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JT (287 KP) rated Killing Them Softly (2012) in Movies
Mar 10, 2020
There was quite a significant gap between films for writer/director Andrew Dominik, five years in fact. His last feature length outing The Assassination of Jesse James by the Coward Robert Ford was a Western epic and here he has teamed up with Brad Pitt again for Killing Them Softly, one with a significantly shorter run time.
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
TheDefunctDiva (304 KP) rated The Cooler (2003) in Movies
Sep 26, 2017
C is for Cash Money
Contains spoilers, click to show
As a tribute to Sue Grafton, I shall use the alphabet to inspire catchy titles. Because I am a nerd like that. Caution, ye land lubbers: ahead be spoilers. Proceed at your own risk.
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
The Cooler is a tale of contrast: good luck is pitted against bad luck, and old is seen in stark contrast to new. We are immediately introduced to Bernie Lootz, an individual with such phenomenally bad luck that it is actually contagious. Bound by obligation and a misguided sense of loyalty to his boss, Shelly Kaplow, Bernie works at the Golden Shangri-La Casino as a “cooler.” His presence at a table can cause a winning streak to instantaneously turn sour. The unfortunate Bernie is no stranger to pain: his boss and supposed friend, Shelly, once shattered his kneecap with a baseball bat. Bernie also has great difficulty with his other personal relationships. His estranged son, with whom Bernie hopes for reconciliation, immediately swindles the hapless fellow.
To make matters worse for Bernie, who wants nothing more than to be done with Vegas, Shelly is battling his own brand of misfortune. New management is suggesting a re-haul of the establishment he helmed for 16 years. Shelly argues for the casino to limp along as it is, and maintain the traditions originated by the mafia. He desperately and unfairly clings to Bernie, who remains an unwilling symbol of these old practices.
William H. Macy breaks my heart in every movie that I've seen him in. This film, where Macy expertly depicts the "unluckiest man in Vegas," offers no exception to that rule. There is a familiar vulnerability he lends to each facial expression that simultaneously earns my respect and pity. Bernie Lootz is a human being with a seemingly supernatural ability to receive, harness, and project bad luck. This requires some suspension of disbelief on the part of the viewer, and Macy is one of the few actors capable of making such a concept convincing.
Maria Bello is cast alongside Macy as a waitress and Bernie's love interest, Natalie. As often mentioned in the script, she seems entirely out of Bernie's league. And yet, the skilled actors created a romance which seemed entirely natural after the first evening's awkwardness. And as the two progress to love, Lootz's luck begins to change, as it does for the Casino patrons he comes into contact with. His presence becomes a blessing instead of a curse, putting his unwanted career path and his lady love in danger.
The man pulling the strings (or breaking the kneecaps, as it were) at the Golden Shangri-La is no other than Jack Donaghy...er, Alec Baldwin. Baldwin's performance rightfully garnered several awards and nominations, including an Oscar nod. Shelly is handsome, old school, and at times, utterly terrifying. He is resistant to change, often violently so. He cannot reconcile his ideals with the Vegas brand of commercialized progress, and he takes out his frustrations on friend and foe alike.
This film also featured a small but powerful role played by Paul Sorvino. Buddy Stafford has the voice of an angel, but a demon of a drug habit, and he provided an excellent foil for Shelly's beliefs in maintaining tradition.
The Cooler is too gritty a film to call "cute," but that's currently the only word coming to mind. It has something for the mob-lover and the romantic in everyone. And you should watch this little love story lest I should make things uncomfortable for you in the future, you know what I'm sayin'???
Phillip McSween (751 KP) rated Green Book (2018) in Movies
Dec 23, 2018
Phenomenal
Sometimes a solid film can catch you off guard. Blockbusters, Marvel films, anything Disney, those are the ones you expect to succeed and most times they do. However, sometimes films come along that aren’t highly publicized that gives you a glimpse of its potential in a trailer you never even would have seen had you not gone to see a certain movie. Enter Green Book, the story of famous black pianist Dr. Don Shirley (Mahershala Ali) and his decision to embark on a tour in the deep south accompanied by his driver and protector, an American-Italian man named Tony Lip (Viggo Mortensen).
Acting: 10
You can tell someone is killing at their job as an actor in a movie when you don’t even recognize them. Viggo Mortensen is out of this world amazing in his performance as Tony. He’s tough as nails, but you can see his softer side coming forth as the movie progresses. He and Mahershala Ali have a phenomenal chemistry that carries the story and entertains you from start to finish. They make you feel as if they’re actually becoming the best of friends as their worlds collide. I loved the intensity of some of their scenes and how they could turn on a dime and bring you a little laughter. Also, not-so-small shout out to Linda Cardellini who plays Lip’s wife Dolores as her performance was extremely solid as well.
Beginning: 10
Characters: 10
Tony Lip is easily one of my favorite characters in any 2018 movie this year. He is the typical gruff male and the stereotypical American-Italian type, but it’s eye-opening and fun to watch a character like that in a setting that’s not a mafia movie. His progression is what makes him great, or adds to his greatness rather. I couldn’t imagine coming across a guy like Tony Lip and not liking him after five minutes of meeting him.
I don’t want to downplay Don Shirley’s character, although Lip does steal the show. Shirley is one we can learn from, a guy that fights through adversity and is determined to win at all costs. He is a lost soul that drowns himself in the highs and lows of alcohol and music. You pity him and you cheer for him at the same time.
Cinematography/Visuals: 9
I am always impressed with period pieces and how they are able to capture regions so well. There is such a great depiction here of the northeast vs. the deep south that transports you easily from one region to the next. One minute you’re on a bustling street in the middle of New York and the next you’re on country road surrounded by trees being taken to a backwoods gas station. Just thinking about it even now made me add another point on. I also loved the stark contrast between the beautiful venues where Shirley would play and the grimy hotels he had to stay in because of the color of his skin. It was a major eye-opener and a punch to the gut when you see it on screen.
Conflict: 10
Genre: 8
Memorability: 10
Great choice on the title as it alone helps the film to stand out. You will understand when you see it, trust me. Overall Green Book is a beautiful tale that ultimately breaks stereotypes and spin things in a different light we don’t quite expect. I loved how there were a number of scenes that were not only funny, but touching at the same time.
Pace: 10
Plot: 10
Resolution: 10
Slightly cheesy, slightly unrealistic. I don’t care. To me, it was a fitting ending to an overall solid story. It’s got my seal of approval.
Overall: 97
I love when unexpected gems hit me in the face like Green Book. Go see this film. You will not be disappointed.
Acting: 10
You can tell someone is killing at their job as an actor in a movie when you don’t even recognize them. Viggo Mortensen is out of this world amazing in his performance as Tony. He’s tough as nails, but you can see his softer side coming forth as the movie progresses. He and Mahershala Ali have a phenomenal chemistry that carries the story and entertains you from start to finish. They make you feel as if they’re actually becoming the best of friends as their worlds collide. I loved the intensity of some of their scenes and how they could turn on a dime and bring you a little laughter. Also, not-so-small shout out to Linda Cardellini who plays Lip’s wife Dolores as her performance was extremely solid as well.
Beginning: 10
Characters: 10
Tony Lip is easily one of my favorite characters in any 2018 movie this year. He is the typical gruff male and the stereotypical American-Italian type, but it’s eye-opening and fun to watch a character like that in a setting that’s not a mafia movie. His progression is what makes him great, or adds to his greatness rather. I couldn’t imagine coming across a guy like Tony Lip and not liking him after five minutes of meeting him.
I don’t want to downplay Don Shirley’s character, although Lip does steal the show. Shirley is one we can learn from, a guy that fights through adversity and is determined to win at all costs. He is a lost soul that drowns himself in the highs and lows of alcohol and music. You pity him and you cheer for him at the same time.
Cinematography/Visuals: 9
I am always impressed with period pieces and how they are able to capture regions so well. There is such a great depiction here of the northeast vs. the deep south that transports you easily from one region to the next. One minute you’re on a bustling street in the middle of New York and the next you’re on country road surrounded by trees being taken to a backwoods gas station. Just thinking about it even now made me add another point on. I also loved the stark contrast between the beautiful venues where Shirley would play and the grimy hotels he had to stay in because of the color of his skin. It was a major eye-opener and a punch to the gut when you see it on screen.
Conflict: 10
Genre: 8
Memorability: 10
Great choice on the title as it alone helps the film to stand out. You will understand when you see it, trust me. Overall Green Book is a beautiful tale that ultimately breaks stereotypes and spin things in a different light we don’t quite expect. I loved how there were a number of scenes that were not only funny, but touching at the same time.
Pace: 10
Plot: 10
Resolution: 10
Slightly cheesy, slightly unrealistic. I don’t care. To me, it was a fitting ending to an overall solid story. It’s got my seal of approval.
Overall: 97
I love when unexpected gems hit me in the face like Green Book. Go see this film. You will not be disappointed.
Gareth von Kallenbach (965 KP) rated Triple 9 (2016) in Movies
Aug 6, 2019
A crew of bank robbers is strong-armed by the Russian mob to pull off a near impossible heist due the response time of the police. In order to create a larger window, the dirty cops of this crew suggest creating a 999 (police code for “officer down.”) on the other side of town. That is the basic plot of Triple 9. Yet, the tagline for this film is, “The Code on the street is never black and white.” Seems like a different movie which is part of the letdown of Triple 9. It doesn’t know what it wants to be. Is it a heist movie like Heat or The Town? Or is it trying to be a movie about the cops and the rules of the streets like Training Day?
In the beginning, the film sets its self-up to be a smart and stylistic heist film. However shortly after it begins to feel disjointed as it attempts to develop everyone in its ensemble cast to the point where it hurts the story and some excellent performances become forgettable. It’s a shame because somewhere in this film is potentially two excellent separate films. One film about a crew having to complete a heist for the mob to save their lives and loved ones, and another about dirty cops, their partners and the moral ambiguity of the code on the streets. In Triple 9, these two premises never really get developed on one side or the other and thus everything is just left there.
On the heist side, Chiwetel Ejiofor plays ex-mercenary Michael Atwood. Michael is the careful and calculating leader of the crew, but is tied to the Russian mafia through the mother of his son. Michael is constantly being coerced by the Russian Mob Boss, played by Kate Winslet. The two give stellar performances, most notably Winslet who is cold and ruthless in wielding her power, speaking her mind and not caring how the job gets done as long as it gets done.
On the cop side, Anthony Mackie plays dirty police detective Marcus Belmont who becomes partnered with the ex-marine turned rookie detective Chris Allen (Casey Affleck). Belmont feels that the rookie doesn’t respect the streets and his “Do-gooder” “make a difference” attitude is going to get him killed. When Belmont’s heist crewmate Jorge Rodriguez (Clifton Collins Jr.) learns Chris is also the nephew of the Sergeant Detective (Woody Harrelson) investigating the heist crew, Chris becomes the clear candidate to be set up for the Triple 9. (Convenient huh)
Ultimately, as the story plays out it feels we are always arriving at the end of the meeting to plan the coming events. From the planning of the heist, to the set up murder, and to the exit plan, we are just carried through the motions without much motivation of how or why things have to play out the way they do. As a result, I didn’t really care for any of the characters good or bad, unlike other films of this nature. Even Ejiofor’s character Michael, who has his child involved, doesn’t get the opportunity to really show why the rest of the crew respects him and follows him, or why he needs to stay alive for his son, who basically seems better off being taken care of by the Russian mob.
In the end Triple 9 is not a bad movie, it just isn’t really a great one either. It has strong performances by the entire cast and has the makings of something great, but fails to deliver on that opportunity with a disjointed story trying to focus on too many characters. This makes it ultimately forgettable compared to other heist films of similar nature.
In the beginning, the film sets its self-up to be a smart and stylistic heist film. However shortly after it begins to feel disjointed as it attempts to develop everyone in its ensemble cast to the point where it hurts the story and some excellent performances become forgettable. It’s a shame because somewhere in this film is potentially two excellent separate films. One film about a crew having to complete a heist for the mob to save their lives and loved ones, and another about dirty cops, their partners and the moral ambiguity of the code on the streets. In Triple 9, these two premises never really get developed on one side or the other and thus everything is just left there.
On the heist side, Chiwetel Ejiofor plays ex-mercenary Michael Atwood. Michael is the careful and calculating leader of the crew, but is tied to the Russian mafia through the mother of his son. Michael is constantly being coerced by the Russian Mob Boss, played by Kate Winslet. The two give stellar performances, most notably Winslet who is cold and ruthless in wielding her power, speaking her mind and not caring how the job gets done as long as it gets done.
On the cop side, Anthony Mackie plays dirty police detective Marcus Belmont who becomes partnered with the ex-marine turned rookie detective Chris Allen (Casey Affleck). Belmont feels that the rookie doesn’t respect the streets and his “Do-gooder” “make a difference” attitude is going to get him killed. When Belmont’s heist crewmate Jorge Rodriguez (Clifton Collins Jr.) learns Chris is also the nephew of the Sergeant Detective (Woody Harrelson) investigating the heist crew, Chris becomes the clear candidate to be set up for the Triple 9. (Convenient huh)
Ultimately, as the story plays out it feels we are always arriving at the end of the meeting to plan the coming events. From the planning of the heist, to the set up murder, and to the exit plan, we are just carried through the motions without much motivation of how or why things have to play out the way they do. As a result, I didn’t really care for any of the characters good or bad, unlike other films of this nature. Even Ejiofor’s character Michael, who has his child involved, doesn’t get the opportunity to really show why the rest of the crew respects him and follows him, or why he needs to stay alive for his son, who basically seems better off being taken care of by the Russian mob.
In the end Triple 9 is not a bad movie, it just isn’t really a great one either. It has strong performances by the entire cast and has the makings of something great, but fails to deliver on that opportunity with a disjointed story trying to focus on too many characters. This makes it ultimately forgettable compared to other heist films of similar nature.
Purple Phoenix Games (2266 KP) rated The Resistance: Avalon in Tabletop Games
Jun 12, 2019
Do you appreciate your friends and your relationships with them? If so, please read no further. Do you want to dissolve your friendships and cause your family members to wonder what went wrong with you and never trust you again? Play The Resistance: Avalon with them.
The Resistance: Avalon (which we always just refer to as simply Avalon) is a game of hidden roles played over several rounds where the “good guys” from King Arthur’s court are pitted against the “bad guys” in Mordred’s thrall. The number of players at the table determines the number of players to be assigned to the good and bad guys squads and the required goals for victory for each team.
To begin, role cards are divvied up and players secretly find out which team they are on for the game. Blue background cards are good guys, red are bad guys. ALERT! Yes, already. I cannot tell you how many times games have been voided because a player was not quite sure what team they were on, so make sure your players know what’s up before continuing. From here a narrator player reads the script in the rulebook to give instructions to players with their eyes closed (a la Mafia or Werewolf). This allows different members of each team to know certain information about their own team or even the opposite team. Players are then instructed to open their eyes simultaneously and thus begins the game of facades.
A player is chosen at random to be the quest giver for now. This person then assigns other players to go on a quest. The “quest” is just a generic quest where it will either succeed or fail. Once the quest giver has made their choices, everyone at the table has a chance to vote to approve the quest team or deny the quest team. Simple majority vote wins. If the team is approved, the quest happens. If the team is denied, the next player in the circle becomes the quest giver and must create a new team of players to go questing.
Once approved, the quest team players are each given two cards: Success and Fail. Secretly, under the table works best, the players make their choices. ALERT! All good guys MUST CHOOSE SUCCESS CARDS so the quest can succeed. Bad guys can choose either one. The questers then pass their cards to an uninvolved player who will then shuffle the cards without looking at them. Once completed, the cards are revealed and thus the success or failure of the quest. If all cards are Success, then the quest was a success and the good guys mark this on the main board. If even just one Fail card appears the quest fails and the bad guys mark it on the main board. This continues until either the good guys win or the bad guys claim victory!
Components. The box is small (akin to the Tiny Epic size boxes). I’m not sure if the game comes with an insert because I won mine from a BGG auction. The cards included in the game are fine, and I sleeved mine because they get held quite a bit. The other miscellaneous tokens are nice and do the job well. This is a game that is less reliant on components, and much more so on game play.
If my intro seemed dark a foreboding, it was completely intentional. Have I witnessed friendships dissolving as a result of this game? Ok not entirely, but there have been some pretty amazing head turns and surprise reveals coupled with slapping and yelling. Not me, mind you, but others. In any case, this game is definitely one to check out if you are a fan of hidden role games and if you want to add tons of tension to your game night. I honestly have no idea why this game (or its older sibling The Resistance if you are more into that theme) isn’t in every game collection. Yes, I know, there are now TONS of hidden role games out there. But this is my favorite of the lot. By far.
We at Purple Phoenix Games are split somehow, giving this one 18 / 24. Obviously it is because Josh is a minion of Mordred and wants our review to fail.
https://purplephoenixgames.wordpress.com/2019/04/24/the-resistance-avalon-review/
The Resistance: Avalon (which we always just refer to as simply Avalon) is a game of hidden roles played over several rounds where the “good guys” from King Arthur’s court are pitted against the “bad guys” in Mordred’s thrall. The number of players at the table determines the number of players to be assigned to the good and bad guys squads and the required goals for victory for each team.
To begin, role cards are divvied up and players secretly find out which team they are on for the game. Blue background cards are good guys, red are bad guys. ALERT! Yes, already. I cannot tell you how many times games have been voided because a player was not quite sure what team they were on, so make sure your players know what’s up before continuing. From here a narrator player reads the script in the rulebook to give instructions to players with their eyes closed (a la Mafia or Werewolf). This allows different members of each team to know certain information about their own team or even the opposite team. Players are then instructed to open their eyes simultaneously and thus begins the game of facades.
A player is chosen at random to be the quest giver for now. This person then assigns other players to go on a quest. The “quest” is just a generic quest where it will either succeed or fail. Once the quest giver has made their choices, everyone at the table has a chance to vote to approve the quest team or deny the quest team. Simple majority vote wins. If the team is approved, the quest happens. If the team is denied, the next player in the circle becomes the quest giver and must create a new team of players to go questing.
Once approved, the quest team players are each given two cards: Success and Fail. Secretly, under the table works best, the players make their choices. ALERT! All good guys MUST CHOOSE SUCCESS CARDS so the quest can succeed. Bad guys can choose either one. The questers then pass their cards to an uninvolved player who will then shuffle the cards without looking at them. Once completed, the cards are revealed and thus the success or failure of the quest. If all cards are Success, then the quest was a success and the good guys mark this on the main board. If even just one Fail card appears the quest fails and the bad guys mark it on the main board. This continues until either the good guys win or the bad guys claim victory!
Components. The box is small (akin to the Tiny Epic size boxes). I’m not sure if the game comes with an insert because I won mine from a BGG auction. The cards included in the game are fine, and I sleeved mine because they get held quite a bit. The other miscellaneous tokens are nice and do the job well. This is a game that is less reliant on components, and much more so on game play.
If my intro seemed dark a foreboding, it was completely intentional. Have I witnessed friendships dissolving as a result of this game? Ok not entirely, but there have been some pretty amazing head turns and surprise reveals coupled with slapping and yelling. Not me, mind you, but others. In any case, this game is definitely one to check out if you are a fan of hidden role games and if you want to add tons of tension to your game night. I honestly have no idea why this game (or its older sibling The Resistance if you are more into that theme) isn’t in every game collection. Yes, I know, there are now TONS of hidden role games out there. But this is my favorite of the lot. By far.
We at Purple Phoenix Games are split somehow, giving this one 18 / 24. Obviously it is because Josh is a minion of Mordred and wants our review to fail.
https://purplephoenixgames.wordpress.com/2019/04/24/the-resistance-avalon-review/
Bob Mann (459 KP) rated Sleepless (2017) in Movies
Sep 29, 2021
A potentially good ‘B’ movie undone.
Ecclesiastes 1:9 came up with the oft used quote that “there is nothing new under the sun”. “Sleepless” proves that in spades.
Bent copper drama? Check.
Dodgy casino owner? Check.
Nasty “Black Rain” style hoodlum? Check.
Kidnapped teen (“I WILL find you”)? Check.
Misunderstood family man? Check.
All of these standard tropes are lobbed into the movie blender and pulsed well.
Holding it all together are solid performances from Jamie Foxx (“Django Unchained”) as Vincent Downs, the cop with a dodgy background, and Michelle Monaghan (“Source Code”, “Patriot’s Day”) as the internal affairs cop doggedly on his trail.
In terms of the storyline it’s best to go into the film (as I did) with limited knowledge of the plot (on which more below). As the film opens, and playing out a strong anti-hero role, Downs with his equally dodgy partner are involved in a shootout at a drug deal in the streets of Las Vegas. This allows them to get their hands on a significant quantity of heroine. Naturally they pocket this, but unbeknownst to them the deal was between casino boss Rubino (Dermot Mulrooney, “The Grey”) and the vicious mafia son of the local Novak family, Rob (Scoot McNairy, “Argo”). For Downs the pressure is on when his teenage son Thomas ( Octavius J. Johnson) is kidnapped as a trade for the drugs.
The film delivers some good fight scenes and action, but nothing we haven’t seen before in countless other movies like Bourne. What drags the film down though is the scripting and direction. There are such a range of implausibilities on show here that it makes you wonder why anyone involved in the film didn’t just stop and say “WAIT A MINUTE HERE GUYS” and demand a rewrite.
For example, Foxx suffers a severe knife wound early in the film, but repeatedly bounces from ‘full action hero fighting machine’ mode to ‘staggering and holding his side’ mode without pause. The wound adds nothing but implausibility to the action, so why include it at all??
And a scene in an underground car park involving copious quantities of tear gas brought tears of embarrassment to my eyes: an affliction that didn’t seem to affect any of the protagonists in the film!
This is a great shame, and writer Andrea Berloff (“Straight Outta Compton”) and Swiss-born director Baran bo Odar should have more respect for their audience’s intelligence (that’s the third movie in recent weeks I’ve made that comment on… it must be the time of year!).
It’s also extremely irritating that one of the key twists in the movie (although you may guess it) is so blatantly spoiled: both by an audio line in the trailer (commented on below) and – more appallingly – by one of the two straplines on the posters (I haven’t used that one to head my post). Thankfully I never noticed this before I saw the film.
Fox and Monaghan are too good for the material but have screen chemistry that keeps the film watchable. I also thought Scoot McNairy was great as the cold-eyed crazy hoodlum and it’s also interesting to see Dermot Mulrooney, so memorable as the male lead in 1997’s “My Best Friend’s Wedding”, back in a mainstream role.
By the way, I have no idea why the film is called “Sleepless”, other than it being based on a 2011 French film called “Nuit Blanche” which was perhaps written in a way where it made more sense. Vincent is no Jack Bauer and he gets more than a small opportunity to catnap during the running time!
In summary, the movie is perfectly watchable for its action moments. In fact, as I *think* my wife, who is a great fan of “Die Hard, “Taken”, et al would like it I’ve added a half-Fad to my initial rating. And it’s done with some style such that it has the *potential* to be a good film – – which is frustrating. But in my view it’s not worth the ticket price at the cinema: wait instead for it to arrive on Amazon/Netflix.
The end of the film suggests a set-up for a sequel. I doubt this is a sequel that will ever get made.
Bent copper drama? Check.
Dodgy casino owner? Check.
Nasty “Black Rain” style hoodlum? Check.
Kidnapped teen (“I WILL find you”)? Check.
Misunderstood family man? Check.
All of these standard tropes are lobbed into the movie blender and pulsed well.
Holding it all together are solid performances from Jamie Foxx (“Django Unchained”) as Vincent Downs, the cop with a dodgy background, and Michelle Monaghan (“Source Code”, “Patriot’s Day”) as the internal affairs cop doggedly on his trail.
In terms of the storyline it’s best to go into the film (as I did) with limited knowledge of the plot (on which more below). As the film opens, and playing out a strong anti-hero role, Downs with his equally dodgy partner are involved in a shootout at a drug deal in the streets of Las Vegas. This allows them to get their hands on a significant quantity of heroine. Naturally they pocket this, but unbeknownst to them the deal was between casino boss Rubino (Dermot Mulrooney, “The Grey”) and the vicious mafia son of the local Novak family, Rob (Scoot McNairy, “Argo”). For Downs the pressure is on when his teenage son Thomas ( Octavius J. Johnson) is kidnapped as a trade for the drugs.
The film delivers some good fight scenes and action, but nothing we haven’t seen before in countless other movies like Bourne. What drags the film down though is the scripting and direction. There are such a range of implausibilities on show here that it makes you wonder why anyone involved in the film didn’t just stop and say “WAIT A MINUTE HERE GUYS” and demand a rewrite.
For example, Foxx suffers a severe knife wound early in the film, but repeatedly bounces from ‘full action hero fighting machine’ mode to ‘staggering and holding his side’ mode without pause. The wound adds nothing but implausibility to the action, so why include it at all??
And a scene in an underground car park involving copious quantities of tear gas brought tears of embarrassment to my eyes: an affliction that didn’t seem to affect any of the protagonists in the film!
This is a great shame, and writer Andrea Berloff (“Straight Outta Compton”) and Swiss-born director Baran bo Odar should have more respect for their audience’s intelligence (that’s the third movie in recent weeks I’ve made that comment on… it must be the time of year!).
It’s also extremely irritating that one of the key twists in the movie (although you may guess it) is so blatantly spoiled: both by an audio line in the trailer (commented on below) and – more appallingly – by one of the two straplines on the posters (I haven’t used that one to head my post). Thankfully I never noticed this before I saw the film.
Fox and Monaghan are too good for the material but have screen chemistry that keeps the film watchable. I also thought Scoot McNairy was great as the cold-eyed crazy hoodlum and it’s also interesting to see Dermot Mulrooney, so memorable as the male lead in 1997’s “My Best Friend’s Wedding”, back in a mainstream role.
By the way, I have no idea why the film is called “Sleepless”, other than it being based on a 2011 French film called “Nuit Blanche” which was perhaps written in a way where it made more sense. Vincent is no Jack Bauer and he gets more than a small opportunity to catnap during the running time!
In summary, the movie is perfectly watchable for its action moments. In fact, as I *think* my wife, who is a great fan of “Die Hard, “Taken”, et al would like it I’ve added a half-Fad to my initial rating. And it’s done with some style such that it has the *potential* to be a good film – – which is frustrating. But in my view it’s not worth the ticket price at the cinema: wait instead for it to arrive on Amazon/Netflix.
The end of the film suggests a set-up for a sequel. I doubt this is a sequel that will ever get made.
Phillip McSween (751 KP) rated The Godfather (1972) in Movies
Dec 3, 2018
Epic Indeed
What makes a film stand the test of time? How do you create a movie that will have the same impact today as it will fifty years from now? That’s almost how long it’s been since The Godfather was released. Can you believe that? It was a classic then and still remains to be so. It follows the story of the Corleone family, a prominent mob family in New York. Michael (Al Pacino), youngest son of Godfather Vito (Marlon Brando), is trying to stay away from the “family business” but finds himself thrust right in the middle after a mob war erupts.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Bob Mann (459 KP) rated Breaking In (2018) (2018) in Movies
Sep 29, 2021
Get In.
Into every life a little rain must fall. Some fairly pervasive advertising drove me into the cinema to see this one… often a sign that the distributors think it has legs. And from its quirky opening titles (with a COMPLETELY expected shock denouement!) I started to think it did have something. The beginning is in fact VERY similar to the introductory scene of “Get Out” in its randomness, and for one brief moment I wondered if the film was trying to parody that indie classic from last year… with only some studio lawyers getting in the way of them really calling it “Get In”. (“No, no, no… ‘Get’ is copyrighted… you’ll have to use some other word!”).
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
Purple Phoenix Games (2266 KP) rated Hues and Cues in Tabletop Games
Jul 7, 2020 (Updated Jul 7, 2020)
When chatting with the team at Purple Phoenix Games about Hues and Cues, what ended up happening was listing our favorite Hughs in order (obviously Hugh Jackman being the best Hugh). However, Hues and Cues has nothing to do with any of those Hughs, but rather color hues, or shades. Did this one make us blue like Eeyore? Are the other PPG team members green with envy that I possess this game now? Or has this one sparked a joyous shout to the orange-colored sky?
Hues and Cues is a party game of describing colors using one- and two-word cues (a la the hit game show Password from back in the day). As each player is attempting to guess the correct color, and populate the areas immediately adjacent to it, chances for big-time points are plentiful, but I’ll tell you what – coming up with cues proves to be a bit more challenging than one might assume.
DISCLAIMER: We were provided a retail copy of this game for the purposes of this review. Though I know the designer personally, I will be reviewing this game as an impartial judge. -T
To setup a game of Hues and Cues, shuffle the large deck of cue cards to be drawn from, lay out the giant board, set aside the scoring frame for now, and give each player the three cones of their selected color. Place one of these cones on the board to be used as a scoring token, and the game is ready to be played!
A game of Hues and Cues will be played over several rounds where each player will act as the cue giver for at least one round, depending on number of players (unless you play with my wife, in which case games can last many many more rounds than suggested). The cue giver will draw a card from the deck, choose a color hue from it, and think of a one-word cue to offer the group. Once the cue is given, in clockwise fashion, each other player will place one of their cones on a color box on the main board. Once complete, the cue giver will then offer a two-word cue to the group, if they so choose… Again the players will place their other cone in a box (either near their original choice or somewhere completely different). When all players have placed their second cone, the cue giver will place upon the board the scoring frame with the chosen hue’s coordinates directly in the center of the frame.
If a player has placed a cone directly on the correct coordinate box, they score 3 points. If a cone resides within the scoring frame (the other 8 boxes surrounding the correct box), they receive 2 points. For every cone just outside the scoring frame surrounding it, the player will receive 1 point. For each cone within the scoring frame the cue giver will score 1 point.
The game ends after each player has had one or two turns to be cue giver, depending on player count and house rules for game end rounds. The player with the most points will be deemed the winner and will have quality bragging rights for the night.
Components. Guys and gals, these components are great. The board is HUGE, but also necessary because there are tons of color hues printed on it. The cards are nice, and the game comes with a giant stack of them. The cones are colored cones. There’s orange and purple and some others colors I think too (I really only care about orange and purple usually). The scoring frame takes a bit to get used to, but is necessary to visualize which cones receive the correct amount of points. The Op comes through again with some choice components here.
So again, I personally know the designer and want to offer that disclaimer. That said, whether I know him or not, this is another great game. I reviewed Gekitai some months ago and was enamored with it as a wonderful abstract, and Hues and Cues gets me again. I love the components, the game play is simple and fast, and I haven’t really played a game too similar. I guess the closest games I can compare it to would be Concept and Codenames. You have to be very exact when giving cues to others (Concept) using one-word and two-word cues (Codenames). It seems super easy to be able to describe a color, but when you look at your chosen hue and can’t even think of a one-word cue and you’re just sitting there while the other players are anxiously awaiting your utterance, you can feel the confidence sweating out of your body.
For one example of actual gameplay, a cue was given, “Western.” My wife and I, alums of Western Illinois University, immediately started finding the correct purple hue because WIU’s colors are purple and gold. However, another player started searching the browns because they thought the cue was guiding the players to Western movies or the Wild West. So there may be conflicts, or different ideas and interpretations of the cues given that can make the whole group giggle incessantly, or times where the game is near the end and you know you need at least 3 points to be in the running and you reallllllly want to hit on the exact hue. So this one can make you feel like you are Bob Ross colormaster, or like you can’t even remember what red even is anymore.
That said, this is NOT a game for our colorblind friends, as it revolved heavily on being able to distinguish color differences, but for everyone else this is a hit. I love that I have to think of things and items and concepts in terms of color to describe instead of any other values, and that is very challenging for me. I love being able to look at the board and have 20 options when the cue given is, “Penny.” I love laughing at some of the amusing cues given or trying to figure out what the hey someone even means with their cues. It’s a wonderful stressful game (for me and the way my mind works) but it has gone over smashingly with everyone to whom I have introduced it. If you are looking for a uniquely-themed party (!) game that isn’t an Apples to Apples or Mafia clone, then you certainly owe it to yourself to check out Hues and Cues. Purple Phoenix Games gives this one a rainbowy 11 / 12. Hugh Jackman would certainly approve, and would probably like to come to your house to play your copy.
Hues and Cues is a party game of describing colors using one- and two-word cues (a la the hit game show Password from back in the day). As each player is attempting to guess the correct color, and populate the areas immediately adjacent to it, chances for big-time points are plentiful, but I’ll tell you what – coming up with cues proves to be a bit more challenging than one might assume.
DISCLAIMER: We were provided a retail copy of this game for the purposes of this review. Though I know the designer personally, I will be reviewing this game as an impartial judge. -T
To setup a game of Hues and Cues, shuffle the large deck of cue cards to be drawn from, lay out the giant board, set aside the scoring frame for now, and give each player the three cones of their selected color. Place one of these cones on the board to be used as a scoring token, and the game is ready to be played!
A game of Hues and Cues will be played over several rounds where each player will act as the cue giver for at least one round, depending on number of players (unless you play with my wife, in which case games can last many many more rounds than suggested). The cue giver will draw a card from the deck, choose a color hue from it, and think of a one-word cue to offer the group. Once the cue is given, in clockwise fashion, each other player will place one of their cones on a color box on the main board. Once complete, the cue giver will then offer a two-word cue to the group, if they so choose… Again the players will place their other cone in a box (either near their original choice or somewhere completely different). When all players have placed their second cone, the cue giver will place upon the board the scoring frame with the chosen hue’s coordinates directly in the center of the frame.
If a player has placed a cone directly on the correct coordinate box, they score 3 points. If a cone resides within the scoring frame (the other 8 boxes surrounding the correct box), they receive 2 points. For every cone just outside the scoring frame surrounding it, the player will receive 1 point. For each cone within the scoring frame the cue giver will score 1 point.
The game ends after each player has had one or two turns to be cue giver, depending on player count and house rules for game end rounds. The player with the most points will be deemed the winner and will have quality bragging rights for the night.
Components. Guys and gals, these components are great. The board is HUGE, but also necessary because there are tons of color hues printed on it. The cards are nice, and the game comes with a giant stack of them. The cones are colored cones. There’s orange and purple and some others colors I think too (I really only care about orange and purple usually). The scoring frame takes a bit to get used to, but is necessary to visualize which cones receive the correct amount of points. The Op comes through again with some choice components here.
So again, I personally know the designer and want to offer that disclaimer. That said, whether I know him or not, this is another great game. I reviewed Gekitai some months ago and was enamored with it as a wonderful abstract, and Hues and Cues gets me again. I love the components, the game play is simple and fast, and I haven’t really played a game too similar. I guess the closest games I can compare it to would be Concept and Codenames. You have to be very exact when giving cues to others (Concept) using one-word and two-word cues (Codenames). It seems super easy to be able to describe a color, but when you look at your chosen hue and can’t even think of a one-word cue and you’re just sitting there while the other players are anxiously awaiting your utterance, you can feel the confidence sweating out of your body.
For one example of actual gameplay, a cue was given, “Western.” My wife and I, alums of Western Illinois University, immediately started finding the correct purple hue because WIU’s colors are purple and gold. However, another player started searching the browns because they thought the cue was guiding the players to Western movies or the Wild West. So there may be conflicts, or different ideas and interpretations of the cues given that can make the whole group giggle incessantly, or times where the game is near the end and you know you need at least 3 points to be in the running and you reallllllly want to hit on the exact hue. So this one can make you feel like you are Bob Ross colormaster, or like you can’t even remember what red even is anymore.
That said, this is NOT a game for our colorblind friends, as it revolved heavily on being able to distinguish color differences, but for everyone else this is a hit. I love that I have to think of things and items and concepts in terms of color to describe instead of any other values, and that is very challenging for me. I love being able to look at the board and have 20 options when the cue given is, “Penny.” I love laughing at some of the amusing cues given or trying to figure out what the hey someone even means with their cues. It’s a wonderful stressful game (for me and the way my mind works) but it has gone over smashingly with everyone to whom I have introduced it. If you are looking for a uniquely-themed party (!) game that isn’t an Apples to Apples or Mafia clone, then you certainly owe it to yourself to check out Hues and Cues. Purple Phoenix Games gives this one a rainbowy 11 / 12. Hugh Jackman would certainly approve, and would probably like to come to your house to play your copy.
