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Kristy H (1252 KP) rated The Last Summer of the Garrett Girls in Books
Mar 6, 2019
Delightful novel about sisterhood and growing up
The Garrett sisters are pretty used to the routine of their lives in their small town. Des, 19, is caretaker of her sisters and Arden, the bookstore left behind by their late parents. Their seventy-year-old Gram counts on her to take care of things--even more so since her knee surgery. Bea, 18, is smart, ambitious, and heading to Georgetown in the fall, along with her longtime boyfriend, Erik. Kat, 16, is their theatrical diva, whom no one really takes seriously; she recently broke up with her boyfriend, and she'd do just about anything to get him back. At fifteen, Vi is the "baby" of the family. She's quiet, sensitive, and gay. It's all worked pretty well for a while, but little do they all know: things are about to change for the Garrett girls this summer.
Jessica Spotswood said that she pitched this novel as "Little Women meets Gilmore Girls by way of Sarah Dessen," and I couldn't agree more. I didn't read this until her epilogue, and both the Little Women and Gilmore Girls pieces had already crossed my mind. This is such a lovely, charming, and touching book--I thoroughly enjoyed it. The Garrett sisters were so wonderful and engaging that as the book ended, I immediately found myself wishing there was a sequel, because I was completely immersed in their lives.
Spotswood creates some excellent, different, and completely captivating characters in these sisters. Each is unique in their own way--their own person. I loved the wonderful diverse representation in this one: "there aren't many YA books about girls falling in love," Vi says. It's so true, and how nice it is to have a well-written book where that storyline is just one of the many plots. There are some absolutely beautiful exchanges, as Vi has a crush on the girl who works at the restaurant next door, Cece. It was easily my favorite part of the book--I adored sweet Vi. I also loved how books played a such a strong role in the story--between the girls' family owning a bookstore and all of them loving books and stories in some way.
The novel itself is really about the universal themes of growing up, finding your way, and friendship and sisterhood. And love. It's so well-done and really sweet and fun. The girls seem so real, and it was quite easy to get caught up in their lives and problems. I found it quite enjoyable, even if I could guess how most things would resolve themselves.
Overall, this was a delightful novel about sisterhood and growing up. I truly wish I could have spent more time with the Garrett sisters. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Jessica Spotswood said that she pitched this novel as "Little Women meets Gilmore Girls by way of Sarah Dessen," and I couldn't agree more. I didn't read this until her epilogue, and both the Little Women and Gilmore Girls pieces had already crossed my mind. This is such a lovely, charming, and touching book--I thoroughly enjoyed it. The Garrett sisters were so wonderful and engaging that as the book ended, I immediately found myself wishing there was a sequel, because I was completely immersed in their lives.
Spotswood creates some excellent, different, and completely captivating characters in these sisters. Each is unique in their own way--their own person. I loved the wonderful diverse representation in this one: "there aren't many YA books about girls falling in love," Vi says. It's so true, and how nice it is to have a well-written book where that storyline is just one of the many plots. There are some absolutely beautiful exchanges, as Vi has a crush on the girl who works at the restaurant next door, Cece. It was easily my favorite part of the book--I adored sweet Vi. I also loved how books played a such a strong role in the story--between the girls' family owning a bookstore and all of them loving books and stories in some way.
The novel itself is really about the universal themes of growing up, finding your way, and friendship and sisterhood. And love. It's so well-done and really sweet and fun. The girls seem so real, and it was quite easy to get caught up in their lives and problems. I found it quite enjoyable, even if I could guess how most things would resolve themselves.
Overall, this was a delightful novel about sisterhood and growing up. I truly wish I could have spent more time with the Garrett sisters. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Kristy H (1252 KP) rated How Hard Can It Be? in Books
Mar 10, 2019 (Updated Mar 10, 2019)
Things have taken a bit of a turn for Kate Reddy--she's nearing 50, her husband has lost his job and spends most of his time cycling, and her kids are busy teenagers. With Richard out of work, Kate has to return to work. However, she finds that the financial community isn't welcoming to a woman on the cusp of fifty. When Kate decides to pretend she's seven years younger to enter the working world, she winds up working at the hedge fund she originally started. Once back at work, though, she finds herself overwhelmed dealing with everything: the unhelpful husband, the ungrateful kids, the demanding colleagues, and an unexpected appearance from an old flame.
This was a tough one for me. It was a slow read, although in its defense, I read it during a very busy time at work. I empathized with Kate's return to working motherhood--especially juggling kids and work and dealing with a male-driven workplace. I didn't enjoy the intense focus on how old Kate was, making her seem nearly decrepit at fifty. It's one thing to deal with turning the big 5-0 and its ramifications, but its another to make it seem like it's the end of the world. Even worse, while Kate could seem so strong in the workplace, she was such a pushover with her children. She was supposedly clueless with technology, unable to keep up with their exploits, and a complete doormat. (I also couldn't handle the endless endearments she used with her kids--there's only so many "sweeties" and "darlings" I can take.)
There are certainly humorous moments in the novel. This is a sequel to Pearson's first novel featuring Reddy and the parts I enjoyed here were the parts I liked about the first one: Kate's wit, her ability to take on the "big boys" at her fund, and the snippets of emails between her and her friend, Candy. There were definitely pieces of the novel that I found myself nodding along with--her moments of anxiety; her rants about how working moms are treated; some insights into kids and the social media era, etc. And Kate certainly doesn't have an easy go of it, with her clueless husband, helpless kids, crumbling house, aging parents, and stressful job.
That being said, I could see most of the plot twists coming a mile away, and you couldn't help but get frustrated that Kate couldn't see them too. Overall, while I found parts of this novel funny, refreshing, and quite apropos, I couldn't really get over Kate's obsession with her looks or her one-sided relationship with her children. In the end my rating is probably bumped up a bit for a little Kate Reddy nostalgia.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
This was a tough one for me. It was a slow read, although in its defense, I read it during a very busy time at work. I empathized with Kate's return to working motherhood--especially juggling kids and work and dealing with a male-driven workplace. I didn't enjoy the intense focus on how old Kate was, making her seem nearly decrepit at fifty. It's one thing to deal with turning the big 5-0 and its ramifications, but its another to make it seem like it's the end of the world. Even worse, while Kate could seem so strong in the workplace, she was such a pushover with her children. She was supposedly clueless with technology, unable to keep up with their exploits, and a complete doormat. (I also couldn't handle the endless endearments she used with her kids--there's only so many "sweeties" and "darlings" I can take.)
There are certainly humorous moments in the novel. This is a sequel to Pearson's first novel featuring Reddy and the parts I enjoyed here were the parts I liked about the first one: Kate's wit, her ability to take on the "big boys" at her fund, and the snippets of emails between her and her friend, Candy. There were definitely pieces of the novel that I found myself nodding along with--her moments of anxiety; her rants about how working moms are treated; some insights into kids and the social media era, etc. And Kate certainly doesn't have an easy go of it, with her clueless husband, helpless kids, crumbling house, aging parents, and stressful job.
That being said, I could see most of the plot twists coming a mile away, and you couldn't help but get frustrated that Kate couldn't see them too. Overall, while I found parts of this novel funny, refreshing, and quite apropos, I couldn't really get over Kate's obsession with her looks or her one-sided relationship with her children. In the end my rating is probably bumped up a bit for a little Kate Reddy nostalgia.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Movie Metropolis (309 KP) rated Big Hero 6 (2014) in Movies
Jun 11, 2019
Genuinely Moving
The Marvel Studios movie train has been non-stop over the last few years, from Iron Man to The Avengers, it shows no signs of slowing. Now though, a take-over by Disney has ensured both studios enter into rather unknown territory.
The first film from this collaboration is Big Hero 6, an animated superhero film in the same vein as Pixar’s The Incredibles. But does it reach those dizzying heights?
Big Hero 6 follows Hiro Hamada, a 14-year-old robotics prodigy as he goes about his life in the fictional city of San Fransokyo alongside his brother Tadashi. Hiro has lost his way after a family tragedy and it takes his brother’s robot Baymax to help find himself again.
The story unfortunately is the film’s weakest link, being predictable at best and downright clichéd at its worst. In this respect, Big Hero 6 falls well short of the standards set by the majority of Pixar’s movies.
Thankfully, the visuals are absolutely stunning, a match for Disney’s best, if not quite up to the level of last year’s How to Train YourBig_Hero_6_Poster_2 Dragon 2. The city of San Fransokyo is beautifully realised in sweeping, gloriously colourful shots that show of the animation best when they’re from above.
The characters themselves are rendered in painstaking detail and in particular sequences it becomes difficult to tell the film apart from a live-action feature.
Vocal performances are also very good. Ryan Potter plays Hiro as a vulnerable, pre-pubescent teen who by the end of the film comes to realise just who he is exceptionally well. James Cromwell, Maya Rudolph and Damon Wayans also lend their recognisable voices to people in the film.
However, by far the stand-out is Baymax, a hilariously funny healthcare robot. Disney’s animators should be given plaudits for crafting a character which despite its lack of facial features and emotive tones is so engaging to watch.
Unfortunately, when Baymax evolves into super-Baymax, his characterisation suffers and the funny, caring nature of him is lost somewhat.
The final third of the film delves into generic superhero fodder, but picks up again just before the end credits role with a deeply emotive.
Big Hero 6 also gets increasingly dark the further into the movie you get, the comedic elements get muddled in a plot which isn’t quite sure which way it wants to go and young children may find it a little to scary to stomach.
Thankfully the negatives here are far outweighed by the positives and Big Hero 6 steamrolls itself into a moving finale which leaves itself open for a sequel nicely.
Overall, from stunning visuals to engaging characters, Big Hero 6 continues Disney’s penchant for creating fun and watchable films. Despite a lack of originality, the character of Baymax makes up for most of the other shortcomings and ensures the generic story is genuinely moving.
https://moviemetropolis.net/2015/02/05/genuinely-moving-big-hero-6-review/
The first film from this collaboration is Big Hero 6, an animated superhero film in the same vein as Pixar’s The Incredibles. But does it reach those dizzying heights?
Big Hero 6 follows Hiro Hamada, a 14-year-old robotics prodigy as he goes about his life in the fictional city of San Fransokyo alongside his brother Tadashi. Hiro has lost his way after a family tragedy and it takes his brother’s robot Baymax to help find himself again.
The story unfortunately is the film’s weakest link, being predictable at best and downright clichéd at its worst. In this respect, Big Hero 6 falls well short of the standards set by the majority of Pixar’s movies.
Thankfully, the visuals are absolutely stunning, a match for Disney’s best, if not quite up to the level of last year’s How to Train YourBig_Hero_6_Poster_2 Dragon 2. The city of San Fransokyo is beautifully realised in sweeping, gloriously colourful shots that show of the animation best when they’re from above.
The characters themselves are rendered in painstaking detail and in particular sequences it becomes difficult to tell the film apart from a live-action feature.
Vocal performances are also very good. Ryan Potter plays Hiro as a vulnerable, pre-pubescent teen who by the end of the film comes to realise just who he is exceptionally well. James Cromwell, Maya Rudolph and Damon Wayans also lend their recognisable voices to people in the film.
However, by far the stand-out is Baymax, a hilariously funny healthcare robot. Disney’s animators should be given plaudits for crafting a character which despite its lack of facial features and emotive tones is so engaging to watch.
Unfortunately, when Baymax evolves into super-Baymax, his characterisation suffers and the funny, caring nature of him is lost somewhat.
The final third of the film delves into generic superhero fodder, but picks up again just before the end credits role with a deeply emotive.
Big Hero 6 also gets increasingly dark the further into the movie you get, the comedic elements get muddled in a plot which isn’t quite sure which way it wants to go and young children may find it a little to scary to stomach.
Thankfully the negatives here are far outweighed by the positives and Big Hero 6 steamrolls itself into a moving finale which leaves itself open for a sequel nicely.
Overall, from stunning visuals to engaging characters, Big Hero 6 continues Disney’s penchant for creating fun and watchable films. Despite a lack of originality, the character of Baymax makes up for most of the other shortcomings and ensures the generic story is genuinely moving.
https://moviemetropolis.net/2015/02/05/genuinely-moving-big-hero-6-review/
Movie Metropolis (309 KP) rated Jack Reacher: Never Go Back (2016) in Movies
Jun 11, 2019
As average as you can get
The lacklustre box-office performance of Jack Reacher in 2012 seemed to scupper plans for the film to become the first in a new Tom Cruise-led action franchise to rival the likes of Mission Impossible and its mixed critical response only added to its woes.
Fast forward four years and we’ve got the sequel that no-one was really asking for. But is Jack Reacher: Never Go Back the improvement that was so sorely needed and could it act as a catalyst to turn this popular novel series into a proper film franchise?
Investigator Jack Reacher (Tom Cruise) springs into action after the arrest of Susan Turner (Cobie Smulders), an Army major accused of treason. Suspecting foul play, Jack embarks on a mission to prove that the head of his old unit is innocent. After crossing paths with the law, Reacher must now go on the lam to uncover the truth behind a major government conspiracy that involves the death of U.S. soldiers.
Director Edward Zwick (Blood Diamond, The Last Samurai) shoots the action realistically but even a commanding turn from Tom Cruise can’t save a bland script, so-so special effects and a plot so unoriginal, it would be easy to swap out Cruise for Liam Neeson and call it Taken 4. Or Matt Damon and label it Bourne 6? You get where I’m going with this, right?
It’s all been done so many times before and there are no twists and turns or anything remotely unusual to give the film a USP. Instead, the scriptwriters, of which there are three here, force our two central characters into a game of cat and mouse so lazy, the bad guys show up literally minutes after our heroes, with no explanation whatsoever of how they came to be in the vicinity.
Surely it wouldn’t have been difficult to add some extra exposition into the script. Cyborg baddies with GPS tracking systems implanted into their brains perhaps? I’ll save that idea for another day.
Nevertheless, the action is confidently choreographed with a Halloween parade finale being utilised rather well and Cruise plays the titular role well, despite being 54 this year. However, the supporting cast are drowned out by some horrendous dialogue and a story that doesn’t really know what to do with anyone apart from Jack Reacher himself.
And that really is about it. Jack Reacher: Never Go Back is the most satisfactory film of the year by some margin. It’s not terrible by any means and it certainly isn’t fantastic, but it makes for a passable trip to the cinema, though one that you’ll probably have forgotten about by the time you get to your front door. It’s just that middle of the road.
https://moviemetropolis.net/2016/10/21/as-average-as-you-can-get-jack-reacher-never-go-back-review/
Fast forward four years and we’ve got the sequel that no-one was really asking for. But is Jack Reacher: Never Go Back the improvement that was so sorely needed and could it act as a catalyst to turn this popular novel series into a proper film franchise?
Investigator Jack Reacher (Tom Cruise) springs into action after the arrest of Susan Turner (Cobie Smulders), an Army major accused of treason. Suspecting foul play, Jack embarks on a mission to prove that the head of his old unit is innocent. After crossing paths with the law, Reacher must now go on the lam to uncover the truth behind a major government conspiracy that involves the death of U.S. soldiers.
Director Edward Zwick (Blood Diamond, The Last Samurai) shoots the action realistically but even a commanding turn from Tom Cruise can’t save a bland script, so-so special effects and a plot so unoriginal, it would be easy to swap out Cruise for Liam Neeson and call it Taken 4. Or Matt Damon and label it Bourne 6? You get where I’m going with this, right?
It’s all been done so many times before and there are no twists and turns or anything remotely unusual to give the film a USP. Instead, the scriptwriters, of which there are three here, force our two central characters into a game of cat and mouse so lazy, the bad guys show up literally minutes after our heroes, with no explanation whatsoever of how they came to be in the vicinity.
Surely it wouldn’t have been difficult to add some extra exposition into the script. Cyborg baddies with GPS tracking systems implanted into their brains perhaps? I’ll save that idea for another day.
Nevertheless, the action is confidently choreographed with a Halloween parade finale being utilised rather well and Cruise plays the titular role well, despite being 54 this year. However, the supporting cast are drowned out by some horrendous dialogue and a story that doesn’t really know what to do with anyone apart from Jack Reacher himself.
And that really is about it. Jack Reacher: Never Go Back is the most satisfactory film of the year by some margin. It’s not terrible by any means and it certainly isn’t fantastic, but it makes for a passable trip to the cinema, though one that you’ll probably have forgotten about by the time you get to your front door. It’s just that middle of the road.
https://moviemetropolis.net/2016/10/21/as-average-as-you-can-get-jack-reacher-never-go-back-review/
Movie Metropolis (309 KP) rated 10 Cloverfield Lane (2016) in Movies
Jun 11, 2019
Somewhat misleading but thrilling nonetheless
It’s best to start off this review as honest as possible. If you’re expecting a fully-fledged sequel or even a prequel to Matt Reeves’ brilliant monster horror, Cloverfield in 10 Cloverfield Lane, you’ll be very disappointed.
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
Movie Metropolis (309 KP) rated Hitman: Agent 47 (2015) in Movies
Jun 11, 2019
Clinical and incomprehensible
The transition from video game to movie is notoriously difficult to get right. From box-office disasters like Super Mario Bros. to the poorly received Resident Evil franchise, it appears no film is spared from either financial woe or critically panning.
Hitman has become one of the most popular game series’ ever but the 2007 film of the same name failed to kick-start the franchise’s transition to the silver screen. Now, eight years later, Rupert Friend stars as the red tie-wearing assassin in Hitman: Agent 47, but does it succeed as a reboot?
Friend stars as the titular character, an emotionless killer hell-bent on tracking down the creator of the ‘Agent Program’ from which he was created. Alongside him for the ride is Hannah Ware’s Katia Van Dees, a young fearful woman searching for a man she does not know.
The usually excellent Zachary Quinto (Star Trek) also stars as a clichéd villain in a thankless role blighted by stilted dialogue and cardboard emotions. This most certainly isn’t his finest work.
The story is incredibly simple, barely fitting into the film’s slender 96 minute running time and the clinical filming style of director Aleksander Bach really doesn’t help. Beautiful locations like Berlin and Singapore are wasted in favour of sleek office sets, populated by one-dimensional characters that we couldn’t care less about.
Nevertheless, Friend plays the emotionless Agent 47 with ease and is one of the highlights in a film lacking in any real punch – it’s all been done before, and better.
Ware is disappointingly wooden, though her veneer seems to crack towards the finale and we get to see the character she could have played. It’s a shame that for the majority of Hitman’s running time we see no real prowess in her performance.
The action sequences are slick and nicely choreographed but Mission: Impossible – Rogue Nation did them only last month and in a more detailed and ultimately successful style.
However, clever gun-work is mixed nicely with the film’s 15 certificate and each barrel discharge feels much more real. It’s certainly more interesting than the two sequels to Taken and many other action thrillers that sport the 12A rating.
The climax leaves things wide open for a sequel, but the ending is incomprehensible to anyone who hasn’t played the games and leaves a bad taste in the mouth – probably not a great thing when trying to get audiences excited for a follow up.
Overall, Hitman: Agent 47 is much like its titular character. A slick outer shell hides not a lot underneath with a cast of wasted talent and a been-there-done-that attitude to the stunts. There’s some great sequences, but you’ll have to dig deep to find any real merit here.
https://moviemetropolis.net/2015/08/30/clinical-and-incomprehensible-hitman-agent-47-review/
Hitman has become one of the most popular game series’ ever but the 2007 film of the same name failed to kick-start the franchise’s transition to the silver screen. Now, eight years later, Rupert Friend stars as the red tie-wearing assassin in Hitman: Agent 47, but does it succeed as a reboot?
Friend stars as the titular character, an emotionless killer hell-bent on tracking down the creator of the ‘Agent Program’ from which he was created. Alongside him for the ride is Hannah Ware’s Katia Van Dees, a young fearful woman searching for a man she does not know.
The usually excellent Zachary Quinto (Star Trek) also stars as a clichéd villain in a thankless role blighted by stilted dialogue and cardboard emotions. This most certainly isn’t his finest work.
The story is incredibly simple, barely fitting into the film’s slender 96 minute running time and the clinical filming style of director Aleksander Bach really doesn’t help. Beautiful locations like Berlin and Singapore are wasted in favour of sleek office sets, populated by one-dimensional characters that we couldn’t care less about.
Nevertheless, Friend plays the emotionless Agent 47 with ease and is one of the highlights in a film lacking in any real punch – it’s all been done before, and better.
Ware is disappointingly wooden, though her veneer seems to crack towards the finale and we get to see the character she could have played. It’s a shame that for the majority of Hitman’s running time we see no real prowess in her performance.
The action sequences are slick and nicely choreographed but Mission: Impossible – Rogue Nation did them only last month and in a more detailed and ultimately successful style.
However, clever gun-work is mixed nicely with the film’s 15 certificate and each barrel discharge feels much more real. It’s certainly more interesting than the two sequels to Taken and many other action thrillers that sport the 12A rating.
The climax leaves things wide open for a sequel, but the ending is incomprehensible to anyone who hasn’t played the games and leaves a bad taste in the mouth – probably not a great thing when trying to get audiences excited for a follow up.
Overall, Hitman: Agent 47 is much like its titular character. A slick outer shell hides not a lot underneath with a cast of wasted talent and a been-there-done-that attitude to the stunts. There’s some great sequences, but you’ll have to dig deep to find any real merit here.
https://moviemetropolis.net/2015/08/30/clinical-and-incomprehensible-hitman-agent-47-review/
Jimmy Ray Davis (0 KP) created a post
Mar 4, 2018
Goddess in the Stacks (553 KP) rated The Wrong Stars in Books
Aug 26, 2018 (Updated Aug 26, 2018)
Diversity (2 more)
World-building
Amazing alien species
I've watched my fair share of Space Opera (Firefly, Dark Matter, Farscape, Star Trek, Star Wars - don't try to tell me those last two aren't Space Opera, THEY TOTALLY ARE) - but I haven't read much of it. I picked up The Wrong Stars mostly because reviews said it had a demisexual main character, rather than because it's a Space Opera. Regardless, I am SO GLAD I DID. The book is excellent.
First off, the diversity! Over the course of the story, we meet people who are, in no particular order, gay, bisexual, demisexual, asexual, transgender, and non-binary. The story is set 500 years after Earth sends out its first colony ships, and in that time, culture has evolved. Marriage is not common, but contractually-bound relationships exist. Promiscuity and non-monogamy aren't viewed any different than monogamy, and in the same way, the distinctions between gay, straight, and bi don't carry any negative connotations. It's not a complete utopia - it's still a capitalist society, and there is still scarcity - but socially, at least, it has definitely evolved a lot from the present!
Elena, one of our main characters, was a biologist sent out on one of the first colony ships. Stocked with seeds, crude replicators, and cryo-sleep pods, a small crew was sent out, in stasis, on a five-hundred year journey to a system with probable life-supporting planets. They were called Goldilocks ships, in the hope they'd find a planet that was "just right." What humanity didn't expect was that in the intervening five hundred years, they would make contact with an alien species and be given the means for true space travel via wormholes. Some of the ships arrived at their destinations to find human colonies already thriving on their target planets! Elena, however, found something quite different, and it's a very disconcerting difference. She is rescued by the motley crew of the White Raven, and they quickly get drawn into the mystery.
I really enjoyed the world-building and characterization in The Wrong Stars. The science of it made sense to me, but I'm not very versed in science, so I can't really say how realistic it is. It was at least pretty internally consistent. I'd like to learn more about how the AIs are created, though. Luckily, there is a sequel coming! The Dreaming Stars should be coming out this September, and I'm DEFINITELY going to read it.
If you like Dark Matter, Firefly, or Farscape, you should definitely read The Wrong Stars. There's a little bit of light romance threaded into the larger plot, and one fade-to-black sex scene. It's definitely not the focus of the book. There is some violence, but nothing incredibly graphic. I would put it at about the same maturity level as Star Trek.
You can find all my reviews at http://goddessinthestacks.com
First off, the diversity! Over the course of the story, we meet people who are, in no particular order, gay, bisexual, demisexual, asexual, transgender, and non-binary. The story is set 500 years after Earth sends out its first colony ships, and in that time, culture has evolved. Marriage is not common, but contractually-bound relationships exist. Promiscuity and non-monogamy aren't viewed any different than monogamy, and in the same way, the distinctions between gay, straight, and bi don't carry any negative connotations. It's not a complete utopia - it's still a capitalist society, and there is still scarcity - but socially, at least, it has definitely evolved a lot from the present!
Elena, one of our main characters, was a biologist sent out on one of the first colony ships. Stocked with seeds, crude replicators, and cryo-sleep pods, a small crew was sent out, in stasis, on a five-hundred year journey to a system with probable life-supporting planets. They were called Goldilocks ships, in the hope they'd find a planet that was "just right." What humanity didn't expect was that in the intervening five hundred years, they would make contact with an alien species and be given the means for true space travel via wormholes. Some of the ships arrived at their destinations to find human colonies already thriving on their target planets! Elena, however, found something quite different, and it's a very disconcerting difference. She is rescued by the motley crew of the White Raven, and they quickly get drawn into the mystery.
I really enjoyed the world-building and characterization in The Wrong Stars. The science of it made sense to me, but I'm not very versed in science, so I can't really say how realistic it is. It was at least pretty internally consistent. I'd like to learn more about how the AIs are created, though. Luckily, there is a sequel coming! The Dreaming Stars should be coming out this September, and I'm DEFINITELY going to read it.
If you like Dark Matter, Firefly, or Farscape, you should definitely read The Wrong Stars. There's a little bit of light romance threaded into the larger plot, and one fade-to-black sex scene. It's definitely not the focus of the book. There is some violence, but nothing incredibly graphic. I would put it at about the same maturity level as Star Trek.
You can find all my reviews at http://goddessinthestacks.com
BankofMarquis (1832 KP) rated Snow White and the Seven Dwarfs (1937) in Movies
Oct 6, 2018
Still the "Fairest of Them All"
It's always a fear of mine when I go back to visit a beloved film of mine - especially a film that was beloved to me in my childhood. Will it hold up? Is it as good as I remember it? Will the re-visitation tarnish the precious memory of this film that I have?
I am happy to report that, upon a fresh viewing of the first full length animated film every, that I can still declare SNOW WHITE AND THE SEVEN DWARFS "the fairest of them all".
Made in 1937, by the visionary Walt Disney, this film defies the odds - many calling it "Walt's Folly". No one had attempted a full length animated film before and the skeptics were many, but what Walt knew is that he had all the standard elements of a good story - a heroine we can root for, an evil villain, some comic characters that can help us laugh (and cry) and, more importantly, he had the skillful craftsmen of the Walt Disney Studios that can pull off such a feat.
And...pull it off they did! This film is gorgeous and lush to look at. Upon this viewing, I was drawn to the background, and the edges of the frame, marveling at the detail that was interwoven into each, hand drawn imagery - giving this tapestry a lushness and thickness heretofore unseen on the screen.
As for the story of the film - and the film itself - Disney was smart enough to know that "less is more". The film is compact - running a relatively quick 83 minutes - this was a two-fold solution. (1) It helped move the film along at a sprightly pace, never once resting or losing energy and (2) this means that the artists only had to draw what was necessary for this streamlined story.
The music, of course, is wonderful and important part of this film. This was one of the first movie musicals, and was the first film to release a Soundtrack Album. From "Some Day My Prince Will Come" to "I'm Wishing" to "Heigh-Ho" and "Whistle While You Work", the songs moved the story forward and added depth to the characters portrayed on the screen.
If you haven't caught this film in awhile, I heartily recommend you check it out - it works for young and old alike. A good film to share with children of today, to show them what lush, hand drawn animation looks like. Come for the fun of the Dwarfs and the Villainy of the Evil Queen, stay for the richness of the tapestry and the attention to detail that a true classic film portrays.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)
Next Month: WRECK-IT RALPH and (of course) the sequel RALPH BREAKS THE INTERNET (coming to theaters in November).
I am happy to report that, upon a fresh viewing of the first full length animated film every, that I can still declare SNOW WHITE AND THE SEVEN DWARFS "the fairest of them all".
Made in 1937, by the visionary Walt Disney, this film defies the odds - many calling it "Walt's Folly". No one had attempted a full length animated film before and the skeptics were many, but what Walt knew is that he had all the standard elements of a good story - a heroine we can root for, an evil villain, some comic characters that can help us laugh (and cry) and, more importantly, he had the skillful craftsmen of the Walt Disney Studios that can pull off such a feat.
And...pull it off they did! This film is gorgeous and lush to look at. Upon this viewing, I was drawn to the background, and the edges of the frame, marveling at the detail that was interwoven into each, hand drawn imagery - giving this tapestry a lushness and thickness heretofore unseen on the screen.
As for the story of the film - and the film itself - Disney was smart enough to know that "less is more". The film is compact - running a relatively quick 83 minutes - this was a two-fold solution. (1) It helped move the film along at a sprightly pace, never once resting or losing energy and (2) this means that the artists only had to draw what was necessary for this streamlined story.
The music, of course, is wonderful and important part of this film. This was one of the first movie musicals, and was the first film to release a Soundtrack Album. From "Some Day My Prince Will Come" to "I'm Wishing" to "Heigh-Ho" and "Whistle While You Work", the songs moved the story forward and added depth to the characters portrayed on the screen.
If you haven't caught this film in awhile, I heartily recommend you check it out - it works for young and old alike. A good film to share with children of today, to show them what lush, hand drawn animation looks like. Come for the fun of the Dwarfs and the Villainy of the Evil Queen, stay for the richness of the tapestry and the attention to detail that a true classic film portrays.
Letter Grade: A+
10 (out of 10) stars and you can take that to the Bank (ofMarquis)
Next Month: WRECK-IT RALPH and (of course) the sequel RALPH BREAKS THE INTERNET (coming to theaters in November).
Gareth von Kallenbach (977 KP) rated Alien: Blackout in Video Games
Jun 19, 2019
FoxNext and D3 Go have presented Alien fans a new game for mobile devices entitled Alien: Blackout. When it was first announced; many fans thought it was the Alien Shooter that had been announced earlier in 2018 but that is to come at a later date according to FoxNext.
The game has players play as Amanda Ripley; Daughter of the main character of the “Alien” film series and star of the Alien: Isolation game. Although it is described as not being a sequel to Alien: Isolation, Amanda does briefly mention events from the game as her prior experience with the title creature.
Hidden in an Air Vent; Amanda must direct members of a docked shuttle through seven levels as they attempt to locate items and accomplish tasks needed to escape.
There is of course an Alien on the loose and using Motion Trackers, video cameras, and luck, players have to protect Amanda and the shuttle crew as the movie around the map.
The Alien can come after Amanda who can protect herself by closing a vent. The issue is in doing so she cannot look at the map and cameras, and as such The Alien can vanish anywhere including one of the other tunnels that lead to her. Having to watch two or three tunnels as well as a map can be difficult as players have to rely on sound and luck to assume when the Alien is creeping down a tunnel towards them.
Players also have to make hard choices like allowing the Alien to attack and kill a character so another one can move along toward a goal. Being able to open and close doors also allows Amanda to help fence in the creature but it does not always appear on the cameras and as such players have to guess where it is. Amanda can tell characters to hide or hurry up, but there is also the matter of a ticking clock which requires objectives to be completed before a timer runs out.
The game does offer some fun and challenge but is short as with only seven levels, you can complete the game in under an hour once you get the basics down. The game allows players to pick up from the chapter they last completed and does offer some fun cut scenes to enjoy.
The biggest issue is while affordable at $4.99 fans may want more out of the game as aside from the short play time; this style of game may not be the best use of the Alien franchise. It would make a great segment of a larger game but after guiding Amanda through Alien: Isolation; having her hide in vents and direct others seems to be a step down.
While Alien: Blackout is not the game that fans had hoped for; it does offer some decent entertainment and hopefully will tide players over until the next game in the series is released.
http://sknr.net/2019/01/31/alien-blackout/
The game has players play as Amanda Ripley; Daughter of the main character of the “Alien” film series and star of the Alien: Isolation game. Although it is described as not being a sequel to Alien: Isolation, Amanda does briefly mention events from the game as her prior experience with the title creature.
Hidden in an Air Vent; Amanda must direct members of a docked shuttle through seven levels as they attempt to locate items and accomplish tasks needed to escape.
There is of course an Alien on the loose and using Motion Trackers, video cameras, and luck, players have to protect Amanda and the shuttle crew as the movie around the map.
The Alien can come after Amanda who can protect herself by closing a vent. The issue is in doing so she cannot look at the map and cameras, and as such The Alien can vanish anywhere including one of the other tunnels that lead to her. Having to watch two or three tunnels as well as a map can be difficult as players have to rely on sound and luck to assume when the Alien is creeping down a tunnel towards them.
Players also have to make hard choices like allowing the Alien to attack and kill a character so another one can move along toward a goal. Being able to open and close doors also allows Amanda to help fence in the creature but it does not always appear on the cameras and as such players have to guess where it is. Amanda can tell characters to hide or hurry up, but there is also the matter of a ticking clock which requires objectives to be completed before a timer runs out.
The game does offer some fun and challenge but is short as with only seven levels, you can complete the game in under an hour once you get the basics down. The game allows players to pick up from the chapter they last completed and does offer some fun cut scenes to enjoy.
The biggest issue is while affordable at $4.99 fans may want more out of the game as aside from the short play time; this style of game may not be the best use of the Alien franchise. It would make a great segment of a larger game but after guiding Amanda through Alien: Isolation; having her hide in vents and direct others seems to be a step down.
While Alien: Blackout is not the game that fans had hoped for; it does offer some decent entertainment and hopefully will tide players over until the next game in the series is released.
http://sknr.net/2019/01/31/alien-blackout/