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Gareth von Kallenbach (971 KP) rated Sherlock Holmes: A Game of Shadows (2011) in Movies
Aug 7, 2019
Robert Downey, Jr. and Jude Law return once again as Sherlock Holmes and Dr. Watson in “Sherlock Holmes: A Game of Shadows“. In this installment, a series of bombings across Europe has positioned the nations of the world on the brink of war. Holmes is convinced that there is a criminal mastermind behind the numerous, seemingly unrelated events and he believes it is renowned scholar James Moriarty (Jared Harris).
Watson, well-accustomed to Holmes’ eccentric and erratic behavior, is dubious of Holmes claims. Besides, Watson has his upcoming wedding to focus on, and only deigns to spend time with Holmes at the promise of a stag party at an upscale gentlemen’s club. While the bachelor party includes an entertaining Stephen Fry playing Holmes’ brother, Mycroft, Holmes has ulterior motives for taking Watson to this particular club. Early in the film, Holmes had cleverly intercepted a message from Irene Adler (Amy McAdams), that led him to a fortuneteller named Madam Simza Heron (Noomi Rapace), a woman Holmes believes has been targeted for death by Moriarty, who just happens to be working at the gentlemen’s club.
Eventually a meeting with Moriarty is arranged for Holmes. The two intellectuals spar with one another verbally in a civilized manner, with menacing undertones. Holmes isn’t able to convince Moriarty that Watson is no longer a partner in any of his endeavors and, Holmes is forced to take drastic measures to ensure the doctor and his new wife stay out of harm’s way. From Paris to Germany and other European locales, Holmes, Watson, and Simza and her gypsy friends race against time to uncover the diabolical plot that Moriarty has set for their demise in his quest to drive nations to war.
The film is an absolute delight and is a rare sequel that is even better than the previous film in the series. Robert Downey, Jr. and Jude Law have amazing chemistry with one another and their timing is absolutely perfect. The duo deftly mix action and comedy as well as the serious subject matter of the plot line and are utterly captivating and enjoyable to watch every step of the way. Rapace continues to impress in a much softer character than her Lisbeth Salandar role in the “Girl with the Dragon Tattoo” Swedish trilogy. and is poised to become one of Hollywood’s new leading ladies.
Having become familiar with Harris’ work on the series Mad Men, I was delighted to see him expertly portray such a complex character as Moriarty: a gentleman scholar of impeccable upbringing and education who is also a twisted and evil genius. Harris plays Moriarty perfectly and never lets you forget the dark and sinister side of him without ever becoming a campy or cartoony vaudeville villain.
Guy Ritchie returns as director and lets his stars carry the film. The action has been ramped up this time around with some spectacular action sequences but the action never overshadows the character-driven story. The film was well-paced and an absolute thrill ride from beginning to end mixing fantastic action and some great humor for a very winning combination that is not to be missed. I am already looking forward to future outings of Holmes and Watson on the big screen as this was a truly enjoyable experience that shows you how action comedies are supposed to be made.
Watson, well-accustomed to Holmes’ eccentric and erratic behavior, is dubious of Holmes claims. Besides, Watson has his upcoming wedding to focus on, and only deigns to spend time with Holmes at the promise of a stag party at an upscale gentlemen’s club. While the bachelor party includes an entertaining Stephen Fry playing Holmes’ brother, Mycroft, Holmes has ulterior motives for taking Watson to this particular club. Early in the film, Holmes had cleverly intercepted a message from Irene Adler (Amy McAdams), that led him to a fortuneteller named Madam Simza Heron (Noomi Rapace), a woman Holmes believes has been targeted for death by Moriarty, who just happens to be working at the gentlemen’s club.
Eventually a meeting with Moriarty is arranged for Holmes. The two intellectuals spar with one another verbally in a civilized manner, with menacing undertones. Holmes isn’t able to convince Moriarty that Watson is no longer a partner in any of his endeavors and, Holmes is forced to take drastic measures to ensure the doctor and his new wife stay out of harm’s way. From Paris to Germany and other European locales, Holmes, Watson, and Simza and her gypsy friends race against time to uncover the diabolical plot that Moriarty has set for their demise in his quest to drive nations to war.
The film is an absolute delight and is a rare sequel that is even better than the previous film in the series. Robert Downey, Jr. and Jude Law have amazing chemistry with one another and their timing is absolutely perfect. The duo deftly mix action and comedy as well as the serious subject matter of the plot line and are utterly captivating and enjoyable to watch every step of the way. Rapace continues to impress in a much softer character than her Lisbeth Salandar role in the “Girl with the Dragon Tattoo” Swedish trilogy. and is poised to become one of Hollywood’s new leading ladies.
Having become familiar with Harris’ work on the series Mad Men, I was delighted to see him expertly portray such a complex character as Moriarty: a gentleman scholar of impeccable upbringing and education who is also a twisted and evil genius. Harris plays Moriarty perfectly and never lets you forget the dark and sinister side of him without ever becoming a campy or cartoony vaudeville villain.
Guy Ritchie returns as director and lets his stars carry the film. The action has been ramped up this time around with some spectacular action sequences but the action never overshadows the character-driven story. The film was well-paced and an absolute thrill ride from beginning to end mixing fantastic action and some great humor for a very winning combination that is not to be missed. I am already looking forward to future outings of Holmes and Watson on the big screen as this was a truly enjoyable experience that shows you how action comedies are supposed to be made.
Hazel (1853 KP) rated The Witchwood Crown in Books
Jul 22, 2017
Gosh, what a long book!
Review I received this book for free through Goodreads First Reads.
Approximately 30 years ago, the first novel in Tad Williams’ Memory, Sorrow and Thorn trilogy was published. Fans all over the world adored this high fantasy story about a young kitchen boy, Simon, who goes on to become King of Ostern Ard. Now Williams’ has returned to the fictional lands with a follow-up trilogy, The Last King of Ostern Ard.
Three decades have been and gone since the ending of the previous series. The Witchwood Crown explores the changes that have occurred since the epic story finished, unfortunately, things are not looking good. Simon and his wife, Miriamele, have suffered a few personal tragedies, leaving them with two fatherless grandchildren. Young Lillia is an out spoken child who expostulates with everyone in order to get her way – she is a princess after all. Morgan, the heir, is rather obtuse in comparison; a lazy young man whose vexatious behaviour constantly causes the Royals to despair. However, this is only a tiny problem in their restless kingdom.
The Norn Queen, an antagonist of the original story, has been asleep for the past few decades. Mortals foolishly believed they were safe from the evil character, yet unexpectedly, she has awoken and is determined to destroy humanity. Too weak to carry out her own plans, she infiltrates the minds of the members of her immortal race, sending them off on perilous missions, for example, to extract blood from a live dragon.
As well as Simon’s city and the Norns, there are several more important characters and locations, each with their own on going storyline. A mix of assiduous and animus personas shake up the peace that had settled at the closing of Memory, Sorrow and Thorn. It is almost impossible to fathom whom the good and bad are, especially when reading from so many different points of view.
If the 700 odd pages did not already give it away, the inclusion of maps and appendixes prove the book to contain an extremely lengthy tale. Flitting from one set of characters to another, it is hard to keep up with the hundreds of names and roles. It does not help that the majority are unpronounceable, full of additional apostrophes making them as unlike English names as possible – a usual trait of fantasy fiction.
Not only are the names difficult to pronounce, the words and vernacular some of the characters use are just as dumbfounding. Thankfully, definitions are provided at the back of the book, but to keep flipping between pages can get quite tedious after a while.
The sheer number of characters makes it difficult to unearth the main storyline. In fact, there does not appear to be a strong plot at all. Judging by the ending, it is as though The Witchwood Crown is only an introduction to the narrative that will begin in the following book.
Reading the primary series first will have its benefits, however, it is not mandatory. New readers, like myself, are able to pick up snippets of past events and piece together the lead up to the current scenario. Although a work of historical fantasy, it is possible to see elements of real life within the story. Dragons and fairies may not exist in our world, but similar beliefs and systems are relatable. For instance, the days of the week are obviously based on the English names: Sunday, Moonday, Tiasday, Udunsday, Drorsday, Frayday and Satrinsday.
The most striking connection between real and imagined is the religious beliefs of different clans and species. Many of the mortals have taken, up what is suggested to be, a new religion. There are so many similarities; it is undoubtedly based on Christianity. Likewise, other beliefs are comparable to pagan rites and ceremonies of the distant past.
The Witchwood Crown is not an easy book to read, neither is it all that exciting. On the other hand, it is interesting. It is equivalent to reading historical information with the added benefit of mythical creatures. This is not a quick read; therefore you need to be dedicated to sitting down and pacing through the story. It is definitely targeted at high fantasy fans – in fact, the original stories influenced George R. R. Martin (A Game of Thrones) – who are used to the length and complexity of the narrative
Approximately 30 years ago, the first novel in Tad Williams’ Memory, Sorrow and Thorn trilogy was published. Fans all over the world adored this high fantasy story about a young kitchen boy, Simon, who goes on to become King of Ostern Ard. Now Williams’ has returned to the fictional lands with a follow-up trilogy, The Last King of Ostern Ard.
Three decades have been and gone since the ending of the previous series. The Witchwood Crown explores the changes that have occurred since the epic story finished, unfortunately, things are not looking good. Simon and his wife, Miriamele, have suffered a few personal tragedies, leaving them with two fatherless grandchildren. Young Lillia is an out spoken child who expostulates with everyone in order to get her way – she is a princess after all. Morgan, the heir, is rather obtuse in comparison; a lazy young man whose vexatious behaviour constantly causes the Royals to despair. However, this is only a tiny problem in their restless kingdom.
The Norn Queen, an antagonist of the original story, has been asleep for the past few decades. Mortals foolishly believed they were safe from the evil character, yet unexpectedly, she has awoken and is determined to destroy humanity. Too weak to carry out her own plans, she infiltrates the minds of the members of her immortal race, sending them off on perilous missions, for example, to extract blood from a live dragon.
As well as Simon’s city and the Norns, there are several more important characters and locations, each with their own on going storyline. A mix of assiduous and animus personas shake up the peace that had settled at the closing of Memory, Sorrow and Thorn. It is almost impossible to fathom whom the good and bad are, especially when reading from so many different points of view.
If the 700 odd pages did not already give it away, the inclusion of maps and appendixes prove the book to contain an extremely lengthy tale. Flitting from one set of characters to another, it is hard to keep up with the hundreds of names and roles. It does not help that the majority are unpronounceable, full of additional apostrophes making them as unlike English names as possible – a usual trait of fantasy fiction.
Not only are the names difficult to pronounce, the words and vernacular some of the characters use are just as dumbfounding. Thankfully, definitions are provided at the back of the book, but to keep flipping between pages can get quite tedious after a while.
The sheer number of characters makes it difficult to unearth the main storyline. In fact, there does not appear to be a strong plot at all. Judging by the ending, it is as though The Witchwood Crown is only an introduction to the narrative that will begin in the following book.
Reading the primary series first will have its benefits, however, it is not mandatory. New readers, like myself, are able to pick up snippets of past events and piece together the lead up to the current scenario. Although a work of historical fantasy, it is possible to see elements of real life within the story. Dragons and fairies may not exist in our world, but similar beliefs and systems are relatable. For instance, the days of the week are obviously based on the English names: Sunday, Moonday, Tiasday, Udunsday, Drorsday, Frayday and Satrinsday.
The most striking connection between real and imagined is the religious beliefs of different clans and species. Many of the mortals have taken, up what is suggested to be, a new religion. There are so many similarities; it is undoubtedly based on Christianity. Likewise, other beliefs are comparable to pagan rites and ceremonies of the distant past.
The Witchwood Crown is not an easy book to read, neither is it all that exciting. On the other hand, it is interesting. It is equivalent to reading historical information with the added benefit of mythical creatures. This is not a quick read; therefore you need to be dedicated to sitting down and pacing through the story. It is definitely targeted at high fantasy fans – in fact, the original stories influenced George R. R. Martin (A Game of Thrones) – who are used to the length and complexity of the narrative
Rachel King (13 KP) rated Veiled Rose (Tales of Goldstone Wood, #2) in Books
Feb 11, 2019
I am always a fan of fairy re-tellings, even if it is for a fairy tale I am not actually familiar with, as that of Rose Red. It took me awhile, but I also gathered that the book is a kind of Christian allegory, and parts remind me of Pilgrim's Progress by John Bunyan.
Rose Red is by far the most intriguing character, as her birth is shrouded in mystery, her friends are animals with voices, and she cloaks herself in veils and layers to hide even the smallest scrap of skin from any prying eyes - including her own. The shame she bears for her own appearance is so great that her very existence is surrounded by grand tales of monsters and demons told by all of the local villagers, yet she bears a strength much greater than she appears to possess and she has a kind of magic that allows her to walk the secret Paths and face down death in all its forms. Even at the end of the book, I could not fully grasp who or what she is.
Leo manages to find and befriend Rose Red in boyhood, but he has a burden of his own as Prince Lionheart of Southlands, destined to become King. Leo knows his responsibilities, but he secretly just wants a friend and to make people laugh as a court jester. These polar opposites manage to pull him across the world again and again as he struggles with the simple question, "What do you want?"
Many other characters litter the pages of the book, which was at times confusing as I attempted to deduce which creature or character was on the side of good or evil, such as the Dragon - which became apparent at its occupation of Southlands. As an allegory for Christianity, some characters were clear - such as the Prince, but others were murkier, such as the Lady.
The structure of the book itself was off-putting for me. The book is divided into five parts, with chapters in each part, but in between each part a vague sense of time has passed, so that the reader cannot pick up where the last chapter left off. At each break, I would get the feeling that the plot was picking up, only to be let down that the climactic moments have been glossed over. I also really disliked the ending. Certain things are expected of classic fairy tales, and none of this was included in the ending of this book. Perhaps the author was aiming for something more "realistic" or to simply get the reader to continue the series, but loose endings this big make me feel like I wasted my time reading the book, only to get no satisfaction at the finale.
Rose Red is by far the most intriguing character, as her birth is shrouded in mystery, her friends are animals with voices, and she cloaks herself in veils and layers to hide even the smallest scrap of skin from any prying eyes - including her own. The shame she bears for her own appearance is so great that her very existence is surrounded by grand tales of monsters and demons told by all of the local villagers, yet she bears a strength much greater than she appears to possess and she has a kind of magic that allows her to walk the secret Paths and face down death in all its forms. Even at the end of the book, I could not fully grasp who or what she is.
Leo manages to find and befriend Rose Red in boyhood, but he has a burden of his own as Prince Lionheart of Southlands, destined to become King. Leo knows his responsibilities, but he secretly just wants a friend and to make people laugh as a court jester. These polar opposites manage to pull him across the world again and again as he struggles with the simple question, "What do you want?"
Many other characters litter the pages of the book, which was at times confusing as I attempted to deduce which creature or character was on the side of good or evil, such as the Dragon - which became apparent at its occupation of Southlands. As an allegory for Christianity, some characters were clear - such as the Prince, but others were murkier, such as the Lady.
The structure of the book itself was off-putting for me. The book is divided into five parts, with chapters in each part, but in between each part a vague sense of time has passed, so that the reader cannot pick up where the last chapter left off. At each break, I would get the feeling that the plot was picking up, only to be let down that the climactic moments have been glossed over. I also really disliked the ending. Certain things are expected of classic fairy tales, and none of this was included in the ending of this book. Perhaps the author was aiming for something more "realistic" or to simply get the reader to continue the series, but loose endings this big make me feel like I wasted my time reading the book, only to get no satisfaction at the finale.
Dragons: Rise of Berk
Games and Entertainment
App
***Reached No.1 App in Over 85 Countries!*** Build your OWN Berk! Rescue, hatch and train your...
Kristy H (1252 KP) rated The Banker's Wife in Books
Mar 6, 2019
Great, exciting, tense novel
Annabel Lerner feels isolated in Geneva: she's not like the other bankers' wives, and she rarely sees her husband Matthew anymore. They moved to Geneva for a fresh start--and yes, to take advantage of the salary Matthew's private banking job at Swiss United offered. But Annabel never realized how stressed Matthew would be or how often he'd travel. And then, suddenly, he's gone: his private plane simply falling off the radar over the French Alps. Before she can even understand what's happening, Annabel is left to deal with the aftermath, including a trail of secrets and the powerful men at Swiss United who don't want them exposed. Meanwhile, Marina Tourneau is a reporter for The Press. Her mentor, Duncan Carr, has been chasing a story involving Morty Reiss, whose hedge fund was one of the largest Ponzi scams of all time. Supposedly, before he could get caught, Morty committed suicide. But Duncan and Marina believe Marty faked his death and Duncan has become obsessed with proving it--to the detriment of his health, his reputation, and his career. But Marina is also engaged to Grant Ellis, whose wealthy father, James, is about to run for President. The plan is for Marina to stop writing and stand by her man. But when she suddenly realizes she's on the trail of the story of her career, what will she do?
Well, this turned out to be a gem of a novel. When I first started reading it, I was a little worried that I wouldn't see what the fuss was all about, but things quickly picked up, and I was hooked. One of the best things about this novel is that it's an old-style thriller--it reminded me of old-school Grisham or Stieg Larsson. It even throws shade at the glutton of Girl books and their (annoying) unreliable narrators, which I love. This is a mystery for folks who love real stories without any fuss or distraction and with strong characters--all of which combine to leave you befuddled and anxious as everything slowly unfurls.
Alger takes us into the complicated and dark world of Swiss banking, where we are introduced to a lot of real bad guys who have no morals. You can't trust them, you know they are bad, and you know your heroes and heroines are in true danger. Rarely do I think this while reading a book (because, face it, the book is always better), but I really think this book would *actually* make a great movie. It's exciting and tense, and the way things are slowly revealed would make for a very effective film.
But, anyway, it's a wonderful novel. You quickly get sucked into Annabel and Marina's worlds--the majority of the story is told from their points of view. There's a decent amount of ancillary characters to keep track of, but it's certainly manageable. The best is not knowing who to trust, what to believe, or how things went down. There's that Girl with a Dragon Tattoo-reporting vibe that I love: the pleasure of solving a case. The story is set in 2015 but is completely timely, yet utterly timeless in its essence of greed, money, and fear--and what people do in the name of all three. I just loved the old-fashioned thrill of it, the long list of suspects, the excitement of trying to work out who did what.
Overall, this is just a great novel. The plot is excellent--tense, exciting, and expertly woven together. The characters are strong, but it's really the story that's the standout here. It truly reminds you of mysteries and thrillers of old (I sound ancient here, but whatever). Don't let the banking theme scare you off: this is a fabulous read, and if you're a mystery or thriller fan, I think you'll really enjoy this one. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Well, this turned out to be a gem of a novel. When I first started reading it, I was a little worried that I wouldn't see what the fuss was all about, but things quickly picked up, and I was hooked. One of the best things about this novel is that it's an old-style thriller--it reminded me of old-school Grisham or Stieg Larsson. It even throws shade at the glutton of Girl books and their (annoying) unreliable narrators, which I love. This is a mystery for folks who love real stories without any fuss or distraction and with strong characters--all of which combine to leave you befuddled and anxious as everything slowly unfurls.
Alger takes us into the complicated and dark world of Swiss banking, where we are introduced to a lot of real bad guys who have no morals. You can't trust them, you know they are bad, and you know your heroes and heroines are in true danger. Rarely do I think this while reading a book (because, face it, the book is always better), but I really think this book would *actually* make a great movie. It's exciting and tense, and the way things are slowly revealed would make for a very effective film.
But, anyway, it's a wonderful novel. You quickly get sucked into Annabel and Marina's worlds--the majority of the story is told from their points of view. There's a decent amount of ancillary characters to keep track of, but it's certainly manageable. The best is not knowing who to trust, what to believe, or how things went down. There's that Girl with a Dragon Tattoo-reporting vibe that I love: the pleasure of solving a case. The story is set in 2015 but is completely timely, yet utterly timeless in its essence of greed, money, and fear--and what people do in the name of all three. I just loved the old-fashioned thrill of it, the long list of suspects, the excitement of trying to work out who did what.
Overall, this is just a great novel. The plot is excellent--tense, exciting, and expertly woven together. The characters are strong, but it's really the story that's the standout here. It truly reminds you of mysteries and thrillers of old (I sound ancient here, but whatever). Don't let the banking theme scare you off: this is a fabulous read, and if you're a mystery or thriller fan, I think you'll really enjoy this one. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Bob Mann (459 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 16, 2021
Relationship between Shaun and Katy (1 more)
Great Shakespearean level of story
Ten rings to rule them all
Positives:
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
Gareth von Kallenbach (971 KP) rated The Hobbit: An Unexpected Journey (2012) in Movies
Aug 7, 2019
Following the Lord of the Rings Trilogy was going to be no easy feat. The series not only made incredible amounts of cash at the box office worldwide, but also garnered an Academy award for best picture for the final film in the series. In the years since the trilogy, writer-director-producer Peter Jackson has not overwhelmed at the box office. His big-budget remake of “King Kong” performed below expectations and the high-profile collapse of the “Halo” movie to which he was attached, as well as the underwhelming box office of “The Lovely Bones” made many people question if Jackson had peaked and was better suited for the lower budgeted independent films that first gave him his start.
When it was announced that a film version of “The Hobbit” was in the works and that director Guillermo del Toro would direct the film as well as help write the screenplay and that Jackson would produce, the fans’ interest level was definitely piqued. But after a long state of pre-production, del Torro decided not to direct the film as he was unwilling to commit the next six years to living and working in New Zealand. Jackson then took over the film and soon after it was announced that it would be stretched into three movies to form a new trilogy.
For those unfamiliar with the story it was actually the first book written by J.R.R. Tolkien, which sets the stage for what was to follow in the Lord of the Rings even though it was originally conceived as a standalone story. The film opens with an older Bilbo Baggins (Martin Freeman), writing a memoir while preparations for a party are underway. Bilbo discusses how there was one story that he had not disclosed and sets pen to paper in order to chronicle his legendary journey 60 years prior.
Gandolf Wizard (Sir Ian McKellen) visits the younger Bilbo and suggests he go on an adventure. Bilbo immediately declines, as being a Hobbit, he has no desire to leave the creature comforts and serenity of The Shire, much less face the dangers that exist in the world beyond. A group of dwarves arrive’ that evening and despite their gluttonous appetites and loud behavior, Bilbo has a change of heart the following morning and accompanies them on their quest.
The group’s goal is to travel to the dwarves’ kingdom of Erebor to reclaim their stronghold which was lost many years earlier to a vicious Dragon named Smaug. In the decades since, the dwarves existed as people without a home, forced to live as nomads taking work wherever they can find it. Along the way the group deals with all manner of threats and dangers ranging from trolls, goblins, orcs, and other supernatural elements. Of course there were some internal tensions and conflicts within the group as it marched towards a finale that sets the stage for the next film.
The movie has a runtime of nearly 3 hours and there were times that I caught a couple members in press row dozing briefly. While I enjoyed the film more than I did any of the Lord of the Rings movies, it was clearly obvious that things were being stretched out in order to justify a third film in the series. There were countless scenes of the band walking over hills and across the countryside so much so that at times I felt that I was watching the longest commercial for New Zealand tourism ever created. We get it. It’s a long journey. They travel near and far. I got it. I don’t need to see it every 10 minutes.
There were also several scenes that were done almost as if in aside that truthfully did not add much to the story but seem to exist as nothing more than time fillers. In the subsequent films it is learned that characters and scenes that did not appear in the book will be inserted into the film. Once again I have to question this as I do believe they could have easily cut an hour out of this movie and not lose much of the necessary narrative.
There’s been a lot of talk about the higher frame rate 3-D that was used to create the film. There have been claims that it was distracting, jerky, and detracted from the movie. I on the other hand found it absolutely captivating because it did not have that movie look to it, and it felt like I was watching an HD television. Even during the CGI heavy sequences, it did appear as if the performers were literally right there in front of me and I got the impression more of watching a play than of watching a movie.
The visual effects in the film were quite stunning. The live-action and computer-generated elements were absolutely amazing, especially during the latter part of the film when we meet Gollum (Andy Serkis), and during the battle and the goblin stronghold. Although the book is considered a children’s novel, I would really have to think twice about bringing young children to see this film as there is a lot of action and violence in the film as well as potential scares in the form of the monsters that abound.
The film could have definitely used some star power to it. While the cast does a solid job, they are fairly generic and almost interchangeable during certain segments of the film. That being said, the film works because despite its issues, it’s a visually spectacular masterpiece that, if you can endure the long periods of inaction, pays off especially well during the film’s battle sequences.
When it was announced that a film version of “The Hobbit” was in the works and that director Guillermo del Toro would direct the film as well as help write the screenplay and that Jackson would produce, the fans’ interest level was definitely piqued. But after a long state of pre-production, del Torro decided not to direct the film as he was unwilling to commit the next six years to living and working in New Zealand. Jackson then took over the film and soon after it was announced that it would be stretched into three movies to form a new trilogy.
For those unfamiliar with the story it was actually the first book written by J.R.R. Tolkien, which sets the stage for what was to follow in the Lord of the Rings even though it was originally conceived as a standalone story. The film opens with an older Bilbo Baggins (Martin Freeman), writing a memoir while preparations for a party are underway. Bilbo discusses how there was one story that he had not disclosed and sets pen to paper in order to chronicle his legendary journey 60 years prior.
Gandolf Wizard (Sir Ian McKellen) visits the younger Bilbo and suggests he go on an adventure. Bilbo immediately declines, as being a Hobbit, he has no desire to leave the creature comforts and serenity of The Shire, much less face the dangers that exist in the world beyond. A group of dwarves arrive’ that evening and despite their gluttonous appetites and loud behavior, Bilbo has a change of heart the following morning and accompanies them on their quest.
The group’s goal is to travel to the dwarves’ kingdom of Erebor to reclaim their stronghold which was lost many years earlier to a vicious Dragon named Smaug. In the decades since, the dwarves existed as people without a home, forced to live as nomads taking work wherever they can find it. Along the way the group deals with all manner of threats and dangers ranging from trolls, goblins, orcs, and other supernatural elements. Of course there were some internal tensions and conflicts within the group as it marched towards a finale that sets the stage for the next film.
The movie has a runtime of nearly 3 hours and there were times that I caught a couple members in press row dozing briefly. While I enjoyed the film more than I did any of the Lord of the Rings movies, it was clearly obvious that things were being stretched out in order to justify a third film in the series. There were countless scenes of the band walking over hills and across the countryside so much so that at times I felt that I was watching the longest commercial for New Zealand tourism ever created. We get it. It’s a long journey. They travel near and far. I got it. I don’t need to see it every 10 minutes.
There were also several scenes that were done almost as if in aside that truthfully did not add much to the story but seem to exist as nothing more than time fillers. In the subsequent films it is learned that characters and scenes that did not appear in the book will be inserted into the film. Once again I have to question this as I do believe they could have easily cut an hour out of this movie and not lose much of the necessary narrative.
There’s been a lot of talk about the higher frame rate 3-D that was used to create the film. There have been claims that it was distracting, jerky, and detracted from the movie. I on the other hand found it absolutely captivating because it did not have that movie look to it, and it felt like I was watching an HD television. Even during the CGI heavy sequences, it did appear as if the performers were literally right there in front of me and I got the impression more of watching a play than of watching a movie.
The visual effects in the film were quite stunning. The live-action and computer-generated elements were absolutely amazing, especially during the latter part of the film when we meet Gollum (Andy Serkis), and during the battle and the goblin stronghold. Although the book is considered a children’s novel, I would really have to think twice about bringing young children to see this film as there is a lot of action and violence in the film as well as potential scares in the form of the monsters that abound.
The film could have definitely used some star power to it. While the cast does a solid job, they are fairly generic and almost interchangeable during certain segments of the film. That being said, the film works because despite its issues, it’s a visually spectacular masterpiece that, if you can endure the long periods of inaction, pays off especially well during the film’s battle sequences.
Emma @ The Movies (1786 KP) rated Mulan (1998) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
"Dishonour on you! Dishonour on your cow!" This is probably the only thing from Mulan that I can identify beyond some of the characters. I think that's generally how Disney goes though, they become viral so easily that you recognise things without ever having seen the films... even worse in this case though... I actually own it but took myself to the cinema to see it anyway. If you're gonna do it you've gotta do it right because it doesn't matter how close I sit to the 50 inch TV at home it's not like watching it on the big screen.
At 21 years old (which is crazy to me) it is looking a little dated. That's not me saying it's bad though, the animation is lovely it's classic Disney, what I am saying is that animation these days has come so far. In such a short space of time we're seeing amazingly high detail in animated films. The fact it doesn't have cluttered frames actually means that you're less distracted, I didn't notice myself straying from the main action. While modern offerings may be glitzy they should probably revisit simplicity.
The story itself is a nice one, although it does vary from the traditional telling. They've tried to keep the original elements in it in some way but I would imagine it's not ideal if you're looking for the authentic touch. But then I think it's the additional things in it that are my favourites.
The voice cast for the human contingent has some pretty big names in it. Scrolling through IMDb I did a lot of ooohh yeahs and ahhhhs at all of them. Most you recognise just from their voice in the film but Mulan had me stumped, so much so that I had to look her up during the movie because it was bothering me... how did I not recognise Ming-Na Wen? Melinda May! Dishonour on me!
Of all the characters though it's the animals that shine through. Generally in human dominated movies the animal sidekicks get to be the comic relief and it's always very entertaining.
Mushu is genius, and travel-sized for Mulan's convenience, very handy if you ask me! Eddie Murphy definitely gets some of the best lines in this role, from his Frankenstein's monster resurrection to the line "There are a couple of thinks I know they're bound to notice!", we're treated to a lot of entertaining interactions. Surprisingly the double act of Mushu and the cricket works well, probably because one doesn't talk and the other doesn't stop... and the cricket sounding like a typewriter was the cutest scene I'd seen in a while.
I don't know how I haven't watched this before, it was thoroughly enjoyable and I'm glad that I already own it. It's left me intrigued for the live action version next year. Several of the scenes were very powerful and I can see them translating well to a live action version, with all the the CGI advancements I have my fingers crossed that they nail the scenes in the mountains. But what about Mushu? There are things going round the internet about his inclusion in the film but what are they going to do with him? After those Genie pictures I'm nervous, but I guess we'll just have to see.
What you should do
This should absolutely be one of your go to.. I was going to say "family" films but everyone should watch it. It's such a great all-round movie.
Movie thing you wish you could take home
I could do with my own Mushu, who wouldn't want a dragon protector?
At 21 years old (which is crazy to me) it is looking a little dated. That's not me saying it's bad though, the animation is lovely it's classic Disney, what I am saying is that animation these days has come so far. In such a short space of time we're seeing amazingly high detail in animated films. The fact it doesn't have cluttered frames actually means that you're less distracted, I didn't notice myself straying from the main action. While modern offerings may be glitzy they should probably revisit simplicity.
The story itself is a nice one, although it does vary from the traditional telling. They've tried to keep the original elements in it in some way but I would imagine it's not ideal if you're looking for the authentic touch. But then I think it's the additional things in it that are my favourites.
The voice cast for the human contingent has some pretty big names in it. Scrolling through IMDb I did a lot of ooohh yeahs and ahhhhs at all of them. Most you recognise just from their voice in the film but Mulan had me stumped, so much so that I had to look her up during the movie because it was bothering me... how did I not recognise Ming-Na Wen? Melinda May! Dishonour on me!
Of all the characters though it's the animals that shine through. Generally in human dominated movies the animal sidekicks get to be the comic relief and it's always very entertaining.
Mushu is genius, and travel-sized for Mulan's convenience, very handy if you ask me! Eddie Murphy definitely gets some of the best lines in this role, from his Frankenstein's monster resurrection to the line "There are a couple of thinks I know they're bound to notice!", we're treated to a lot of entertaining interactions. Surprisingly the double act of Mushu and the cricket works well, probably because one doesn't talk and the other doesn't stop... and the cricket sounding like a typewriter was the cutest scene I'd seen in a while.
I don't know how I haven't watched this before, it was thoroughly enjoyable and I'm glad that I already own it. It's left me intrigued for the live action version next year. Several of the scenes were very powerful and I can see them translating well to a live action version, with all the the CGI advancements I have my fingers crossed that they nail the scenes in the mountains. But what about Mushu? There are things going round the internet about his inclusion in the film but what are they going to do with him? After those Genie pictures I'm nervous, but I guess we'll just have to see.
What you should do
This should absolutely be one of your go to.. I was going to say "family" films but everyone should watch it. It's such a great all-round movie.
Movie thing you wish you could take home
I could do with my own Mushu, who wouldn't want a dragon protector?
Movie Metropolis (309 KP) rated Christopher Robin (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Future Classic
The characters of Pooh, Eeyore, Piglet and Tigger are synonymous with the childhood of millions of adults across the globe. A.A. Milne’s classic creatures are etched into the memories of many, passed down through generations with tatty old story books and stuffed animals.
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
graveyardgremlin (7194 KP) rated Fury of Fire (Dragonfury, #1) in Books
Feb 15, 2019
<b>NOTE:</b> I did not finish Fury of Fire. I reached page 207, out of 412, before I called it quits. My review reflects on what I read and no more, which is more than enough to be indicative to how the author creates her book.
During the course of reading, everyone comes across a book that just doesn't connect with them. That doesn't mean the book is bad or that others shouldn't read it, it just means the it isn't a good fit that particular person. This is that book for me. I had a very difficult time getting through what I read, mostly due to a bunch of little things that stood out and were what I consider oddities, especially in context to situations in the book. If I had to describe this book in one word, it'd be abrasive. The characters, the dialogue, and most importantly, the writing felt like rubbing sandpaper over a wound. Over and over again.
<b>THE BAD</b>
The constant bombardment of internalizing that both Myst and Bastian provide in this book was like a splinter under my fingernail. The more I dug, the more painful it became, and I started to dislike the book and main characters more and more as I read on. Admittedly, it was pretty easy to loathe Bastian and Myst when it became apparent that they are both boring and stupid, and I didn't find Bastian all that likeable in the first place. Call me crazy, but I just feel uneasy when a character wants to immediately jump the bones of a person he just met in horrific situation while she is frightened beyond belief. But apparently that's okay because he acknowledges his creepiness in a fit of mental self-flagellation. Sorry, but that doesn't fly with me. Maybe if that had been mentioned only once, I would have let it slide, but it keeps on like that for way too long. Apparently he's all alpha on the outside and emo on the inside. What a winning combination! Not. Myst herself starts off, uh, decent enough but then quickly becomes the nitwit I was hoping to avoid. She gets the fastest case of Stockholm Syndrome I've ever come across. For all intents and purposes, Bastian kidnapped her. Sure, we the readers know it's for Myst and the baby's safety from the evil Razorbacks, but she certainly doesn't know that, therefore I found her reactions extremely unrealistic and bizarre to the situations she was in. One minute she's fighting, and by fighting I mean being stubbornly spunky, or somewhat thinking of escape, the next she's imagining wild, hot monkey sex with Bastian. I'm sorry but if some big, six-foot-six (apparently every male is 6'6 in this book, even the human cop. Obviously, if a guy is under that height, he's not really a man.), scary dude who can turn into a dragon kidnaps me, I am so not going to be thinking about how hot they are or what they're like in the sack. Yeah, uh-huh, that makes perfect sense. Oy! Anyway, they end up making out that night due to Bastian's alpha going crazy and some supernatural roofie that dragons put out to females. God, this is not romantic at all. And it's only been a few hours since they "met"! The morning after Myst is kidnapped, she wakes up naked and finds out Bastian bathed her, can you say mondo creepy? So after she dresses, she goes meandering through the Nightfury's lair, admiring his artwork and crap, then ends up in the kitchen with the rest of the freaky-tall Nightfuries. I'd be high-tailing it out of there, in fact, I would have been plotting escape long before this point. It appears she only thinks of escape once a day. While she's in the kitchen, Bastian has her sit at the table so she can eat her breakfast. He sets down a plate in front of her and as she goes to have a bite, she notices he cut her waffles into little, perfect, bite-size pieces and she's apparently overcome by this act. How weird is that?! All feminist angles aside, who cuts up someone else's food unless: A, it's for a small child, two, their arms and hands are broken, or D, they're handicapped in some way that prevents them from feeding themselves? W.T.F.? Frankly, I think it's just odd. And then she gets misty-eyed (Myst is all misty, how cute. *gag*) when he asks her to help name the baby he kidnapped. I've already doubted her sanity before but now it's gone to even more ridiculous heights by this point.
The magical Rohypnol I mentioned before creeped me the heck out. So when a dragon guy needs his energy fix, he picks out a woman, roofies her, feeds off her energy, sleeps with her, and then wipes her memory! Say what? That's too close to rape for my liking. This wasn't just the bad guys doing this, but the next book's "hero" did that to a woman in a hospital (note: she wasn't a patient, I think she was a researcher or something, I don't remember). How sweet.
The excessive swearing needed edited down. Normally I don't mind a little cursing here and there, but so much of it didn't need to be added to the dialogue or characters and showed a lack of creativity.
The "dragons" are really shape-shifting vampires. They have to feed off women, only it's energy instead of blood, they can't be out in the sun, they heal quickly, live a long time, are super-strong, amongst other attributes. If you're going to have shape-shifting dragons, don't make them so similar to other paranormal species. Differentiate them so they're unique, not a near-clone.
I didn't like the whole reading of minds thing. If it was something that happened when mated, fine, but I don't like the thought of someone just arbitrarily getting into someone else's brain whenever they want. It's a violation. Bastian did this to Myst way too often.
The characters sound a lot like each other. They don't all have individual voices so there isn't much beyond a name separating one from the other.
<b>THE GOOD</b>
The first fight scene was actually quite well-done, although it was very early on in the book so it might not hold up on a second reading. The next fight scene wasn't too bad, maybe a little confusing at times.
The other characters in the Dragonfury series have the potential to be more interesting if they can be given some individuality, but since I didn't connect with the author's writing style and don't like most of the ideas, I won't be looking for any sequels to this oh-so-romantic series. I wouldn't recommend this book, but hey, if it sounds right up your alley or you have masochistic tendencies, by all means try it out for yourself.
As a final note, I just wanted to thank <a href="http://homealone.wikia.com/wiki/Buzz_McCallister"; target="_blank">Buzz McCallister</a> for his mad counting/alphabetizing skillz in writing this review. I couldn't have done it without you, buddy.
<img src="http://kindbooksandcoronets.files.wordpress.com/2012/03/buzzmccallister1.jpg">;
During the course of reading, everyone comes across a book that just doesn't connect with them. That doesn't mean the book is bad or that others shouldn't read it, it just means the it isn't a good fit that particular person. This is that book for me. I had a very difficult time getting through what I read, mostly due to a bunch of little things that stood out and were what I consider oddities, especially in context to situations in the book. If I had to describe this book in one word, it'd be abrasive. The characters, the dialogue, and most importantly, the writing felt like rubbing sandpaper over a wound. Over and over again.
<b>THE BAD</b>
The constant bombardment of internalizing that both Myst and Bastian provide in this book was like a splinter under my fingernail. The more I dug, the more painful it became, and I started to dislike the book and main characters more and more as I read on. Admittedly, it was pretty easy to loathe Bastian and Myst when it became apparent that they are both boring and stupid, and I didn't find Bastian all that likeable in the first place. Call me crazy, but I just feel uneasy when a character wants to immediately jump the bones of a person he just met in horrific situation while she is frightened beyond belief. But apparently that's okay because he acknowledges his creepiness in a fit of mental self-flagellation. Sorry, but that doesn't fly with me. Maybe if that had been mentioned only once, I would have let it slide, but it keeps on like that for way too long. Apparently he's all alpha on the outside and emo on the inside. What a winning combination! Not. Myst herself starts off, uh, decent enough but then quickly becomes the nitwit I was hoping to avoid. She gets the fastest case of Stockholm Syndrome I've ever come across. For all intents and purposes, Bastian kidnapped her. Sure, we the readers know it's for Myst and the baby's safety from the evil Razorbacks, but she certainly doesn't know that, therefore I found her reactions extremely unrealistic and bizarre to the situations she was in. One minute she's fighting, and by fighting I mean being stubbornly spunky, or somewhat thinking of escape, the next she's imagining wild, hot monkey sex with Bastian. I'm sorry but if some big, six-foot-six (apparently every male is 6'6 in this book, even the human cop. Obviously, if a guy is under that height, he's not really a man.), scary dude who can turn into a dragon kidnaps me, I am so not going to be thinking about how hot they are or what they're like in the sack. Yeah, uh-huh, that makes perfect sense. Oy! Anyway, they end up making out that night due to Bastian's alpha going crazy and some supernatural roofie that dragons put out to females. God, this is not romantic at all. And it's only been a few hours since they "met"! The morning after Myst is kidnapped, she wakes up naked and finds out Bastian bathed her, can you say mondo creepy? So after she dresses, she goes meandering through the Nightfury's lair, admiring his artwork and crap, then ends up in the kitchen with the rest of the freaky-tall Nightfuries. I'd be high-tailing it out of there, in fact, I would have been plotting escape long before this point. It appears she only thinks of escape once a day. While she's in the kitchen, Bastian has her sit at the table so she can eat her breakfast. He sets down a plate in front of her and as she goes to have a bite, she notices he cut her waffles into little, perfect, bite-size pieces and she's apparently overcome by this act. How weird is that?! All feminist angles aside, who cuts up someone else's food unless: A, it's for a small child, two, their arms and hands are broken, or D, they're handicapped in some way that prevents them from feeding themselves? W.T.F.? Frankly, I think it's just odd. And then she gets misty-eyed (Myst is all misty, how cute. *gag*) when he asks her to help name the baby he kidnapped. I've already doubted her sanity before but now it's gone to even more ridiculous heights by this point.
The magical Rohypnol I mentioned before creeped me the heck out. So when a dragon guy needs his energy fix, he picks out a woman, roofies her, feeds off her energy, sleeps with her, and then wipes her memory! Say what? That's too close to rape for my liking. This wasn't just the bad guys doing this, but the next book's "hero" did that to a woman in a hospital (note: she wasn't a patient, I think she was a researcher or something, I don't remember). How sweet.
The excessive swearing needed edited down. Normally I don't mind a little cursing here and there, but so much of it didn't need to be added to the dialogue or characters and showed a lack of creativity.
The "dragons" are really shape-shifting vampires. They have to feed off women, only it's energy instead of blood, they can't be out in the sun, they heal quickly, live a long time, are super-strong, amongst other attributes. If you're going to have shape-shifting dragons, don't make them so similar to other paranormal species. Differentiate them so they're unique, not a near-clone.
I didn't like the whole reading of minds thing. If it was something that happened when mated, fine, but I don't like the thought of someone just arbitrarily getting into someone else's brain whenever they want. It's a violation. Bastian did this to Myst way too often.
The characters sound a lot like each other. They don't all have individual voices so there isn't much beyond a name separating one from the other.
<b>THE GOOD</b>
The first fight scene was actually quite well-done, although it was very early on in the book so it might not hold up on a second reading. The next fight scene wasn't too bad, maybe a little confusing at times.
The other characters in the Dragonfury series have the potential to be more interesting if they can be given some individuality, but since I didn't connect with the author's writing style and don't like most of the ideas, I won't be looking for any sequels to this oh-so-romantic series. I wouldn't recommend this book, but hey, if it sounds right up your alley or you have masochistic tendencies, by all means try it out for yourself.
As a final note, I just wanted to thank <a href="http://homealone.wikia.com/wiki/Buzz_McCallister"; target="_blank">Buzz McCallister</a> for his mad counting/alphabetizing skillz in writing this review. I couldn't have done it without you, buddy.
<img src="http://kindbooksandcoronets.files.wordpress.com/2012/03/buzzmccallister1.jpg">;