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Charlie Cobra Reviews (1840 KP) rated The Lion King (2019) in Movies
Jul 7, 2020
Return of The King
The Lion King is a 2019 computer-animated musical movie directed and produced by Jon Favreau. It was written by Jeff Nathanson, and produced by Fairview Entertainment and Walt Disney Pictures and distributed by Walt Disney Studios Motion Pictures. The film stars Donald Glover, Seth Rogen, Chiwetel Ejiofor, Beyonce and James Earl Jones.
King Mufasa (James Earl Jones) and Queen Sarabi rule over the animal kingdom with their pride of lions from Pride Rock, in the African Pride Lands. Things change with the birth of their son, Simba, the new Prince. Mufasa's younger brother, and former heir to the throne, Scar, covets the throne and plots to eliminate Mufasa and Simba, so he may become king. The battle for Pride Rock is filled with betrayal, tragedy and drama and circumstances are forever changed after the events of the stampede.
This movie was really good, but of course it was. The original Lion King was one of Disney's best animated films to date. There was a lot of build up to the release of this movie, with fans every anticipating when they could finally see this story on the big screen again. Jon Favreau did not disappoint, but there was a lot of negativity and bad review scores when it first released. I think the big problem was that in all the previews/trailers leading up to the movie coming out showed how realistic the animals looked and how they were able to recreate iconic scenes in stunning state of the art CGI, but they never showed the animals talking or singing. This for me made it difficult to get fully immersed in the film when the very realistic animals began talking and singing, but eventually it went away or I got used to it a couple minutes into the movie. Also they changed very little in this remake and it was almost literally a shot for shot or scene for scene recreation of the original Lion King, which I think bothered the critics. I personally liked little changes they made that I felt made the movie just a little bit better, like the dialogue between Mufasa's and Scar implying Mufasa's gave him the scar, Zimbabwe catching up with Nala for the journey back to Pride Rock, and Nala leading the female lions in the fight against the hyenas. I also thought it was cool how they made it more clear that one of the hyenas was the leader and it was the female and the scene where Scar makes the deal with them. Overall though I feel like they could have shown more emotion in the animals if they had chosen a style that was so detailed to look so realistic. I give this movie a 7/10. It is worth watching for nostalgia and to see it in theaters is a treat, especially when getting children or younger family members to see it for the first time, but the original is still the better film.
King Mufasa (James Earl Jones) and Queen Sarabi rule over the animal kingdom with their pride of lions from Pride Rock, in the African Pride Lands. Things change with the birth of their son, Simba, the new Prince. Mufasa's younger brother, and former heir to the throne, Scar, covets the throne and plots to eliminate Mufasa and Simba, so he may become king. The battle for Pride Rock is filled with betrayal, tragedy and drama and circumstances are forever changed after the events of the stampede.
This movie was really good, but of course it was. The original Lion King was one of Disney's best animated films to date. There was a lot of build up to the release of this movie, with fans every anticipating when they could finally see this story on the big screen again. Jon Favreau did not disappoint, but there was a lot of negativity and bad review scores when it first released. I think the big problem was that in all the previews/trailers leading up to the movie coming out showed how realistic the animals looked and how they were able to recreate iconic scenes in stunning state of the art CGI, but they never showed the animals talking or singing. This for me made it difficult to get fully immersed in the film when the very realistic animals began talking and singing, but eventually it went away or I got used to it a couple minutes into the movie. Also they changed very little in this remake and it was almost literally a shot for shot or scene for scene recreation of the original Lion King, which I think bothered the critics. I personally liked little changes they made that I felt made the movie just a little bit better, like the dialogue between Mufasa's and Scar implying Mufasa's gave him the scar, Zimbabwe catching up with Nala for the journey back to Pride Rock, and Nala leading the female lions in the fight against the hyenas. I also thought it was cool how they made it more clear that one of the hyenas was the leader and it was the female and the scene where Scar makes the deal with them. Overall though I feel like they could have shown more emotion in the animals if they had chosen a style that was so detailed to look so realistic. I give this movie a 7/10. It is worth watching for nostalgia and to see it in theaters is a treat, especially when getting children or younger family members to see it for the first time, but the original is still the better film.
BankofMarquis (1832 KP) rated Zack Snyder's Justice League (2021) in Movies
Mar 30, 2021
The Last 45 minutes (out of 4 hours) is decent
When Zach Snyder was filming JUSTICE LEAGUE in 2016, a tragedy occurred in his family and he was forced to drop out and the job of Directing that film went to Joss Whedon (THE AVENGERS). This version of the film was met by many (including me) with a collective “meh”, it was an unintelligible mess of a movie that paid lip service to fan boys (maybe) and gave very little to anyone not well versed in all things DC Comics. Many, many fans assumed that there was much left on the cutting room floor (or not filmed at all) that would correct the many mistakes of this film.
After a large outcry to “Restore The Snyder Cut”, Warner Brothers and HBO Max gave the fans what they wanted - a 4 hour redone version of this film that was intended to clear up the many, many confusing moments of the first film.
And that is EXACTLY what has happened. Zach Snyder has created a film that is very long on explanation and exposition - exactly what the fanboys wanted. What it didn’t do was to clear up the mess that is the plot, pacing and characters of this film.
ZACH SNYDER’S JUSTICE LEAGUE unites many of the great SuperHeroes of DC Comics - Superman (Henry Cavill), Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller) and Cyborg (Ray Fisher) - to fight an intergalactic villain.
So..how many of those heroes are you anxious to see on screen together and really dive deep into their backstories and motivations? If you said The Flash and Cyborg - then this is the film for you for Snyder really delves deeply into these 2 characters.
Unfortunately, what this has done is to push the heroes that the “average Joe” knows and loves - Batman, WonderWoman and Aquaman - to the background and, most damning of all, relinquished Superman to an extended cameo. He also throws almost every DC Character that has appeared in a previous film in - most really quickly. So, thanks for stopping by the party Lois Lane (Amy Adams), Commissioner Gordon (J.K. Simmons), Vulko (Willem Dafoe), Lex Luther (Jesse Eisenberg), Alfred (Jeremy Irons), Martha Kent (Diane Lane), Queen Hippolyta (Connie Nielsen) and Mira (Amber Heard). If I blinked I would have missed you.
To be fair, the last 45 minutes of this film are really interesting (including an Epilogue that sets up a sequel that we’ll never see), but in order to get there, you need to slog through 3 hours and 15 minutes of this disjointed film.
Worth the effort for the “Fanboys” and “Hardcores”, not worth the effort for the “Average Joe”.
Letter Grade: B (I really, really liked the Epilogue)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
After a large outcry to “Restore The Snyder Cut”, Warner Brothers and HBO Max gave the fans what they wanted - a 4 hour redone version of this film that was intended to clear up the many, many confusing moments of the first film.
And that is EXACTLY what has happened. Zach Snyder has created a film that is very long on explanation and exposition - exactly what the fanboys wanted. What it didn’t do was to clear up the mess that is the plot, pacing and characters of this film.
ZACH SNYDER’S JUSTICE LEAGUE unites many of the great SuperHeroes of DC Comics - Superman (Henry Cavill), Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller) and Cyborg (Ray Fisher) - to fight an intergalactic villain.
So..how many of those heroes are you anxious to see on screen together and really dive deep into their backstories and motivations? If you said The Flash and Cyborg - then this is the film for you for Snyder really delves deeply into these 2 characters.
Unfortunately, what this has done is to push the heroes that the “average Joe” knows and loves - Batman, WonderWoman and Aquaman - to the background and, most damning of all, relinquished Superman to an extended cameo. He also throws almost every DC Character that has appeared in a previous film in - most really quickly. So, thanks for stopping by the party Lois Lane (Amy Adams), Commissioner Gordon (J.K. Simmons), Vulko (Willem Dafoe), Lex Luther (Jesse Eisenberg), Alfred (Jeremy Irons), Martha Kent (Diane Lane), Queen Hippolyta (Connie Nielsen) and Mira (Amber Heard). If I blinked I would have missed you.
To be fair, the last 45 minutes of this film are really interesting (including an Epilogue that sets up a sequel that we’ll never see), but in order to get there, you need to slog through 3 hours and 15 minutes of this disjointed film.
Worth the effort for the “Fanboys” and “Hardcores”, not worth the effort for the “Average Joe”.
Letter Grade: B (I really, really liked the Epilogue)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Joe Goodhart (27 KP) rated X-Force, Volume 3: Not Forgotten in Books
Nov 30, 2020
After a brief hiatus, I resumed reading the X-FORCE TPBs, jumping with the third volume of Craig Kyle & Christopher Yost's dark run of X-FORCE.
This trade made up the "Not Forgotten" story arc, which sees the return of Kimura, bringing with her a whole boatload of hateful hurtin' for Laura (X-23). It is also saw some well-deserved (!) hostility on Wolverine's part toward Cry-clops for the casualties suffered in the team's hunt for Hope Summers as well as Laura being kidnapped. And, like the little b he has been all his life (sorry, not a fan of Scott Summers, but it's totally cool if you are), he just says "I know" when Wolverine tells him that it will death for him if either of the two students die. Wow!
Varied opinions on the art (again). I have always been fond of Clayton Crain's art style, especially his attention to facial details, so his art on the first two issues of the trade was outstanding! He brought a darkness mixed with creepiness to the way he drew the Leper Queen. WIN!
And that brings us to the art for the remaining three issues in the trade. I also like Mike Choi's facial details on the characters he draws. However, his attention to women's breasts and his intent to make all the women under his pencils to be well-endowed is a bit uncomfortable, especially in regard to Laura (who is supposed to be age 16, as stated by Domino in Issue 20. No need for it to be as such, to be honest.
Even more offensive was the way Rahne Sinclair, in wolf-form, was rendered like an extra in a hip-hop video (!). Come on, Rahne has always had a tiny form, never rendered like this EVER! Tho' I am sure a more than fair amount of 'shippers (I assume Rahne has 'shippers) feel differently about that. Jus' sayin'..
<a href="https://ibb.co/csQdiy"><img src="https://thumb.ibb.co/csQdiy/Xforce18_rahnegotback.jpg"; alt="Xforce18 rahnegotback" border="0" /></a>
So, art quibbling aside, the story, still continuing to be written by Yost and Kyle since it's return in 2008, was all aces! There was more than enough adrenaline-fueled excitement contained within, providing a white-knuckled ride, leading directly into the next volume of X-Force, NECROSHA!
I will advise this one, like the previous two volumes, is dark AF! There is very little, if any, humor. There is a higher violence output in this one as well, but it is warranted for sure, when you considered the odds they're up against! That said, if you can handle all that, then I encourage you to pick this one up!
Also, if you are fan of Laura Kinney/X-23, then I also encourage you, as it will give more backstory to her character.
This trade made up the "Not Forgotten" story arc, which sees the return of Kimura, bringing with her a whole boatload of hateful hurtin' for Laura (X-23). It is also saw some well-deserved (!) hostility on Wolverine's part toward Cry-clops for the casualties suffered in the team's hunt for Hope Summers as well as Laura being kidnapped. And, like the little b he has been all his life (sorry, not a fan of Scott Summers, but it's totally cool if you are), he just says "I know" when Wolverine tells him that it will death for him if either of the two students die. Wow!
Varied opinions on the art (again). I have always been fond of Clayton Crain's art style, especially his attention to facial details, so his art on the first two issues of the trade was outstanding! He brought a darkness mixed with creepiness to the way he drew the Leper Queen. WIN!
And that brings us to the art for the remaining three issues in the trade. I also like Mike Choi's facial details on the characters he draws. However, his attention to women's breasts and his intent to make all the women under his pencils to be well-endowed is a bit uncomfortable, especially in regard to Laura (who is supposed to be age 16, as stated by Domino in Issue 20. No need for it to be as such, to be honest.
Even more offensive was the way Rahne Sinclair, in wolf-form, was rendered like an extra in a hip-hop video (!). Come on, Rahne has always had a tiny form, never rendered like this EVER! Tho' I am sure a more than fair amount of 'shippers (I assume Rahne has 'shippers) feel differently about that. Jus' sayin'..
<a href="https://ibb.co/csQdiy"><img src="https://thumb.ibb.co/csQdiy/Xforce18_rahnegotback.jpg"; alt="Xforce18 rahnegotback" border="0" /></a>
So, art quibbling aside, the story, still continuing to be written by Yost and Kyle since it's return in 2008, was all aces! There was more than enough adrenaline-fueled excitement contained within, providing a white-knuckled ride, leading directly into the next volume of X-Force, NECROSHA!
I will advise this one, like the previous two volumes, is dark AF! There is very little, if any, humor. There is a higher violence output in this one as well, but it is warranted for sure, when you considered the odds they're up against! That said, if you can handle all that, then I encourage you to pick this one up!
Also, if you are fan of Laura Kinney/X-23, then I also encourage you, as it will give more backstory to her character.
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Emma @ The Movies (1786 KP) rated Trolls World Tour (2019) in Movies
Jun 8, 2020
Trolls World Tour, or the film that kicked off the Home Premiere debacle... I decided to pay money for this, a lot of money for just one person to watch, and all because I wanted to see something brand new.
Life in the village is going great, but when a bat flies in with a message for Queen Poppy the tune changes. Poppy's eternal enthusiasm means she doesn't want to see the potential danger that's on its way... because evidently she learned nothing in the last movie... When Barb from the Hard Rock trolls starts conquering all the other villages it's down to a few determined trolls to come to the rescue.
The first thing that struck me was that this would have been so much better on the big screen, the impact of all the explosive glitter and sparkle is lost in the home setting. That's entirely a me point though, surround me visually with all that song and glitter and you'll mesmerise me but on the small screen it doesn't have the same wow to it.
I had one thing that kept popping up in my head throughout the film, and that was how on earth do they not know that these other places exist when they're so close together? Especially as in the last film the Bergens meant they had to discover more around their village... which leads to the next thought of, if the Bergens love trolls so much then how haven't they discovered the others either... but this could be a slippery slope.
If you ignore that continuity then the plot isn't bad, classic good versus evil with a logical reasoning behind the events. The only issue it that there are a lot of new characters and ideas to deal with. I still don't know some of the names from the original characters! Evidently it's Cooper and not "giraffe" as I kept having to put in my notes every time.
I love all the different styles of music that World Tour collects together but it does feel like there's a bias against the Classical trolls. I didn't sit and count all the trolls to get percentages but it feels like they aren't seen as much as the others at times. There's a good mix on genres with the new trolls and I particularly liked the bounty hunters, it was a funny addition to the lineup.
The acting and the script is pretty much what you'd expect but I don't think it has the same spark as the first film. There are tangents that seem unnecessary and fleeting moments that had potential but were glitter glued over almost as soon as they presented themselves. Even though it felt like it missed some good opportunities and didn't shine as bright as the first, I know that kids will still love this one.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/06/trolls-world-tour-movie-review.html
Life in the village is going great, but when a bat flies in with a message for Queen Poppy the tune changes. Poppy's eternal enthusiasm means she doesn't want to see the potential danger that's on its way... because evidently she learned nothing in the last movie... When Barb from the Hard Rock trolls starts conquering all the other villages it's down to a few determined trolls to come to the rescue.
The first thing that struck me was that this would have been so much better on the big screen, the impact of all the explosive glitter and sparkle is lost in the home setting. That's entirely a me point though, surround me visually with all that song and glitter and you'll mesmerise me but on the small screen it doesn't have the same wow to it.
I had one thing that kept popping up in my head throughout the film, and that was how on earth do they not know that these other places exist when they're so close together? Especially as in the last film the Bergens meant they had to discover more around their village... which leads to the next thought of, if the Bergens love trolls so much then how haven't they discovered the others either... but this could be a slippery slope.
If you ignore that continuity then the plot isn't bad, classic good versus evil with a logical reasoning behind the events. The only issue it that there are a lot of new characters and ideas to deal with. I still don't know some of the names from the original characters! Evidently it's Cooper and not "giraffe" as I kept having to put in my notes every time.
I love all the different styles of music that World Tour collects together but it does feel like there's a bias against the Classical trolls. I didn't sit and count all the trolls to get percentages but it feels like they aren't seen as much as the others at times. There's a good mix on genres with the new trolls and I particularly liked the bounty hunters, it was a funny addition to the lineup.
The acting and the script is pretty much what you'd expect but I don't think it has the same spark as the first film. There are tangents that seem unnecessary and fleeting moments that had potential but were glitter glued over almost as soon as they presented themselves. Even though it felt like it missed some good opportunities and didn't shine as bright as the first, I know that kids will still love this one.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/06/trolls-world-tour-movie-review.html
Foul Play on Words
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Between a kidnapping, a double booking, and a crew of hapless volunteers, Charlee is worried the...
Kirk Bage (1775 KP) rated Bohemian Rhapsody (2018) in Movies
Mar 3, 2020
In the search for a way to watch the 92nd Academy Awards live from Hollywood tonight I was led to a subscription for Now TV, which is basically the online platform for Sky Cinema. And there I found all the missing films I had yet to see from last year that aren’t available “free” on Amazon Prime or Netflix. I should really have worked it out before now that a free trial might be available, having assumed that a Sky subscription was beyond my means at the moment. Imagine my excitement to not only secure the Oscars but a 7 day pass to catch up on some big titles. It’s the small things in life…
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Having made a 20 strong watch list, I wasted no time in heading straight for the Queen biopic, Bohemian Rhapsody, winner of 4 awards last February, including one for Rami Malek as Freddy Mercury that I applauded very loudly at the time, without having seen it, due to my love for him as Elliot Alderson in my favourite TV show of the last 5 years, the incredible and mindbendingly brilliant Mr. Robot.
My connection to Queen as a fan isn’t an especially strong one; I have always thought they were fine, and enjoyed their biggest hits as much as anyone. But it is the story, charisma and undeniable singing talent of Mercury that attracts me. From the opening scenes it is apparent that what we are going to get here is a fairly straightforward, by the numbers recounting of events, punctuated by some serious tunes and some glorious 70s fashions. Having read that this was the main criticism of it going in, it really didn’t bother me at all to find it wasn’t going to make bolder artistic and dramatic choices. It was very much about sitting back and enjoying the show!
In fact, there is something comforting and unchallenging about its format that I liked. The pattern of abc that is a) some background to Freddy’s life, b) a build up to how they came across their big hits, and c) a rendition of that hit, didn’t strike me as cheap, but rather unpretentious and to the point. The whole thing clipped along nicely with very little dead air; Malek is a joy to watch in every moment; the clothes and scenery of the 70s and later 80s is a treat; and the music stands for itself, with you often forgetting how good the tunes are until you hear them in this context.
Of course, at times it is almost laughable how well known facts and details are crow-barred into the narrative, with some of the darker elements glossed over, as if this were almost a Disney retelling. But, again, it doesn’t matter, because as an entertainment it is all so enjoyable. Not to say the dark side of the story isn’t touched upon, because it is to an extent, just that it is clear this is a celebration of a life and a talent, not an exposé. Which is fine. As with the superior Walk The Line, and the recently inferior Rocketman, we know a seedier story of Johnny Cash and Elton John exists, but we accept that revelling in the genius of the music is more fun than trawling through the trash.
Malek is a wonder to behold! It has to be said. Once you (and he) get used to the false teeth and bite down on the energy and drive of Mercury, it is impossible to take your eyes off him! He handles the dramatic moments and nuance of this fragile mind with ease, but it is the performances that stand out: his movement is so fluid and accurate that you forget at times you aren’t watching archive footage, which is some trick! Gwilym Lee and Ben Hardy as Brian May and Roger Taylor are also to be praised for this, despite having less to do. With Joseph Mazzello as John Deacon largely merging into the background inoffensively, much as his real life counterpart did.
There is some solid support too. Lucy Boynton is completely charming if largely uninteresting; Tom Hollander quietly steals several scenes as the lawyer who doesn’t just work for them but idolises them as much as any fan; and an unrecognisable Mike Myers is a lot of fun as the manager who missed out on the vision and lives to regret it. Honourable mention also to Allen Leech as the villain of the piece, who walks the tightrope of cartoonish nastiness with some skill, serving the story well in the latter half.
My favourites parts were, unsurprisingly, the genesis and evolution of the big tunes, which was invariably very satisfying. Love of My Life, We Will Rock You, We are the Champions and of course Bohemian Rhapsody are treated like holy texts, with fascinating detail and a reverence that never seems over-egged. Building to the climax of Live Aid; a twenty minute segment at the end of the film that brings a genuine lump to the throat. The magnitude of the event and its natural energy are so well realised, every minor foible of the film up to that point are forgiven, and you walk away from it feeling elated and glad that this moment exists in music history.
Artistically, it isn’t a movie to get too caried away about, but the art of creating a spectacle that pleases on a basic, uncomplicated level is. Director Bryan Singer knows a trick or two, and the trick here is what is left out. There just isn’t a moment to be bored, and I find myself wishing that films of this kind took a leaf out of that book more often. In conclusion, I think this movie will endure the test of time, which is a lot more than most biopic genre films can say. But who wants to live forever anyway?
Lottie disney bookworm (1056 KP) rated What Once Was Mine in Books
Oct 25, 2021
𝑾𝒉𝒂𝒕 𝒊𝒇 𝑹𝒂𝒑𝒖𝒏𝒛𝒆𝒍’𝒔 𝒎𝒐𝒕𝒉𝒆𝒓 𝒅𝒓𝒂𝒏𝒌 𝒂 𝒑𝒐𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒘𝒓𝒐𝒏𝒈 𝒇𝒍𝒐𝒘𝒆𝒓?
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!