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Jack Frost (1997)
4.8
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Movie
After an accident that left murderer Jack Frost dead in genetic material the vengeful killer returns...
Slasher Horror comedy
Thirteen
8.5
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Book
War is coming to the Otherworld. A sinister cult known as The Supernatural Liberation Movement is...
Paranormal fantasy urban werewolves vampires. Witches
Cyn Armistead (14 KP) rated Thirteen (Women of the Otherworld, #13) in Books
Mar 1, 2018
Well, Armstrong definitely closed the series with a bang. I enjoyed this volume so much that I'm tempted to go back and re-read the entire series just to have more right now.
All the characters we've gotten to know are back: Clay, Elena, Jaime and Jeremy, Hope and Karl, Paige and Lucas, Eve and Kristof, Adam, Sean, Bryce, and Benicio. Savannah, however, is the center of this novel while the others weave in and out of the action.
Savannah Levine was a child when she was introduced in one of the earliest books of the series, [b:Stolen|11922|Stolen (Women of the Otherworld, #2)|Kelley Armstrong|http://photo.goodreads.com/books/1300923278s/11922.jpg|14289]. She is definitely a full adult now, capable of holding her own with or without spells. She is also an incredible nexus of influence — and those who want to use or influence her just don't take "no" for an answer no matter how forcefully she says it.
The Supernatural Liberation Movement (SLM) wants to use Savannah in their quest to bring supernaturals into the open, but she isn't interested. She's been fighting their agents since [b:Waking the Witch|6725785|Waking the Witch (Women of the Otherworld, #11)|Kelley Armstrong|http://photo.goodreads.com/books/1265310260s/6725785.jpg|6921947], but some of the plots their primary members are associated in go all the way back to [b:Stolen|11922|Stolen (Women of the Otherworld, #2)|Kelley Armstrong|http://photo.goodreads.com/books/1300923278s/11922.jpg|14289]. These are the people who killed Eve, so why would Savannah help them?
Armstrong has done a masterful job of weaving little threads together from all the different books so that they wind up in one neat package. I was enthralled from the first word through the last, but satisfied with where she left the characters. I look forward to reading any new stories she chooses to tell in the Otherworld, but I can see that this round is finished. Kudos to her for a job well done.
All the characters we've gotten to know are back: Clay, Elena, Jaime and Jeremy, Hope and Karl, Paige and Lucas, Eve and Kristof, Adam, Sean, Bryce, and Benicio. Savannah, however, is the center of this novel while the others weave in and out of the action.
Savannah Levine was a child when she was introduced in one of the earliest books of the series, [b:Stolen|11922|Stolen (Women of the Otherworld, #2)|Kelley Armstrong|http://photo.goodreads.com/books/1300923278s/11922.jpg|14289]. She is definitely a full adult now, capable of holding her own with or without spells. She is also an incredible nexus of influence — and those who want to use or influence her just don't take "no" for an answer no matter how forcefully she says it.
The Supernatural Liberation Movement (SLM) wants to use Savannah in their quest to bring supernaturals into the open, but she isn't interested. She's been fighting their agents since [b:Waking the Witch|6725785|Waking the Witch (Women of the Otherworld, #11)|Kelley Armstrong|http://photo.goodreads.com/books/1265310260s/6725785.jpg|6921947], but some of the plots their primary members are associated in go all the way back to [b:Stolen|11922|Stolen (Women of the Otherworld, #2)|Kelley Armstrong|http://photo.goodreads.com/books/1300923278s/11922.jpg|14289]. These are the people who killed Eve, so why would Savannah help them?
Armstrong has done a masterful job of weaving little threads together from all the different books so that they wind up in one neat package. I was enthralled from the first word through the last, but satisfied with where she left the characters. I look forward to reading any new stories she chooses to tell in the Otherworld, but I can see that this round is finished. Kudos to her for a job well done.
Sarah (7798 KP) rated Ma Rainey's Black Bottom (2020) in Movies
Jan 30, 2021
Boseman is amazing
Ma Rainey’s Black Bottom is the latest adaptation of the works of August Wilson brought to us by producer Denzel Washington, following on from the 2016 adaptation of Fences that earned Viola Davis a Best Supporting Actress Oscar. Here Washington hands over the directing reins to Tony award winner George C. Wolfe, while Viola Davis returns as the titular Ma Rainey.
Set in 1920s Chicago, the film follows a tense and fractious recording session with Ma Rainey and her backing band, old hands Toledo (Glynn Turman), Cutler (Colman Domingo) and Slow Drag (Michael Potts) alongside ambitious young horn player Levee (Chadwick Boseman). Tensions rise between Ma, Levee and the recording studio management (Jeremy Shamos as Irvin and Jonny Coyne as Sturdyvant) as each attempts to control the recording session and play songs that fit best with their own motives. Contributing to the frictions are Levee’s flirtation with Ma’s girlfriend Dussie Mae (Taylour Paige) and her Ma’s stuttering nephew Sylvester (Dusan Brown) as he attempts to introduce Ma’s signature song, Black Bottom.
Ma Rainey’s Black Bottom undoubtedly looks and sounds good. The cinematography and costumes are perfect and entirely in keeping with the 20s Chicago setting. And the blues music is captivating and beautifully made. To be quite honest I would’ve been quite happy to watch and listen to an entire film solely following the band and their music. However whilst it does look and sound good, it is so obviously a film adapted from a stage play and I’m afraid this isn’t a good thing. There’s a limited number of sets and virtually the entirety of the 90 minute run time is set within two rooms in the recording studio, which makes such a short film feel ridiculously drawn out. This isn’t helped by the huge reliance on very long scripted dialogue and conversational scenes. I can’t deny that the writing is good and is helped by strong performances from everyone involved, but there’s just too much dialogue. This might work on the stage, but on screen it doesn’t quite translate. There’s that much dialogue that the majority of scenes become too heavy and bogged down and sadly almost entirely forgettable. For me a film needs to balance dialogue with actual events and actions, and I’m afraid aside from the final act, nothing much happens here.
Fortunately this is at least boosted by some stellar performances. Viola Davis is brilliant as the spirited Ma Rainey, even if Ma herself as a character is rather unlikeable with some questionable motives for her actions and manners. The star however is the late Chadwick Boseman. While it’s very off putting to see how obviously thin and ill he was filming this, his performance is outstanding. He brings life and fun and heart to every scene he’s in and gives this film a massive boost. Even the drawn out dialogue heavy scenes become enthralling when he’s talking and the emotions on show are spectacular. Despite Viola Davis being the star as Ma, it’s Boseman that carried this film entirely on his shoulders. If he doesn’t win a posthumous Oscar for this, it’d be criminal.
Ma Rainey’s Black Bottom is a shining example of stellar performances, most notably Chadwick Boseman. It’s just a shame that the rest of the film doesn’t quite meet the high standards set by its stars.
Set in 1920s Chicago, the film follows a tense and fractious recording session with Ma Rainey and her backing band, old hands Toledo (Glynn Turman), Cutler (Colman Domingo) and Slow Drag (Michael Potts) alongside ambitious young horn player Levee (Chadwick Boseman). Tensions rise between Ma, Levee and the recording studio management (Jeremy Shamos as Irvin and Jonny Coyne as Sturdyvant) as each attempts to control the recording session and play songs that fit best with their own motives. Contributing to the frictions are Levee’s flirtation with Ma’s girlfriend Dussie Mae (Taylour Paige) and her Ma’s stuttering nephew Sylvester (Dusan Brown) as he attempts to introduce Ma’s signature song, Black Bottom.
Ma Rainey’s Black Bottom undoubtedly looks and sounds good. The cinematography and costumes are perfect and entirely in keeping with the 20s Chicago setting. And the blues music is captivating and beautifully made. To be quite honest I would’ve been quite happy to watch and listen to an entire film solely following the band and their music. However whilst it does look and sound good, it is so obviously a film adapted from a stage play and I’m afraid this isn’t a good thing. There’s a limited number of sets and virtually the entirety of the 90 minute run time is set within two rooms in the recording studio, which makes such a short film feel ridiculously drawn out. This isn’t helped by the huge reliance on very long scripted dialogue and conversational scenes. I can’t deny that the writing is good and is helped by strong performances from everyone involved, but there’s just too much dialogue. This might work on the stage, but on screen it doesn’t quite translate. There’s that much dialogue that the majority of scenes become too heavy and bogged down and sadly almost entirely forgettable. For me a film needs to balance dialogue with actual events and actions, and I’m afraid aside from the final act, nothing much happens here.
Fortunately this is at least boosted by some stellar performances. Viola Davis is brilliant as the spirited Ma Rainey, even if Ma herself as a character is rather unlikeable with some questionable motives for her actions and manners. The star however is the late Chadwick Boseman. While it’s very off putting to see how obviously thin and ill he was filming this, his performance is outstanding. He brings life and fun and heart to every scene he’s in and gives this film a massive boost. Even the drawn out dialogue heavy scenes become enthralling when he’s talking and the emotions on show are spectacular. Despite Viola Davis being the star as Ma, it’s Boseman that carried this film entirely on his shoulders. If he doesn’t win a posthumous Oscar for this, it’d be criminal.
Ma Rainey’s Black Bottom is a shining example of stellar performances, most notably Chadwick Boseman. It’s just a shame that the rest of the film doesn’t quite meet the high standards set by its stars.