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Merissa (11950 KP) rated M.M. Scrooge (Monsters & Mayhem) in Books
Nov 9, 2022
M.M. SCROOGE is part of the Monsters & Mayhem series, and as you can figure out from the title, is a retelling of A Christmas Carol.
Max is a trainer at a gym and thinks that if he makes enough money, he will be happy. He's not bothered if his making enough money means he poaches clients from his fellow trainers. In fact, he's not bothered by how anyone feels at all. Daniel is a sweetie who is reeling from his father's death of a heart attack at only 50. As a professor, Daniel is worried about being too sedentary and following in his father's footsteps. After a quick but steamy time in the shower together, Max and Daniel separate for about half the book, as it follows them on their own paths.
Luckily for me, the horror rating on this is quite low, although that Bogeyman showing up as he did gave me the chills! The kink is high and I love how everything was something Max could use with Daniel.
The pacing was very fast and, being 100% honest, I don't believe Max would have completely learnt his lessons that fast. Perhaps the threat of the Bogeyman returning was threat enough to keep him honest?!
A short and kinky story that I thoroughly enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Max is a trainer at a gym and thinks that if he makes enough money, he will be happy. He's not bothered if his making enough money means he poaches clients from his fellow trainers. In fact, he's not bothered by how anyone feels at all. Daniel is a sweetie who is reeling from his father's death of a heart attack at only 50. As a professor, Daniel is worried about being too sedentary and following in his father's footsteps. After a quick but steamy time in the shower together, Max and Daniel separate for about half the book, as it follows them on their own paths.
Luckily for me, the horror rating on this is quite low, although that Bogeyman showing up as he did gave me the chills! The kink is high and I love how everything was something Max could use with Daniel.
The pacing was very fast and, being 100% honest, I don't believe Max would have completely learnt his lessons that fast. Perhaps the threat of the Bogeyman returning was threat enough to keep him honest?!
A short and kinky story that I thoroughly enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
LeftSideCut (3778 KP) rated Belfast (2021) in Movies
Jan 14, 2022
In short, Belfast is a very human and truly wonderful piece of cinema.
It's visual style is both stunning and simple, and is brimming with plenty of striking imagery.
It's themes are rich. The setting explores the civil unrest between Protestants and Catholics in 1960s Belfast. This turbulent moment in time is a constant presence for sure, but the main bulk of the narrative deals with a working class family who are struggling with debt, and are looking to potentially relocate to England in light of the city wide violence. The very heart of the story though is found in Buddy, the young son of the family who is dealing with growing up and not wanting to leave. Buddy's actor, Jude Hill, is excellent. He embodies innocent childhood and the adventure that comes with it. He's an 11 year old actor, holding his own against screen veterans such as Ciarán Hinds and Judi Dench (both fantastic as always).
Other than Buddy, most of the heavy lifting is undertaken by the mother, played by Caitriona Balfe, who really deserves an Academy Nomination for her role here. Jamie Dornan also stars, who proved to be a pleasant surprise for me, only knowing him from the obvious, and is a welcome addition to an all round stellar cast. Throughout this, the narrative touches upon loss and loneliness, and the moments of life that manage to be bittersweet.
Belfast is a sometimes heartwarming, powerful, occasionally funny, and often melancholy tale told with a lot of love and care. Kenneth Branagh has delivered a slice of cinematic gold.
It's visual style is both stunning and simple, and is brimming with plenty of striking imagery.
It's themes are rich. The setting explores the civil unrest between Protestants and Catholics in 1960s Belfast. This turbulent moment in time is a constant presence for sure, but the main bulk of the narrative deals with a working class family who are struggling with debt, and are looking to potentially relocate to England in light of the city wide violence. The very heart of the story though is found in Buddy, the young son of the family who is dealing with growing up and not wanting to leave. Buddy's actor, Jude Hill, is excellent. He embodies innocent childhood and the adventure that comes with it. He's an 11 year old actor, holding his own against screen veterans such as Ciarán Hinds and Judi Dench (both fantastic as always).
Other than Buddy, most of the heavy lifting is undertaken by the mother, played by Caitriona Balfe, who really deserves an Academy Nomination for her role here. Jamie Dornan also stars, who proved to be a pleasant surprise for me, only knowing him from the obvious, and is a welcome addition to an all round stellar cast. Throughout this, the narrative touches upon loss and loneliness, and the moments of life that manage to be bittersweet.
Belfast is a sometimes heartwarming, powerful, occasionally funny, and often melancholy tale told with a lot of love and care. Kenneth Branagh has delivered a slice of cinematic gold.
Debbiereadsbook (1166 KP) rated Sweat Connection (Hot Under the Collar #1) in Books
Aug 8, 2023
Quite possibly McIntyre's best work to date!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
I'm not rehashing the blurb, and I'm not telling you the story, I'ma just gonna jump straight in!
READ THIS FREAKING BOOK, PEOPLE!
It's so well written, from both Rhys and Cole's POV, in the first person, each chapter headers the change.
It's steamy and smexy (sooooooooooooooooooo smexy!) It's deeply emotional, for both Rhys and Cole and that surprised me, don't ask me why, cos I've no freaking idea! I just expected this to be a light and fluffy book. And it is, but with a heavy side of emotions.
It's sweet and cute, it's so freaking cute. Full of the warm and fuzzies that low/no angst books carry. Full of emotion and love.
Rhys is in a dark place when he comes into contact with Cole, and after that, it's just two guys falling in love! Throw in McIntyre's skill with found families, and extended families, and a 2 yr old called Sammy and you've got, for me, possibly McIntyre's best work yet!
AND this is the first in a new series and I cannot wait for the next one!
I'm making this a relatively short review, I might start ranting and raving, and if I allow myself free reign, you could end up with a 10,000 word review!
I'm putting this on my Masterpiece shelf! I abso-freaking-lutely loved this book and I can't see why anyone wouldn't.
5 full and shiny stars.
*same worded review will appear elsewhere
I'm not rehashing the blurb, and I'm not telling you the story, I'ma just gonna jump straight in!
READ THIS FREAKING BOOK, PEOPLE!
It's so well written, from both Rhys and Cole's POV, in the first person, each chapter headers the change.
It's steamy and smexy (sooooooooooooooooooo smexy!) It's deeply emotional, for both Rhys and Cole and that surprised me, don't ask me why, cos I've no freaking idea! I just expected this to be a light and fluffy book. And it is, but with a heavy side of emotions.
It's sweet and cute, it's so freaking cute. Full of the warm and fuzzies that low/no angst books carry. Full of emotion and love.
Rhys is in a dark place when he comes into contact with Cole, and after that, it's just two guys falling in love! Throw in McIntyre's skill with found families, and extended families, and a 2 yr old called Sammy and you've got, for me, possibly McIntyre's best work yet!
AND this is the first in a new series and I cannot wait for the next one!
I'm making this a relatively short review, I might start ranting and raving, and if I allow myself free reign, you could end up with a 10,000 word review!
I'm putting this on my Masterpiece shelf! I abso-freaking-lutely loved this book and I can't see why anyone wouldn't.
5 full and shiny stars.
*same worded review will appear elsewhere
Jesters_folly (230 KP) rated We're all going to the world's fair (2021) in Movies
Oct 8, 2022
Contains spoilers, click to show
We're all going to the world's fair is an interesting film. The story focuses on Cassey, a girl who decides to take the 'World fair' change, an online/live action horror game. Before taking the challenge the player is warned that game will change them. The player then says "I want to go to the world fair" 3 times, pricks their finger to draw blood then watch a short video. They then film how they are changed.
'World's fair' is mostly shot as YouTube videos and Snapchats, most of which are from Cassey's perspective, other 'World's fair' players or the other main character, JBL.
With only two major characters the film is a slow burn, following the effect the game has on Cassey and the help that JBL tries to give her.
The film ends in a certain ambiguity, both with just how serious Cassey is taking the game and with what JBL's intentions really are and I do think that the film may have been better without the final scene as (I feel) it takes away a bit of the final mystery.
'We're all going to the world's fair' is more creepy than scary and doesn't really have any gore or jump scares relying on a more creeping, psychological form of horror as we watch Cassey's deterioration.
'We're all going to the world's fair' is an interesting film that plays on the the phenomenon of creepy pasta and role-play but doesn't offer anything for gore, slasher, body horror fans.
'World's fair' is mostly shot as YouTube videos and Snapchats, most of which are from Cassey's perspective, other 'World's fair' players or the other main character, JBL.
With only two major characters the film is a slow burn, following the effect the game has on Cassey and the help that JBL tries to give her.
The film ends in a certain ambiguity, both with just how serious Cassey is taking the game and with what JBL's intentions really are and I do think that the film may have been better without the final scene as (I feel) it takes away a bit of the final mystery.
'We're all going to the world's fair' is more creepy than scary and doesn't really have any gore or jump scares relying on a more creeping, psychological form of horror as we watch Cassey's deterioration.
'We're all going to the world's fair' is an interesting film that plays on the the phenomenon of creepy pasta and role-play but doesn't offer anything for gore, slasher, body horror fans.
Lyndsey Gollogly (2893 KP) rated A Feast of Souls (Araneae 2) in Books
Mar 6, 2024
44 of 220
Kindle
A Feast of Souls ( Araneae 2)
By Hailey Edwards
⭐️⭐️⭐️⭐️
Born with the ability to communicate with the dead, few things take Mana by surprise. But when a canis lopes into her life, announcing himself as the long-dead father of a childhood friend, she's shocked. To make matters worse, he has a dire message that she alone can deliver.
Now Mana must face Vaughn, the male who inspired one too many girlish fantasies, and impart the spirit's message--without acknowledging her source--so the soul can be laid to rest.
With rumors of a burgeoning clan war setting his nerves on edge, the last thing Vaughn needs is for an innocent to get caught in the crosshairs. But the woman he remembers as an awkward girl refuses to leave his side until he's heard her out. That's not the only change in her that calls to him. Her kindness soothes his battle-scarred soul--and he craves her in ways a warrior shouldn't.
When they are both captured, they learn of an even greater threat. The plague devastating the southlands has come to his clan home. And his best--and only--chance to keep his people alive is the female who walks among the dead.
I’m really starting to enjoy this series it’s getting better and better. This was very my favourite so far I love the unique clans and the story is so interesting. It shows the harshness as well as the good. There is so much packed into a short book.
Kindle
A Feast of Souls ( Araneae 2)
By Hailey Edwards
⭐️⭐️⭐️⭐️
Born with the ability to communicate with the dead, few things take Mana by surprise. But when a canis lopes into her life, announcing himself as the long-dead father of a childhood friend, she's shocked. To make matters worse, he has a dire message that she alone can deliver.
Now Mana must face Vaughn, the male who inspired one too many girlish fantasies, and impart the spirit's message--without acknowledging her source--so the soul can be laid to rest.
With rumors of a burgeoning clan war setting his nerves on edge, the last thing Vaughn needs is for an innocent to get caught in the crosshairs. But the woman he remembers as an awkward girl refuses to leave his side until he's heard her out. That's not the only change in her that calls to him. Her kindness soothes his battle-scarred soul--and he craves her in ways a warrior shouldn't.
When they are both captured, they learn of an even greater threat. The plague devastating the southlands has come to his clan home. And his best--and only--chance to keep his people alive is the female who walks among the dead.
I’m really starting to enjoy this series it’s getting better and better. This was very my favourite so far I love the unique clans and the story is so interesting. It shows the harshness as well as the good. There is so much packed into a short book.
Tyler Fletcher (8 KP) rated Artemis Fowl (2020) in Movies
Jun 14, 2020
Character development (1 more)
Forgettable story
Another Live-Action Disney Adaption Bomb
Contains spoilers, click to show
What is it about fantasy novels that makes them so difficult to translate effectively to the silver screen? It’s not impossible – J.K. Rowling’s Harry Potter series and Peter Jackson’s The Lord of the Rings adaptations are proof that it can be done. More often than not, however, the result is as limp and truncated as Kenneth Branagh’s Artemis Fowl – a few standout moments set adrift in a sea of underdeveloped characters, incomplete backstory elements, and abbreviated world building. Although the problem lies primarily in the difficulties associated with condensing an epic tale into a short-ish movie, the lack of elegance with which that is accomplished makes Artemis Fowl a failure for anyone hoping for the next great fantasy film.
The treatment accorded to Artemis Fowl (the movie condenses elements from the first two volumes of an eight-novel cycle into a single film) recalls a Disney misfire from more than three decades ago. Although The Black Cauldron was animated, it suffered from many of the same problems evident in Artemis Fowl: an oversimplification of the backstory, a rushed narrative with poorly realized characters, and a overall lack of faithfulness to the source material. The Black Cauldron worked better because it at least had a clean ending. Artemis Fowl suffers by trying to both provide a credible stopping point (in case there are no additional films) and offering a lead-in to additional adventures (in case there are additional films).
In the books, 12-year old Artemis (played by Ferdia Shaw, the grandson of Robert Shaw) is presented as an anti-hero (although, over the course of the saga, his villainous attributes fade to be replaced by heroic ones). Here, he’s more of a misunderstood boy-genius whose role as the protagonist is never in question. All of his edges have been smoothed out. The story focuses on Artemis’ efforts to locate and rescue his father, Artemis Fowl Sr. (Colin Farrell), an infamous art thief who has been kidnapped by the twisted evil fairy Opal Koboi. Her ransom for releasing him is that Artemis must locate and obtain a powerful McGuffin. He is joined in his efforts by Lower Elements Police (LEP) fairy police officer Holly Short (Lara McDonnell), giant dwarf Mulch Diggums (Josh Gad), and strongman Domovoi Butler (Nonso Anozie).
Artemis Fowl diverges considerably from the two books that form its basis, Artemis Fowl and Artemis Fowl and the Arctic Incident. Although author Eoin Colfer reportedly “approved” the changes, they push the film into an alternate universe from the one occupied by the novels. Even with the pruning of subplots and condensation of the narrative, 100 minutes is too short to tell the story effectively. None of the characters are well-developed, including Artemis. The boy’s relationship with Holly Short evolves with whiplash-inducing rapidity – one moment, they’re enemies (actually, she’s his prisoner), the next they’re friends. The film’s frenetic pace might work for ADD viewers and preteens but there’s no time for world-building or anything more than the most basic exposition. As a result, Artemis Fowl feels rushed to the point of being exhausting and strangely confusing despite the relatively straightforward storyline.
Kenneth Branagh was undoubtedly selected to direct the film based on his success with two earlier Disney properties: the live-action Cinderella and Marvel’s Thor. Perhaps because Branagh had no input into the screenplay (which was completed before he came on board), the movie lacks the complex psychological qualities he normally brings to his films. Visually, Artemis Fowl is impressive. However, although the fairy world of Haven is beautifully rendered, it appears all-too-briefly. The film’s most impressive sequence, a throwdown with a seemingly invincible troll, is a standout by any definition, but it represents only about five minutes of screen time and there’s nothing else that comes close – not even the muted climax.
As is often the case, Branagh’s presence at the top results in some impressive names in the cast. The young leads are newcomers – this is Ferdia Shaw’s first movie (and it shows – his performance is occasionally wooden) and Lara McDonnell’s third (she’s better, evidencing an indomitable pluckiness) – but the rest of the cast is populated with veterans. Josh Gad, another Disney regular, has the most openly comedic role of the film as Mulch Diggums. Colin Farrell is called on for limited duty as Artemis’ mostly-absent father. Nonso Anozie, who has a history with Branagh, plays Artemis’ protector and advisor. Finally, Judi Dench adds a dose of class as Holly’s no-nonsense boss.
It has taken Artemis Fowl nearly 20 years to traverse the route from page to screen and one senses that neither fans nor newcomers will be especially pleased with the end result. Recognizing that the film faced rough seas, Disney postponed the movie’s originally planned August 2019 release to May 2020 then, when the coronavirus made that impossible, the studio elected to shift the film to its Disney+ platform. Although partially a face-saving gesture (Artemis Fowl would likely have had a similar box office reception to Disney’s underwhelming 2018 release, The Nutcracker and the Four Realms), it at least allows the film to find a large audience in a low-pressure situation.
The bottom line seems to be that, while Disney has shown an aptitude for making many different kinds of movies, fantasy epics aren’t among them. This is one genre the Magic Kingdom should perhaps avoid, leaving such properties to studios that have shown better success (such as Warner Brothers). Artemis Fowl could have been the beginning of a movie franchise but, based on the first installment, it’s more likely a one-and-done outing. Disney can't quite get away from the John Carters can they?
THIS FILM IS AN EXCEPTIONAL BOMB
The treatment accorded to Artemis Fowl (the movie condenses elements from the first two volumes of an eight-novel cycle into a single film) recalls a Disney misfire from more than three decades ago. Although The Black Cauldron was animated, it suffered from many of the same problems evident in Artemis Fowl: an oversimplification of the backstory, a rushed narrative with poorly realized characters, and a overall lack of faithfulness to the source material. The Black Cauldron worked better because it at least had a clean ending. Artemis Fowl suffers by trying to both provide a credible stopping point (in case there are no additional films) and offering a lead-in to additional adventures (in case there are additional films).
In the books, 12-year old Artemis (played by Ferdia Shaw, the grandson of Robert Shaw) is presented as an anti-hero (although, over the course of the saga, his villainous attributes fade to be replaced by heroic ones). Here, he’s more of a misunderstood boy-genius whose role as the protagonist is never in question. All of his edges have been smoothed out. The story focuses on Artemis’ efforts to locate and rescue his father, Artemis Fowl Sr. (Colin Farrell), an infamous art thief who has been kidnapped by the twisted evil fairy Opal Koboi. Her ransom for releasing him is that Artemis must locate and obtain a powerful McGuffin. He is joined in his efforts by Lower Elements Police (LEP) fairy police officer Holly Short (Lara McDonnell), giant dwarf Mulch Diggums (Josh Gad), and strongman Domovoi Butler (Nonso Anozie).
Artemis Fowl diverges considerably from the two books that form its basis, Artemis Fowl and Artemis Fowl and the Arctic Incident. Although author Eoin Colfer reportedly “approved” the changes, they push the film into an alternate universe from the one occupied by the novels. Even with the pruning of subplots and condensation of the narrative, 100 minutes is too short to tell the story effectively. None of the characters are well-developed, including Artemis. The boy’s relationship with Holly Short evolves with whiplash-inducing rapidity – one moment, they’re enemies (actually, she’s his prisoner), the next they’re friends. The film’s frenetic pace might work for ADD viewers and preteens but there’s no time for world-building or anything more than the most basic exposition. As a result, Artemis Fowl feels rushed to the point of being exhausting and strangely confusing despite the relatively straightforward storyline.
Kenneth Branagh was undoubtedly selected to direct the film based on his success with two earlier Disney properties: the live-action Cinderella and Marvel’s Thor. Perhaps because Branagh had no input into the screenplay (which was completed before he came on board), the movie lacks the complex psychological qualities he normally brings to his films. Visually, Artemis Fowl is impressive. However, although the fairy world of Haven is beautifully rendered, it appears all-too-briefly. The film’s most impressive sequence, a throwdown with a seemingly invincible troll, is a standout by any definition, but it represents only about five minutes of screen time and there’s nothing else that comes close – not even the muted climax.
As is often the case, Branagh’s presence at the top results in some impressive names in the cast. The young leads are newcomers – this is Ferdia Shaw’s first movie (and it shows – his performance is occasionally wooden) and Lara McDonnell’s third (she’s better, evidencing an indomitable pluckiness) – but the rest of the cast is populated with veterans. Josh Gad, another Disney regular, has the most openly comedic role of the film as Mulch Diggums. Colin Farrell is called on for limited duty as Artemis’ mostly-absent father. Nonso Anozie, who has a history with Branagh, plays Artemis’ protector and advisor. Finally, Judi Dench adds a dose of class as Holly’s no-nonsense boss.
It has taken Artemis Fowl nearly 20 years to traverse the route from page to screen and one senses that neither fans nor newcomers will be especially pleased with the end result. Recognizing that the film faced rough seas, Disney postponed the movie’s originally planned August 2019 release to May 2020 then, when the coronavirus made that impossible, the studio elected to shift the film to its Disney+ platform. Although partially a face-saving gesture (Artemis Fowl would likely have had a similar box office reception to Disney’s underwhelming 2018 release, The Nutcracker and the Four Realms), it at least allows the film to find a large audience in a low-pressure situation.
The bottom line seems to be that, while Disney has shown an aptitude for making many different kinds of movies, fantasy epics aren’t among them. This is one genre the Magic Kingdom should perhaps avoid, leaving such properties to studios that have shown better success (such as Warner Brothers). Artemis Fowl could have been the beginning of a movie franchise but, based on the first installment, it’s more likely a one-and-done outing. Disney can't quite get away from the John Carters can they?
THIS FILM IS AN EXCEPTIONAL BOMB
Movie Metropolis (309 KP) rated Snow White and the Huntsman (2012) in Movies
Jun 11, 2019
Snow White has certainly been receiving a lot of attention this year and it’s been hard to ignore two films competing with each other to win the accolade of best cinema adaptation.
Julia Roberts has already starred in sickly sweet adaptation Mirror Mirror and here Kristen Stewart of Twilight fame takes on the lead role in the gritty, dramatic adaptation of the fairytale. But is it a good take on a children’s classic?
Snow White & The Huntsman opens as you would expect with a look back at the aforementioned Princess’ traumatic childhood, from the death of her mother, to witnessing the death of her father King Magnus, it seems like any normal child would’ve had a few problems after this but Snow seems a little more reserved.
Snow White’s father is killed at the hands of her wicked stepmother, played wonderfully by Charlize Theron who really gets her teeth into the role she’s been given and plays the character with a nice dose of evil intertwined with brief moments of sincerity. Those of you familiar with the story will no doubt know that Snow White hides with the seven dwarves to escape the clutches of her stepmother, but more on that later.
Chris Hemsworth, who seems to be getting more and more acting jobs these days does a nice job as the widowed, constantly drunk huntsman, though his accent is a little hard to assess, no doubt done to cover his Australian roots.
Hemsworth is sent by the wicked Queen to kill Snow White so that her eternal youth isn’t threatened but things run less than smoothly as he realises that he is being tricked, he and Snow then decide to go on the run, bumping into the seven dwarves along the way.
The Kingdom in which they live is beautifully realised in fabulous CGI, from the dark forest, to the towering stone walls of the castle and then further into the ‘sanctuary’ a place where people can go to relax and unwind. Fairies, badgers, foxes, rabbits, mushrooms with beady little eyes and moss covered tortoises are amongst the creatures here and ruling over them all is the spirit of the forest, a fabulous and very real looking white stag.
This is, however, where Snow White & The Huntsman falls short. Yes, the CGI is impeccable and yes the acting is good, but it all feels a little bit soulless. It’s all about the frills rather than creating a deep and meaningful story. It has the basics right but it’s impossible to care about the characters because there isn’t enough back-story. Each set piece is interspersed with a little bit of emotion, but it’s not really enough and because of this, the entire film feels disjointed.
This is made worse by the fact the film is stretched to over two hours when there isn’t really enough story to create a two hour film.
Unfortunately, these points detract from what is a wonderful and beautifully realised adaptation of a classic children’s fairytale. To compare it to Mirror Mirror would be unfair as they are both so different. Snow White & The Huntsman is like last year’s Alice in Wonderland, it all looks and sounds great, but is ultimately; decidedly average.
https://moviemetropolis.net/2012/06/07/snow-white-the-huntsman-review/
Julia Roberts has already starred in sickly sweet adaptation Mirror Mirror and here Kristen Stewart of Twilight fame takes on the lead role in the gritty, dramatic adaptation of the fairytale. But is it a good take on a children’s classic?
Snow White & The Huntsman opens as you would expect with a look back at the aforementioned Princess’ traumatic childhood, from the death of her mother, to witnessing the death of her father King Magnus, it seems like any normal child would’ve had a few problems after this but Snow seems a little more reserved.
Snow White’s father is killed at the hands of her wicked stepmother, played wonderfully by Charlize Theron who really gets her teeth into the role she’s been given and plays the character with a nice dose of evil intertwined with brief moments of sincerity. Those of you familiar with the story will no doubt know that Snow White hides with the seven dwarves to escape the clutches of her stepmother, but more on that later.
Chris Hemsworth, who seems to be getting more and more acting jobs these days does a nice job as the widowed, constantly drunk huntsman, though his accent is a little hard to assess, no doubt done to cover his Australian roots.
Hemsworth is sent by the wicked Queen to kill Snow White so that her eternal youth isn’t threatened but things run less than smoothly as he realises that he is being tricked, he and Snow then decide to go on the run, bumping into the seven dwarves along the way.
The Kingdom in which they live is beautifully realised in fabulous CGI, from the dark forest, to the towering stone walls of the castle and then further into the ‘sanctuary’ a place where people can go to relax and unwind. Fairies, badgers, foxes, rabbits, mushrooms with beady little eyes and moss covered tortoises are amongst the creatures here and ruling over them all is the spirit of the forest, a fabulous and very real looking white stag.
This is, however, where Snow White & The Huntsman falls short. Yes, the CGI is impeccable and yes the acting is good, but it all feels a little bit soulless. It’s all about the frills rather than creating a deep and meaningful story. It has the basics right but it’s impossible to care about the characters because there isn’t enough back-story. Each set piece is interspersed with a little bit of emotion, but it’s not really enough and because of this, the entire film feels disjointed.
This is made worse by the fact the film is stretched to over two hours when there isn’t really enough story to create a two hour film.
Unfortunately, these points detract from what is a wonderful and beautifully realised adaptation of a classic children’s fairytale. To compare it to Mirror Mirror would be unfair as they are both so different. Snow White & The Huntsman is like last year’s Alice in Wonderland, it all looks and sounds great, but is ultimately; decidedly average.
https://moviemetropolis.net/2012/06/07/snow-white-the-huntsman-review/
Kyera (8 KP) rated Wintersong in Books
Jan 31, 2018
Wintersong is a fairytale re-telling based upon the German poem Der Erlkonig and stories of the Goblin King. The author takes a relatively short poem and breathes life into it, translating the dark words into an entire world. Liesl has heard tales of the Goblin King from her grandmother since she was a small child. Even played make-believe in the Goblin Grove with her Goblin King, but as she grew older she lost her faith in the old stories. Even her brother and sister seemed not to heed the old woman’s warnings. She warned Liesl that she must protect both siblings - she would be faced with a choice and mustn’t choose wrong.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.