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Gareth von Kallenbach (980 KP) rated Death Race (2008) in Movies
Aug 14, 2019
In 1975, legendary B-movie producer Roger Corman showed audiences a look at the near future with a biting film that deftly blended action and political commentary and satire. The film was “Death Race 2000” and starred David Carradine and featured a pre-“Rocky” Sylvester Stallone as bitter rivals in a brutal cross country race where finishing first was second only to the amount of death and carnage a driver left in their wake.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
The film became a cult hit, and paved the way for films such as “Rollerball”, “Arena”, and countless other films that featured bloodlust sporting events for the masses a la Rome in the age of gladiators at the coliseum. Thirty-three years later, audiences are given the new and upgraded “Death Race” which benefits from a bigger budget with more carnage than the original film that inspired it ever dreamed of.
The film opens with an eerie warning of today’s troubled economic times, stating that the U.S.
economy collapses in 2012 and record unemployment and crime sweep the nation. With prisons overcrowded, corporations run correctional facilities for a profit and soon offer caged matches between inmates for the viewing pleasure of the nation. At first the matches are a huge success but soon lose their appeal to an audience that is eager for even bloodier sport.
In an effort to keep the cash flowing, the Death Race is created which pits convicts against one another in a brutal mix of speed, firepower, and death which in a few years surpasses even the Super Bowl as the most watched sporting event in the world.
Jason Statham stars as Jensen Ames, a former race driver who is framed for the murder of his wife and faces the prospect of life in prison while his daughter is raised by strangers. With the Death Race losing some if its audience, its creator, and warden of the prison, Hennessey (Joan Allen), offers Jensen a solution to both of their problems. If Jensen will pose as the masked Frankenstein for the race and win, he will be granted his freedom. It is learned that the real Frankenstein has finally succumbed to the numerous injuries he has incurred racing, and rather than risk losing his vast legions of fans who drive the ratings, it is easier to replace him than lose him, especially since recent races without Frankenstein had not garnered the same ratings as his past races.
It is explained that should a driver win five death races, they will be set free. Since Frankenstein has won four races, all Jensen has to do is win the race and stay alive to earn his freedom. Jensen is faced with an menacing list of adversaries including the deadly Machine Gun Joe (Tyrese Gibson), who is the biggest threat to Jensen with an absolute hatred for Frankenstein. Gun Joe is a cold-blooded killer who wants nothing more than two more race wins to earn his freedom and will stop at nothing to get it.
Jensen is assisted by the talented Coach (Ian McShane), who dispenses wisdom while overseeing the crew that outfits Jensen’s suped up, armor-plated, and very heavily armed racer. Assigned to ride with Jensen as his Navigator is Case (Natalie Martinez), a female prisoner who, like many of her fellow navigators, sees the race as a chance to earn their freedom and other special perks which makes risking their lives a worthwhile endeavor.
As the race unfolds in three stages, Jensen is tasked with not only surviving the threats Machine Gun Joe and the other racers aim his way, but surviving the twisted scheme that has him in its grasp.
The action of the film is fast, brutal, and unforgiving and is easily the highlight of the film. Sadly there are plenty of scenes with stiff and uninspired characters, numerous plot holes and leaps of logic, and clichés that bog the film down.
Statham is his usual soft talking hard man, a character he has made a career out of playing in such films as the “Crank” and the “Transporter” series. But unlike those films, he is not given much material to work with here. Statham has done solid work in the past but Jensen is a paper thin character who never fully given a chance to develop nor be embraced by the audience.
The same is true for the rest of the cast, a talented ensemble left to languish in want of better material. The film is directed by Paul W.S. Anderson of the “Resident Evil” series who once again shows that he has an eye for action, but still has issues with pacing and unsympathetic characters. This is a shame as the premise of the film is solid, but unlike the original, lacks the social and political commentary needed to balance the carnage and mayhem.
With a little more time in shop and tinkering, this could have been a solid action film, instead it stalls at the starting line badly in need of a tune up.
Hadley (567 KP) rated The Haunted in Books
Jun 23, 2019
A lot of inconsistencies (1 more)
Stereo-typical characters
A murder begins the story of 'The Haunted,' where Vega starts with every parent's nightmare:
a little girl named Maribeth is killed in the cellar of the Steele House by an unseen force. We jump to three years later, where our main character, Hendricks, is moving into this house with her parents and baby brother- - - a family that is unaware of the murder that took place in the cellar. Vega does a wonderful job of steering the paranormal aspects away from the usual ones that most readers are used to. But although the story is good, the writing is poorly executed.
Starting with the teenaged girl Hendricks, she tells us that she refuses to be a stereo-type, but her first thoughts on the ride to school are of her ex-boyfriend, Grayson. But this is a young adult book, so a young girl obsessing over her ex is to be expected. Yet, when Hendricks gets to her new high school, she quickly begins to stereo-type everyone she meets by what they are wearing. Unfortunately, every character in this story, including Hendricks parents, are stereo-types. Eddie, who wears nothing but black clothing, is the outcast; Portia, who wears too short of skirts and too tight of shirts, is the makeup obsessed girly-girl; Raven, who tries to be funny, is the sporty best friend, and, Connor, who seems to be the only character that Vega tried to keep away from his stereo-type, is a friendly jock who loves his large family.
Readers learn early on that Hendricks' break-up with her ex, Grayson, was a traumatic event for her- - - as Hendricks releases more and more memories, it's soon easy to see that the relationship was an emotional abusive one; from Grayson telling her how to dress to him influencing the way she acted around other people, including who she was allowed to be around. In the middle of all this, Hendricks begins to learn the history of the Steele House, and we find out that Maribeth may not have been the only one murdered there. When Hendricks isn't trying to drink alcohol in almost every chapter, she begins experiencing strange things in the house, including one very similar to Maribeth's experience, but sadly, the paranormal aspect is the only good part of this book.
'The Haunted' could have been a great story, but there are so many inconsistencies, some even on the very next page. Such as, on page 44, Hendricks sees a singing doll waking up her baby brother inside his room (Vega literally states 'in the middle of his room'), but the very next page, Hendricks is suddenly scooping up the doll outside of her brother's room to put it away. On page 157, Hendricks is being pinned against a wall in the cellar by an unseen force, one of her arms is against her back, but suddenly she is able to use both hands to push off the wall, but it was never stated that her arm became unpinned.
One of Vega's biggest mistakes in 'The Haunted' was using the same handful of descriptions for emotions with every single character throughout the entire book. Such as, if a character was trying to make a decision, they always bit their lip; if a character was confused, they always furrowed their brow; if a character was embarrassed, they always had a reddening face. Vega never took advantage of other body language to convey these emotions, causing the story to come up short.
As I have said, the only good part of this book was the paranormal aspect, and the ghosts happen to be the only interesting characters. If I had to choose my favorite part of this story, I would have to choose when Eddie and Hendricks bring in the occult store owner, Ileana. Following this chapter, the best part of the paranormal aspects happen, but I don't want to spoil that for anyone who may want to read this. Vega is crafty in keeping up the suspense throughout this entire time, this is apparently where her strength in writing occurs. She amazingly describes scenes where readers can easily imagine them happening in reality. Her take on hauntings is one that is rarely seen and I think should be utilized in paranormal fiction more often.
'The Haunting' just didn't add up for me. It seems the story was written too hastily that beginning writer mistakes were made and overlooked, but most young adult readers may be able to look past this. Like Stephen King, Vega has great story-telling power in the horror genre, but in 'The Haunting,' I don't feel she was fully able to display this because the focus on Hendricks' life drama took over most of it. If I were to recommend this to anyone, I would only recommend it to people who like teenaged drama mixed in with a ghost story.
a little girl named Maribeth is killed in the cellar of the Steele House by an unseen force. We jump to three years later, where our main character, Hendricks, is moving into this house with her parents and baby brother- - - a family that is unaware of the murder that took place in the cellar. Vega does a wonderful job of steering the paranormal aspects away from the usual ones that most readers are used to. But although the story is good, the writing is poorly executed.
Starting with the teenaged girl Hendricks, she tells us that she refuses to be a stereo-type, but her first thoughts on the ride to school are of her ex-boyfriend, Grayson. But this is a young adult book, so a young girl obsessing over her ex is to be expected. Yet, when Hendricks gets to her new high school, she quickly begins to stereo-type everyone she meets by what they are wearing. Unfortunately, every character in this story, including Hendricks parents, are stereo-types. Eddie, who wears nothing but black clothing, is the outcast; Portia, who wears too short of skirts and too tight of shirts, is the makeup obsessed girly-girl; Raven, who tries to be funny, is the sporty best friend, and, Connor, who seems to be the only character that Vega tried to keep away from his stereo-type, is a friendly jock who loves his large family.
Readers learn early on that Hendricks' break-up with her ex, Grayson, was a traumatic event for her- - - as Hendricks releases more and more memories, it's soon easy to see that the relationship was an emotional abusive one; from Grayson telling her how to dress to him influencing the way she acted around other people, including who she was allowed to be around. In the middle of all this, Hendricks begins to learn the history of the Steele House, and we find out that Maribeth may not have been the only one murdered there. When Hendricks isn't trying to drink alcohol in almost every chapter, she begins experiencing strange things in the house, including one very similar to Maribeth's experience, but sadly, the paranormal aspect is the only good part of this book.
'The Haunted' could have been a great story, but there are so many inconsistencies, some even on the very next page. Such as, on page 44, Hendricks sees a singing doll waking up her baby brother inside his room (Vega literally states 'in the middle of his room'), but the very next page, Hendricks is suddenly scooping up the doll outside of her brother's room to put it away. On page 157, Hendricks is being pinned against a wall in the cellar by an unseen force, one of her arms is against her back, but suddenly she is able to use both hands to push off the wall, but it was never stated that her arm became unpinned.
One of Vega's biggest mistakes in 'The Haunted' was using the same handful of descriptions for emotions with every single character throughout the entire book. Such as, if a character was trying to make a decision, they always bit their lip; if a character was confused, they always furrowed their brow; if a character was embarrassed, they always had a reddening face. Vega never took advantage of other body language to convey these emotions, causing the story to come up short.
As I have said, the only good part of this book was the paranormal aspect, and the ghosts happen to be the only interesting characters. If I had to choose my favorite part of this story, I would have to choose when Eddie and Hendricks bring in the occult store owner, Ileana. Following this chapter, the best part of the paranormal aspects happen, but I don't want to spoil that for anyone who may want to read this. Vega is crafty in keeping up the suspense throughout this entire time, this is apparently where her strength in writing occurs. She amazingly describes scenes where readers can easily imagine them happening in reality. Her take on hauntings is one that is rarely seen and I think should be utilized in paranormal fiction more often.
'The Haunting' just didn't add up for me. It seems the story was written too hastily that beginning writer mistakes were made and overlooked, but most young adult readers may be able to look past this. Like Stephen King, Vega has great story-telling power in the horror genre, but in 'The Haunting,' I don't feel she was fully able to display this because the focus on Hendricks' life drama took over most of it. If I were to recommend this to anyone, I would only recommend it to people who like teenaged drama mixed in with a ghost story.
Lottie disney bookworm (1056 KP) rated Cinderella is Dead in Books
Jun 6, 2020
Contains spoilers, click to show
Thank you to Netgalley and Kalynn Bayron for giving me the opportunity to read an advance copy of Cinderella is Dead in exchange for an honest review.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.
Debbiereadsbook (1630 KP) rated Fearless (Somerton Security #3) in Books
Nov 16, 2018
far darker than the others, but equally brilliant!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book direct from the author, and I thank Ms Dyer for that!
This is book three in the Somerton Security series and I would strongly recommend that you read books one, Defenseless and book two, Relentless before you read this one. There is some of an on-going story arc, and I don't think you'll get the full benefit of THIS book, if you don't. And,I mean, both are five star reads too!
We haven't met Will or Cooper before, but we know of Will. He is Georgia's brother and we thought him long dead. Cooper is a sniper, and they have talked before, Will and Coop, long intimate conversations, but never got round to meeting. When Coop's life is threatened by her actions on orders, she needs Will to find the answers and clear her name. She just needs to free Will from his captivity.
I loved this one, too!
It's far darker than the other two, because some of Will's torture is described, in detail, as it happens and as memories surfacing, but it's needed. You NEED to know what happened to Will, while he was held all that time, because it has some baring on what happens later in the book. Quite graphic, but absolutely necessary.
Will and Coop's history is all phone calls and texts, but I loved that the full picture isn't immediately clear. You're left guessing at the clues and I love being kept on my toes.
I loved that Coop could SEE Will, you know, under all that dirt and grime and all those scars. She could see the man he was, will be again, even if Will couldn't. Loved that Will knew he had to let Coop go, if he was going to keep her and LOVED how he pulled her back!! I was like, way to go man!!
Parker and Georgia, and Ethan and Natalia all pop up, if only towards the end but it was nice that they did.
There is a character here who has piqued my interest, particularly after what he says to Coop and Will when the sh*t hits the fan, and more importantly, it was the WAY he said it. Makes me think that HIS story could be next, and he isn't quite the bad guy he portrays here. Maybe he is, but I think there is a teeny tiny soft spot in his heart for a certain doctor who is missing.
Please keep these coming!!
5 stars
**same worded review will appear elsewhere**
This is book three in the Somerton Security series and I would strongly recommend that you read books one, Defenseless and book two, Relentless before you read this one. There is some of an on-going story arc, and I don't think you'll get the full benefit of THIS book, if you don't. And,I mean, both are five star reads too!
We haven't met Will or Cooper before, but we know of Will. He is Georgia's brother and we thought him long dead. Cooper is a sniper, and they have talked before, Will and Coop, long intimate conversations, but never got round to meeting. When Coop's life is threatened by her actions on orders, she needs Will to find the answers and clear her name. She just needs to free Will from his captivity.
I loved this one, too!
It's far darker than the other two, because some of Will's torture is described, in detail, as it happens and as memories surfacing, but it's needed. You NEED to know what happened to Will, while he was held all that time, because it has some baring on what happens later in the book. Quite graphic, but absolutely necessary.
Will and Coop's history is all phone calls and texts, but I loved that the full picture isn't immediately clear. You're left guessing at the clues and I love being kept on my toes.
I loved that Coop could SEE Will, you know, under all that dirt and grime and all those scars. She could see the man he was, will be again, even if Will couldn't. Loved that Will knew he had to let Coop go, if he was going to keep her and LOVED how he pulled her back!! I was like, way to go man!!
Parker and Georgia, and Ethan and Natalia all pop up, if only towards the end but it was nice that they did.
There is a character here who has piqued my interest, particularly after what he says to Coop and Will when the sh*t hits the fan, and more importantly, it was the WAY he said it. Makes me think that HIS story could be next, and he isn't quite the bad guy he portrays here. Maybe he is, but I think there is a teeny tiny soft spot in his heart for a certain doctor who is missing.
Please keep these coming!!
5 stars
**same worded review will appear elsewhere**
Carma (21 KP) rated It Takes Two (Just Everyday Heroes: Night Shift, #2) in Books
Jun 17, 2019
It takes Two is the first book Ive read by Erin Nicholas. It was also the first I read in the Counting on Love series, and I hate when I read a series out of order. The good news is that these books can stand on their own with minimal carrying over and lots of explanation to previous happenings.
Isabelle Dixon thought she could have a wild and crazy night before she has to settle herself into a new lifestyle because of a medical issue. She thinks Shane Kelley is the perfect candidate for the job. 6 months later she cant believe she is still seeking him out and cant seem to let go.
Shane Kelley has fallen fast and hard for Isabelle Dixon. He has asked her to move in with him multiple times and wont take no for an answer. He thought their biggest obstacle was her brother Connor but it seems like they cant get past something bigger. He wont give up even when she seems to be keeping something really big from him.
Isabelle and Shane take a humorous road trip to find out if they can truly make it work between them. Each stop, on their way to a vacation house, has humor, angst, trials and truths. There may also be a little fun game included in their adventure, not known to all the parties involved.
I love the dynamic between the Dixon sisters, each with their own strengths and issues. Isabelle seems like a good mix of a party girl with a stay at home girl. She has to make some big choices with an unexpected health issue that hits her. She wants to hide herself away from the world but also loves being with Shane. Can she have it both ways and have them both happy?
Shane is the over the top, romantic boyfriend we all crave in life. Well maybe. He does go a little over the top sometimes but hey props for creativity. He loves Isabelle and wants to be with her all day every day. He knows she is hiding something from him but can he overcome the issues to make her happy for forever?
If you havent read anything by Erin Nicholas, what are you thinking? The Counting on Love series, which apparently is a semi continuation of the Bradfords series with brief appearances by some Bradford characters, is the perfect place to start. I havent read the Bradford series yet but Im anxious to now since completing the Counting on Love series.
Isabelle Dixon thought she could have a wild and crazy night before she has to settle herself into a new lifestyle because of a medical issue. She thinks Shane Kelley is the perfect candidate for the job. 6 months later she cant believe she is still seeking him out and cant seem to let go.
Shane Kelley has fallen fast and hard for Isabelle Dixon. He has asked her to move in with him multiple times and wont take no for an answer. He thought their biggest obstacle was her brother Connor but it seems like they cant get past something bigger. He wont give up even when she seems to be keeping something really big from him.
Isabelle and Shane take a humorous road trip to find out if they can truly make it work between them. Each stop, on their way to a vacation house, has humor, angst, trials and truths. There may also be a little fun game included in their adventure, not known to all the parties involved.
I love the dynamic between the Dixon sisters, each with their own strengths and issues. Isabelle seems like a good mix of a party girl with a stay at home girl. She has to make some big choices with an unexpected health issue that hits her. She wants to hide herself away from the world but also loves being with Shane. Can she have it both ways and have them both happy?
Shane is the over the top, romantic boyfriend we all crave in life. Well maybe. He does go a little over the top sometimes but hey props for creativity. He loves Isabelle and wants to be with her all day every day. He knows she is hiding something from him but can he overcome the issues to make her happy for forever?
If you havent read anything by Erin Nicholas, what are you thinking? The Counting on Love series, which apparently is a semi continuation of the Bradfords series with brief appearances by some Bradford characters, is the perfect place to start. I havent read the Bradford series yet but Im anxious to now since completing the Counting on Love series.
Daniel Boyd (1066 KP) rated X-Men: Apocalypse (2016) in Movies
Jul 19, 2017 (Updated Apr 16, 2021)
80's setting (2 more)
Quicksilver
Oscar Isaacs
Mutants Have Mankind Divided
This movie has had the most mixed reaction that I have seen since Batman V Superman, however I do objectively believe that X Men is a better movie and to be honest I don’t understand the mixed response Apocalypse has gotten. The year is 1983, 10 years after the last x men movie, Days Of Future Past (as in the kind of 10 years where no one ages a day,) and we know that it is 1983 because some of the young mutants go and see Return Of The Jedi in the cinema. The hairstyles and fashion statements are suitably 80’s, which is an appropriate motif to choose as it adds a more comic book feel to the movie and forces it to stick to a brighter colour pallet than some of the previous X men outings. Another positive is the return of Quicksilver, who has another awesome slow motion scene, which possibly isn’t as well choreographed as the one in DOFP, but is definitely grander in scale. While the design of Apocalypse in this movie has been heavily criticised, I didn’t feel that it took me out of the movie and I felt that Oscar Isaacs’ portrayal of the ancient mutant is another great turn by the actor and proves yet again how diverse and chameleon like he really is. The one downside of his character is that he has been significantly nerfed in terms of his powers here. He does feel powerful, but never overwhelmingly so and when the final confrontation does take place, it feels like he is holding back. This could be explained in a contrived manner by saying that he doesn’t want to kill mutants, because they are all his children, but if the success of his plan depends on it then he shouldn’t even hesitate, he should just wipe all the X Men out in an instant like we know he can.
The tone is another issue I have with the movie, it is fairly inconsistent throughout and never reaches the level of threat that it is aiming for. However, this is through no fault of the cast or the performances. MacAvoy and Fassbender stand out here as you would expect, their relationship also remains one of the most interesting parts of the plot. Isaacs’ performance is also suitably threatening and sinister, the only thing lacking in his character other than the odd design choice, is how short he is next to the other mutants. He doesn’t have to be huge like in the comics and cartoons, but making him a little bit more physically imposing with clever camera tricks would have went a long way in adding to the character. Jennifer Lawrence is fine here as usual and young Cyclops and Jean Grey are perfectly serviceable, although Sophie Turner’s American accent does come and go in certain scenes. Even Peters is typically brilliant as Quicksilver and the actress who plays Storm here is also pretty convincing, as is the young English actor who plays Angel. Nightcrawler is a welcome addition to the roster as I feel that he has been criminally underused since the second X Men movie and his power set is definitely one of the most interesting in all of the X Men movies, also the actor playing him here does a good job throughout the film. However the same can’t be said for Olivia Munn who plays Psylocke in this movie, I have disliked this actress in every role I have seen her in to date and the same goes for this one, she brings nothing to the movie and she constantly has a resting bitch face that suggests she doesn’t want to be there.
Like Civil War, X Men wasn’t anything like the comic it was based on and we didn’t get what we expected, but what we did end up getting was fresh and entertaining in it’s own right, so it’s okay that the film plots aren’t 100% faithful to the source material and that is something that Singer has been preaching since he made the first X Men movie back in 2001, which incidentally wasn’t based on any comic book and was a totally original plot. Also I love how because of the alternate timeline they are now free to do whatever they want in terms of the timing of certain events. For example, (and this is a slight spoiler, but the movie has been out for a while now so deal with it,) the Phoenix Force makes an appearance in this movie, which typically isn’t something that Jean Grey acquires until later in her life. Also the fact that we saw Wolverine escaping from Weapon X again, (again spoilers but this was in the trailers anyway so again, deal with it,) was awesome and this time we saw him being broken out by the young X Men and this time he had the comic book accurate electric headgear on while he escaped and I also loved how we saw him interact with young Jean Grey and regain some of his memories. This could also could be a change in the timeline caused by the butterfly effect as a result of the events of Days Of Future Past. This would also explain why the Magneto/Quicksilver, father/son relationship has never been discussed before, because if Apocalypse never awakened in the original X Men trilogy, then Quicksilver would have never went to the X Men mansion and therefore wouldn’t have come into contact with his dad during the final battle scene. Also Mystique looks like she is now a member and potential leader of the X Men team, rather than an enemy of the team like she was in the original movies when she was played by Rebecca Romjin. The other big change in the timeline is the death of Magneto’s family and even the fact that he had a wife and another child besides Quicksilver and Scarlett Witch.
Overall I really enjoyed this movie, however I can also see why some people would take a disliking to it, as it does require a good amount of previous knowledge of the universe, but as an X Men fan, I loved it. Also another criticism I have read is that people aren’t happy with the length of the film, stating that it is too long and it drags in, but I actually thought the pacing was spot on. Anyway as an X Men fan, I loved my time would this movie and I look forward to seeing it again and I’d recommend it to anyone who is a mutant superhero fan.
The tone is another issue I have with the movie, it is fairly inconsistent throughout and never reaches the level of threat that it is aiming for. However, this is through no fault of the cast or the performances. MacAvoy and Fassbender stand out here as you would expect, their relationship also remains one of the most interesting parts of the plot. Isaacs’ performance is also suitably threatening and sinister, the only thing lacking in his character other than the odd design choice, is how short he is next to the other mutants. He doesn’t have to be huge like in the comics and cartoons, but making him a little bit more physically imposing with clever camera tricks would have went a long way in adding to the character. Jennifer Lawrence is fine here as usual and young Cyclops and Jean Grey are perfectly serviceable, although Sophie Turner’s American accent does come and go in certain scenes. Even Peters is typically brilliant as Quicksilver and the actress who plays Storm here is also pretty convincing, as is the young English actor who plays Angel. Nightcrawler is a welcome addition to the roster as I feel that he has been criminally underused since the second X Men movie and his power set is definitely one of the most interesting in all of the X Men movies, also the actor playing him here does a good job throughout the film. However the same can’t be said for Olivia Munn who plays Psylocke in this movie, I have disliked this actress in every role I have seen her in to date and the same goes for this one, she brings nothing to the movie and she constantly has a resting bitch face that suggests she doesn’t want to be there.
Like Civil War, X Men wasn’t anything like the comic it was based on and we didn’t get what we expected, but what we did end up getting was fresh and entertaining in it’s own right, so it’s okay that the film plots aren’t 100% faithful to the source material and that is something that Singer has been preaching since he made the first X Men movie back in 2001, which incidentally wasn’t based on any comic book and was a totally original plot. Also I love how because of the alternate timeline they are now free to do whatever they want in terms of the timing of certain events. For example, (and this is a slight spoiler, but the movie has been out for a while now so deal with it,) the Phoenix Force makes an appearance in this movie, which typically isn’t something that Jean Grey acquires until later in her life. Also the fact that we saw Wolverine escaping from Weapon X again, (again spoilers but this was in the trailers anyway so again, deal with it,) was awesome and this time we saw him being broken out by the young X Men and this time he had the comic book accurate electric headgear on while he escaped and I also loved how we saw him interact with young Jean Grey and regain some of his memories. This could also could be a change in the timeline caused by the butterfly effect as a result of the events of Days Of Future Past. This would also explain why the Magneto/Quicksilver, father/son relationship has never been discussed before, because if Apocalypse never awakened in the original X Men trilogy, then Quicksilver would have never went to the X Men mansion and therefore wouldn’t have come into contact with his dad during the final battle scene. Also Mystique looks like she is now a member and potential leader of the X Men team, rather than an enemy of the team like she was in the original movies when she was played by Rebecca Romjin. The other big change in the timeline is the death of Magneto’s family and even the fact that he had a wife and another child besides Quicksilver and Scarlett Witch.
Overall I really enjoyed this movie, however I can also see why some people would take a disliking to it, as it does require a good amount of previous knowledge of the universe, but as an X Men fan, I loved it. Also another criticism I have read is that people aren’t happy with the length of the film, stating that it is too long and it drags in, but I actually thought the pacing was spot on. Anyway as an X Men fan, I loved my time would this movie and I look forward to seeing it again and I’d recommend it to anyone who is a mutant superhero fan.
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Pete Wareham recommended Habibi by Ali Hussan Kuba in Music (curated)
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