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Phillip McSween (751 KP) rated Monty Python's Life of Brian (1979) in Movies
Mar 1, 2019
Cracks Me Up
Growing up, I never really understood British humor. There is a bit of a bite to it, dry wit that I didn’t really get as a kid. The older I get, the more I appreciate and love it. Monty Python’s Life of Brian is a the perfect example of British humor at its finest. Set in 33 A.D., it follows the story of Brian Cohen who is mistaken for the Messiah and worshipped at every turn.
Acting: 10
One of the things I love about the Python movies is the fact that no character is restricted to one mere role. John Cleese, for example, is listed as a Wise Man, Centurion, and Official. Not only does he play three parts, but he is hilarious in every single role he owns. He has a way of trying to be serious but making you laugh anyway. Same thing with the likes of Terry Gilliam who plays Man Even Further Forward, Revolutionary, and Jailer to name just a handful of his roles. For all of the many hats the characters wear, they maintain a natural chemistry that makes their roles and timing perfect.
Beginning: 10
Hands-down, one of the best beginnings I’ve ever seen in a movie period. It’s a comedic spin on the birth of Jesus featuring the Three Wisemen showing up at the wrong manger. The scene sets up the entire film perfectly in all of its hilarity. By the time you’ve laughed through this, you’re ready to laugh more.
Characters: 10
Cinematography/Visuals: 5
Conflict: 7
While Life of Brian is definitely a light-hearted affair, there is enough consistent conflict to keep the story moving. The story runs parallel to that of Jesus, right up to the crucifixion. Just like Jesus, Brian finds himself constantly in different bad situations, most of which he hasn’t prepared for. The film, of course, takes these situations, and makes each of them hilarious.
Genre: 8
A high-quality comedy that holds up even today. It makes you laugh from beginning to end and excels in originality. Definitely bordering along the lines of classic status.
Memorability: 8
Pace: 8
Plot: 10
Resolution: 9
Overall: 85
The misunderstanding of Brian as the savior is the key that makes the whole thing work. Monty Python’s Life of Brian works on a number of different levels and is sure to appeal to most, even Christians. If you have a sense of humor, that is.
Acting: 10
One of the things I love about the Python movies is the fact that no character is restricted to one mere role. John Cleese, for example, is listed as a Wise Man, Centurion, and Official. Not only does he play three parts, but he is hilarious in every single role he owns. He has a way of trying to be serious but making you laugh anyway. Same thing with the likes of Terry Gilliam who plays Man Even Further Forward, Revolutionary, and Jailer to name just a handful of his roles. For all of the many hats the characters wear, they maintain a natural chemistry that makes their roles and timing perfect.
Beginning: 10
Hands-down, one of the best beginnings I’ve ever seen in a movie period. It’s a comedic spin on the birth of Jesus featuring the Three Wisemen showing up at the wrong manger. The scene sets up the entire film perfectly in all of its hilarity. By the time you’ve laughed through this, you’re ready to laugh more.
Characters: 10
Cinematography/Visuals: 5
Conflict: 7
While Life of Brian is definitely a light-hearted affair, there is enough consistent conflict to keep the story moving. The story runs parallel to that of Jesus, right up to the crucifixion. Just like Jesus, Brian finds himself constantly in different bad situations, most of which he hasn’t prepared for. The film, of course, takes these situations, and makes each of them hilarious.
Genre: 8
A high-quality comedy that holds up even today. It makes you laugh from beginning to end and excels in originality. Definitely bordering along the lines of classic status.
Memorability: 8
Pace: 8
Plot: 10
Resolution: 9
Overall: 85
The misunderstanding of Brian as the savior is the key that makes the whole thing work. Monty Python’s Life of Brian works on a number of different levels and is sure to appeal to most, even Christians. If you have a sense of humor, that is.
Daniel Boyd (1066 KP) rated Bohemian Rhapsody (2018) in Movies
Oct 25, 2018 (Updated Oct 25, 2018)
Sublime performance from Rami Malek (1 more)
Sound mixing
They Will Rock You
I feel like I should preface this review with some context. Queen were the first band that I was properly into and the Bohemian Rhapsody/These Are The Days Of Our Loves double A side CD was the first piece of music that I ever bought with my own money. I have loved Queen's music for the vast majority of my life and I have grown up watching their concerts and music videos. I have been waiting for this movie to be made for a long time.
So did it meet my lofty expectations? Well, that depends on what aspects you choose to highlight. If you are asking me if Rami Malek did a good job portraying Freddie Mercury, then I would reply; that is the understatement of the century. This performance is the best I've seen so far this year. There were points that I genuinely forgot that I wasn't watching the real Freddie onscreen, Malek totally disappeared into the persona and if there is any justice, the academy will recognise that come Oscar nomination time. Not only did he capture Freddie's onstage mannerisms, but even the subtle way that Freddie would shift his eyes or lick his lips during interviews etc was absolutely spot on. In terms of the singing, I believe the method used was that Malek would sing into a computer and Freddie's voice was then added over the top, then it was manipulated to where it best resembled Freddie's vocal. If this film deserves another Oscar nod, it's for the sound mixing. They managed to recreate Freddie's unique vocal range perfectly and the lip syncing is also lined up incredibly well.
The rest of the cast are great too. The rest of the band were well cast, especially Gwilym Lee as Brian May. I really enjoyed the chemistry and camaraderie between the band members too. I also enjoyed what Aidan Gillen, Tom Hollander and an unrecognisable Mike Myers brought to the film. Lucy Boynton was also believable as Freddie's one true love, Mary Austin and she and Malek brought a new dimension to Mary's and Freddie's relationship that I had never really thought too much about.
Could the movie have went further than it did in terms of portraying the hedonism went on in Freddie's life? Yes, it definitely could have and that was one of my main concerns going in. I was concerned regarding the film's 12A rating and wondered how they were going to get around this and still show the sexually driven, intense life that Freddie led. Thankfully, I felt that the movie still managed to contain enough implications and allusions to the more adult stuff in the story that you were able to fill in the blanks without feeling robbed of too much of the narrative.
Unfortunately, there was a fairly important part in the movie where the sound abruptly cut out in my cinema hall for about 30 seconds, this obviously isn't the movie's fault, but it did detract from my initial viewing.
Overall, I enjoyed Bohemian Rhapsody. It catalogued Queen's exceptional inventory of hits and did a fantastic job in casting the right actor to portray a modern day icon. The other actors that rounded out the cast helped to sell the whole movie and the production was very well done in terms of recreating the talent and energy that this band were famous for.
So did it meet my lofty expectations? Well, that depends on what aspects you choose to highlight. If you are asking me if Rami Malek did a good job portraying Freddie Mercury, then I would reply; that is the understatement of the century. This performance is the best I've seen so far this year. There were points that I genuinely forgot that I wasn't watching the real Freddie onscreen, Malek totally disappeared into the persona and if there is any justice, the academy will recognise that come Oscar nomination time. Not only did he capture Freddie's onstage mannerisms, but even the subtle way that Freddie would shift his eyes or lick his lips during interviews etc was absolutely spot on. In terms of the singing, I believe the method used was that Malek would sing into a computer and Freddie's voice was then added over the top, then it was manipulated to where it best resembled Freddie's vocal. If this film deserves another Oscar nod, it's for the sound mixing. They managed to recreate Freddie's unique vocal range perfectly and the lip syncing is also lined up incredibly well.
The rest of the cast are great too. The rest of the band were well cast, especially Gwilym Lee as Brian May. I really enjoyed the chemistry and camaraderie between the band members too. I also enjoyed what Aidan Gillen, Tom Hollander and an unrecognisable Mike Myers brought to the film. Lucy Boynton was also believable as Freddie's one true love, Mary Austin and she and Malek brought a new dimension to Mary's and Freddie's relationship that I had never really thought too much about.
Could the movie have went further than it did in terms of portraying the hedonism went on in Freddie's life? Yes, it definitely could have and that was one of my main concerns going in. I was concerned regarding the film's 12A rating and wondered how they were going to get around this and still show the sexually driven, intense life that Freddie led. Thankfully, I felt that the movie still managed to contain enough implications and allusions to the more adult stuff in the story that you were able to fill in the blanks without feeling robbed of too much of the narrative.
Unfortunately, there was a fairly important part in the movie where the sound abruptly cut out in my cinema hall for about 30 seconds, this obviously isn't the movie's fault, but it did detract from my initial viewing.
Overall, I enjoyed Bohemian Rhapsody. It catalogued Queen's exceptional inventory of hits and did a fantastic job in casting the right actor to portray a modern day icon. The other actors that rounded out the cast helped to sell the whole movie and the production was very well done in terms of recreating the talent and energy that this band were famous for.
FilmIntuition (33 KP) rated The Other Woman in Books
Aug 21, 2018
A thrillingly fast-paced read from Sandie Jones, The Other Woman finds her novel's hardworking, unlucky-in-love British heroine Emily unwittingly (and very quickly) caught up in an escalating game of psychological chicken with her boyfriend's mother Pammie that unfortunately, her boyfriend and the rest of the world is unable to see.
Sure to be a popular late summer beach read, while it suffers from a few gaps in logic and common sense as our lead character never thinks to use technology to snap a photo, record a threat as evidence, or merely research one of two sketchy backstories involving both her boyfriend as well as Pammie, as a journalist, Jones knows how to assemble a compelling story.
Although it raises a valid concern regarding how much we change and/ore are willing to take when we're in a committed relationship, because more than a few people in Pammie's orbit suffer from serious likability issues, I kept wanting to yell at the fictional Emily as though she were on the other end of the phone, “honey, just leave already!”
Nonetheless still able to reel me back in and (mostly) suspend my disbelief, as I grew closer to the final Emily vs. Pammie standoff, I found myself walking around with the book in hand, waiting to see what Jones had in store for the finale.
Needing to reveal, explain, and wrap-up everything in a very rushed showdown that perhaps involves way too much spoken exposition, while that device has been used so often in books and film that it's easy to overlook, one of Woman's biggest hurdles isn't in the book at all but on the cover.
A vital reminder for publishers to be careful as to which blurbs you include on the book itself, because my Advanced Reader Copy arrived complete with a quotation advertising “a twist you will not see coming,” readers (like yours truly) are sure to find their brains working overtime to the point that I was able to correctly deduce where Jones might be going roughly halfway through.
Of course it's still an incredibly fun read and I didn't have all of the nuts and bolts of said twist squared away to the point that it ruined everything. All the same and regardless of the fact that all of these genre titles have twists, I would've loved it even more if I'd never been tipped off that there was something that far out of left field for which to look.
Even so an impressive debut that I thank Minotaur Books for sending me, The Other Woman might make you uneasy to meet your new love's parents but it'll definitely excite you to imagine what new novels and twists Jones might have up her sleeve.
Sure to be a popular late summer beach read, while it suffers from a few gaps in logic and common sense as our lead character never thinks to use technology to snap a photo, record a threat as evidence, or merely research one of two sketchy backstories involving both her boyfriend as well as Pammie, as a journalist, Jones knows how to assemble a compelling story.
Although it raises a valid concern regarding how much we change and/ore are willing to take when we're in a committed relationship, because more than a few people in Pammie's orbit suffer from serious likability issues, I kept wanting to yell at the fictional Emily as though she were on the other end of the phone, “honey, just leave already!”
Nonetheless still able to reel me back in and (mostly) suspend my disbelief, as I grew closer to the final Emily vs. Pammie standoff, I found myself walking around with the book in hand, waiting to see what Jones had in store for the finale.
Needing to reveal, explain, and wrap-up everything in a very rushed showdown that perhaps involves way too much spoken exposition, while that device has been used so often in books and film that it's easy to overlook, one of Woman's biggest hurdles isn't in the book at all but on the cover.
A vital reminder for publishers to be careful as to which blurbs you include on the book itself, because my Advanced Reader Copy arrived complete with a quotation advertising “a twist you will not see coming,” readers (like yours truly) are sure to find their brains working overtime to the point that I was able to correctly deduce where Jones might be going roughly halfway through.
Of course it's still an incredibly fun read and I didn't have all of the nuts and bolts of said twist squared away to the point that it ruined everything. All the same and regardless of the fact that all of these genre titles have twists, I would've loved it even more if I'd never been tipped off that there was something that far out of left field for which to look.
Even so an impressive debut that I thank Minotaur Books for sending me, The Other Woman might make you uneasy to meet your new love's parents but it'll definitely excite you to imagine what new novels and twists Jones might have up her sleeve.
Kristy H (1252 KP) rated The Stone Circle (Ruth Galloway, #11) in Books
Jun 21, 2019
When DCI Nelson receives the letter, he's immediately transported back to twenty years ago, when young Lucy Downey went missing and the first letters began. Then, to ten years later, when they found the bones in the Saltmarsh. It was then that Ruth first came in to Nelson's life, when she was called to examine the bones. While the bones weren't related to Lucy, she also took a look at the letters. And, of course, became entwined in Nelson's life. During that time, another child died, and the killer drowned on the marshes. The letter writer, Erik Anderssen, Ruth's mentor, also died that night too. Now, Ruth is assisting with a new dig in the Saltmarsh in a stone circle--one with ties to Erik. While digging, they find recent bones believed to belong to Margaret Lacey, who went missing in 1981 at the age of twelve. As the the investigation into Margaret's case begins, it looks like it has ties to Nelson's earlier cases--the letters, the bones, the missing kids, and more. But that killer is dead--right?
"'He's back,' says Clough. 'Bollocks,' says Nelson. 'He's dead.'"
The wonderful Elly Griffiths brings us back to her first Ruth Galloway book, The Crossing Places in this, her eleventh Ruth story. Yet, the tale feels as fresh and intriguing as ever. I just love the Ruth Galloway series--the tone of these books is unlike almost any other. Ruth seems real to me by now, like an old friend, and don't even get me started on Nelson, our beloved, sarcastic, DCI. Griffiths has an amazing ability to characterize Ruth and Nelson (and the whole crew) and capture their own distinct voices. Her books are at turns funny, familiar, and sometimes heartbreaking as Ruth and Nelson try to navigate their own relationship--and the other relationships that may or may not keep them apart. Michelle, Nelson's wife, has her baby in this one (cliffhanger resolved), and there is progress made on other personal fronts as well.
It almost seems like icing on the cake that we are treated to an enjoyable mystery along with our lovely characters and just overall familiarity. I found the case in this one to be engrossing, especially with the ties back to the earlier book. (I highly recommend reading this series from the beginning--it's the best way to catch all the little nuances and bits of humor, but the book will stand alone.) Margaret's disappearance is interesting--and her story brings a whole new cast of characters, several of whom entwine with our usual suspects.
All in all, as always, another winner from Griffiths. I could read her books constantly, and I love Ruth and Nelson (and Kate, Ruth's seven-year-old) so dearly! They truly seem real to me. If you've been reading this series from book #1, you'll enjoy the usual humor (oh Nelson) and returning to our cast of characters. If you like a good mystery (with some archaeological flavor sprinkled in), you won't be disappointed either. 4.5 stars.
"'He's back,' says Clough. 'Bollocks,' says Nelson. 'He's dead.'"
The wonderful Elly Griffiths brings us back to her first Ruth Galloway book, The Crossing Places in this, her eleventh Ruth story. Yet, the tale feels as fresh and intriguing as ever. I just love the Ruth Galloway series--the tone of these books is unlike almost any other. Ruth seems real to me by now, like an old friend, and don't even get me started on Nelson, our beloved, sarcastic, DCI. Griffiths has an amazing ability to characterize Ruth and Nelson (and the whole crew) and capture their own distinct voices. Her books are at turns funny, familiar, and sometimes heartbreaking as Ruth and Nelson try to navigate their own relationship--and the other relationships that may or may not keep them apart. Michelle, Nelson's wife, has her baby in this one (cliffhanger resolved), and there is progress made on other personal fronts as well.
It almost seems like icing on the cake that we are treated to an enjoyable mystery along with our lovely characters and just overall familiarity. I found the case in this one to be engrossing, especially with the ties back to the earlier book. (I highly recommend reading this series from the beginning--it's the best way to catch all the little nuances and bits of humor, but the book will stand alone.) Margaret's disappearance is interesting--and her story brings a whole new cast of characters, several of whom entwine with our usual suspects.
All in all, as always, another winner from Griffiths. I could read her books constantly, and I love Ruth and Nelson (and Kate, Ruth's seven-year-old) so dearly! They truly seem real to me. If you've been reading this series from book #1, you'll enjoy the usual humor (oh Nelson) and returning to our cast of characters. If you like a good mystery (with some archaeological flavor sprinkled in), you won't be disappointed either. 4.5 stars.
Cynthia Armistead (17 KP) rated Changes (The Dresden Files, #12) in Books
Mar 1, 2018
I do not give out many 5-star ratings, but for this book I couldn't do anything else. That is despite the fact that [a:Jim Butcher|10746|Jim Butcher|https://images.gr-assets.com/authors/1400640324p2/10746.jpg] did something I honestly didn't think he would do to his legions of loyal readers, something that I absolutely detest. Something that I will not tell you about, because I loathe spoilers.
If you know anything about me, though, it means a great deal to say that even though I would drop most authors who use that particular technique like not just hot, but rotten hot potatoes, I cannot even consider not getting the next Dresden Files book and devouring it the very first millisecond I am able to do so.
My family can attest to the fact that I didn't just laugh out loud while reading <i>Changes</i>. (Anybody who doesn't laugh out loud at least once while reading the Dresden Files should be checked for rigor mortis.) This time I laughed so loud and so long at one point that Sam got up and came into the room where I was to make sure that I was okay and getting enough air. There was absolutely no way for me to explain what was so funny, of course, without spoilers.
While there is a great deal of humor, there is also darkness. A lot of darkness. The blurb for the book makes that clear. Susan, the love of Harry's life, kidnapped years ago by a Red Court vampire and half-turned in a plot to get at Dresden, is back with big, bad news: she had a daughter by him, and the child has been kidnapped by someone. As usual, things go downhill from there.
Many series start out with a bang, have maybe two or three strong volumes, then devolve into more and more and more contract fulfillment books that I occasionally think might be written by clever shell scripts. The Dresden Files is one of the few, beautiful exceptions, as volume twelve proves. I honestly thought that Butcher was winding things up to move on to other projects, due to some of the events in the book, but I will say that he surprised the bejesus out of me. This is definitely not a series-ending book!
I anxiously await number thirteen. I might even do something I've never done before, and pre-order it. Yes, Jim, you've got me hooked, and how.
If you know anything about me, though, it means a great deal to say that even though I would drop most authors who use that particular technique like not just hot, but rotten hot potatoes, I cannot even consider not getting the next Dresden Files book and devouring it the very first millisecond I am able to do so.
My family can attest to the fact that I didn't just laugh out loud while reading <i>Changes</i>. (Anybody who doesn't laugh out loud at least once while reading the Dresden Files should be checked for rigor mortis.) This time I laughed so loud and so long at one point that Sam got up and came into the room where I was to make sure that I was okay and getting enough air. There was absolutely no way for me to explain what was so funny, of course, without spoilers.
While there is a great deal of humor, there is also darkness. A lot of darkness. The blurb for the book makes that clear. Susan, the love of Harry's life, kidnapped years ago by a Red Court vampire and half-turned in a plot to get at Dresden, is back with big, bad news: she had a daughter by him, and the child has been kidnapped by someone. As usual, things go downhill from there.
Many series start out with a bang, have maybe two or three strong volumes, then devolve into more and more and more contract fulfillment books that I occasionally think might be written by clever shell scripts. The Dresden Files is one of the few, beautiful exceptions, as volume twelve proves. I honestly thought that Butcher was winding things up to move on to other projects, due to some of the events in the book, but I will say that he surprised the bejesus out of me. This is definitely not a series-ending book!
I anxiously await number thirteen. I might even do something I've never done before, and pre-order it. Yes, Jim, you've got me hooked, and how.
Kristy H (1252 KP) rated Always and Forever, Lara Jean in Books
Feb 1, 2018
In the final book of Jenny Han's "To All the Boys I've Loved Before" series, we find our heroine, Lara Jean, in her senior year of high school and facing some big changes: college choices; her dad's impending marriage (yay, Mrs. Rothschild!); and figuring out the fate of her relationship with her handsome high school sweetheart, Peter K. The plan, of course, is for Lara Jean and Peter to head to UVA together. Peter already has a lacrosse scholarship there, and Lara Jean's acceptance email should be arriving any day. Still, Lara Jean is worried about the possibility of change and if things do not go exactly according to her plans.
I can't remember how I stumbled across this series, beloved to me (a mid-thirties lesbian) and teen girls everywhere, but I do have such a soft spot for Lara Jean. My girl is all grown up now! *sniff sniff* I love this series even more because it's basically set in my hometown, and I get to read about references to Bodo's Bagels, UVA and the Rotunda, BBQ Exchange, and more.
The strength of Han's series certainly centers around Lara Jean. She's such a realistic and endearing character, and she's grown and progressed over the three books. I adore her spirit, her love of baking, and her fierce devotion to her family. Indeed, Lara Jean's family is very well fleshed out, and you can so easily visualize each of her sisters and their poor, beleaguered father. Everyone--even our additional supporting characters--feels like family by now.
The hardest part of this book was that it felt a bit like filler. Don't get me wrong, I'm glad Han wrote a third book, and I'm happy to see what happened to Lara Jean, Peter, and the rest of the gang, but it sort of feel like we were killing time for the sake of killing time. There's no major plot impetus beyond college decisions and Mr. Covey's wedding preparations. It ties back to a thread in the first book involving Lara Jean's mom warning about not going to college with a boyfriend (remember Margot and Josh?), but it's a tenuous thread.
Still, this is a sweet book, and I enjoyed most of it, though Peter didn't always seem like his usual self. (I don't enjoy when "stress" is an excuse for guys to treat girls poorly.) I was glad to see Lara Jean stay true to her Lara Jean self: she's just so fun, spunky, and adorable. Han says definitively at the end that she won't write anymore about Lara Jean and even though I felt like this book was a little bit of fluff, I still felt sad reading that, because darnit, it was Lara Jean fluff, and I love her.
You can find my review of the first book <a href="https://www.goodreads.com/review/show/1521015379?book_show_action=false&from_review_page=1">here</a>; and the second <a href="https://www.goodreads.com/review/show/1521018057?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;
I can't remember how I stumbled across this series, beloved to me (a mid-thirties lesbian) and teen girls everywhere, but I do have such a soft spot for Lara Jean. My girl is all grown up now! *sniff sniff* I love this series even more because it's basically set in my hometown, and I get to read about references to Bodo's Bagels, UVA and the Rotunda, BBQ Exchange, and more.
The strength of Han's series certainly centers around Lara Jean. She's such a realistic and endearing character, and she's grown and progressed over the three books. I adore her spirit, her love of baking, and her fierce devotion to her family. Indeed, Lara Jean's family is very well fleshed out, and you can so easily visualize each of her sisters and their poor, beleaguered father. Everyone--even our additional supporting characters--feels like family by now.
The hardest part of this book was that it felt a bit like filler. Don't get me wrong, I'm glad Han wrote a third book, and I'm happy to see what happened to Lara Jean, Peter, and the rest of the gang, but it sort of feel like we were killing time for the sake of killing time. There's no major plot impetus beyond college decisions and Mr. Covey's wedding preparations. It ties back to a thread in the first book involving Lara Jean's mom warning about not going to college with a boyfriend (remember Margot and Josh?), but it's a tenuous thread.
Still, this is a sweet book, and I enjoyed most of it, though Peter didn't always seem like his usual self. (I don't enjoy when "stress" is an excuse for guys to treat girls poorly.) I was glad to see Lara Jean stay true to her Lara Jean self: she's just so fun, spunky, and adorable. Han says definitively at the end that she won't write anymore about Lara Jean and even though I felt like this book was a little bit of fluff, I still felt sad reading that, because darnit, it was Lara Jean fluff, and I love her.
You can find my review of the first book <a href="https://www.goodreads.com/review/show/1521015379?book_show_action=false&from_review_page=1">here</a>; and the second <a href="https://www.goodreads.com/review/show/1521018057?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;
Hopper - Watch & Book Flights
Travel and Reference
6.0
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Save up to 40% on your next flight! Hopper predicts the future of airfare. Watch your next flight in...
I like nothing better than being the unseen observer of a family (in a book, anyway!), and Free Love gives the reader plenty to be looking at.
Phyllis is a typical 1950’s/ 60’s housewife, but is she happy in her role as a housewife? She says yes, but I’d guess not, because when the son of a friend comes for dinner, Phyllis ends up making a pass at him, and then becomes obsessed - to the point that she finds out where he lives, goes to return a shirt that he had to change out of and ends up in bed with him. Then she just doesn’t go home.
Phyllis discovers the liberating 1960’s right at the end of the decade (1967), and shrugs off the responsibilities of motherhood and of being Roger’s wife. Instead she moves in with Nicky, has sex all the time and does whatever she wants to.
It felt like I was watching a car crash in slow motion. I could empathise with Phyllis’ need for freedom: her previous life in the suburbs was stifled and grey. I felt sad for her 16 year old daughter Colette, who is essentially dumped by her mother and left with a father who isn’t coping. It’s almost as if Colette becomes the adult, and her mother the carefree teenager.
I enjoyed the 1960’s setting and the contrasts of old and new. The whole story is told from a non-judgemental point of view. That’s left up to the reader to decide, and believe me, this really did prove how scarily judgemental I can be! There’s something to be said about a middle-class woman who decides to live in a filthy bedsit, expecting others who live in it to enjoy their freedom as much as she does (with her cushion of inherited money).
The plot twist at the end was a jaw dropper!
I loved this though. It might not sound like it, but I do love to hate my characters (although that’s a harsh word for the characters in this book, I think). If you feel the same way about unlikeable characters, then this could be the book for you too!
Phyllis is a typical 1950’s/ 60’s housewife, but is she happy in her role as a housewife? She says yes, but I’d guess not, because when the son of a friend comes for dinner, Phyllis ends up making a pass at him, and then becomes obsessed - to the point that she finds out where he lives, goes to return a shirt that he had to change out of and ends up in bed with him. Then she just doesn’t go home.
Phyllis discovers the liberating 1960’s right at the end of the decade (1967), and shrugs off the responsibilities of motherhood and of being Roger’s wife. Instead she moves in with Nicky, has sex all the time and does whatever she wants to.
It felt like I was watching a car crash in slow motion. I could empathise with Phyllis’ need for freedom: her previous life in the suburbs was stifled and grey. I felt sad for her 16 year old daughter Colette, who is essentially dumped by her mother and left with a father who isn’t coping. It’s almost as if Colette becomes the adult, and her mother the carefree teenager.
I enjoyed the 1960’s setting and the contrasts of old and new. The whole story is told from a non-judgemental point of view. That’s left up to the reader to decide, and believe me, this really did prove how scarily judgemental I can be! There’s something to be said about a middle-class woman who decides to live in a filthy bedsit, expecting others who live in it to enjoy their freedom as much as she does (with her cushion of inherited money).
The plot twist at the end was a jaw dropper!
I loved this though. It might not sound like it, but I do love to hate my characters (although that’s a harsh word for the characters in this book, I think). If you feel the same way about unlikeable characters, then this could be the book for you too!
Podomatic Podcast Player - Podcasts & DJ Mixes
Music and Entertainment
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Purple Phoenix Games (2266 KP) rated Stellar Leap in Tabletop Games
Apr 23, 2020
You are the member of an alien species, and your mission is to explore the galaxy! Discover new solar systems, build colonies on new planets, and gather resources along the way to sustain your species. Some neighboring alien species have also decided to foray into exploration, and will likely cross your path at some point or another. Are you a friendly race, willing to cooperate and maybe even cohabit a new planet? Or are you more aggressive and less willing to share? Only time, the cards, and the dice, will tell. Put your strategy to the test as you race to become the most prestigious alien species in the galaxy. So suit up and get ready for blast off!
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. We do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
Stellar Leap is, at its core, a worker placement game with elements of dice rolling, variable powers, and a modular ‘board’ sprinkled in. To setup, each player receives an individual player board and components, while the Galaxy is set up for use by all players. Players then add their home planet, as well as 1 population marker, to the Galaxy, and the game is ready to begin! Stellar Leap is played over a series of rounds in which players take turns performing any or all actions available to them.
To begin a turn, players first recover any Population markers that may have been exhausted on their last turn (more on that in a bit). Next, the player rolls the two dice, manipulating them with Special Dice Powers if desired, and resources are collected. The Galaxy is set up in columns, each column numbered 1-6, to which these dice rolls will correspond. If you have a Population marker on a planet in one of the columns that corresponds to your die roll (you have a Population in column 4 and you rolled a 4), you collect the resources provided by that planet. It is important to note that any player can receive resources from a die roll, even if it is not their turn!
The next phase of play involves three elements: Movement, High Command Actions, and Division Actions. There is no limit to the amount of Movement you can take on your turn, as long as you have resources available to perform that action. You may take two High Command Actions: Populate (add a new Population marker to a planet), Tax (collect any two resources), Discover (add planets/asteroids to the Galaxy), or Attack (fight an opponent located on the same planet as yourself). The same High Command Action could be performed twice on your turn, but you can only perform two per turn. The Division Actions can each be taken once per turn. Those actions are: Intelligence (complete a Mission), Mining (mine an asteroid for resources), or Labor (exhaust one of your populations on a planet to receive additional resources). Movement, High Command Actions, and Division Actions can be taken in any order on your turn – turns are not ‘set’ in a specific order and actions can be taken at your discretion. You also are not required to take every available action on your turn if you do not want to – your turns could be as long or as brief as you want them to be, depending on which actions you want to take.
At certain points throughout play, Events will be triggered. When an Event is triggered, draw the top Event card and resolve its effect. Some are resolved immediately, and some remain in play for the rest of the game. The game ends once six Events have been triggered. Players then tally up their Prestige points (earned by completing Missions, discovering planets, winning combats, and fulfilling their secret objectives), and the player with the highest Prestige is declared the winner!
So as you can see, there is quite a bit going on in Stellar Leap. Admittedly, it seemed pretty daunting to me as I first read through the rules. But in all actuality, the game flows pretty efficiently and calmly. How? Player Reference cards! I absolutely looooove a game that includes good references cards for player turns because it makes it so much easier to check instead of digging through the entire rulebook for an answer. The Player Reference cards included in this game are well-written, clear, and concise, and that truly helps the game flow smoothly even though there are many elements to every turn. Another thing that I love about Stellar Leap is that you have so many strategic options. Everyone has their own secret objectives for end-game scoring to complete, but you also have to decide which Missions you’d like to accomplish to earn points as well. And do you want to risk many combats, or would you rather live harmoniously with your opponents? When adding planets/asteroids to the Galaxy, you also have to strategize where you should put them – do you want them close to you for easy access? Or do you want to keep them as far away from opponents as necessary? The modular board makes this a different game every time you play, so you can’t just pick a blanket strategy for every play.
The only thing that gives me pause with this game are the rules regarding Movement. You pay certain resources to move, but it depends on the ‘threat level’ of the destination as well as its location in your Solar System or a neighboring Solar System. It just was a little tricky to keep track of how many of each resource I had to pay to move, when moving more than just one planet away. That aspect takes a little bit more concentration, but other than that, the game gave me no issues.
Speaking of no issues, let’s touch on components. The player boards are dual-layered and they are awesome. The text is clear, the organization is logical, and they are just of a great quality. The cards are nice and sturdy, the ‘meeples’ are cute and chunky, and the cardboard chits are good too. The space theme is definitely translated well in this game, and that adds to the immersion.
Overall, I would say Stellar Leap is stellar. (Ha, see what I did there?) The gameplay is engaging and the strategy is adaptable. Some of the rules seem a little tedious in some aspects, but for the most part, they are logical and easy to remember. Weird Giraffe Games is a publisher that has made a blip on our radar, and we are excited to see what other games they will put out in the future – we’ve been impressed so far! Purple Phoenix Games gives Stellar Leap an other-worldly 9 / 12.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. We do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
Stellar Leap is, at its core, a worker placement game with elements of dice rolling, variable powers, and a modular ‘board’ sprinkled in. To setup, each player receives an individual player board and components, while the Galaxy is set up for use by all players. Players then add their home planet, as well as 1 population marker, to the Galaxy, and the game is ready to begin! Stellar Leap is played over a series of rounds in which players take turns performing any or all actions available to them.
To begin a turn, players first recover any Population markers that may have been exhausted on their last turn (more on that in a bit). Next, the player rolls the two dice, manipulating them with Special Dice Powers if desired, and resources are collected. The Galaxy is set up in columns, each column numbered 1-6, to which these dice rolls will correspond. If you have a Population marker on a planet in one of the columns that corresponds to your die roll (you have a Population in column 4 and you rolled a 4), you collect the resources provided by that planet. It is important to note that any player can receive resources from a die roll, even if it is not their turn!
The next phase of play involves three elements: Movement, High Command Actions, and Division Actions. There is no limit to the amount of Movement you can take on your turn, as long as you have resources available to perform that action. You may take two High Command Actions: Populate (add a new Population marker to a planet), Tax (collect any two resources), Discover (add planets/asteroids to the Galaxy), or Attack (fight an opponent located on the same planet as yourself). The same High Command Action could be performed twice on your turn, but you can only perform two per turn. The Division Actions can each be taken once per turn. Those actions are: Intelligence (complete a Mission), Mining (mine an asteroid for resources), or Labor (exhaust one of your populations on a planet to receive additional resources). Movement, High Command Actions, and Division Actions can be taken in any order on your turn – turns are not ‘set’ in a specific order and actions can be taken at your discretion. You also are not required to take every available action on your turn if you do not want to – your turns could be as long or as brief as you want them to be, depending on which actions you want to take.
At certain points throughout play, Events will be triggered. When an Event is triggered, draw the top Event card and resolve its effect. Some are resolved immediately, and some remain in play for the rest of the game. The game ends once six Events have been triggered. Players then tally up their Prestige points (earned by completing Missions, discovering planets, winning combats, and fulfilling their secret objectives), and the player with the highest Prestige is declared the winner!
So as you can see, there is quite a bit going on in Stellar Leap. Admittedly, it seemed pretty daunting to me as I first read through the rules. But in all actuality, the game flows pretty efficiently and calmly. How? Player Reference cards! I absolutely looooove a game that includes good references cards for player turns because it makes it so much easier to check instead of digging through the entire rulebook for an answer. The Player Reference cards included in this game are well-written, clear, and concise, and that truly helps the game flow smoothly even though there are many elements to every turn. Another thing that I love about Stellar Leap is that you have so many strategic options. Everyone has their own secret objectives for end-game scoring to complete, but you also have to decide which Missions you’d like to accomplish to earn points as well. And do you want to risk many combats, or would you rather live harmoniously with your opponents? When adding planets/asteroids to the Galaxy, you also have to strategize where you should put them – do you want them close to you for easy access? Or do you want to keep them as far away from opponents as necessary? The modular board makes this a different game every time you play, so you can’t just pick a blanket strategy for every play.
The only thing that gives me pause with this game are the rules regarding Movement. You pay certain resources to move, but it depends on the ‘threat level’ of the destination as well as its location in your Solar System or a neighboring Solar System. It just was a little tricky to keep track of how many of each resource I had to pay to move, when moving more than just one planet away. That aspect takes a little bit more concentration, but other than that, the game gave me no issues.
Speaking of no issues, let’s touch on components. The player boards are dual-layered and they are awesome. The text is clear, the organization is logical, and they are just of a great quality. The cards are nice and sturdy, the ‘meeples’ are cute and chunky, and the cardboard chits are good too. The space theme is definitely translated well in this game, and that adds to the immersion.
Overall, I would say Stellar Leap is stellar. (Ha, see what I did there?) The gameplay is engaging and the strategy is adaptable. Some of the rules seem a little tedious in some aspects, but for the most part, they are logical and easy to remember. Weird Giraffe Games is a publisher that has made a blip on our radar, and we are excited to see what other games they will put out in the future – we’ve been impressed so far! Purple Phoenix Games gives Stellar Leap an other-worldly 9 / 12.
