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Gareth von Kallenbach (971 KP) rated The Expendables 3 (2014) in Movies
Jun 19, 2019
Many times when a film series reaches it”s third installment, it is out of ideas and running on fumes. The idea that if a film has spawned a successful sequel it must have a trilogy is nothing new in Hollywood, but far too many times the third films loses momentum and goes through the motions for one last payday for the cast and studio.
In “The Expendables 3” Sylvester Stallone, Arnold Schwarzenegger, and company lead the all star cast with a mix of old and new in order to provide a more diverse yet not entirely satisfying third act of the retro action series.
Barney (Sylvester Stallone), leads the remains of his crew on a daring raid as the film opens to free one of his former members played by Wesley Snipes. The action is as intense as ever, but thanks to a PG-13 rating, is much more subdued than we have come to expect from the series.
As Barney and crew contend with age and injuries, it is leaned that a person long thought dead has become one of the biggest arms dealers in the world and has his own private army. What makes matters worse is that said dealer (Mel Gibson), has a very complicated history with Barney and The Expendables and as such this mission is very personal when he is hired to bring him to justice.
With a new crew in place, Barney sets out to settle the score, but soon finds out that complications arise, forcing the old and new crew to unite in a battle against overwhelming odds.
If this seems to be a fairly simplistic overview your right, as this is about as complex as this film gets. There is some effort to show chemistry between the players but backstories and character development are for the most part left out. Gibson on the other hand brings a great new dimension to the film as the backstory to his character as well as his motivations were very interesting and kept my attention in what otherwise could come off as a cartoony villain role.
Harrison Ford replaces Bruce Willis as their C.I.A. contact and brings gruff charm to the role of Drummer and seems to delight in being in on the action as do the new and returning cast.
The biggest issue was that it seemed more retrained than what we expect from the series. Part 2 had the epic airport battle and a great fistacuff finale. Part 3 lacks the intensity and urgency of previous films and the cast appears to be going through the motions, just happy for one more ride.
Stallone reportedly mentioned he had ideas for a 4th film which would be fine with me, but they need to get away from this PG 13 lite version and bring the swaggering, over the top action of the previous films back and fast as with an aging cast, this film seemed very out of date and lacking the retro nostalgia.
That being said, if you want some no-brainer fun, it is worthy of checking out.
http://sknr.net/2014/08/15/expendables-3/
In “The Expendables 3” Sylvester Stallone, Arnold Schwarzenegger, and company lead the all star cast with a mix of old and new in order to provide a more diverse yet not entirely satisfying third act of the retro action series.
Barney (Sylvester Stallone), leads the remains of his crew on a daring raid as the film opens to free one of his former members played by Wesley Snipes. The action is as intense as ever, but thanks to a PG-13 rating, is much more subdued than we have come to expect from the series.
As Barney and crew contend with age and injuries, it is leaned that a person long thought dead has become one of the biggest arms dealers in the world and has his own private army. What makes matters worse is that said dealer (Mel Gibson), has a very complicated history with Barney and The Expendables and as such this mission is very personal when he is hired to bring him to justice.
With a new crew in place, Barney sets out to settle the score, but soon finds out that complications arise, forcing the old and new crew to unite in a battle against overwhelming odds.
If this seems to be a fairly simplistic overview your right, as this is about as complex as this film gets. There is some effort to show chemistry between the players but backstories and character development are for the most part left out. Gibson on the other hand brings a great new dimension to the film as the backstory to his character as well as his motivations were very interesting and kept my attention in what otherwise could come off as a cartoony villain role.
Harrison Ford replaces Bruce Willis as their C.I.A. contact and brings gruff charm to the role of Drummer and seems to delight in being in on the action as do the new and returning cast.
The biggest issue was that it seemed more retrained than what we expect from the series. Part 2 had the epic airport battle and a great fistacuff finale. Part 3 lacks the intensity and urgency of previous films and the cast appears to be going through the motions, just happy for one more ride.
Stallone reportedly mentioned he had ideas for a 4th film which would be fine with me, but they need to get away from this PG 13 lite version and bring the swaggering, over the top action of the previous films back and fast as with an aging cast, this film seemed very out of date and lacking the retro nostalgia.
That being said, if you want some no-brainer fun, it is worthy of checking out.
http://sknr.net/2014/08/15/expendables-3/
Phil Leader (619 KP) rated The Long Utopia in Books
Nov 20, 2019
The Long Earth series of books presented an intriguing idea, that of being able to 'step' into parallel Earths, each an untouched wilderness and each one slightly different until they became very different planets. How would this affect people on a personal level and how would it affect the social and political stability of the original 'Datum Earth'?
The second book, The Long War explored the political theme further with the superpowers attempting to control the equivalent populations on the other Earths - and mostly meeting resistance to any governance at all. It also introduced the concept of the Next, a super intelligent sub-species of humanity.
The third book, The Long Mars had further incredible iterations of Earth on display and also did the same thing for Mars on a quest to discover a material to use to make a space elevator. The Next also started to organise and to separate themselves from the rest of humanity.
Each of these took the original concept and gave us more interesting worlds and lifeforms. Although the law of diminishing returns was starting to bite - Earth fatigue if you like - the main interest was in seeing what new ideas the authors could wrestle for each new Earth or Mars.
That is where this book fails. It is almost exclusively interested in only one copy of Earth, which comes under direct threat. All the usual suspects - Joshua, Sally, Lobsang and the Next must join forces to prevent a catastrophe threatening the whole Long Earth. There is also a sub-plot involving Joshua's antecedents which although interesting in itself is essentially a Long Earth short story of no relevance to the rest of the plot.
Whereas the previous books had a sense of wonder at each world, this loses that completely. It is in fact a completely standard science fiction story and probably would have been better told as a stand alone story rather than being shoe-horned into the Long Earth concept, which doesn't actually add anything interesting to it. It reads very much like Baxter wanted to write a story about a Dyson motor and as he was contracted to write a Long Earth novel, that's what was used. Unfortunately even this story is not well told with stilted and flaccid dialogue, zero character development and no dramatic tension at all. It was a real struggle to read in places, there is no zip or flow to the story or writing.
Various bits of the plot don't make a great deal of sense and the ending is very lame indeed with the chain of Long Earth worlds being essentially fixed by just thinking about it. The Next decide that Stan Berg, a newly discovered one of their kind, is the only one to 'fix' this despite basically no contact. They are supposed to be super intelligent and think many moves ahead but this just struck me as absurd.
Overall, I would only suggest that Long Earth completists read this. Those who enjoy the Long Earth for its diversity and novel concepts would be better off leaving this one on the shelf.
The second book, The Long War explored the political theme further with the superpowers attempting to control the equivalent populations on the other Earths - and mostly meeting resistance to any governance at all. It also introduced the concept of the Next, a super intelligent sub-species of humanity.
The third book, The Long Mars had further incredible iterations of Earth on display and also did the same thing for Mars on a quest to discover a material to use to make a space elevator. The Next also started to organise and to separate themselves from the rest of humanity.
Each of these took the original concept and gave us more interesting worlds and lifeforms. Although the law of diminishing returns was starting to bite - Earth fatigue if you like - the main interest was in seeing what new ideas the authors could wrestle for each new Earth or Mars.
That is where this book fails. It is almost exclusively interested in only one copy of Earth, which comes under direct threat. All the usual suspects - Joshua, Sally, Lobsang and the Next must join forces to prevent a catastrophe threatening the whole Long Earth. There is also a sub-plot involving Joshua's antecedents which although interesting in itself is essentially a Long Earth short story of no relevance to the rest of the plot.
Whereas the previous books had a sense of wonder at each world, this loses that completely. It is in fact a completely standard science fiction story and probably would have been better told as a stand alone story rather than being shoe-horned into the Long Earth concept, which doesn't actually add anything interesting to it. It reads very much like Baxter wanted to write a story about a Dyson motor and as he was contracted to write a Long Earth novel, that's what was used. Unfortunately even this story is not well told with stilted and flaccid dialogue, zero character development and no dramatic tension at all. It was a real struggle to read in places, there is no zip or flow to the story or writing.
Various bits of the plot don't make a great deal of sense and the ending is very lame indeed with the chain of Long Earth worlds being essentially fixed by just thinking about it. The Next decide that Stan Berg, a newly discovered one of their kind, is the only one to 'fix' this despite basically no contact. They are supposed to be super intelligent and think many moves ahead but this just struck me as absurd.
Overall, I would only suggest that Long Earth completists read this. Those who enjoy the Long Earth for its diversity and novel concepts would be better off leaving this one on the shelf.
Phil Leader (619 KP) rated Universe: Awakening (Terra Nova #1) in Books
Nov 27, 2019
In the far future an advanced society of post-humans launch an audacious exploration project - DEUS - to probe the edges of the universe. The mission is a success but one of the two pilots involved fails to return and the other - his brother Ja'el - retreats into a self-induced coma to avoid facing up to what happened. Despite this the mission is regarded as a success and propels Science Minister Odessa to the pinnacle of political power.
Fast forward 100 years. The probes sent out by DEUS have gone dark one by one, sending potentially troubling data before they do so. Ja'el is showing signs of improvement to his counsellor Auberon. With the real danger that the perceived success of DEUS - the basis of her power - may unravel Odessa brings Auberon under her control to manage Ja'el's recovery.
The rest of the book follows Auberon's (and his assigned Guardians, Mich'ael and Gab'riel) as they realise that there may be a personal motive in Odessa's desire to see Ja'el rehabilited, and that they may be 'surplus to requirements' once he is.
Overttun aims high with this book; there are a lot of concepts around not only technology but future society and political attitudes. There is also a subplot around the more advanced ruling class and the far more numerous worker humans which is used to good effect to highlight social injustices of all kinds. On whole the premise is delivered well, although there are a few lengthy exposition passages, particularly early in the book, which do spoil the flow and are probably not actually required.
What is striking is the character development. All the main characters learn some lessons along the way, Auberon in particular discovering that far from being a meek and unassuming mid-rank civil servant is capable of far more, both mentally and physically, than he ever thought possible. His metaphorical awakening mirrors nicely Ja'el's rather more literal awakening.
As the first part of an intended series of books, this volume necessarily does a lot of work setting up the characters and situations and leaves a lot of threads hanging to be picked up later but there is closure around the main plots and character arcs within this part of the story.
Although this is going to be labelled as a science fiction novel because of the post-human, technological and space exploration aspects at its heart it is a political thriller. Given this and that it is chock full of interesting ideas it bears careful reading without any preconceived expectations. But above all this is an interesting read following a set of well-designed characters in a fully developed world.
With its length and depth this is not a light read but the writing style is straighforward and clear whilst still being fully descriptive and immersive which makes it a pleasure to pick it up and see what Auberon and associates will do next.
The characters and the world they inhabit are something the author is clearly proud of - and he is right to be. This first instalment bodes well for the rest of the series.
Fast forward 100 years. The probes sent out by DEUS have gone dark one by one, sending potentially troubling data before they do so. Ja'el is showing signs of improvement to his counsellor Auberon. With the real danger that the perceived success of DEUS - the basis of her power - may unravel Odessa brings Auberon under her control to manage Ja'el's recovery.
The rest of the book follows Auberon's (and his assigned Guardians, Mich'ael and Gab'riel) as they realise that there may be a personal motive in Odessa's desire to see Ja'el rehabilited, and that they may be 'surplus to requirements' once he is.
Overttun aims high with this book; there are a lot of concepts around not only technology but future society and political attitudes. There is also a subplot around the more advanced ruling class and the far more numerous worker humans which is used to good effect to highlight social injustices of all kinds. On whole the premise is delivered well, although there are a few lengthy exposition passages, particularly early in the book, which do spoil the flow and are probably not actually required.
What is striking is the character development. All the main characters learn some lessons along the way, Auberon in particular discovering that far from being a meek and unassuming mid-rank civil servant is capable of far more, both mentally and physically, than he ever thought possible. His metaphorical awakening mirrors nicely Ja'el's rather more literal awakening.
As the first part of an intended series of books, this volume necessarily does a lot of work setting up the characters and situations and leaves a lot of threads hanging to be picked up later but there is closure around the main plots and character arcs within this part of the story.
Although this is going to be labelled as a science fiction novel because of the post-human, technological and space exploration aspects at its heart it is a political thriller. Given this and that it is chock full of interesting ideas it bears careful reading without any preconceived expectations. But above all this is an interesting read following a set of well-designed characters in a fully developed world.
With its length and depth this is not a light read but the writing style is straighforward and clear whilst still being fully descriptive and immersive which makes it a pleasure to pick it up and see what Auberon and associates will do next.
The characters and the world they inhabit are something the author is clearly proud of - and he is right to be. This first instalment bodes well for the rest of the series.
Kaysee Hood (83 KP) rated Magnus Chase and the Ship of the Dead: Magnus Chase Series Book 3 in Books
Nov 30, 2017
Magnus & Alex (5 more)
Friendship
Big Banana
Chase Space
Percabeth
Pottery Barn
Dragon Dad (3 more)
Ragnarok
A Ship Made Out of Zombie Nails (Gross)
Abusive Dads
World Ending? Not again...
Stop the end of the world. Sounds easy enough, right?
How many times are children of the Gods going to have to do this before one of them has the foretold quest to alter it where life as we know it is not in peril?
Magnus Chase and his friends have to stop Loki, ensure Naglfar doesn't sail, and prevent Ragnarok. Oh, also all while fighting giants with pottery, getting Godly blood and spit mead from giants in the hopes it'll help Magnus in an insult contest with Loki, seeing if Granddad Njord's ex-wife will help them out or let them freeze like a pre-made dinner meal supermom prepared for someone else to pop in the oven. Did I mention Floor 19 Crew has to do all these tasks without dying because not being in Hotel Valhalla equals no responding to life in their rooms. No do overs. No second chances. Simply dead. Easy as pie.
To not spoil this for those of you who have yet to read book three I'll end my sum of The Ship of the Dead and continue on with my praise.
Though there is the question of the voices, if this is the last of Magnus Chase then I have to say I'm pleased with our trilogy of the Norse Gods. In Sword of Summer, Hammer of Thor, and now The Ship of the Dead we've had the characters fleshed out. We've seen them grown. We've witness them overcome personal trails and fight through fears (can we say good job Magnus for fighting wolves even though it is clearly a phobia?). This has proved even those waiting for their day of judgement for centuries can change who they are and accept things even if they are not okay with them.
Somehow in 400 pages that pasts of Halfborn, Mallory, and T.J. were laid out to be part of the main plot, but also show development of the characters and how their own lessons would help on the quest. We were actually able to learn how far they have come from who they were before they died, after death, and who they are now. It was even written how to show they are still learning their lessons and have things to overcome now, which is perfectly okay as long as they stay strong and levelheaded.
The daughters/son of Loki had to overcome their own fears of being good enough despite what poison their fathers have caused them to believe. Even Hearthstone has to return to face the curse over his family one more time. Even Magnus has a realization he has wroth and even if some may not see it, he does and so do his friends.
The Ship of the Dead seems to be about looking at your fears and flaws, realizing they are there, and having to make the choice what you will do about them. Will you allow them to take over your life? Or will you work to be a better person? Are you going to let one moment in the past ruin your future? Or will you take the lesson and forgive yourself, forgive someone else, and live the best life you can? Will you let a parents shortcomings decide how you live? Or will you choose to look beyond their views and become a better person than they are?
How many times are children of the Gods going to have to do this before one of them has the foretold quest to alter it where life as we know it is not in peril?
Magnus Chase and his friends have to stop Loki, ensure Naglfar doesn't sail, and prevent Ragnarok. Oh, also all while fighting giants with pottery, getting Godly blood and spit mead from giants in the hopes it'll help Magnus in an insult contest with Loki, seeing if Granddad Njord's ex-wife will help them out or let them freeze like a pre-made dinner meal supermom prepared for someone else to pop in the oven. Did I mention Floor 19 Crew has to do all these tasks without dying because not being in Hotel Valhalla equals no responding to life in their rooms. No do overs. No second chances. Simply dead. Easy as pie.
To not spoil this for those of you who have yet to read book three I'll end my sum of The Ship of the Dead and continue on with my praise.
Though there is the question of the voices, if this is the last of Magnus Chase then I have to say I'm pleased with our trilogy of the Norse Gods. In Sword of Summer, Hammer of Thor, and now The Ship of the Dead we've had the characters fleshed out. We've seen them grown. We've witness them overcome personal trails and fight through fears (can we say good job Magnus for fighting wolves even though it is clearly a phobia?). This has proved even those waiting for their day of judgement for centuries can change who they are and accept things even if they are not okay with them.
Somehow in 400 pages that pasts of Halfborn, Mallory, and T.J. were laid out to be part of the main plot, but also show development of the characters and how their own lessons would help on the quest. We were actually able to learn how far they have come from who they were before they died, after death, and who they are now. It was even written how to show they are still learning their lessons and have things to overcome now, which is perfectly okay as long as they stay strong and levelheaded.
The daughters/son of Loki had to overcome their own fears of being good enough despite what poison their fathers have caused them to believe. Even Hearthstone has to return to face the curse over his family one more time. Even Magnus has a realization he has wroth and even if some may not see it, he does and so do his friends.
The Ship of the Dead seems to be about looking at your fears and flaws, realizing they are there, and having to make the choice what you will do about them. Will you allow them to take over your life? Or will you work to be a better person? Are you going to let one moment in the past ruin your future? Or will you take the lesson and forgive yourself, forgive someone else, and live the best life you can? Will you let a parents shortcomings decide how you live? Or will you choose to look beyond their views and become a better person than they are?
Darren (1599 KP) rated 2:HRS (2018) in Movies
Jun 20, 2019
Verdict: Fun Family Film
Story: 2: Hrs starts as we meet teenage slacker Tim (Jarvis) who spends his time painting London with graffiti with his best friends Vic (Smith) and Alf (Fofana). While on the school trip to a museum, the three sneak off and interrupt a science conference being hosted by conman Groad (Allen) who has created a machine that can tell when the living object inside will die.
Tim goes in the machine only to learn that he only has 2 hours left to live, left shocked, Tim sets out a small bucket list of achievable targets and while the friends target these goals, they are being chased down by the people behind the experiment who want to research and make sure Tim dies on time.
Thoughts on 2: Hrs
Characters – Tim is a school slacker with a talent for graffiti, he has been acting out because of the death of his father, which has changed him, his friends see this and his rebellious ways puts his life in danger when he learns he only has 2 hours to leave from spending time in a machine which can perform a prediction of when someone will die. He must go through a life lesson as this film unfolds. Vic and Alf are the two supportive friends, that join him on the adventure, we don’t learn too much about them without giving away spoilers. Groad is the businessman/conman that is running the operation, he hides in his apartment with fake backdrops as he conducts meetings. He is always looking to create a good face story for any PR situation. We also have the younger sister Shona to Tim that wants to look up to him only to be left disappointed most of the time and the two bumbling idiots trying to catch the teenagers.
Performances – Harry Jarvis in the leading role does a very good job, we see how his character must change over the course of the film ad he shows us this in his performance. Ella-Rae Smith and Alhaji Fofana are both good in their supporting roles while Keith Allen gives us a good performance as the shady character we see behind the curtain about.
Story – The story follows three friends that decide to ditch a school trip and end up on there on adventure after being caught in the middle of an adventure when one of them learns they only have two hours to live. This does sound like a simple fun adventure family film, which it is, though it does have deeper meaning for Tim who must learn to life lessons in this time while dealing with his own personal tragedy after not doing so when it happened.
Family – This film keeps the films moments all around the family problems Tim is facing, it keeps everything PG even with jokes adults will understand.
Settings – The film is set around London, which is good because it shows how difficult losing a parent can be in the busy city and how easy it is to rebel.
Scene of the Movie – Poetry competition.
That Moment That Annoyed Me – That pet, what was that?
Final Thoughts – This is a family film that can be enjoyed by everyone, it has good laughs, a smart character development story and a nice adventure.
Overall: Family film for all to enjoy.
https://moviesreview101.com/2018/07/05/2-hrs-2018/
Story: 2: Hrs starts as we meet teenage slacker Tim (Jarvis) who spends his time painting London with graffiti with his best friends Vic (Smith) and Alf (Fofana). While on the school trip to a museum, the three sneak off and interrupt a science conference being hosted by conman Groad (Allen) who has created a machine that can tell when the living object inside will die.
Tim goes in the machine only to learn that he only has 2 hours left to live, left shocked, Tim sets out a small bucket list of achievable targets and while the friends target these goals, they are being chased down by the people behind the experiment who want to research and make sure Tim dies on time.
Thoughts on 2: Hrs
Characters – Tim is a school slacker with a talent for graffiti, he has been acting out because of the death of his father, which has changed him, his friends see this and his rebellious ways puts his life in danger when he learns he only has 2 hours to leave from spending time in a machine which can perform a prediction of when someone will die. He must go through a life lesson as this film unfolds. Vic and Alf are the two supportive friends, that join him on the adventure, we don’t learn too much about them without giving away spoilers. Groad is the businessman/conman that is running the operation, he hides in his apartment with fake backdrops as he conducts meetings. He is always looking to create a good face story for any PR situation. We also have the younger sister Shona to Tim that wants to look up to him only to be left disappointed most of the time and the two bumbling idiots trying to catch the teenagers.
Performances – Harry Jarvis in the leading role does a very good job, we see how his character must change over the course of the film ad he shows us this in his performance. Ella-Rae Smith and Alhaji Fofana are both good in their supporting roles while Keith Allen gives us a good performance as the shady character we see behind the curtain about.
Story – The story follows three friends that decide to ditch a school trip and end up on there on adventure after being caught in the middle of an adventure when one of them learns they only have two hours to live. This does sound like a simple fun adventure family film, which it is, though it does have deeper meaning for Tim who must learn to life lessons in this time while dealing with his own personal tragedy after not doing so when it happened.
Family – This film keeps the films moments all around the family problems Tim is facing, it keeps everything PG even with jokes adults will understand.
Settings – The film is set around London, which is good because it shows how difficult losing a parent can be in the busy city and how easy it is to rebel.
Scene of the Movie – Poetry competition.
That Moment That Annoyed Me – That pet, what was that?
Final Thoughts – This is a family film that can be enjoyed by everyone, it has good laughs, a smart character development story and a nice adventure.
Overall: Family film for all to enjoy.
https://moviesreview101.com/2018/07/05/2-hrs-2018/
Emma @ The Movies (1786 KP) rated Zack Snyder's Justice League (2021) in Movies
Apr 2, 2021
Contains spoilers, click to show
The Snyder Cut sets up so much for future Justice League adventures, and those things would have been good... but the film absolutely didn't need to be this long to still do that, some of the scenes were so drawn out that it became painful. (I like Jason Momoa getting hit with buckets of water as much as the next person, but even I didn't need that full scene of him standing on the dock in the waves. At one point I wondered if they'd shot extra footage for an aftershave commercial.)
Overall it had a much more serious tone to it, and I don't mind that in a superhero film, but then it goes and throws in the petshop/hotdog scene. I feel like it was meant to be funny, but almost everything about it stuck out like a sore thumb in comparison to the rest of the film. I saw someone say they thought this version of the film was funnier in general compared to the first, I'm not sure we watched the same movie.
If you read my reviews you'll be aware of my feelings on "bizarre" ratios. In things like The Lighthouse I can see why they go with certain aspect ratios, but unless they're being shown on a screen that is that size they're really not for me, it's a distraction. This is a very personal feeling of course, there are a lot of people who like the aesthetics and style choices around this sort of thing. For me though, I want that full screen experience, especially with this sort of blockbuster.
I'm one of these strange people that likes most superhero movies, I liked the various Fantastic Fours, even Green Lantern... and I enjoyed the original Justice League cut. I gave it 4/5. And while seeing everything that was cut out of it makes me feel like we were robbed, I still enjoyed that movie on a rewatch. I'm unlikely to sit through the epic version again by choice, whereas I probably would rewatch the first one.
I always find it a little baffling when it comes to DC and Marvel. For me, Marvel always got the films right, but the TV shows were just okay. And DC always got the TV shows right and their films were okay. (When I'm saying okay I mean they're watchable but I wouldn't need to rush to rewatch them.) That felt like something that was on the change. Wonder Woman, Aquaman and Shazam, all seemed to find a level that worked in a way I hadn't felt about their films in a while. I wanted to see them again, they mixed dramatic and fun in a way that Marvel have always been able to nail. But while this version of Justice League goes out and does its own thing, and that's perfectly acceptable, the tone felt wrong for the set of characters that were brought together... and when you put all the little niggles together from across the whole thing it leaves me with a film I'd be fine without.
Perhaps my rating of this is a little unfair, it has a lot of things I like in it after all. The negatives outweighed the bad in the end though, and as much as I like the Cyborg, Flash and Aquaman development, they wouldn't compel me to sit through it again. Not even in chunks.
Because this had a lot of different things to talk about it wasn't one of my usual reviews, you can find my full review here: https://emmaatthemovies.blogspot.com/2021/04/zack-snyders-justice-league-movie.html
Overall it had a much more serious tone to it, and I don't mind that in a superhero film, but then it goes and throws in the petshop/hotdog scene. I feel like it was meant to be funny, but almost everything about it stuck out like a sore thumb in comparison to the rest of the film. I saw someone say they thought this version of the film was funnier in general compared to the first, I'm not sure we watched the same movie.
If you read my reviews you'll be aware of my feelings on "bizarre" ratios. In things like The Lighthouse I can see why they go with certain aspect ratios, but unless they're being shown on a screen that is that size they're really not for me, it's a distraction. This is a very personal feeling of course, there are a lot of people who like the aesthetics and style choices around this sort of thing. For me though, I want that full screen experience, especially with this sort of blockbuster.
I'm one of these strange people that likes most superhero movies, I liked the various Fantastic Fours, even Green Lantern... and I enjoyed the original Justice League cut. I gave it 4/5. And while seeing everything that was cut out of it makes me feel like we were robbed, I still enjoyed that movie on a rewatch. I'm unlikely to sit through the epic version again by choice, whereas I probably would rewatch the first one.
I always find it a little baffling when it comes to DC and Marvel. For me, Marvel always got the films right, but the TV shows were just okay. And DC always got the TV shows right and their films were okay. (When I'm saying okay I mean they're watchable but I wouldn't need to rush to rewatch them.) That felt like something that was on the change. Wonder Woman, Aquaman and Shazam, all seemed to find a level that worked in a way I hadn't felt about their films in a while. I wanted to see them again, they mixed dramatic and fun in a way that Marvel have always been able to nail. But while this version of Justice League goes out and does its own thing, and that's perfectly acceptable, the tone felt wrong for the set of characters that were brought together... and when you put all the little niggles together from across the whole thing it leaves me with a film I'd be fine without.
Perhaps my rating of this is a little unfair, it has a lot of things I like in it after all. The negatives outweighed the bad in the end though, and as much as I like the Cyborg, Flash and Aquaman development, they wouldn't compel me to sit through it again. Not even in chunks.
Because this had a lot of different things to talk about it wasn't one of my usual reviews, you can find my full review here: https://emmaatthemovies.blogspot.com/2021/04/zack-snyders-justice-league-movie.html
Bob Mann (459 KP) rated Live By Night (2017) in Movies
Sep 29, 2021
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.
Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.
The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.
That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.
Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.
Kirk Bage (1775 KP) rated Black Mirror - Season 3 in TV
Mar 3, 2020
Nosedive - 8
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
We had to wait almost another 2 years for the Netflix investment to show a product, and in time for Halloween 2016 we got the super-glossy re-boot of Nosedive, with a big name up front and lots of anticipation. The tone was instantly more playful; less British, more inclusive to a world audience. It tackled with a wry humour the universal phenomenon of popularity and everything being rated, most notably, people themselves. In a future world of sunshine and pastel shades it has become the norm to rate every interaction, from buying coffee to buying a house, in the hope of becoming one of the beautiful people rated above a 4.5. It cleverly questions the motivations for that desire, and the pitfalls of false behaviour and the manipulation from an elite standpoint. It isn’t necessary to imagine this future, as we are virtually there already, and all this episode does is heighten the idea to hyperbolic proportions. Rated down by many viewers because it is “annoying”, but that is entirely the point: the whole thing makes you want to scream!
Playtest - 6.5
Also available for Halloween (as was the whole season, in standard Netflix style) came a chance to explore what really scares us! And… they blew it. Sure, the idea that gaming and VR becomes so photo realistic it seems entirely real isn’t far away. But, making it personal to a very annoying character dissolves all tension quite early on. Some mild jump scares aside, this has to go down as a missed opportunity. Notable only for the re-occurance of the White Bear symbol.
Shut Up and Dance - 7
This is the one most likely to make you think, hmm, that is too far! An uncomfortable episode, not only because of the subject matter and ultimate revelation, but because of the intense nastiness that pervades it. No doubt that tension is intentional, and therefore effective to a degree, but for me it crosses the line of entertainment and becomes simply nasty. Being unafraid to tackle controversial subjects is to be applauded, but the execution has to be note perfect, or the risk is the backlash this episode received. A cautionary tale about surveillance, data theft, blackmail and our personal online responsibility. Not a bad piece, just a slight misjudgment on tone and delivery.
San Junipero - 9.5
Just when critics were sharpening their pens that Netflix had ruined the potential of Black Mirror in its first phase, comes an almost perfect piece of TV that is literally heavenly! Everything about San Junipero is a work of art! Another “blind” episode that takes a while to unravel; the pacing and realisation of which is so beautifully judged that, from a writing point of view, this has to be seen as the pinnacle of the show to date. Mackenzie Davis is extraordinary as the vulnerable, shy and naive Yorkie, looking for a connection in an 80s nightclub, filled with nostalgia and cultural memes galore. The music alone is not only sing aloud perfect, but chosen for storytelling reasons so clever it raises goosebumps! The relationship between Yorkie and Kelly, an equally great Gugu Mbatha-Raw, is filled with chemistry and nuance, drawing us in to a place so deep that when the penny drops on what is really going on it draws a gasp and then possibly tears – I know it did for me! The mechanics of the technology that would make this story possible does raise a lot of questions, but in the end it is better to accept it as an allegory for love, life and our ideas of “eternity”. Don’t look too deeply at the how, but marvel at the why, and this could be the best hour of TV you will ever see! So rewatchable, rich and rewarding; the only reason not to make this a feature length big budget film is that how could it possibly be improved?
Men Against Fire - 7
Revisiting yet again the technology of a brain implant that affects our vision of the world, literally and figuratively, this episode explores indoctrination and brainwashing, with the underlying themes of racism and basic human compassion. It is a fine analogy of how the media and governments would have us think of immigrants and the “dangers” of anything “not us”. A tad obvious, and doesn’t really go anywhere new once the twist is revealed. Visually quite stunning, but not as strong as other episodes that cover similar ground.
Hated in the Nation - 8.5
With a running time of 89 minutes, this is essentially what happens when Black Mirror pushes an idea to feature length. Allowing more time for character development does make a difference, and the tension build in this fine concept for a thriller also benefits from a few extra minutes. The ever reliable Kelly MacDonald is the cornerstone of a strong cast, on the hunt for the mind behind a series of killings by killer bee drones, targeted at a democratically elected “most hated” person every day, based on a public vote. An exploration of media vilification and how easy it can be to manipulate our idea of someone’s identity and judge their actions and even personalities based on one wrong thing they may have said or done. The episode is a who-dunnit? A why-doit? And, framed, with the backdrop of the inquest surrounding events, both a good cop movie and a courtroom drama. Charlie Brooker has hinted that some of these characters may return at some point. I’m all for it.
Ivana A. | Diary of Difference (1171 KP) rated Daisy's Vintage Cornish Camper Van in Books
Aug 3, 2020
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Daisy's Vintage Cornish Camper Van by Ali McNamara is exactly the book I thought I needed to put me in a better mood!
When Ana inherits a camper van from her best friend, she needs to go to Cornwall to get it. A nice sea air and fish and chips are enver a bad choice.
But when she arrives, she realises that the camper van is in a much worse state than she imagined. The fixing will take longer than she anticipated. On top of this, Ana finds a series of unsent postcards dating back to the 1940s, hidden in the van. This is a sign and Ana wants to make sure the postcards are delivered.
And while the camper van is restored and Ana is helping other people be happy, she may eventually notice she is finding her way back to happiness again.
<b><i>My Thoughts:</i></b>
Daisy's Vintage Cornish Camper Van got my attention from the moment I saw that beautiful cover. Then, I read the synopsis and I was sold.
For me, both camper vans and postcards have a big importance in my life. I have always wanted to have a camper van and be able to go on a road trips and experience that freedom. Even though I was lucky to be able to travel the world, it is never enough.
<b><i>"Yes, there's definitely something about a camper van that makes people smile. They're a happy vehicle, so people enjoy seeing them as much as their owners enjoy driving them."</i></b>
And postcards were always a way to travel without living my home. Get to meet other places and cultures, meet other people. It is extraordinary how many things I have learned about the world and the people from other countries just by reading their postcards.
<b><i>"Deltiology - it's the name for the study and collection of postcards. It comes from the Greek word deltios, which means "writing tablet" or "letter"."</i></b>
Ana is working in London, busy in her day-to-day job. When her best friend Daisy dies, she is completely lost. Daisy was everything she had, and now she is gone. When she inherits this van, Ana is eager to pick the van up and return to her normal London routine. She is not really a fan of travel, camper vans or camping. But Daisy was, and if she wanted for Ana to have this van and that was her last wish, this is the least Ana can do for her.
<b><i>"These old vehicles are very sensitive - especially camper vans. They're the worst, very temperamental they can be."</i></b>
Throughout her stay, Ana meets Malachi, the mechanic, who sold the van to Daisy and who will help Ana restore it. He is a very interesting character with an interesting point of view on life.
He was my favourite character in the book.
<b><i>"People pay a lot of money these days to find themselves. They're not really finding themselves, they're finding a version of themselves they feel happy to be for a while."
"We all change through our lives, and what you're happy to be when you're twenty is unlikely to be what you're happy being when you're older."</i></b>
Malachi also has a camper van himself. He always tells Ana why camper vans are amazing. If you are a fan of camper van, this book will be a favourite by default.
<b><i>"But... you'd be mad not to at least try camping in her. It's a wonderful experience. You can drive where you like, set up camp and cook your dinner in the open air, even bed down under the stars if you're lucky. The freedom is amazing."</i></b>
I loved everything about this book. The story was beautiful. All the characters were likeable and real. They all had their stories and points of development. It was nice to see Ana finally healing and learning to be happy again. Malachi's story was beautiful and it was the perfect closure to his mission. Noah's personal story was also heartwarming, as he learns to accept what happened in the past and be able to move on. I also really want to talk about the mystery couple from the postcards, but I won't, in fear that I will spoil anything. But the development on that story was amazing and it helped Ana in many ways to heal herself, which was magical!
<b><i>"If something is worth doing, Ana - I hear one of her favourite sayings echo in my ears - it's worth doing well."</i></b>
To summarize - Daisy's Vintage Cornish Camper Van is my new favorite!
Beautiful and heartwarming. It will make you want to go on a road trip. I definitely recommend Daisy's Vintage Cornish Camper Van. And as with every book, I love learning random things, and here are some things I learned:
<b><i>"Did you know the phrase "dilly-dally" is commonly attributed to the English music hall singer Marie Lloyd, but was actually in use much earlier than her 1918 song, as far back as the seventeenth century?"
"A Splitty. It's what we call a split screen camper van. All pre-1967 camper vans have a windscreen split in two. After that the new models all had the solid bay windows."</i></b>
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Daisy's Vintage Cornish Camper Van by Ali McNamara is exactly the book I thought I needed to put me in a better mood!
When Ana inherits a camper van from her best friend, she needs to go to Cornwall to get it. A nice sea air and fish and chips are enver a bad choice.
But when she arrives, she realises that the camper van is in a much worse state than she imagined. The fixing will take longer than she anticipated. On top of this, Ana finds a series of unsent postcards dating back to the 1940s, hidden in the van. This is a sign and Ana wants to make sure the postcards are delivered.
And while the camper van is restored and Ana is helping other people be happy, she may eventually notice she is finding her way back to happiness again.
<b><i>My Thoughts:</i></b>
Daisy's Vintage Cornish Camper Van got my attention from the moment I saw that beautiful cover. Then, I read the synopsis and I was sold.
For me, both camper vans and postcards have a big importance in my life. I have always wanted to have a camper van and be able to go on a road trips and experience that freedom. Even though I was lucky to be able to travel the world, it is never enough.
<b><i>"Yes, there's definitely something about a camper van that makes people smile. They're a happy vehicle, so people enjoy seeing them as much as their owners enjoy driving them."</i></b>
And postcards were always a way to travel without living my home. Get to meet other places and cultures, meet other people. It is extraordinary how many things I have learned about the world and the people from other countries just by reading their postcards.
<b><i>"Deltiology - it's the name for the study and collection of postcards. It comes from the Greek word deltios, which means "writing tablet" or "letter"."</i></b>
Ana is working in London, busy in her day-to-day job. When her best friend Daisy dies, she is completely lost. Daisy was everything she had, and now she is gone. When she inherits this van, Ana is eager to pick the van up and return to her normal London routine. She is not really a fan of travel, camper vans or camping. But Daisy was, and if she wanted for Ana to have this van and that was her last wish, this is the least Ana can do for her.
<b><i>"These old vehicles are very sensitive - especially camper vans. They're the worst, very temperamental they can be."</i></b>
Throughout her stay, Ana meets Malachi, the mechanic, who sold the van to Daisy and who will help Ana restore it. He is a very interesting character with an interesting point of view on life.
He was my favourite character in the book.
<b><i>"People pay a lot of money these days to find themselves. They're not really finding themselves, they're finding a version of themselves they feel happy to be for a while."
"We all change through our lives, and what you're happy to be when you're twenty is unlikely to be what you're happy being when you're older."</i></b>
Malachi also has a camper van himself. He always tells Ana why camper vans are amazing. If you are a fan of camper van, this book will be a favourite by default.
<b><i>"But... you'd be mad not to at least try camping in her. It's a wonderful experience. You can drive where you like, set up camp and cook your dinner in the open air, even bed down under the stars if you're lucky. The freedom is amazing."</i></b>
I loved everything about this book. The story was beautiful. All the characters were likeable and real. They all had their stories and points of development. It was nice to see Ana finally healing and learning to be happy again. Malachi's story was beautiful and it was the perfect closure to his mission. Noah's personal story was also heartwarming, as he learns to accept what happened in the past and be able to move on. I also really want to talk about the mystery couple from the postcards, but I won't, in fear that I will spoil anything. But the development on that story was amazing and it helped Ana in many ways to heal herself, which was magical!
<b><i>"If something is worth doing, Ana - I hear one of her favourite sayings echo in my ears - it's worth doing well."</i></b>
To summarize - Daisy's Vintage Cornish Camper Van is my new favorite!
Beautiful and heartwarming. It will make you want to go on a road trip. I definitely recommend Daisy's Vintage Cornish Camper Van. And as with every book, I love learning random things, and here are some things I learned:
<b><i>"Did you know the phrase "dilly-dally" is commonly attributed to the English music hall singer Marie Lloyd, but was actually in use much earlier than her 1918 song, as far back as the seventeenth century?"
"A Splitty. It's what we call a split screen camper van. All pre-1967 camper vans have a windscreen split in two. After that the new models all had the solid bay windows."</i></b>
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Hazel (1853 KP) rated God: A Human History in Books
Nov 5, 2017
An Ambiguous History
I received this book for free through Goodreads First Reads.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, God: A Human History. To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
God: A Human History is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, God: A Human History leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.