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Sophia (Bookwyrming Thoughts) (530 KP) rated Nerve in Books
Jan 23, 2020
The beauty of commuting to school: I CAN LISTEN TO ALL DA AUDIOBOOKS. (Even if it’s 15-20 minutes depending on morning traffic - not round trip.)
<h3><b>Storyline</b></h3>
<i>Nerve </i>is a book about dares. It is, essentially, <i>The Hunger Games: Dare Edition in the Modern World</i>.
Modern World meaning reality TV, where the world can watch players do said dares. Oh, and said reality TV show on the interwebs is called Nerve. The book follows Vee, who decides to give Nerve a try with a basic little dare that will land her spot in the semifinals.
Nerve has a cool concept - and I’ll admit that I decided to listen to the audiobook because there’s a psychological aspect to it I’d rather not talk of. (It’ll make me sound like I’m analyzing this for a research paper. Ew. No.)
My only problem is Nerve (the game) itself. Each dare as Vee and the other players get closer to the live finals is more daring than the one before. Each prize is bigger than the one before, with the grand prize varying from player to player. Each one more ridiculous in my opinion, because my brain facepalmed (I know brains can’t facepalm) so many times it wasn’t even funny.
Although I suppose if I got a full ride to a university, I would probably be very keen on taking the offer despite the risks of the dare. Psychology is an interesting thing.
But how does Nerve even get all that money, all those funds? I’m curious, but as I said, psychology is an interesting thing, and Jeanne Ryan does an interesting job exploring the psychological aspects involved.
Ugh. If I have to do a research paper for any psychology classes, <i>Nerve </i>is first on the blasted list to be picked apart page by page.
<h3><b>Narration</b></h3>
In my young experience of listening to audiobooks (assuming I’m blogging for the next few years, I’ll be getting those earful experiences), this is the first time I’ve heard Caitlin Davies perform.
Honestly? I can’t complain. Caitlin Davies is one of the few narrators I’ve heard about before I even started listening to audiobooks, and I’m just nodding along to everyone’s praise for her performances.
<a href="https://bookwyrmingthoughts.com/nerve-by-jeanne-ryan-audiobook-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<h3><b>Storyline</b></h3>
<i>Nerve </i>is a book about dares. It is, essentially, <i>The Hunger Games: Dare Edition in the Modern World</i>.
Modern World meaning reality TV, where the world can watch players do said dares. Oh, and said reality TV show on the interwebs is called Nerve. The book follows Vee, who decides to give Nerve a try with a basic little dare that will land her spot in the semifinals.
Nerve has a cool concept - and I’ll admit that I decided to listen to the audiobook because there’s a psychological aspect to it I’d rather not talk of. (It’ll make me sound like I’m analyzing this for a research paper. Ew. No.)
My only problem is Nerve (the game) itself. Each dare as Vee and the other players get closer to the live finals is more daring than the one before. Each prize is bigger than the one before, with the grand prize varying from player to player. Each one more ridiculous in my opinion, because my brain facepalmed (I know brains can’t facepalm) so many times it wasn’t even funny.
Although I suppose if I got a full ride to a university, I would probably be very keen on taking the offer despite the risks of the dare. Psychology is an interesting thing.
But how does Nerve even get all that money, all those funds? I’m curious, but as I said, psychology is an interesting thing, and Jeanne Ryan does an interesting job exploring the psychological aspects involved.
Ugh. If I have to do a research paper for any psychology classes, <i>Nerve </i>is first on the blasted list to be picked apart page by page.
<h3><b>Narration</b></h3>
In my young experience of listening to audiobooks (assuming I’m blogging for the next few years, I’ll be getting those earful experiences), this is the first time I’ve heard Caitlin Davies perform.
Honestly? I can’t complain. Caitlin Davies is one of the few narrators I’ve heard about before I even started listening to audiobooks, and I’m just nodding along to everyone’s praise for her performances.
<a href="https://bookwyrmingthoughts.com/nerve-by-jeanne-ryan-audiobook-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
JT (287 KP) rated In the Tall Grass (2019) in Movies
Mar 10, 2020
What did I just watch? If someone could enlighten me I would be most grateful. Netflix doesn’t have the best track record when it comes to original films and I have yet to see one that I was genuinely impressed with. Given all the money that Netflix has, you would have thought they might be able to deliver something worth watching.
For Netflix’s latest effort, In The Tall Grass, the film is based on the 2012 novella by Stephen King and son Joe Hill. King’s books, in particular, seem hardest to adapt onto the big screen so it should come as no surprise that this supernatural head-scratcher fails miserably.
Becky (Laysla De Oliveira) and Cal Demuth (Avery Whitted) are making the long trip to San Diego where Becky is planning to give up her baby. Stopping outside an abandoned church they hear a child crying for help from inside a field of tall grass. Not wanting to drive off the pair investigate and become separated and lost in the grass maze. Director Vincenzo Natali is no stranger to maze-like scenarios having helmed The Cube, in which six people are involuntarily placed in an endless maze of deadly traps.
King’s books, in particular, seem hardest to adapt onto the big screen so it should come as no surprise that this supernatural head-scratcher fails miserably.
With Becky and Cal in danger of being consumed by the grass, they encounter the family of the missing boy they were searching for. The Dad, Ross (Patrick Wilson) discovers Becky and promises her safe passage out of the labyrinth. Cal in the meantime has met the young boy, Tobin (Will Buie Jr.), who makes a few sinister statements. A huge rock in the middle of the field that can turn people insane as well as bend time expands the story’s supernatural element. This becomes apparent when Becky’s boyfriend shows up months after she failed to return home and becomes a focal point of the story.
The cast, except for Patrick Wilson who plays the psycho role to great effect, are forgettable. There is a scattering of creepy moments but it’s not enough to carry the film any further. Natali had to make a few changes that were different from the novella to pack it into a feature-length film and this is probably where it falls down.
For Netflix’s latest effort, In The Tall Grass, the film is based on the 2012 novella by Stephen King and son Joe Hill. King’s books, in particular, seem hardest to adapt onto the big screen so it should come as no surprise that this supernatural head-scratcher fails miserably.
Becky (Laysla De Oliveira) and Cal Demuth (Avery Whitted) are making the long trip to San Diego where Becky is planning to give up her baby. Stopping outside an abandoned church they hear a child crying for help from inside a field of tall grass. Not wanting to drive off the pair investigate and become separated and lost in the grass maze. Director Vincenzo Natali is no stranger to maze-like scenarios having helmed The Cube, in which six people are involuntarily placed in an endless maze of deadly traps.
King’s books, in particular, seem hardest to adapt onto the big screen so it should come as no surprise that this supernatural head-scratcher fails miserably.
With Becky and Cal in danger of being consumed by the grass, they encounter the family of the missing boy they were searching for. The Dad, Ross (Patrick Wilson) discovers Becky and promises her safe passage out of the labyrinth. Cal in the meantime has met the young boy, Tobin (Will Buie Jr.), who makes a few sinister statements. A huge rock in the middle of the field that can turn people insane as well as bend time expands the story’s supernatural element. This becomes apparent when Becky’s boyfriend shows up months after she failed to return home and becomes a focal point of the story.
The cast, except for Patrick Wilson who plays the psycho role to great effect, are forgettable. There is a scattering of creepy moments but it’s not enough to carry the film any further. Natali had to make a few changes that were different from the novella to pack it into a feature-length film and this is probably where it falls down.
156Reviews (7 KP) rated Extra Ordinary (2019) in Movies
May 1, 2020 (Updated May 1, 2020)
Ghosts, hell demons, possessed animals, sex, a car chase, people exploding, ware-wolves (Kind of), Extra Ordinary has it all. Is it some kind of Hollywood blockbuster staring Benedict Cumberbatch? No, it's a small independent Irish comedy staring little known actors, and Will Forte of course.
The film begins by introducing us to Rose Dooley (Maeve Higgins), a very single driving instructor in a small town who has a “Talent”. She can talk to Ghosts. After the death of her father when she was a child, Rose no longer uses these talents though. She spends her days teaching the locals how to drive, and her evenings with no trousers on, eating microwavable meals for one and ignoring messages on her phone from people asking for supernatural help. That is until she gets a call from Martin Martin, who is being haunted by his dead ex-wife, and her journey back to the exorcism business begins.
What this film does best is keep the ordinary and the supernatural events very grounded. Instead of screaming angry spirits howling in the night they see messages like “You must pay ..... The car tax” or “Dog has worms”. The dead don't stick around to terrorise, they are here to make sure we're doing the recycling properly, or donating enough money to charity. Even Christian Winter (Will Forte) the satanist pop-star dubbed “One hit Winter” seems like an every-day man, doing the ironing and making cups of tea between sacrifices and demon summoning.
As the films big-bad, Will Forte does a decent job of keeping the film flowing, even if it is almost identical to his Last man on Earth performance. It's Rose and Martins relationship that really pulls the film forward. After Martins Daughter starts floating in mid-air, he reaches out to Rose for help. Directors Mike Ahern and Enda Loughman succeed in making Rose and Martins journey through the mysterious, humorous yet believable, a will they-won't they without the cheesiness.
Overall this is a very funny, well made film, not afraid to take the time from driving the plot to include some great, if possibly unnecessary scenes, Christian Winter's driving lesson is a particular highlight. Everybody involved has done an excellent job making a great film. It's absurd, it's funny, it's weird, it's well worth a watch.
The film begins by introducing us to Rose Dooley (Maeve Higgins), a very single driving instructor in a small town who has a “Talent”. She can talk to Ghosts. After the death of her father when she was a child, Rose no longer uses these talents though. She spends her days teaching the locals how to drive, and her evenings with no trousers on, eating microwavable meals for one and ignoring messages on her phone from people asking for supernatural help. That is until she gets a call from Martin Martin, who is being haunted by his dead ex-wife, and her journey back to the exorcism business begins.
What this film does best is keep the ordinary and the supernatural events very grounded. Instead of screaming angry spirits howling in the night they see messages like “You must pay ..... The car tax” or “Dog has worms”. The dead don't stick around to terrorise, they are here to make sure we're doing the recycling properly, or donating enough money to charity. Even Christian Winter (Will Forte) the satanist pop-star dubbed “One hit Winter” seems like an every-day man, doing the ironing and making cups of tea between sacrifices and demon summoning.
As the films big-bad, Will Forte does a decent job of keeping the film flowing, even if it is almost identical to his Last man on Earth performance. It's Rose and Martins relationship that really pulls the film forward. After Martins Daughter starts floating in mid-air, he reaches out to Rose for help. Directors Mike Ahern and Enda Loughman succeed in making Rose and Martins journey through the mysterious, humorous yet believable, a will they-won't they without the cheesiness.
Overall this is a very funny, well made film, not afraid to take the time from driving the plot to include some great, if possibly unnecessary scenes, Christian Winter's driving lesson is a particular highlight. Everybody involved has done an excellent job making a great film. It's absurd, it's funny, it's weird, it's well worth a watch.
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