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Phil Leader (619 KP) rated The Great Zoo of China in Books
Nov 13, 2019
The Chinese government have been working for years to create the ultimate tourist attraction, a very special zoo stocking with only one kind of animal - dragons. Long considered a myth the Chinese have found that they do exist and now they are ready to astound the world by showing of these amazing creatures and the fantastic zoo they have created to house them.
CJ Cameron is one of those invited to attend a special press preview tour, on behalf of National Geographic. A renowned expert on all types of reptiles she takes her brother Hamish with her as a photographer as part of a small and select group so that they can be the first to reveal the zoo to the world.
But on this special day, the dragons have their own plan and soon the Chinese are fighting for control of the dragons and the zoo they have created, with Cameron and the other group of journalists caught in the middle as the fearsome beasts rampage through the complex. Cameron must rely on her wits and experience with crocodiles and alligators to survive.
The obvious four word description of this book is 'Jurassic Park with dragons' but also superficially that does describe it's also missing the point of both books. Indeed Reilly acknowledges the Jurassic Park angle, both in an off the cuff remark by Hamish at the start of the book and also in the interview at the back. Jurassic Park has Michael Crichton in full science-as-thriller mode, pondering the latest advances (at the time) of both DNA and fossil discoveries and then giving a glimpse of how these beasts must have been when they ruled the world. The thrill comes from the dinosaurs themselves, they are the stars of the book.
In The Great Zoo of China the dragons are very much a McGuffin. Any suitably fearsome creature would have done, real, historical, mythical or completely imagined. They are simply a powerful threat to humans and agents capable of wreaking huge amounts of death and destruction, as would be expected of Reilly. The star of the show is Cameron, and to a lesser extent her brother (and a few others).
Cameron is Reilly's first lead female character in an action role (The Tournament being a completely different kind of book) and this works really well in the novel, both in terms of setup and plot and she makes a convincing heroine using her knowledge and intelligence to combat each threat.
Of course there are moments where the reader has to suspend their belief. Reilly doesn't aim for gritty realism, he goes for the big and impressive set pieces, almost certain death and narrow escapes that clearly would be impossible in the real world. His novels are very much blockbuster movies transferred to the written word, with the added bonus that the special effects come free courtesy of the reader's imagination.
As usual the plot drives at a breathtaking pace although the real story doesn't start until Reilly has taken us on a tour of his ultimate zoo and shown off his dragons before letting them off the leash.
Yes some of it is pure hokum and there are a couple of plot holes, but at the end of the day this was not written to win any literary prizes. This was written to entertain and thrill and it does that with ease.
Rated: Strong language and graphic violence (i.e. lots of people eaten by dragons)
CJ Cameron is one of those invited to attend a special press preview tour, on behalf of National Geographic. A renowned expert on all types of reptiles she takes her brother Hamish with her as a photographer as part of a small and select group so that they can be the first to reveal the zoo to the world.
But on this special day, the dragons have their own plan and soon the Chinese are fighting for control of the dragons and the zoo they have created, with Cameron and the other group of journalists caught in the middle as the fearsome beasts rampage through the complex. Cameron must rely on her wits and experience with crocodiles and alligators to survive.
The obvious four word description of this book is 'Jurassic Park with dragons' but also superficially that does describe it's also missing the point of both books. Indeed Reilly acknowledges the Jurassic Park angle, both in an off the cuff remark by Hamish at the start of the book and also in the interview at the back. Jurassic Park has Michael Crichton in full science-as-thriller mode, pondering the latest advances (at the time) of both DNA and fossil discoveries and then giving a glimpse of how these beasts must have been when they ruled the world. The thrill comes from the dinosaurs themselves, they are the stars of the book.
In The Great Zoo of China the dragons are very much a McGuffin. Any suitably fearsome creature would have done, real, historical, mythical or completely imagined. They are simply a powerful threat to humans and agents capable of wreaking huge amounts of death and destruction, as would be expected of Reilly. The star of the show is Cameron, and to a lesser extent her brother (and a few others).
Cameron is Reilly's first lead female character in an action role (The Tournament being a completely different kind of book) and this works really well in the novel, both in terms of setup and plot and she makes a convincing heroine using her knowledge and intelligence to combat each threat.
Of course there are moments where the reader has to suspend their belief. Reilly doesn't aim for gritty realism, he goes for the big and impressive set pieces, almost certain death and narrow escapes that clearly would be impossible in the real world. His novels are very much blockbuster movies transferred to the written word, with the added bonus that the special effects come free courtesy of the reader's imagination.
As usual the plot drives at a breathtaking pace although the real story doesn't start until Reilly has taken us on a tour of his ultimate zoo and shown off his dragons before letting them off the leash.
Yes some of it is pure hokum and there are a couple of plot holes, but at the end of the day this was not written to win any literary prizes. This was written to entertain and thrill and it does that with ease.
Rated: Strong language and graphic violence (i.e. lots of people eaten by dragons)
Becs (244 KP) rated Marrow Charm in Books
Dec 20, 2019
Dark and magical!!
Trigger Warnings: cannibalism, death, murder, gore, slavery, injury, abduction, absent parent(s), death of a parent(s), manipulation, violence
I was honestly surprised that I ended up loving this novel as much as I did. I had extremely high expectations for it and IT. DELIVERED. When I first picked it up, it took a good minute to actually get into the story. But once it clicked into place, I was devouring Marrow Charm with a thirst. It is heart-wrenching, action packed, enemies to lovers (kinda, a girl can dream), dark and oh so magical!
Marrow Charm follows a morally gray heroine, Azzy Brimvine in a world destroyed by magic. The magic plaguing the lands caused humans to retreat underground. But every so often, magical borne plagues will wipe out masses of human cities. These plagues create aberrations by striking those with magic. When Azzy’s brother is infected, she sets out with her mentor to the Above determined to save him. But, the world in the Above is not all gum drops and unicorns. It is plagued with monsters and humans, wild and cunning. Azzy must brave the perils that litter the Above to reach her brother before the Gate is opened.
Marrow Charm is a bit slow in the begin, but as you continue on it does pick up quite quickly. Once you hit that sweet spot though, your attention is gripped to the point where you don’t even want to put the book down because you are just enthralled in the complex world and characters. I would say the book starts picking up a few chapters in. This could also be a me only thing as I was slumping a bit when I started Marrow Charm, and we all know how slumps can ruin a book!
I was enthralled with not only the characters and their stories, but also the world. Kristin’s writing style is eloquent and breathtaking, and they included a couple of different themes throughout the story! Such as, family and friendship. It was really nice to see both of these take place when the main character had such a life of hardship. And don’t get me started on the complexity of the characters and world!
The characters are written in a way that draws the reader to them but they are also realistic in a way where their actions and thoughts are extremely relatable. This was really interesting to experience when reading, as I was not expecting to enjoy the characters as much as I did. The complexity of the world was also something that surprised me! There was no clear “good-side” or “bad-side” and the descriptions of everything was extremely well-done! You can tell that there is a higher, dark presence that is interwoven into the world but what it is, is unknown. Even at the ending of the novel. This was kind of a bummer, as I wanted to know what that presence was. But it also set it up nicely for book two: Skin Curse.
I can’t gush about Marrow Charm enough! It’s seriously one of my top books of the year and I can’t stop recommending it to everyone. If you are a fan of dark tales with fantasy and magical elements but also a hint of realism, then this is the book for you! But be warned, it does read ‘heavy.’ In the end though, the ‘heavy’ presence makes sense.
You can also find this review on my blog: bookingwayreads.wordpress.com
I was honestly surprised that I ended up loving this novel as much as I did. I had extremely high expectations for it and IT. DELIVERED. When I first picked it up, it took a good minute to actually get into the story. But once it clicked into place, I was devouring Marrow Charm with a thirst. It is heart-wrenching, action packed, enemies to lovers (kinda, a girl can dream), dark and oh so magical!
Marrow Charm follows a morally gray heroine, Azzy Brimvine in a world destroyed by magic. The magic plaguing the lands caused humans to retreat underground. But every so often, magical borne plagues will wipe out masses of human cities. These plagues create aberrations by striking those with magic. When Azzy’s brother is infected, she sets out with her mentor to the Above determined to save him. But, the world in the Above is not all gum drops and unicorns. It is plagued with monsters and humans, wild and cunning. Azzy must brave the perils that litter the Above to reach her brother before the Gate is opened.
Marrow Charm is a bit slow in the begin, but as you continue on it does pick up quite quickly. Once you hit that sweet spot though, your attention is gripped to the point where you don’t even want to put the book down because you are just enthralled in the complex world and characters. I would say the book starts picking up a few chapters in. This could also be a me only thing as I was slumping a bit when I started Marrow Charm, and we all know how slumps can ruin a book!
I was enthralled with not only the characters and their stories, but also the world. Kristin’s writing style is eloquent and breathtaking, and they included a couple of different themes throughout the story! Such as, family and friendship. It was really nice to see both of these take place when the main character had such a life of hardship. And don’t get me started on the complexity of the characters and world!
The characters are written in a way that draws the reader to them but they are also realistic in a way where their actions and thoughts are extremely relatable. This was really interesting to experience when reading, as I was not expecting to enjoy the characters as much as I did. The complexity of the world was also something that surprised me! There was no clear “good-side” or “bad-side” and the descriptions of everything was extremely well-done! You can tell that there is a higher, dark presence that is interwoven into the world but what it is, is unknown. Even at the ending of the novel. This was kind of a bummer, as I wanted to know what that presence was. But it also set it up nicely for book two: Skin Curse.
I can’t gush about Marrow Charm enough! It’s seriously one of my top books of the year and I can’t stop recommending it to everyone. If you are a fan of dark tales with fantasy and magical elements but also a hint of realism, then this is the book for you! But be warned, it does read ‘heavy.’ In the end though, the ‘heavy’ presence makes sense.
You can also find this review on my blog: bookingwayreads.wordpress.com
Never meet your heroes is the succinct tag line of this Amazon original series, dealing with the notion that all superheroes are morally good… but what if they weren’t…?
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
JT (287 KP) rated Killing Them Softly (2012) in Movies
Mar 10, 2020
There was quite a significant gap between films for writer/director Andrew Dominik, five years in fact. His last feature length outing The Assassination of Jesse James by the Coward Robert Ford was a Western epic and here he has teamed up with Brad Pitt again for Killing Them Softly, one with a significantly shorter run time.
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
Pitt plays Jackie Cogan a gun for hire who is called in to clean up the mess made after a mob protected card game is robbed and the criminal economy takes an unexpected nose dive. With the criminal underworld unsure of who to trust and with no games being run it’s up to Cogan to eliminate those responsible and get trust restored.
The film is also set against real footage of Bush and Obama referring to the struggling US economy and the need for the country to pull together as a community to get itself back on track, which is ironic given the narrative that Dominik is conveying. The group behind the heist are hardly your career criminals, Frankie (Scoot McNairy) and Russell (Ben Mendelsohn) are a pair of down and outs looking for some fast cash.
These guys are a highlight, prepping for the robbery with yellow rubber gloves, masks and a sawn off shotgun so short it would take everyone out who’s in the room. Mendelsohn is especially solid, his appearance as a disheveled drug taking dog thief is one of the few comedic elements to an otherwise dry film.
Killing Them Softly is a film where you have to rely heavily on the acting, and there is plenty on show. Pitt of course is ever commanding in his role, slicked back hair and leather jacket he’s the archetypal hitman, he calls the shots and others listen.
Then there is James Gandolfini, no stranger to the world of fictional organized crime having been head of the most famous TV family, the Sopranos. Gandolfini is another hitman, called on by Pitt to assist in taking out one of the targets, however the only thing he’s capable of doing is consuming large amounts of booze and women.
Add into the mix Ray Liotta (another with a fictional mafia past) who’s responsible for knocking off his own card game in the beginning, he’s the innocent party this time around and is whacked in a spectacular slow motion capture drive by. Dominik’s script is nowhere near as tight or as in depth as Chopper, it becomes confused at times and it’s hard to know exactly where it is supposed to lead us.
There is no question that the acting is top draw and there are some great scenes of dialogue that leaves you wanting more, of course it does seem to drift on a bit too much and the short sharp cuts between actors can get annoying.
It’s fair to say it has its share of brutal violence, poor Markie Trattman (Liotta) is on the receiving end of one of cinemas heaviest beatings, and when the hits are made there is no getting away from the realism to them, blood will fly.
At the end of the film Cogan has been short changed for his work, and as an audience you might feel short changed that the film promised was not the one returned?
Pinball HD Collection
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This unique table features pinball bumpers and targets, plus a color monitor where you can take on a...
Siren's Surrender (Dark Tides #2)
7.0
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Never embracing her mermaid heritage, Gwen Lonike lives in the human world as the owner of a Maine...
City Island 4: Sim Town Tycoon (SD)
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6.0
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Play the most popular city building simulation game series on mobile! In this new City Island sim,...
Kristy H (1252 KP) rated The Arrangement in Books
Feb 13, 2018
Lucy and Owen fled Brooklyn for the suburbs not long after their son, Wyatt, came along. In the perfect little town of Beekman, they have a beautiful old house, a yard full of chickens, and interact with a cast full of eclectic characters. Lucy also has her hands full with Wyatt, a challenging kid with autism. One evening, when some friends come over and the drinks flow freely, they mention their open marriage. At first, Lucy and Own are a bit shocked. But as the exhausted duo look around at their life, they begin to consider "the arrangement." Owen grabs a pad and a pen and they eke out some rules. It still seems like a joke, until Lucy says she wants to give the arrangement--a six-month experience where they each have an ongoing, no questions asked free pass in their marriage--a go. Surely nothing will go wrong, right?
This novel is a different, oddly intriguing read, offering an extremely realistic portrayal of marriage and raising children. Warm and fuzzy it is not, yet it's still engaging and features relatable characters. Lucy and Owen's exhaustion is palatable, as is Lucy's frustration and love for Wyatt, who is an intelligent, fun, and extremely challenging special needs kid. (You will grow to love him, even as you completely empathize with why poor Lucy might need a break--one of the definite strengths of the book.) For a good early portion of the novel, I found myself thinking I would be reading a quite grim look at parenthood and marriage. And it is, in many ways. After all, why are Lucy and Owen so willing to embark on the arrangement, you wonder? Are they bored with their life, with each other? Are they simply tired parents? What causes them to choose this? As the arrangement begins, their reactions to its ongoing presence in their lives is surprising, and Dunn does a good job at capturing some nuance in their character that you might not expect. These are real married people, with real issues.
Still, there are definitely some odd bits and pieces stuck into the story. It seems disjointed at times, and some of the characters and their stories seem to pop up at weird times, forcing you to remind yourself how they fit into Lucy and Owen's life and the town of Beekman (for we don't hear just from our main couple, but several others who live in town). The novel meanders at times, and I wouldn't call the ending closure, per se, though it falls in line with the realism of the novel.
Where Dunn shines is her humor, which slips through even some of the darker moments. Moments with Wyatt are perfectly captured. Lucy's friend, Sunny Bang, is one of the best things about this book, and you'll love every second featuring her. There's a scene at the town church with many of the local kids (and their pets) that is solely worth purchasing the entire book. Seriously, Dunn writes with a sharp wit, and it's one of the main reasons my rating upped to 3.5 stars. The book is often smartly funny and feminist, even if it has its depressing, wandering moments. It's a fascinating look at marriage, for sure, and I was certainly intrigued to see how the arrangement would play out. It was also a welcome break from all the thrillers I'd been reading lately, so thanks! If you like sharp and witty characters coupled with a psychological inside look at modern-day marriage, you'll find this one quite compelling. 3.5 stars.
I received a copy of this novel from the publisher and Netgalley (thank you) in return for an unbiased review. It is available everywhere as of 03/21/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;
This novel is a different, oddly intriguing read, offering an extremely realistic portrayal of marriage and raising children. Warm and fuzzy it is not, yet it's still engaging and features relatable characters. Lucy and Owen's exhaustion is palatable, as is Lucy's frustration and love for Wyatt, who is an intelligent, fun, and extremely challenging special needs kid. (You will grow to love him, even as you completely empathize with why poor Lucy might need a break--one of the definite strengths of the book.) For a good early portion of the novel, I found myself thinking I would be reading a quite grim look at parenthood and marriage. And it is, in many ways. After all, why are Lucy and Owen so willing to embark on the arrangement, you wonder? Are they bored with their life, with each other? Are they simply tired parents? What causes them to choose this? As the arrangement begins, their reactions to its ongoing presence in their lives is surprising, and Dunn does a good job at capturing some nuance in their character that you might not expect. These are real married people, with real issues.
Still, there are definitely some odd bits and pieces stuck into the story. It seems disjointed at times, and some of the characters and their stories seem to pop up at weird times, forcing you to remind yourself how they fit into Lucy and Owen's life and the town of Beekman (for we don't hear just from our main couple, but several others who live in town). The novel meanders at times, and I wouldn't call the ending closure, per se, though it falls in line with the realism of the novel.
Where Dunn shines is her humor, which slips through even some of the darker moments. Moments with Wyatt are perfectly captured. Lucy's friend, Sunny Bang, is one of the best things about this book, and you'll love every second featuring her. There's a scene at the town church with many of the local kids (and their pets) that is solely worth purchasing the entire book. Seriously, Dunn writes with a sharp wit, and it's one of the main reasons my rating upped to 3.5 stars. The book is often smartly funny and feminist, even if it has its depressing, wandering moments. It's a fascinating look at marriage, for sure, and I was certainly intrigued to see how the arrangement would play out. It was also a welcome break from all the thrillers I'd been reading lately, so thanks! If you like sharp and witty characters coupled with a psychological inside look at modern-day marriage, you'll find this one quite compelling. 3.5 stars.
I received a copy of this novel from the publisher and Netgalley (thank you) in return for an unbiased review. It is available everywhere as of 03/21/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;
Larry Eisner (2082 KP) rated Tomb Raider (2018) in Movies
Jul 18, 2018
Vikander. She is excellent and plays this two-dimensional character far beyond the script. (3 more)
The supernatural elements
Did I mention Vikander’s superb performance?
Damn, Vikander was spectacular!
The script (3 more)
The tropes
The characters’ lack of dimension
Low hope for a sequel
It’s action. It’s rife with plot holes. It’s got an AMAZING lead.
Note: I was given a copy by SmashBomb to review.
Note 2: I hate spoilers so you can count on this to have none as with all my reviews.
Tomb Raider, like all video game adaptations for the screen, tend to suck horribly (I’m looking directly at you, Street Fighter, and Mortal Kombat 2).
That said, the Angelina Jolie versions had huge budgets, large CGI setpieces to amaze and star power at the fairly flat lead role of Lara Croft. They were throwaway summer action fodder. They were fun and worth a watch, but never a second viewing.
Sadly, the new Tomb Raider won’t change anyone’s mind about the genre. It’s still mindless action throwaway, but this had a lot of potential for much much more.
Why? Because Alicia Vikander is SPECTACULAR and brings dimension, fragility, and a brutal ness to the action that you’d never see in the original sexually charged games, or the blockbuster megamillions Jolie versions.
The story itself is flat, full of holes (except the one that’s missing? I won’t say, but damn...) and contains the typical tropes of the lone hero in a jungle against baddies and nature. There’s booby traps, there’s danger at every corner, natural and man-made, and there’s intrigue behind the scenes. Nothing new there and sadly this script adds nothing at all (even an iota) to the genre. However, amazingly, Vikander’s subtle and fragile performance escalates the dull action into something believable. It takes the very false “high stakes” danger and makes it dangerous and raises the stakes because of the vulnerability and believability of this Lara Croft.
This is why I enjoyed the film. In the film world, everything is on Lara’s shoulders. And in reality, the film is carried SOLELY on Alicia Vikander’s shoulders. And she carries it well.
Lu Ren (Daniel Wu) is another great character played by a great actor, though he has far too little quality screen time. The relationship between them isn’t believable because of this lack of time spent in development, and therefore the stakes between them seem more false than they should. It is a lot of wasted potential.
Here’s my hope (though my expectations are low unless DVD/Blu-Ray sales/rentals skyrocket): this film demands a sequel. This flimsy summer fodder has what it takes to make a franchise and a lead that can become a true action icon, but it demands a better and more character-driven script.
The potential here is insane, but only time will tell if this mediocre (but fun) B-movie will get a serious sequel. It wouldn’t require so much money, as the strength of this Lara Croft is not in special effects and masculine explosions. This Croft is crafty, exudes strength in endurance rather than power, and has a realism to her that makes me believe she actually isn’t just a rich person with a privileged upbringing. She’s real, three-dimensional and you want her to succeed. Because of her, not because of the plot.
But put an actual plot and characters with depth and dialogue behind her? Wow. That would be amazing.
So, perhaps this review doesn’t seem like a 7/10. But here’s why: Wu brings the film to a 4-5, and Vikander makes this film every point above to the 7. In fact she had a 10 performance, but the script and direction just bring it down.
It’s a fun B-film. It’s summer action fodder. It’s worth a view, if not a purchase. And it is worth a sequel. Let’s hope and pray that Vikander’s Lara Croft returns to tell more tales.
Note 2: I hate spoilers so you can count on this to have none as with all my reviews.
Tomb Raider, like all video game adaptations for the screen, tend to suck horribly (I’m looking directly at you, Street Fighter, and Mortal Kombat 2).
That said, the Angelina Jolie versions had huge budgets, large CGI setpieces to amaze and star power at the fairly flat lead role of Lara Croft. They were throwaway summer action fodder. They were fun and worth a watch, but never a second viewing.
Sadly, the new Tomb Raider won’t change anyone’s mind about the genre. It’s still mindless action throwaway, but this had a lot of potential for much much more.
Why? Because Alicia Vikander is SPECTACULAR and brings dimension, fragility, and a brutal ness to the action that you’d never see in the original sexually charged games, or the blockbuster megamillions Jolie versions.
The story itself is flat, full of holes (except the one that’s missing? I won’t say, but damn...) and contains the typical tropes of the lone hero in a jungle against baddies and nature. There’s booby traps, there’s danger at every corner, natural and man-made, and there’s intrigue behind the scenes. Nothing new there and sadly this script adds nothing at all (even an iota) to the genre. However, amazingly, Vikander’s subtle and fragile performance escalates the dull action into something believable. It takes the very false “high stakes” danger and makes it dangerous and raises the stakes because of the vulnerability and believability of this Lara Croft.
This is why I enjoyed the film. In the film world, everything is on Lara’s shoulders. And in reality, the film is carried SOLELY on Alicia Vikander’s shoulders. And she carries it well.
Lu Ren (Daniel Wu) is another great character played by a great actor, though he has far too little quality screen time. The relationship between them isn’t believable because of this lack of time spent in development, and therefore the stakes between them seem more false than they should. It is a lot of wasted potential.
Here’s my hope (though my expectations are low unless DVD/Blu-Ray sales/rentals skyrocket): this film demands a sequel. This flimsy summer fodder has what it takes to make a franchise and a lead that can become a true action icon, but it demands a better and more character-driven script.
The potential here is insane, but only time will tell if this mediocre (but fun) B-movie will get a serious sequel. It wouldn’t require so much money, as the strength of this Lara Croft is not in special effects and masculine explosions. This Croft is crafty, exudes strength in endurance rather than power, and has a realism to her that makes me believe she actually isn’t just a rich person with a privileged upbringing. She’s real, three-dimensional and you want her to succeed. Because of her, not because of the plot.
But put an actual plot and characters with depth and dialogue behind her? Wow. That would be amazing.
So, perhaps this review doesn’t seem like a 7/10. But here’s why: Wu brings the film to a 4-5, and Vikander makes this film every point above to the 7. In fact she had a 10 performance, but the script and direction just bring it down.
It’s a fun B-film. It’s summer action fodder. It’s worth a view, if not a purchase. And it is worth a sequel. Let’s hope and pray that Vikander’s Lara Croft returns to tell more tales.
Lucy Buglass (45 KP) rated Ekaj (2015) in Movies
Jun 20, 2019
A gritty, raw portrait of a teenage runaway
When I was first introduced to Ekaj, I genuinely thought it was a documentary. The realisation that it was in fact a work of fiction took me by surprise, and this is a testament to the directing style of Cati Gonzalez. She has gone to great lengths to make this film feel as real as possible. None of the actors in the film are well-known or established, making them seem like ordinary people you might pass on the street. This sense of realism draws you closer to the characters we meet throughout, and I really loved this stylistic choice.
This gritty, imperfect camerawork and editing matches well with the harsh realities of life for Ekaj and his friend Mecca, both of which are young, gay Puerto Ricans trying to navigate the intimidating streets of New York City. This film doesn’t sugar coat it, as we are greeted with things such as drug abuse, AIDS, violence and sexual assault. We are forced to live this reality alongside Ekaj and Mecca, in all its harrowing honesty. It’s worlds away from my own, yet I felt close to the subject matter throughout. Ekaj and Mecca are complete opposites, with Mecca’s life experience and protective nature conflicting with Ekaj and his naivety. Following these two characters throughout was thoroughly entertaining, despite the difficult environment they both live in.
As the titular character, Jake Mestre really stood out to me. He does a fantastic job at portraying someone young, clueless and confused about their own identity. He experiments with new looks, new scents, and what he feels most comfortable in. He is a character that many can identify with when it comes to sexuality and gender identity, even if they do not share the same life experiences. In addition, the presence of Ekaj’s homophobic and aggressive father is an upsetting reminder of the rejection many individuals face from their own family members. I’m glad Ekaj never avoided these issues or tried to pretend they didn’t exist, instead, they were placed in clear view for the discomfort of the audience. It’s important we shed light on these societal problems, and cinema as a great way to do this.
The intrusive nature of the camera paired with natural, overlapping dialogue is striking, and at times I felt as though I shouldn’t be watching what I was. I felt like a genuine spectator, desperately trying to get a closer look at the lives of these individuals, even when they were talking about some deep and intense topics. The fly-on-the-wall style of filmmaking is what really stood out to me with Ekaj, and something I seriously enjoyed throughout. To me, this is what sets the film apart from others within the genre.
All in all, Ekaj is a well-rounded indie film that gives us a heartfelt and eye opening look at the dark side of New York City, whilst simultaneously creating a compelling and strong relationship between two young men. The way humour and sentimentalities still existed in such an awful world gave me a glimmer of hope, and some light relief throughout. Fundamentally, this is down to great writing and acting, which I’m full of praise for when it comes to this film.
I would certainly recommend Ekaj to a variety of audiences, whether or not you feel you can identify with any of the characters or subject matters. It sheds light on the darker side to human existence, which is important for us all to witness.
https://lucygoestohollywood.com/2018/11/04/ekaj-a-gritty-raw-portrait-of-a-teenage-runaway/
This gritty, imperfect camerawork and editing matches well with the harsh realities of life for Ekaj and his friend Mecca, both of which are young, gay Puerto Ricans trying to navigate the intimidating streets of New York City. This film doesn’t sugar coat it, as we are greeted with things such as drug abuse, AIDS, violence and sexual assault. We are forced to live this reality alongside Ekaj and Mecca, in all its harrowing honesty. It’s worlds away from my own, yet I felt close to the subject matter throughout. Ekaj and Mecca are complete opposites, with Mecca’s life experience and protective nature conflicting with Ekaj and his naivety. Following these two characters throughout was thoroughly entertaining, despite the difficult environment they both live in.
As the titular character, Jake Mestre really stood out to me. He does a fantastic job at portraying someone young, clueless and confused about their own identity. He experiments with new looks, new scents, and what he feels most comfortable in. He is a character that many can identify with when it comes to sexuality and gender identity, even if they do not share the same life experiences. In addition, the presence of Ekaj’s homophobic and aggressive father is an upsetting reminder of the rejection many individuals face from their own family members. I’m glad Ekaj never avoided these issues or tried to pretend they didn’t exist, instead, they were placed in clear view for the discomfort of the audience. It’s important we shed light on these societal problems, and cinema as a great way to do this.
The intrusive nature of the camera paired with natural, overlapping dialogue is striking, and at times I felt as though I shouldn’t be watching what I was. I felt like a genuine spectator, desperately trying to get a closer look at the lives of these individuals, even when they were talking about some deep and intense topics. The fly-on-the-wall style of filmmaking is what really stood out to me with Ekaj, and something I seriously enjoyed throughout. To me, this is what sets the film apart from others within the genre.
All in all, Ekaj is a well-rounded indie film that gives us a heartfelt and eye opening look at the dark side of New York City, whilst simultaneously creating a compelling and strong relationship between two young men. The way humour and sentimentalities still existed in such an awful world gave me a glimmer of hope, and some light relief throughout. Fundamentally, this is down to great writing and acting, which I’m full of praise for when it comes to this film.
I would certainly recommend Ekaj to a variety of audiences, whether or not you feel you can identify with any of the characters or subject matters. It sheds light on the darker side to human existence, which is important for us all to witness.
https://lucygoestohollywood.com/2018/11/04/ekaj-a-gritty-raw-portrait-of-a-teenage-runaway/