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David McK (3207 KP) rated Trapped (The Iron Druid Chronicles, #5) in Books
Jan 30, 2019
Book #5 in Kevin Hearne's 'Iron Druid Chronicles', this takes place 12 years after the events of [b:Tricked|106843|Tricked|Alex Robinson|https://d.gr-assets.com/books/1347400465s/106843.jpg|102982], and thus 6 years after the in-between novella [b:Two Ravens and One Crow|15728721|Two Ravens and One Crow (The Iron Druid Chronicles, #4.5)|Kevin Hearne|https://d.gr-assets.com/books/1344336650s/15728721.jpg|21407171].
In this, Atticus's apprentice Granuaille has finally nearly finished her training, with a large part of the story dealing with Atticus's attempts to get some peace in order to do so: a peace that keeps getting interrupted by the gods and goddesses of various pantheons, a lot of whom bear a grudge against him for various reasons (with the end of the novel having Atticus trying to make amends for previous actions - personally, I felt this was a bit 'tacked on' - against the Norse pantheon)
Comic relief, as always, is provided by his Irish Wolfhound Oberon (who Atticus can mentally communicate with), providing a much needed dose of lightening to the proceedings.
In this, Atticus's apprentice Granuaille has finally nearly finished her training, with a large part of the story dealing with Atticus's attempts to get some peace in order to do so: a peace that keeps getting interrupted by the gods and goddesses of various pantheons, a lot of whom bear a grudge against him for various reasons (with the end of the novel having Atticus trying to make amends for previous actions - personally, I felt this was a bit 'tacked on' - against the Norse pantheon)
Comic relief, as always, is provided by his Irish Wolfhound Oberon (who Atticus can mentally communicate with), providing a much needed dose of lightening to the proceedings.
David McK (3207 KP) rated Two Ravens and One Crow (The Iron Druid Chronicles, #4.5) in Books
Jan 28, 2019
This is a short story, that seems to follow the usual Kevin Hearne's strategy of setting a short story between the 'main courses' of his full novels: a taster, if you will, of what those novels are like.
In this particular case, this story is set after the events of [b:Tricked|106843|Tricked|Alex Robinson|https://d.gr-assets.com/books/1347400465s/106843.jpg|102982] but before (I believe, not having read it yet!) of those from [b:Trapped|8428140|Trapped|Michael Northrop|https://d.gr-assets.com/books/1395769555s/8428140.jpg|13291342], and deals some more with the aftermath of Atticus's trip to Valhalla in [b:Hammered|10443590|Hammered|Mark Ward|https://d.gr-assets.com/books/1328728608s/10443590.jpg|15348265].
The Two Ravens of the title refers to Odin's birds Hugin and Munin, while the One Crow is the Morrigan, who appears to Atticus six years into training his apprentice Granuaile and insists that he must go on a journey with her.
If I'm honest, I found the previous full-length novel ([b:Tricked|106843|Tricked|Alex Robinson|https://d.gr-assets.com/books/1347400465s/106843.jpg|102982]) to be a bit of a let-down; thankfully he appears to be back on form in this short story.
:-)
In this particular case, this story is set after the events of [b:Tricked|106843|Tricked|Alex Robinson|https://d.gr-assets.com/books/1347400465s/106843.jpg|102982] but before (I believe, not having read it yet!) of those from [b:Trapped|8428140|Trapped|Michael Northrop|https://d.gr-assets.com/books/1395769555s/8428140.jpg|13291342], and deals some more with the aftermath of Atticus's trip to Valhalla in [b:Hammered|10443590|Hammered|Mark Ward|https://d.gr-assets.com/books/1328728608s/10443590.jpg|15348265].
The Two Ravens of the title refers to Odin's birds Hugin and Munin, while the One Crow is the Morrigan, who appears to Atticus six years into training his apprentice Granuaile and insists that he must go on a journey with her.
If I'm honest, I found the previous full-length novel ([b:Tricked|106843|Tricked|Alex Robinson|https://d.gr-assets.com/books/1347400465s/106843.jpg|102982]) to be a bit of a let-down; thankfully he appears to be back on form in this short story.
:-)
Gareth von Kallenbach (971 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.