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Rachel King (13 KP) rated Eternal Rider (Lords of Deliverance, #1, Demonica, #6) in Books
Feb 11, 2019
I loved that this book took a concept that I am very familiar with, the Four Horsemen from Revelation, and turned it on its head. For all of the repetitiveness of fantasy fiction using the same species over and over again - from mermaids to vampires - the horsemen are definitely new vehicles for enticing literature.
The background of the story is that all of the horsemen once lead human lives, but were cursed to become the horsemen after reacting very badly to the news that Lilith is their mother. Another interesting quirk on the common tale is that one of them is actually female, Limos. The four are destined to either fulfill the Biblical prophecy or the demonic equivalent - which none of them want to do. In addition, each of them have a unique method by which they fall into the demonic prophecy's designated role and must fight to keep said method from playing out.
Ares, whom the story says the Greek god of war is named for, is destined to become War should the being bearing his seal, or agimortus, dies. Thanks to Cara, a human, inadvertently crossing paths with a hellhound, she becomes the bearer of the agimortus. Luckily, she has a few tricks of her own to aid her in her new role. I liked Cara and the way she seemed to blossom despite her captivity and impending death, as well as how easily she could stand up to Ares. I would have liked a little more character development, as it did not feel like her character arc was complete.
Ares is also an interesting character. Even though he is drawn to wars and violence, with his very presence inciting violence and rage among humans, Cara is immune to this ability. Because of how her presence weakens him, Ares shows a vulnerability characteristic of the humanity he left behind thousands of years ago. Around Cara, he is simply a normal guy falling in love, and the way he attempts to "macho-up" to deal with it is positively adorable.
The violence in the book is both believable and quite gritty. Of course, the horsemen's supernatural abilities of strength and healing allow it to be especially intense and dramatic. The sexual scenes in the book are also quite graphic and detailed, without feeling cheesy or awkward.
The laws built into Ione's world of horsemen, angels, and demons is complex without being confusing. The reader is introduced to its structure piece by piece throughout the novel without being bombarded by the details, and all of the pieces fit together nicely. In addition, Ione even includes a glossary at the beginning of the book to help the reader become more accustomed to the world.
The other siblings are all unique and show lots of promise for future books in the series. Thanatos, destined to become Death, has a seductive air of mystery that had me wondering several times throughout the book if something would occur between him and Cara. The sister, Limos, destined to be Famine, also shows many interesting characteristics, such as a certain hidden madness that she struggles to keep leashed, and the chemistry she shares with Arik is palpable. Even though Reseph becomes Pestilence early in the book, I have a feeling he may prove to be the most interesting of the siblings under a theme of redemption. I only have to wait till December for Immortal Rider (Lords of Deliverance), which centers on Limos, to find out what happens next!
The background of the story is that all of the horsemen once lead human lives, but were cursed to become the horsemen after reacting very badly to the news that Lilith is their mother. Another interesting quirk on the common tale is that one of them is actually female, Limos. The four are destined to either fulfill the Biblical prophecy or the demonic equivalent - which none of them want to do. In addition, each of them have a unique method by which they fall into the demonic prophecy's designated role and must fight to keep said method from playing out.
Ares, whom the story says the Greek god of war is named for, is destined to become War should the being bearing his seal, or agimortus, dies. Thanks to Cara, a human, inadvertently crossing paths with a hellhound, she becomes the bearer of the agimortus. Luckily, she has a few tricks of her own to aid her in her new role. I liked Cara and the way she seemed to blossom despite her captivity and impending death, as well as how easily she could stand up to Ares. I would have liked a little more character development, as it did not feel like her character arc was complete.
Ares is also an interesting character. Even though he is drawn to wars and violence, with his very presence inciting violence and rage among humans, Cara is immune to this ability. Because of how her presence weakens him, Ares shows a vulnerability characteristic of the humanity he left behind thousands of years ago. Around Cara, he is simply a normal guy falling in love, and the way he attempts to "macho-up" to deal with it is positively adorable.
The violence in the book is both believable and quite gritty. Of course, the horsemen's supernatural abilities of strength and healing allow it to be especially intense and dramatic. The sexual scenes in the book are also quite graphic and detailed, without feeling cheesy or awkward.
The laws built into Ione's world of horsemen, angels, and demons is complex without being confusing. The reader is introduced to its structure piece by piece throughout the novel without being bombarded by the details, and all of the pieces fit together nicely. In addition, Ione even includes a glossary at the beginning of the book to help the reader become more accustomed to the world.
The other siblings are all unique and show lots of promise for future books in the series. Thanatos, destined to become Death, has a seductive air of mystery that had me wondering several times throughout the book if something would occur between him and Cara. The sister, Limos, destined to be Famine, also shows many interesting characteristics, such as a certain hidden madness that she struggles to keep leashed, and the chemistry she shares with Arik is palpable. Even though Reseph becomes Pestilence early in the book, I have a feeling he may prove to be the most interesting of the siblings under a theme of redemption. I only have to wait till December for Immortal Rider (Lords of Deliverance), which centers on Limos, to find out what happens next!
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Debbiereadsbook (1087 KP) rated To Touch You (Mates #4) in Books
Jan 21, 2018
a fitting end
I purchased both the ebook, AND audio copy of this book (November 2017)
This is book 4 in The Mates Series, and the last one. You don't need to have read the other three, but there is some overlap with books one, Wake Me Up Inside and book 3, In Your Eyes, so there may be spoilers, sorta, kinda.
Yoram Smith is 7 years old when he first meets Salvatore Rossi, and he knows nothing but the pull of his scent. Sal is, in Yoram's eyes, his friend. It takes a turning of Sal to vampire and over 20 years before Sal finally admits that Yoram is his mate.
I LOVED this final installment in the Mates series! I really did. But I can't split the narration from the book, so the lines might be a bit blurred on this one.
I read this book, in December 2017, and I was going through a rough patch, so didn't actually write a review for it, then the audio came through the blog for review, and I had credits available, so I grabbed it. SO glad I did!
I loved Charlie David's narration, his voices especially. Yoram is 7 when we first meet him, and I was curious how David would change his voice as he grew. Nailed that one, I tell ya! At7, at 14 and as a full groan Yoram, his voice is the same but different, if that makes any sense? I could tell it was Yoram at every step of the way.
And trust me, it's a very long way these two took to finally get together! Sal doesn't fully understand the workings of being a vampire, he finds no joy in feeding and certainly not socialising with them, but he HAS to feed. Until the blood turns up on his doorstep, and THAT blood is different. Takes him a while to figure out where it's coming from!
I loved that Zev and Jonah ( book 1) and Samuel and Korban (book 3) play a part here, but I especially loved that Ethan and Miguel are a HUGE part of this book. When I read this, I could hear the voices of these guys but they weren't right, not at all. So it was great to be able to catch up with them here.
I loved that, once Sal finally dug his head out the sand and returned to Yoram, he was all in, totally and utterly.
Like I said, I can't really split the narration from the book, so
5 stars all round!
**same worded review will appear elsewhere**
This is book 4 in The Mates Series, and the last one. You don't need to have read the other three, but there is some overlap with books one, Wake Me Up Inside and book 3, In Your Eyes, so there may be spoilers, sorta, kinda.
Yoram Smith is 7 years old when he first meets Salvatore Rossi, and he knows nothing but the pull of his scent. Sal is, in Yoram's eyes, his friend. It takes a turning of Sal to vampire and over 20 years before Sal finally admits that Yoram is his mate.
I LOVED this final installment in the Mates series! I really did. But I can't split the narration from the book, so the lines might be a bit blurred on this one.
I read this book, in December 2017, and I was going through a rough patch, so didn't actually write a review for it, then the audio came through the blog for review, and I had credits available, so I grabbed it. SO glad I did!
I loved Charlie David's narration, his voices especially. Yoram is 7 when we first meet him, and I was curious how David would change his voice as he grew. Nailed that one, I tell ya! At7, at 14 and as a full groan Yoram, his voice is the same but different, if that makes any sense? I could tell it was Yoram at every step of the way.
And trust me, it's a very long way these two took to finally get together! Sal doesn't fully understand the workings of being a vampire, he finds no joy in feeding and certainly not socialising with them, but he HAS to feed. Until the blood turns up on his doorstep, and THAT blood is different. Takes him a while to figure out where it's coming from!
I loved that Zev and Jonah ( book 1) and Samuel and Korban (book 3) play a part here, but I especially loved that Ethan and Miguel are a HUGE part of this book. When I read this, I could hear the voices of these guys but they weren't right, not at all. So it was great to be able to catch up with them here.
I loved that, once Sal finally dug his head out the sand and returned to Yoram, he was all in, totally and utterly.
Like I said, I can't really split the narration from the book, so
5 stars all round!
**same worded review will appear elsewhere**
Gareth von Kallenbach (971 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
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Chris Sawin (602 KP) rated Black Swan (2010) in Movies
Jun 21, 2019 (Updated Jun 23, 2019)
Darren Aronofsky has been circling movie news sites pretty frequently as of late. He recently signed on to direct the stand-alone sequel to Wolverine (appropriately titled The Wolverine). He also developed a rather large and devoted fanbase over the course of directing fantastically surreal films such as Pi, Requiem for a Dream, and The Wrestler, but his psychological thriller Black Swan has also been gaining quite a bit of steam leading up to its December 3rd release. Despite Aronofsky's already well-established reputation and the rather high anticipation for the film, Black Swan still delivers a product that is even better than expected.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.