s found floating in a dunk tank filled with hot cocoa. Next, we get “Christmas Cocoa and a Corpse” by Maddie Day. Robbie Jordan, the star of the Country Store Mysteries, is looking forward to a quiet Christmas, but first she must figure out what happened to Jed Greenburg who was found dead while out walking a dog and drinking some of Robbie’s special hot chocolate mix. Finally, comes “Death by Hot Cocoa” by Alex Erickson. Krissy Hancock, his main character, has been talked into doing a Christmas themed escape room, but when she and the rest of the participants finish the first part, they find themselves locked in a second room with the body of their host next to a puddle of hot chocolate.
All three of these stories are fun. The only series I read regularly is Maddie Day’s, but that didn’t keep me from enjoying all of them. The plots are all wonderfully constructed and perfect for the shorter novella format. I did feel a little lost with some of the series regular characters in the first story, but that’s to be expected since I haven’t read the series before. However, it didn’t hamper my overall enjoyment at all. The main characters all come to life in the stories, and the suspects are just as vivid. Each story is filled with Christmas detail that will put you in the holiday spirit no matter what time of year you read them. A couple of the stories even feature some recipes, including two different versions of hot chocolate. So, make yourself a cup of hot chocolate (or maybe not given the theme of this book) and snuggle up and enjoy.
All three of these stories are fun. The only series I read regularly is Maddie Day’s, but that didn’t keep me from enjoying all of them. The plots are all wonderfully constructed and perfect for the shorter novella format. I did feel a little lost with some of the series regular characters in the first story, but that’s to be expected since I haven’t read the series before. However, it didn’t hamper my overall enjoyment at all. The main characters all come to life in the stories, and the suspects are just as vivid. Each story is filled with Christmas detail that will put you in the holiday spirit no matter what time of year you read them. A couple of the stories even feature some recipes, including two different versions of hot chocolate. So, make yourself a cup of hot chocolate (or maybe not given the theme of this book) and snuggle up and enjoy.
BookInspector (124 KP) rated The Woman with Wings in Books
Sep 24, 2020
Alison works in the international advertising company as an IT specialist, and she loves bird watching. During one of her trips, she falls off the mountain but survives. I liked Alison as a person, she is a loner, and she is doing what she loves. She is like every other female in London, only she gets wings from somewhere. Alison has a great friend Jed, who likes and supports her, and a rich executive of the company named Doxat that fancies her, so this book could’ve been a great romantic novel, and those wings ruined it for me. The story was told from multiple perspectives, but the transition between those perspectives was quite blurry, I would’ve liked if different thoughts started as a different chapter.
Alison talks a lot about birds and their migration, it is great to know about this, especially because Alison’s true passion is birds, but I was skim-reading them because I don’t like copy-paste material. I am sure, bird enthusiasts will enjoy the information, and I can see the research put into that, but those parts were not for me. Another thing that did not make sense to me were parts about Kurt Godel and his mathematical calculations regarding time traveling. There were pages and pages about the same thing, which was well researched and very philosophical, but at the same time repetitive and felt like pasted there out of Wikipedia. :/ I liked the way Alison was interacting with other characters, and there was an interesting love triangle going on in there, but that’s about it.
I was not a very big fan of the writing style of this novel, it seemed well researched, and poetic, but at the same time, it felt raw and unfinished. The setting of this book was changing between London and remote places of the UK like Skye, and I enjoyed its picturesque views. The chapters were quite long, and the narrative quite jumpy. The culmination of this novel didn’t make any sense to me and left me with million of questions instead of answers. :/
So, to conclude, this book was not for me. It has interesting characters, and I enjoyed their relationships with each other, and this book has great potential, but the plot didn’t really impress me. I think this book might interest a bird-loving community as well as people who enjoy philosophy.
Alison talks a lot about birds and their migration, it is great to know about this, especially because Alison’s true passion is birds, but I was skim-reading them because I don’t like copy-paste material. I am sure, bird enthusiasts will enjoy the information, and I can see the research put into that, but those parts were not for me. Another thing that did not make sense to me were parts about Kurt Godel and his mathematical calculations regarding time traveling. There were pages and pages about the same thing, which was well researched and very philosophical, but at the same time repetitive and felt like pasted there out of Wikipedia. :/ I liked the way Alison was interacting with other characters, and there was an interesting love triangle going on in there, but that’s about it.
I was not a very big fan of the writing style of this novel, it seemed well researched, and poetic, but at the same time, it felt raw and unfinished. The setting of this book was changing between London and remote places of the UK like Skye, and I enjoyed its picturesque views. The chapters were quite long, and the narrative quite jumpy. The culmination of this novel didn’t make any sense to me and left me with million of questions instead of answers. :/
So, to conclude, this book was not for me. It has interesting characters, and I enjoyed their relationships with each other, and this book has great potential, but the plot didn’t really impress me. I think this book might interest a bird-loving community as well as people who enjoy philosophy.
Movie Metropolis (309 KP) rated Alien: Covenant (2017) in Movies
Jun 11, 2019
Bigger isn't always better
Ridley Scott’s Alien prequel Prometheus wasn’t as warmly received as the veteran director had hoped for upon its release in 2012. In pitching the film for the coveted 12A market, Scott lost the majority of what made his 1979 masterpiece, rated 18, such an epic adventure.
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
So, five years on, Scott returns with a follow-up that aims to answer those irritating questions that Prometheus left us with. But is Alien: Covenant a return to form for the series? Or yet another damp squib?
Bound for a remote planet on the far side of the galaxy, crew members (Katherine Waterston, Billy Crudup, Danny McBride) of the colony ship Covenant discover a distress signal from what they believe to be an uncharted paradise. While there, they meet David (Michael Fassbender), the synthetic survivor of the doomed Prometheus expedition. However, this new mysterious world soon turns dangerous when a hostile alien life-form forces the crew into a deadly fight for survival.
In Covenant, Scott has tried to take the series back to its horror roots. This is a gory and at times difficult film to stomach, but it just isn’t scary. Despite gaining a 15 certification from the BBFC, Covenant feels like Prometheus on steroids – it’s certainly bigger and in many ways better than its predecessor, but it fails to move this ailing franchise in any new direction.
Naturally, character development takes a backseat here, as it does with many films in the genre, but Scott cleverly casts his characters as loving couples, which raises the emotion once the inevitable bloodshed starts to occur.
That cast is most definitely Covenant’s strongest suit. Prometheus had a distinctly unlikeable roster of characters that didn’t gel together. Here, the way they interact is believable and each of the couplings has a degree of chemistry that helps give their deaths some emotional heft.
Katherine Waterston channels Sigourney Weaver to some extent and makes a good leading lady and Danny McBride’s Tennessee is an excellent presence in an against-type performance from the comedian. However, Michael Fassbender’s portrayal of androids Walter and David is exceptional.
To look at, this is by far the best film in the series. Scott has crafted a detailed, haunting world that emits a damp, grey colour palate. The action is expertly shot, but this is to be expected from a director with decades in the industry. Even the Covenant ship itself feels more grounded in reality when compared to the technology of the Prometheus.
Unfortunately, once the remaining crew arrive ‘safely’ back onboard the Mother ship, things start to unravel rapidly. The film takes far too long to land on the uncharted planet meaning that the final act is rushed and this is a real shame considering the middle 45 minutes feature some of the best sequences in the entire series.
It is nice to see our favourite movie extra-terrestrial’s back in the confines of a spaceship, and the CGI used to bring them to life means they move with a fluidity like never before, but there just isn’t enough of it. It needs more Xenomorph.
Elsewhere, Jed Kurzel’s beautiful score lifts the film in its first half, becoming deeply unnerving and claustrophobic in its second. The change in tone is obvious and helps signify the optimism of the crew as they land, compared with the terror as those that remain leave the planet.
Overall, Alien: Covenant improves on Prometheus in the sense that it feels like a true Alien film, rather than a half-baked idea to cash in on the franchise. Unfortunately, a poor final act, a lack of new direction and yet another frustratingly open story means we still may not get the answers we so desperately want until the inevitable sequel arrives in a few years time.
https://moviemetropolis.net/2017/05/12/bigger-isnt-always-better-alien-covenant-review/
Bob Mann (459 KP) rated Alien: Covenant (2017) in Movies
Sep 29, 2021
Horrific Beasts and How to Avoid Them.
I seem to be in a bit of a minority in quite liking Ridley Scott’s last Alien outing – 2012’s “Prometheus”: a heady, if at times ponderous, theory to the origins of man. The first hour of that film is really good. But for me, what made the original 1979 film so enthralling was the life cycle of the ‘traditional’ Xenomorph aliens through egg to evil hatchling to vicious killing machine. This somewhat got lost with “Prometheus” with a range of alien-like-things ranging from wiggly black goo to something more familiar… and frankly I was confused. Some – repeat, some – of the explanation for that diversity of forms in “Prometheus” is made clearer in the sequel “Alien: Covenant”.
“Covenant” (named again after the spaceship at its heart) is a follow-on sequel to “Prometheus”, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, “The Girl with the Dragon Tattoo”) and a reconstructed android David (Michael Fassbender, “Steve Jobs“) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineer’s home world – named “Paradise” – to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this… here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they won’t have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travel…! 2504, maybe!)
Daniels (Katherine Waterston, “Fantastic Beasts And Where To Find Them“) has just suffered a sudden bereavement (an uncredited James Franco – – blink and you’ll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like “Passengers“, but by the ship’s android Walter (also Michael Fassbender) who’s also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, “Spotlight“) votes to check it out, against Daniels’ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass… Katherine Waterston being careful not to slip in the shower.
There’s a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). It’s a far more action-oriented film than “Prometheus” and has enough jump scares and gore to please most Alien fans. (In fact, it’s a surprise to me that it got a UK “15” certificate rather than an “18”: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (“The Martian“, “Pirates of the Caribbean”) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasn’t a great fan of Waterston in “Fantastic Beasts” – a bit insipid I thought – but here she adopts Ripley’s kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in “Ghost”. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in “Life” in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is “by” Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a “man, Gods and androids” theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. It’s still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next “Martian”-type movie for a more novel foundation to build his next movie “log cabin on the lake” on.
“Covenant” (named again after the spaceship at its heart) is a follow-on sequel to “Prometheus”, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, “The Girl with the Dragon Tattoo”) and a reconstructed android David (Michael Fassbender, “Steve Jobs“) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineer’s home world – named “Paradise” – to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this… here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they won’t have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travel…! 2504, maybe!)
Daniels (Katherine Waterston, “Fantastic Beasts And Where To Find Them“) has just suffered a sudden bereavement (an uncredited James Franco – – blink and you’ll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like “Passengers“, but by the ship’s android Walter (also Michael Fassbender) who’s also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, “Spotlight“) votes to check it out, against Daniels’ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass… Katherine Waterston being careful not to slip in the shower.
There’s a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). It’s a far more action-oriented film than “Prometheus” and has enough jump scares and gore to please most Alien fans. (In fact, it’s a surprise to me that it got a UK “15” certificate rather than an “18”: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (“The Martian“, “Pirates of the Caribbean”) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasn’t a great fan of Waterston in “Fantastic Beasts” – a bit insipid I thought – but here she adopts Ripley’s kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in “Ghost”. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in “Life” in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is “by” Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a “man, Gods and androids” theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. It’s still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next “Martian”-type movie for a more novel foundation to build his next movie “log cabin on the lake” on.