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Iron Gold: Book 4 of the Red Rising Saga
7.8
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Book
#1 New York Times bestselling author Pierce Brown expands the size and scope of his Red Rising...
science fiction
BankofMarquis (1832 KP) rated First Man (2018) in Movies
Oct 13, 2018
GREAT, Visceral Space Scenes - Boring, Soap-Opera-ish Earth Scenes
Get to the largest screen you can find with the best sound system and check out FIRST MAN. The visceral spectacle of space travel is expertly captured and needs to be seen on the BIG screen while your chair vibrates from the sound. You, the audience, fwill eel like you are in the spaceship with Neil Armstrong on his way to the moon.
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Rachel King (13 KP) rated Insatiable (Insatiable, #1) in Books
Feb 11, 2019
I normally try to avoid Meg Cabot, simply because I've found some of her writing too teeny-bopper for me, but this book was written for adults and features an all-adult cast list. Now this is a book that could be made into a movie.
The book starts out as an anti-vampire book, and makes fun of the over-saturation in pop culture through Meena Harper's character. I love Meena's character right away, with her writing skills and passion for a decades-old soap opera, she is someone I can relate to. Her ability to predict others' deaths only makes her more intriguing. I also find it fittingly ironic when more and more of the people around Meena turn out to be vampires, as she eventually acknowledges herself.
Even though the book is written for adults, Meg Cabot still keeps the writing clean, skipping through the intimate bedroom scenes with only the smallest of hints at the sordid details. She also leaves many of the gruesome aspects of the plot up to the imagination of the readers, which I prefer.
Because this book is all about tongue-in-cheek irony, it is only fitting that the state of Meena's mind -- the jumbled mess of a writer -- attracts the prince of all vampires, Lucien, who happens to be a Romanian history professor when he isn't attending to his princely duties. I get the feeling that there is more to Lucien and Meena's attraction to each other than what Meg Cabot is telling the reader, but by the end of the book, this is still a mystery. Plus, a good-looking vampire slayer suffering from too much micromanagement and even less communication skills causes some interesting conflicts and obstacles for Meena and Lucien. His attraction to Meena is like water to a sponge, but Meena is less drawn to Alaric.
I wasn't crazy by how the book ended, but it made sense for Meena's independence. Still, I'm hoping Meena's choices will change in the next book, Overbite.
The book starts out as an anti-vampire book, and makes fun of the over-saturation in pop culture through Meena Harper's character. I love Meena's character right away, with her writing skills and passion for a decades-old soap opera, she is someone I can relate to. Her ability to predict others' deaths only makes her more intriguing. I also find it fittingly ironic when more and more of the people around Meena turn out to be vampires, as she eventually acknowledges herself.
Even though the book is written for adults, Meg Cabot still keeps the writing clean, skipping through the intimate bedroom scenes with only the smallest of hints at the sordid details. She also leaves many of the gruesome aspects of the plot up to the imagination of the readers, which I prefer.
Because this book is all about tongue-in-cheek irony, it is only fitting that the state of Meena's mind -- the jumbled mess of a writer -- attracts the prince of all vampires, Lucien, who happens to be a Romanian history professor when he isn't attending to his princely duties. I get the feeling that there is more to Lucien and Meena's attraction to each other than what Meg Cabot is telling the reader, but by the end of the book, this is still a mystery. Plus, a good-looking vampire slayer suffering from too much micromanagement and even less communication skills causes some interesting conflicts and obstacles for Meena and Lucien. His attraction to Meena is like water to a sponge, but Meena is less drawn to Alaric.
I wasn't crazy by how the book ended, but it made sense for Meena's independence. Still, I'm hoping Meena's choices will change in the next book, Overbite.
The First Iron Lady: A Life of Caroline of Ansbach
Book
Often compared to Catherine the Great or Elizabeth I, Caroline of Ansbach is the great queen Britain...
EC
Experiencing Carl Maria von Weber: A Listener's Companion
Book
Scholars have long recognized Carl Maria von Weber as the father of the German Romantic and...
American Showman: Samuel Roxy Rothafel and the Birth of the Entertainment Industry, 1908-1935
Book
Samuel "Roxy" Rothafel (1882-1936) built an influential and prolific career as film exhibitor, stage...
GG
George Gershwin: An Intimate Portrait
Book
George Gershwin lived with purpose and gusto, but with melancholy as well, for he was unable to make...
Mark @ Carstairs Considers (2332 KP) rated Triple Chocolate Cheesecake Murder in Books
Apr 23, 2021 (Updated Apr 23, 2021)
Murder in the Mayor’s Office
Easter is coming, and The Cookie Jar is awash in orders, keeping Hannah Swensen, her business partner Lisa, and the rest of their staff busy. But that doesn’t mean that Hannah doesn’t have time to help her sister Andrea when she calls in a panic. She’s just found Mayor Bascomb’s dead body in his office hours after having a very loud fight with him. The police wouldn’t be doing their job if they didn’t consider Andrea a suspect, so Hannah springs into action to figure out what really happened. Can she prove her sister is innocent?
I’ve been reading this long running series since the beginning, and I keep reading because I do enjoy catching up with the characters. If that is your reason for picking up the book, you’ll find they are as charming as always. I was pleased to see the soap opera of the previous few books has died down, and we see growth in a surprising direction in one character. Sadly, the love triangle is no closer to being resolved. The mystery is decent with enough suspects to keep us engaged. However, the focus is on the food. There is plenty of talk about food and how much the characters love what they are eating. With 24 new recipes for us to try, there is certainly plenty of new food to talk about. The dialogue is repetitious, an example of why realistic dialogue is better than real dialogue in a novel. While I still want to catch up with the characters, I find myself skimming the book instead of reading it closely. If you are like me and want to keep up with the characters, you’ll be glad you picked up this book. But if you haven’t started the series yet, you’ll want to go back to the beginning to find out why there are readers like me who still enjoy visiting the characters. And if you’ve given up on the series, you can safely skip this one.
I’ve been reading this long running series since the beginning, and I keep reading because I do enjoy catching up with the characters. If that is your reason for picking up the book, you’ll find they are as charming as always. I was pleased to see the soap opera of the previous few books has died down, and we see growth in a surprising direction in one character. Sadly, the love triangle is no closer to being resolved. The mystery is decent with enough suspects to keep us engaged. However, the focus is on the food. There is plenty of talk about food and how much the characters love what they are eating. With 24 new recipes for us to try, there is certainly plenty of new food to talk about. The dialogue is repetitious, an example of why realistic dialogue is better than real dialogue in a novel. While I still want to catch up with the characters, I find myself skimming the book instead of reading it closely. If you are like me and want to keep up with the characters, you’ll be glad you picked up this book. But if you haven’t started the series yet, you’ll want to go back to the beginning to find out why there are readers like me who still enjoy visiting the characters. And if you’ve given up on the series, you can safely skip this one.
Lenard (726 KP) rated Voyagers (2021) in Movies
Apr 18, 2021
Voyagers is the story of an 86-year voyage to a life sustaining planet in another galaxy. How did they stock the ship for the crew? When the 1st generation crew dies, who is going to train the next generation? Will the next generation listen since they are the first crew's children? Next question: you are going to bred a crew from intellectual superior Earthlings and keep them isolated in a facility so they will not miss the Sun or anything on Earth. How will these children develop a circadian rhythm since human circadian rhythms are based on the Sun? How do you settle upon 30 crew members? Could you have 60 crew members and give each a different circadian rhythm so you would have 3 shifts of 20 and someone would always be monitoring the vessel? Would that be more efficient and safer than all 30 being on the same cycle? These are just the science-y questions for this story.
Now, the actual film. The writer decides to quickly dispatch the lone "adult" in this cast of YAs. Slowly the crew descends into Lord of the Flies. At one point, I was wondering which one is the Piggy. Hint: brown and male. There is a little twist where one of the crew turns paranoia into a weapon and launches a leadership campaign. I enjoyed the concept of an alien that was not there, but could attack anyone. It never went far as the movie turned into a battle of arms rather than wits. I prefer not to critique films based on what should have been done. But shouldn't the crew have learned at some point that the pressure outside in outer space on a metal tin can travelling at interstellar speeds creates friction which reverbs inside. Then the film could have focused on a more politically tinted parable.
One scene disturbed me. The acting of Lily-Rose and Fionn is so bad that I thought a porn scene had been edited into the space opera.
Now, the actual film. The writer decides to quickly dispatch the lone "adult" in this cast of YAs. Slowly the crew descends into Lord of the Flies. At one point, I was wondering which one is the Piggy. Hint: brown and male. There is a little twist where one of the crew turns paranoia into a weapon and launches a leadership campaign. I enjoyed the concept of an alien that was not there, but could attack anyone. It never went far as the movie turned into a battle of arms rather than wits. I prefer not to critique films based on what should have been done. But shouldn't the crew have learned at some point that the pressure outside in outer space on a metal tin can travelling at interstellar speeds creates friction which reverbs inside. Then the film could have focused on a more politically tinted parable.
One scene disturbed me. The acting of Lily-Rose and Fionn is so bad that I thought a porn scene had been edited into the space opera.
