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Bob Mann (459 KP) rated The Guernsey Literary and Potato Peel Pie Society (2018) in Movies
Sep 29, 2021
“Contented with little, wishing for more”.
Here’s a curious little British film that has some merit, both as an entertainment vehicle and as a history lesson.
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Emma @ The Movies (1786 KP) rated Enola Holmes (2020) in Movies
Oct 3, 2020
There were several things that didn't make me leap at this one, but I was excited to have a "new release" to watch so...
The Holmes family name is a recognisable one, Sherlock and Mycroft are taking London by storm... but did you know about their younger sister, Enola? Raised by her mother, an eccentric and strong woman with a very alternative view on education, Enola is a strong will young woman in her image. When her mother goes missing Enola sets off to find her against the wishes of her brothers, taking herself to London and crossing paths with friends and foes along the way.
When I was looking for something between Sherlock Holmes and Nancy Drew I was hoping they'd throw the stone a little further. In my notes I scribbled that there are plenty of books about teen detectives that would have adapted well... and then I discovered that this was a book, and a series no less. I understand that the association with Sherlock Holmes is a strong one to market, but I feel like we're a little Sherlocked out these days. I miss vaguely original content... sorry, that sounds bitchier than it was meant to be.
Millie Bobby Brown did a good job of bringing Enola to life, there's a strong precocious nature to the role and she adapted to every twist convincingly. At times I noticed the odd slip that felt a little pantomime-y but by the time I'd pursed my lips and frowned it had already passed.
The Holmes brothers, brought to us by Henry Cavill and Sam Claflin, where to start... Claflin as Mycroft did a pretty good job, possibly too good, every time he was on screen I wanted him to leave. However, am I the only one that thought that these actors should have been playing each other's roles? As much as I love Cavill, he is not Sherlock. Sherlock is not suave and naturally charming, and he's certainly not built like a Chippendale, well, maybe a bit of furniture. It felt like a very unnatural fit, but I could just about visualise it with the roles reversed.
Supporting actors were great, I particularly enjoyed Susan Wokoma's, Edith. But, I was pleasantly surprised to see Fiona Shaw pop up in what appeared to be a reprisal of her role from Three Men and a Little Lady, but I digress.
To a layman like myself the period setting looked amazing and I thought the costumes were excellent. In fact, everything about the film looked stunning, but here is where I part with compliments.
Enola Holmes clocks in at just over the 2 hour mark, 2 hours and 3 minutes if we're being precise. If you say "family film" I think 1 hour 30, 45 maybe, if you say "thriller" I think 2 hours+... I know there are no hard and fast rules about it, but here's the thing, there wasn't enough content to fill that time. Yes, they managed to fill the runtime, but so much of it was unnecessary. Her mother's storyline seemed entirely there to get her to London, which could easily have been done in several ways, there's one scene in particular that seemed to go nowhere. I hate to say it, but Fiona Shaw and her finishing school were completely surplus to requirements too, nothing happened there that was very relevant at all. Some of the additions to what is quite a simple story made it a little complicated, though complicated isn't quite the right word because everything was easy to grasp (when it was relevant), perhaps "fussy" would be a better choice.
When the film ended I knew we were being set up for round 2, though this one came with less of a sickening groan than Artemis Fowl's did. I don't know how the books run as a series so I'd be interested to see how they compare, but I'm not a fan of continued storyline and that will definitely be on the cards for a sequel.
While I'm fully aware I've just moaned about a lot of points, the film is definitely watchable, but for me it was too cluttered and drawn out to hold my attention. With some snipping here and there it could have been vastly improved.
(My god, I didn't even mention the 4th wall breaking or the very end... but I guess no one really wants a full essay on the subject.)
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/enola-holmes-movie-review.html
The Holmes family name is a recognisable one, Sherlock and Mycroft are taking London by storm... but did you know about their younger sister, Enola? Raised by her mother, an eccentric and strong woman with a very alternative view on education, Enola is a strong will young woman in her image. When her mother goes missing Enola sets off to find her against the wishes of her brothers, taking herself to London and crossing paths with friends and foes along the way.
When I was looking for something between Sherlock Holmes and Nancy Drew I was hoping they'd throw the stone a little further. In my notes I scribbled that there are plenty of books about teen detectives that would have adapted well... and then I discovered that this was a book, and a series no less. I understand that the association with Sherlock Holmes is a strong one to market, but I feel like we're a little Sherlocked out these days. I miss vaguely original content... sorry, that sounds bitchier than it was meant to be.
Millie Bobby Brown did a good job of bringing Enola to life, there's a strong precocious nature to the role and she adapted to every twist convincingly. At times I noticed the odd slip that felt a little pantomime-y but by the time I'd pursed my lips and frowned it had already passed.
The Holmes brothers, brought to us by Henry Cavill and Sam Claflin, where to start... Claflin as Mycroft did a pretty good job, possibly too good, every time he was on screen I wanted him to leave. However, am I the only one that thought that these actors should have been playing each other's roles? As much as I love Cavill, he is not Sherlock. Sherlock is not suave and naturally charming, and he's certainly not built like a Chippendale, well, maybe a bit of furniture. It felt like a very unnatural fit, but I could just about visualise it with the roles reversed.
Supporting actors were great, I particularly enjoyed Susan Wokoma's, Edith. But, I was pleasantly surprised to see Fiona Shaw pop up in what appeared to be a reprisal of her role from Three Men and a Little Lady, but I digress.
To a layman like myself the period setting looked amazing and I thought the costumes were excellent. In fact, everything about the film looked stunning, but here is where I part with compliments.
Enola Holmes clocks in at just over the 2 hour mark, 2 hours and 3 minutes if we're being precise. If you say "family film" I think 1 hour 30, 45 maybe, if you say "thriller" I think 2 hours+... I know there are no hard and fast rules about it, but here's the thing, there wasn't enough content to fill that time. Yes, they managed to fill the runtime, but so much of it was unnecessary. Her mother's storyline seemed entirely there to get her to London, which could easily have been done in several ways, there's one scene in particular that seemed to go nowhere. I hate to say it, but Fiona Shaw and her finishing school were completely surplus to requirements too, nothing happened there that was very relevant at all. Some of the additions to what is quite a simple story made it a little complicated, though complicated isn't quite the right word because everything was easy to grasp (when it was relevant), perhaps "fussy" would be a better choice.
When the film ended I knew we were being set up for round 2, though this one came with less of a sickening groan than Artemis Fowl's did. I don't know how the books run as a series so I'd be interested to see how they compare, but I'm not a fan of continued storyline and that will definitely be on the cards for a sequel.
While I'm fully aware I've just moaned about a lot of points, the film is definitely watchable, but for me it was too cluttered and drawn out to hold my attention. With some snipping here and there it could have been vastly improved.
(My god, I didn't even mention the 4th wall breaking or the very end... but I guess no one really wants a full essay on the subject.)
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/enola-holmes-movie-review.html
JT (287 KP) rated The Sweeney (2012) in Movies
Mar 10, 2020
Nick Love’s take on the ’70s TV cop show of the same name packs every bit a hard knuckled punch as you would expect it to. The director of such films as The Football Factory and The Business even manages to stay clear of Danny Dyer and cast a slick and talented bunch of individuals, led by Ray Winstone.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Regan (Winstone) and Carter (Drew) are a pair of detectives on the flying squad, they don’t play nice or appreciate authority and when it comes to nicking thieves they go in armed with an array of unique weapons including pick axe handles. Quite simply put they “do the things you can only dream of”.
The plot is a little thin on the ground at times, and centres on former villain Allen (Paul Anderson) making a return to Regan’s patch, of which he doesn’t take too kindly when he has to let Allen go after having pulled him in for questioning in relation to a bank job that ends with an execution.
Regan himself is under the watchful eye of not just his boss Frank Haskins (Damian Lewis) but internal watchdog Ivan Lewis (Steven Mackintosh) who has a greater reason than anyone to note Regan’s movements, with Regan sharing more than coffee with Lewis’s wife Nancy.
The action is well choreographed from the opening heist to a shootout through Trafalgar Square (of which annoyingly they can only hit innocent bystanders), the film’s climactic car chase is a bit of a let down however. After all that proceeded before it I was expecting something a little better than a blast around a caravan park.
The chemistry between Regan and Carter is good, a father and son styled relationship is pushed to breaking point at times, but beneath the hardened exterior lies a mutual respect for each other that is followed through to the very end.
Winstone looks battle weary and sounds more cockney than ever (if that could be at all possible), he’s like a bulldog that won’t let go of a bone or come when called. Drew is a fresh casting choice and I enjoyed his performance in Harry Brown, but here he seems to deliver his lines in a slow and laborious manner.
The sweeping landscape of London is painted in cold grey light, panels of sun laying across pavements and car windows trying to brighten the mood. It’s a violent mood, twinned with colourful dialogue that is more than to be expected. It’s a decent enough effort and certainly Love’s best film to date.
Holby City - Series 19
6.1
Rate It
TV Show
The series was created by Tony McHale and Mal Young as a spin-off from the established BBC medical...
Drama
Bob Mann (459 KP) rated Ghost Stories (2018) in Movies
Sep 29, 2021
In that sleep of death, what dreams may come.
“Ghost Stories” is based on the spooky London West-End stage play by Jeremy Dyson and Andy Nyman who both write and direct the film version. I didn’t know this until the end credits, but began to wonder in the final act where the action suddenly becomes very “stagey” in nature. The screenplay was always bound to be both bizarre and intriguing, since Dyson has been a past contributor to TV’s “League of Gentlemen” and other equally surreal programmes and Nyman has been a major collaborator with the stage-illusionist Derren Brown.
Nyman himself plays TV paranormal debunker Professor Goodman who receives a surprise message from a respected colleague, long thought dead, who on his death bed wants Goodman to investigate the three cases from his career that he was never able to debunk. The first concerns Tony Matthews (Paul Whitehouse, “The Death of Stalin“) as a night watchman at a spooky old asylum; the second concerns Simon Rifkind (Alex Lawther, young Turing in “The Imitation Game“) as a freaked-out young man with a forest breakdown; and Mike Priddle (Martin Freeman, “Black Panther“) as a rich broker with parenting issues. As Goodman investigates each case weirder and weirder things start to happen: is this his mind playing tricks as his faith is rocked, or is there something more sinister going on?
The primary issue I have with this film is its portmanteau nature, harking back to similar films like “The Twilight Zone: the Movie”. Having three segments, loosely linked together, feels like a clunky device for a feature film…. (“Why are there three cases to investigate? Well, two would have made the film too short, and four would have made it too long!”).
That being said, the overall story arc and the drawing together of the strands for the unexpected (although not terribly original) conclusion, is intriguing.
The film looks and feels like a British-made horror film, which is both a compliment and a criticism. Who doesn’t like the jump-scares and the vague tackiness of a Hammer horror? But if you care to compare the production values on show here versus “A Quiet Place“, there is no comparison. The location-shot scenes (which are most of the scenes) seem to be very poorly lit: and that’s the non-spooky ones where you are supposed to see what’s going on!
The cast seem to be well-suited to their roles, with Paul Whitehouse in particular being impressive as the ‘on the make’ Matthews, who always feels like being on the knife-edge of violent outburst. I particularly liked Alex Lawther who does “spooked” extremely well! The script also seems to be well-tuned to the characters, with a number of laugh-out-loud lines. “****ing O2” exclaims Simon as he waves his mobile in the air… something the marketing department at the telecoms giant must have loved!
The critics seem to have been overtly positive about this film, which I can’t quite match. Apart from one or two scenes towards the end, all of the jump scares were pretty well signposted in advance. But it’s still as fun as a slightly tacky ghost house ride at the fairground, if you like that sort of thing, and is certainly a much more interesting and better watch in my book than some recent and much higher budget horror films like “It“.
Nyman himself plays TV paranormal debunker Professor Goodman who receives a surprise message from a respected colleague, long thought dead, who on his death bed wants Goodman to investigate the three cases from his career that he was never able to debunk. The first concerns Tony Matthews (Paul Whitehouse, “The Death of Stalin“) as a night watchman at a spooky old asylum; the second concerns Simon Rifkind (Alex Lawther, young Turing in “The Imitation Game“) as a freaked-out young man with a forest breakdown; and Mike Priddle (Martin Freeman, “Black Panther“) as a rich broker with parenting issues. As Goodman investigates each case weirder and weirder things start to happen: is this his mind playing tricks as his faith is rocked, or is there something more sinister going on?
The primary issue I have with this film is its portmanteau nature, harking back to similar films like “The Twilight Zone: the Movie”. Having three segments, loosely linked together, feels like a clunky device for a feature film…. (“Why are there three cases to investigate? Well, two would have made the film too short, and four would have made it too long!”).
That being said, the overall story arc and the drawing together of the strands for the unexpected (although not terribly original) conclusion, is intriguing.
The film looks and feels like a British-made horror film, which is both a compliment and a criticism. Who doesn’t like the jump-scares and the vague tackiness of a Hammer horror? But if you care to compare the production values on show here versus “A Quiet Place“, there is no comparison. The location-shot scenes (which are most of the scenes) seem to be very poorly lit: and that’s the non-spooky ones where you are supposed to see what’s going on!
The cast seem to be well-suited to their roles, with Paul Whitehouse in particular being impressive as the ‘on the make’ Matthews, who always feels like being on the knife-edge of violent outburst. I particularly liked Alex Lawther who does “spooked” extremely well! The script also seems to be well-tuned to the characters, with a number of laugh-out-loud lines. “****ing O2” exclaims Simon as he waves his mobile in the air… something the marketing department at the telecoms giant must have loved!
The critics seem to have been overtly positive about this film, which I can’t quite match. Apart from one or two scenes towards the end, all of the jump scares were pretty well signposted in advance. But it’s still as fun as a slightly tacky ghost house ride at the fairground, if you like that sort of thing, and is certainly a much more interesting and better watch in my book than some recent and much higher budget horror films like “It“.
Lottie disney bookworm (1056 KP) rated The Wendy (Tales of The Wendy #1) in Books
Dec 29, 2020
Contains spoilers, click to show
If I am being completely honest, Peter Pan has never been my favourite Disney film. Oh sure the lost boys and Michael were cute; Tink was sassy and Hook was a good villain but why did everyone moon over Peter so much? And Wendy was always a bit, well a bit wet!
Enter Erin Michelle Sky and Steven Brown with their Tales of Wendy series to prove me wrong! The Wendy is the first in this series but I am already desperate to finish the second book, The Navigator before their third is released at the end of this year.
The Wendy, as you may expect, centres around Wendy Darling. However, this is not the prissy, mother-idolising figure I love to roll my eyes at: oh no, this Wendy Darling is growing up in the late 1700s in a London orphanage. In a world where her sole career option seems to be to become a mother, this feisty ten-year-old would prefer to “marry Davy Jones than grow up and look after babies”. This Wendy Darling is the one I have been waiting for.
Wendy’s dream is to join the Navy and sail the world. Unlike the rest of 18th Century Britain, she doesn’t see why being a girl should prevent this.
Therefore, over the years she becomes adapt at mathematics, science, navigation, marksmanship and swordsmanship. Nevertheless, despite being just as good, if not better than her childhood friend Charlie, he earns the rank of Officer in the British Navy whilst Wendy is assigned to the Home Office as a Diviner, one who can detect the presence of magic: a post to be filled only by women and dogs.
It is here that the reader meets John and Michael: Wendy’s “brothers-in-arms but in no way related, despite what you may have heard”. They are all stationed in Dover Castle, along with the Brigade’s dog Nana (who else?!). Their mission: to protect Britain from a magical threat, the innisfay or “everlost”, whom are known to kidnap orphans. Sound familiar?
The Wendy is definitely the best retelling of Peter Pan I have read so far. Despite the presence of all our favourite names, the characters are a far cry from their animated counterparts. Michael and John are wonderfully dry and sarcastic; Hook is powerful and attractive; Tink is a shape shifter; Peter, despite possessing a pair of wings and armour, is essentially the same and Wendy is an ambitious, feisty, yet beautifully flawed protagonist.
There are many little nods to the film which are greatly appreciated. Wendy “moving out of the nursery” means leaving the orphanage and gaining an apprenticeship and “thinking happy thoughts” as a means of flight is a practical joke by Peter to make Wendy smile.
Sky and Brown’s conversationalist style of writing makes this a very easy read, despite Wendy galloping all over the South of England with a variety of characters. It also allows the reader to really bond with Wendy and empathise with her and her struggles to achieve the employment she has longed so for since childhood.
As you may have gathered, sexism plays a large part in Wendy’s uphill struggle: as the only main female character she is constantly undermined in her ambition to become a sailor. Even when she proves to be useful in her post within the Home Office she is removed to the country “for her own safety”. Those men whom do not undermine her moon after her romantically: it truly is infuriating.
In some situations, this ingrained attitude was slightly heart-breaking but equally a sign of the times in which this novel was set: Wendy’s thoughts often returned to the propriety of her actions and the danger she experiences just through wearing “men’s clothes” is powerful moment. However, Wendy never lets these attitudes halt her ambition, ending her first novel as a true inspiration to girls following in her footsteps: Navigator Darling.
I can’t wait to discover the next step in her journey which, conveniently, lays past the second star to the right and straight on till morning!
Enter Erin Michelle Sky and Steven Brown with their Tales of Wendy series to prove me wrong! The Wendy is the first in this series but I am already desperate to finish the second book, The Navigator before their third is released at the end of this year.
The Wendy, as you may expect, centres around Wendy Darling. However, this is not the prissy, mother-idolising figure I love to roll my eyes at: oh no, this Wendy Darling is growing up in the late 1700s in a London orphanage. In a world where her sole career option seems to be to become a mother, this feisty ten-year-old would prefer to “marry Davy Jones than grow up and look after babies”. This Wendy Darling is the one I have been waiting for.
Wendy’s dream is to join the Navy and sail the world. Unlike the rest of 18th Century Britain, she doesn’t see why being a girl should prevent this.
Therefore, over the years she becomes adapt at mathematics, science, navigation, marksmanship and swordsmanship. Nevertheless, despite being just as good, if not better than her childhood friend Charlie, he earns the rank of Officer in the British Navy whilst Wendy is assigned to the Home Office as a Diviner, one who can detect the presence of magic: a post to be filled only by women and dogs.
It is here that the reader meets John and Michael: Wendy’s “brothers-in-arms but in no way related, despite what you may have heard”. They are all stationed in Dover Castle, along with the Brigade’s dog Nana (who else?!). Their mission: to protect Britain from a magical threat, the innisfay or “everlost”, whom are known to kidnap orphans. Sound familiar?
The Wendy is definitely the best retelling of Peter Pan I have read so far. Despite the presence of all our favourite names, the characters are a far cry from their animated counterparts. Michael and John are wonderfully dry and sarcastic; Hook is powerful and attractive; Tink is a shape shifter; Peter, despite possessing a pair of wings and armour, is essentially the same and Wendy is an ambitious, feisty, yet beautifully flawed protagonist.
There are many little nods to the film which are greatly appreciated. Wendy “moving out of the nursery” means leaving the orphanage and gaining an apprenticeship and “thinking happy thoughts” as a means of flight is a practical joke by Peter to make Wendy smile.
Sky and Brown’s conversationalist style of writing makes this a very easy read, despite Wendy galloping all over the South of England with a variety of characters. It also allows the reader to really bond with Wendy and empathise with her and her struggles to achieve the employment she has longed so for since childhood.
As you may have gathered, sexism plays a large part in Wendy’s uphill struggle: as the only main female character she is constantly undermined in her ambition to become a sailor. Even when she proves to be useful in her post within the Home Office she is removed to the country “for her own safety”. Those men whom do not undermine her moon after her romantically: it truly is infuriating.
In some situations, this ingrained attitude was slightly heart-breaking but equally a sign of the times in which this novel was set: Wendy’s thoughts often returned to the propriety of her actions and the danger she experiences just through wearing “men’s clothes” is powerful moment. However, Wendy never lets these attitudes halt her ambition, ending her first novel as a true inspiration to girls following in her footsteps: Navigator Darling.
I can’t wait to discover the next step in her journey which, conveniently, lays past the second star to the right and straight on till morning!
Gareth von Kallenbach (971 KP) rated The Da Vinci Code (2006) in Movies
Aug 14, 2019
No film since “The Last Temptation of Christ” has invoked as much controversy as The Da Vinci Code based on the book of the same name by Dan Brown. Prior to the film even being screened for the press, cries ran out to ban the film and its message that some find blasphemous. Fortunately calmer heads have prevailed and the film by Director Ron Howard has arrived in a wash of media frenzy not seen since Mel Gibson’s The Passion of the Christ.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
If you are seeing a pattern forming, you would be correct as it seems that few topics can raise ire and wrath more than the topic of religion, especially if the film proposes a viewpoint that differs from the traditional beliefs that are given by the church, bible, and history.
In the film, a monk appears to murder an elderly man who with his last ounces of strength, manages to leave a cryptic riddle on his body. The bizarre nature of the crime prompts French police inspector Fache (Jean Reno) to travel to the Louvre to investigate the crime. A clue at the crime scene causes the police to summer Robert Langdon (Tom Hanks) from a lecture hall where he is signing his latest book on symbols. Since the deceased was supposed to meet Langdon earlier in the day Langdon has fallen under suspicion for the crime.
As he attempts to decipher the message at the crime scene, Langdon encounters a police cryptologists named Sophie (Audrey Tautou), who informs Robert that he is in danger and soon the duo are fleeing from the police after deciphering some hidden clues at the crime scene.
Before either Robert or Audrey knows what is happening, they are being accused of multiple murders and on the run. As the clues begin to mount, the mystery takes an even stranger turn by the discovery of an artifact that when unlocked, should contain a map.
Seeking refuge and help, the duo arrive at the estate of Sir Leigh Teabing (Sir Ian Mc Kellen), who proceeds to tell Robert and Sophie that the clues they have uncovered are part of a cover-up that segments of the church will stop at nothing to keep secret. The nature of this secret is such that should it become public knowledge, then they very foundations of history, faith, and the church could be shaken to their core.
As the mystery becomes clearer, the group are attacked by a Monk named Silas (Paul Bettany), who has been doing the violent work of someone know as The Teacher in an effort to discover the location of artifacts and those attempting to uncover the mystery.
What follows is a frantic race that travels from Paris to London in an effort to get to the bottom of the mystery and unravel the true nature of the mystery and the secret that people are willing to kill for in order to protect.
While some may find the mystery, the players, and their motivations confusing, the film does grab hold and moves along at a solid pace. Ron Howard once again shows his skill by directing a film that is different from his other works, yet rich in its visuals and complexity. The scenic locales of the film enhance the mystery (For those who have not read the book), as they attempt to decipher the clues along with the characters.
The work from the cast was solid as Hanks gives a very good if restrained performance in his portrayal. Mc Kellen is a very nice blend of elegance and old world charm that lifts up every scene in which he is in.
While there are those who will lambaste the film for the message it provides, I chose to look at it as a film that does what movies should, entertain and make you think. The film is not saying its assertions are hard and cold facts, what it is doing is providing a vehicle for debate.
In college I was told that through debate comes knowledge and growth for a society. This was common in ancient Greek and Roman society where issues of the day would be debated in open forums. It seems that we as a society have become too insistent to take things at face value and have forgotten that the very nature of the human experience is to question, grow, and seek our own answers. As such the film is a great example of how Hollywood at times gets it right and provides solid entertainment that will stimulate as well as entertain.
Bong Mines Entertainment (15 KP) rated Ella Mai by Ella Mai in Music
Jun 7, 2019 (Updated Jun 7, 2019)
Ella Mai is a talented R&B/Soul singer from London, England. Not too long ago, she released her deliciously impressive self-titled debut studio album, which uses her name as an acronym to communicate its message.
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/