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Purple Phoenix Games (2266 KP) rated Revolution! in Tabletop Games
Oct 31, 2019
My wife is not able to play games with me as much as either of us would like. We have kids, dogs, and other life responsibilities that limit our gaming time together. However, if there ever was a game that she loves to play and absolutely has figured out, it’s Revolution! by Steve Jackson Games (yes, the Munchkin Man). So that’s why I am including her guest score on this review. She seems to like it an awful lot.
Revolution! is an area control bidding game of influencing kingdom inhabitants to jockey for a superior position of power to win the game. The key is influencing the right people at the right time to gain resources, influence in the kingdom, and support (VPs).
DISCLAIMER – We are using the expansion “The Palace” along with our review as it add components to play with up to 6 people, and our game nights tend toward 6 players more than 4. The base game alone plays up to 4 players and uses 4 fewer characters to influence. Should we add in the “Anarchy” expansion we will either add that information here or link to the review from here. -T
To setup, place the main kingdom board on the table that outlines the different districts in which the players will be vying for majority influence. Each player chooses a color and receives all color-matched components: player reference screen, cubes, disc, and one bid board (which are all identical). Each player will also receive one Force token (red fist), Blackmail token (black envelope), and three Gold tokens (gold coins). You are now ready to begin.
Turns are taken simultaneously. Players will place tokens on their bid boards to denote which type of influence they plan to exert on an inhabitant and how many of each. For instance, you may place all your coins on the General and hope you win. Or maybe you want to place a coin and a blackmail on the Printer. Once all players have placed their influence on their boards, the privacy screens are lifted and each kingdom character is compared individually, one by one. Did your three Coins on the General fly, or did someone add a Blackmail token and prevail? Wait, one Blackmail wins? Yes, in Revolution! the gold Coins are the lowest value influence. So one Blackmail alone is enough to win against ANY NUMBER of Coins. Now, one Blackmail alone is defeated by one Blackmail and one Coin, but simply one Force would beat both of those attempts, as Force is the most powerful token type, but not all inhabitants are affected by Force. Take your General for example. Their color on the bid board is red, meaning that a red token will have no effect here. Once the winners of each kingdom person have been determined, the winners receive the benefits offered by each character. I will not go into detail the benefits each character gives you, but for an example (shown below on the play pic), the General awards the winner with one Support (VP), one Force (fist token), and you may place an influence cube in the Fortress. Before the next turn, each player will check their token collection and anyone who has less than five tokens will receive a number of Coins to bring their collection to five tokens.
As the bidding phase gains you resources for future rounds, or instant Support, etc, the second half of a round is influencing the different districts within the kingdom. You do this placing your won cubes on any space within a specific district to attempt majority control of it. At the end of the game, the players with majority control of each district will receive Support for the districts that correspond with what is printed on the board. These are VERY important as you can amass tons of Support from district majorities. The game continues in this fashion for a number of rounds until all influence spaces on the main kingdom board are full. Players then check for majority in each district and apply Support on the VP track. The player with the most Support at the end of the game is the winner! (It will be Kristin.)
Components. This is a heavy game, not in complexity, but in component weight. The boards are all of great quality, the cardboard tokens are nice, the wooden cubes are typical quality. The art on the game is good, if dated, but good. I have no complaints about the components.
As you can see from our scores at the top, we REALLY like this game. As one of the highest ranking games on BGG from Steve Jackson Games, this one delivers a great time of double thinking, bluffing your neighbors, and certainly rewards players for their great strategy. We used to play this game ALL THE TIME until it became futile playing against my wife. She is that good. At one point I thought I had her strategy figured out, but I have since lost it. However, I am always eager to play this and try again. One of these days I will claim victory. Revolution! could definitely stand an update, or re-theme, or something along with a reprint to bring it into more homes, but I am glad I have a copy (with all the expansions *shoulder brush*) and it will not be leaving my collection any time soon. That’s a mark of a great game, and that’s partly why Purple Phoenix Games gives this one a close-to-a-Golden-Feather-Award-recipient 23 / 24. If you see one in the wild, pick it up!
Revolution! is an area control bidding game of influencing kingdom inhabitants to jockey for a superior position of power to win the game. The key is influencing the right people at the right time to gain resources, influence in the kingdom, and support (VPs).
DISCLAIMER – We are using the expansion “The Palace” along with our review as it add components to play with up to 6 people, and our game nights tend toward 6 players more than 4. The base game alone plays up to 4 players and uses 4 fewer characters to influence. Should we add in the “Anarchy” expansion we will either add that information here or link to the review from here. -T
To setup, place the main kingdom board on the table that outlines the different districts in which the players will be vying for majority influence. Each player chooses a color and receives all color-matched components: player reference screen, cubes, disc, and one bid board (which are all identical). Each player will also receive one Force token (red fist), Blackmail token (black envelope), and three Gold tokens (gold coins). You are now ready to begin.
Turns are taken simultaneously. Players will place tokens on their bid boards to denote which type of influence they plan to exert on an inhabitant and how many of each. For instance, you may place all your coins on the General and hope you win. Or maybe you want to place a coin and a blackmail on the Printer. Once all players have placed their influence on their boards, the privacy screens are lifted and each kingdom character is compared individually, one by one. Did your three Coins on the General fly, or did someone add a Blackmail token and prevail? Wait, one Blackmail wins? Yes, in Revolution! the gold Coins are the lowest value influence. So one Blackmail alone is enough to win against ANY NUMBER of Coins. Now, one Blackmail alone is defeated by one Blackmail and one Coin, but simply one Force would beat both of those attempts, as Force is the most powerful token type, but not all inhabitants are affected by Force. Take your General for example. Their color on the bid board is red, meaning that a red token will have no effect here. Once the winners of each kingdom person have been determined, the winners receive the benefits offered by each character. I will not go into detail the benefits each character gives you, but for an example (shown below on the play pic), the General awards the winner with one Support (VP), one Force (fist token), and you may place an influence cube in the Fortress. Before the next turn, each player will check their token collection and anyone who has less than five tokens will receive a number of Coins to bring their collection to five tokens.
As the bidding phase gains you resources for future rounds, or instant Support, etc, the second half of a round is influencing the different districts within the kingdom. You do this placing your won cubes on any space within a specific district to attempt majority control of it. At the end of the game, the players with majority control of each district will receive Support for the districts that correspond with what is printed on the board. These are VERY important as you can amass tons of Support from district majorities. The game continues in this fashion for a number of rounds until all influence spaces on the main kingdom board are full. Players then check for majority in each district and apply Support on the VP track. The player with the most Support at the end of the game is the winner! (It will be Kristin.)
Components. This is a heavy game, not in complexity, but in component weight. The boards are all of great quality, the cardboard tokens are nice, the wooden cubes are typical quality. The art on the game is good, if dated, but good. I have no complaints about the components.
As you can see from our scores at the top, we REALLY like this game. As one of the highest ranking games on BGG from Steve Jackson Games, this one delivers a great time of double thinking, bluffing your neighbors, and certainly rewards players for their great strategy. We used to play this game ALL THE TIME until it became futile playing against my wife. She is that good. At one point I thought I had her strategy figured out, but I have since lost it. However, I am always eager to play this and try again. One of these days I will claim victory. Revolution! could definitely stand an update, or re-theme, or something along with a reprint to bring it into more homes, but I am glad I have a copy (with all the expansions *shoulder brush*) and it will not be leaving my collection any time soon. That’s a mark of a great game, and that’s partly why Purple Phoenix Games gives this one a close-to-a-Golden-Feather-Award-recipient 23 / 24. If you see one in the wild, pick it up!
Purple Phoenix Games (2266 KP) rated Goblin Teeth in Tabletop Games
Nov 5, 2019
You know a game is going to be great when you actually enjoy reading the rules. Please take a moment to consider what I just wrote. I *enjoyed* reading the rules to a game. To this game. Why? Well, the intro to the rules that introduces the setting of the game, is written in the voice of a goblin. For those of you who may uninitiated into fantasy lore, goblins are small, gross humanoids that are greedy and not at all known for their academic prowess. Ok, so the rules started out pretty entertaining. Did this set us up for an entertaining game or a boring slug… er, slog? I have high expectations from Jellybean Games now, so will this be a winner as well?
Goblin Teeth is a fantasy take-that, auction, set collection, dice and card game. Each player is a goblin attempting to impress the goblin boss enough to become the right hand gobbie by offering a collection of items that the boss enjoys.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. As this is a preview copy of the game, I do not know if the final rules or components will be similar or different to what we were provided. -T
To setup, create the offering mat by randomly drawing a red and blue offering card to be placed in their respective locations. Shuffle the Cheat cards and Item cards into separate decks. Each goblin player chooses a set of three matching dice they will use throughout the game. Give each goblin one Cheat card to begin their collection. From the Item cards, place as many Items face-up as the number of players and one more face-down at the end of the row near where the sacrifice altar will be placed. You now have your offer row for the first round and are ready to play.
Before the round begins, all players will roll all three of their dice simultaneously. These dice represent your bid amounts for the Item cards on display (including the face-down Item). Whomever is in possession of the first-player marker will take their turn first. This goblin may choose to play any number of Cheat cards in their hand, and then must place a die on an Item card or into the altar. These Item cards feature items to be collected and used to satisfy an Offering card – like skulls, goblin teeth, glow worms, and others. By placing a die on an Item card, a goblin is casting their bid. By placing a die into the sacrificing altar, the goblin is instead giving up a bid die in exchange for drawing a Cheat card (which can be very powerful). Once the die is placed, the next goblin in clockwise order can take their turn following the same order of operations. The goblin who wins the face-down Item card becomes the new first player and receives the first player token. A new round can now begin by laying out new Items and rolling all dice simultaneously.
The game continues in this fashion until one sneaky goblin has all the Items they need to satisfy one of the Offering cards (or the pre-printed space on the Offering mat). There are dice placement rules and Cheats-a-plenty that I did not describe at all, but per the disclaimer, you can back the game or purchase from your favorite board game retailer (naturally, your FLGS). All goblins then tear each other to shreds over jealousy and greed. Ok, I added that last bit myself, but it should go into the rules. Just sayin’.
Components. Again, this is a prototype version of the game and some components may (and probably will) change over the course of a successful Kickstarter campaign. That said, I will comment on what I can here. The physical components themselves are fine for a prototype game. The cards are big tarot cards that are fun to handle. I hope they keep that size. The first player token in this is a green translucent plastic meeple that I’m sure they will be upgrading during the campaign. Similarly, the dice will more than likely see an upgrade (I am totally projecting here, I have no information on any future plans for components). What needs very little upgrading is the art on the cards. The card backs for the Cheat and Item cards feature an excellent logo (I hope) for the game, and the art on the Item cards are clear and really really good. I hope the art style doesn’t change as the art is amazing here. The Cheat cards look good, are clear, and although they feature several different fonts, I was not at all ever turned off by the presentation.
So here are my thoughts. Goblin Teeth is an excellent game of outbidding your opponents, double-think, and Cheating your way to victory! I absolutely adore this game. Without those Cheat cards it would still be decent, but those Cheats are what make this game special. Being able to play as many Cheat cards as you want on your turn, with some of them being good and some bad, but being able to place them on yourself or your opponents is just gold. I cannot wait to see this game go to Kickstarter and just kill it. Seriously, it’s an amusing, frustrating, beautiful game that I cannot wait to own in its full glory. If you enjoy experiences that pit you against your opponents and you find yourself giggling at thwarting their plans, this is the game for you.
Goblin Teeth is a fantasy take-that, auction, set collection, dice and card game. Each player is a goblin attempting to impress the goblin boss enough to become the right hand gobbie by offering a collection of items that the boss enjoys.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. As this is a preview copy of the game, I do not know if the final rules or components will be similar or different to what we were provided. -T
To setup, create the offering mat by randomly drawing a red and blue offering card to be placed in their respective locations. Shuffle the Cheat cards and Item cards into separate decks. Each goblin player chooses a set of three matching dice they will use throughout the game. Give each goblin one Cheat card to begin their collection. From the Item cards, place as many Items face-up as the number of players and one more face-down at the end of the row near where the sacrifice altar will be placed. You now have your offer row for the first round and are ready to play.
Before the round begins, all players will roll all three of their dice simultaneously. These dice represent your bid amounts for the Item cards on display (including the face-down Item). Whomever is in possession of the first-player marker will take their turn first. This goblin may choose to play any number of Cheat cards in their hand, and then must place a die on an Item card or into the altar. These Item cards feature items to be collected and used to satisfy an Offering card – like skulls, goblin teeth, glow worms, and others. By placing a die on an Item card, a goblin is casting their bid. By placing a die into the sacrificing altar, the goblin is instead giving up a bid die in exchange for drawing a Cheat card (which can be very powerful). Once the die is placed, the next goblin in clockwise order can take their turn following the same order of operations. The goblin who wins the face-down Item card becomes the new first player and receives the first player token. A new round can now begin by laying out new Items and rolling all dice simultaneously.
The game continues in this fashion until one sneaky goblin has all the Items they need to satisfy one of the Offering cards (or the pre-printed space on the Offering mat). There are dice placement rules and Cheats-a-plenty that I did not describe at all, but per the disclaimer, you can back the game or purchase from your favorite board game retailer (naturally, your FLGS). All goblins then tear each other to shreds over jealousy and greed. Ok, I added that last bit myself, but it should go into the rules. Just sayin’.
Components. Again, this is a prototype version of the game and some components may (and probably will) change over the course of a successful Kickstarter campaign. That said, I will comment on what I can here. The physical components themselves are fine for a prototype game. The cards are big tarot cards that are fun to handle. I hope they keep that size. The first player token in this is a green translucent plastic meeple that I’m sure they will be upgrading during the campaign. Similarly, the dice will more than likely see an upgrade (I am totally projecting here, I have no information on any future plans for components). What needs very little upgrading is the art on the cards. The card backs for the Cheat and Item cards feature an excellent logo (I hope) for the game, and the art on the Item cards are clear and really really good. I hope the art style doesn’t change as the art is amazing here. The Cheat cards look good, are clear, and although they feature several different fonts, I was not at all ever turned off by the presentation.
So here are my thoughts. Goblin Teeth is an excellent game of outbidding your opponents, double-think, and Cheating your way to victory! I absolutely adore this game. Without those Cheat cards it would still be decent, but those Cheats are what make this game special. Being able to play as many Cheat cards as you want on your turn, with some of them being good and some bad, but being able to place them on yourself or your opponents is just gold. I cannot wait to see this game go to Kickstarter and just kill it. Seriously, it’s an amusing, frustrating, beautiful game that I cannot wait to own in its full glory. If you enjoy experiences that pit you against your opponents and you find yourself giggling at thwarting their plans, this is the game for you.
Purple Phoenix Games (2266 KP) rated Villagers in Tabletop Games
Jan 16, 2020
The saying is, “It takes a village…” but that village didn’t just magically appear overnight. Creating a prosperous and thriving community takes not only time, but hard work, ingenuity, and a little bit of luck! Villagers is a game that takes you through that process, as you strive to create a village of renown.
Disclaimer: I do not intent to rehash the entire rulebook in this review, but rather provide an overview of the gameplay, and how it differs between multiplayer and solo play. -L
Villagers is a game of card drafting and tableau building in which players are competing to build the most prosperous village in the land. The game is played over a series of rounds, each broken up into the Draft Phase and the Build Phase. During the Draft Phase, players take turns drafting villagers from the available card stacks into their hands. During the Build Phase, players can add villagers from their hand to their tableau. Certain cards can be chained together, and provide more powers and/or end-game points – but they must be added to the village in chain order. At two points throughout the game, the First and Second Market Phases, all players will collect money depending on which cards they have in their villages. The game ends immediately after the Second Market Phase is completed, and the player with the most money is the winner!
As a solo game, Villagers plays very similarly to group play, with only a couple of differences. First, the solo player is battling against The Countess, an AI character, to create the best village. The Countess is incorporated into the game in a unique way. During the Draft Phase, whenever you draft a villager to your hand, you also select an available villager to go straight into the village of the Countess. The Build Phase is carried out as normal. At the end of every round, you blindly draw a face-down card from the Reserve (draw deck), and it automatically goes into the Countess’ village as well. The other twist to a solo game of Villagers is that there are Event cards in play each round. Events are resolved after the Build Phase, before beginning the next round, and are often detrimental to the player – like making you pay extra gold to unlock padlocks, for example. The First and Second Market Phases work the same as they do in a multiplayer game, and the game ends immediately after the Second Market Phase. If you have managed to accrue more money than the Countess, then you have won!
I want to start off by saying that I love Villagers. Card drafting and set collection are my JAM, and this is a game that highlights those really well without making it too complicated. Even when playing solo, those mechanics still feel balanced, and that makes the overall game enjoyable. From my previous Solo Chronicles, I have stated how much I dislike “Beat your own high score” solo modes, so I was extremely happy when I saw that Villagers pitted the solo player against an AI character – the Countess. For the most part, I think that the Countess works really well in this game. When you draft a card, the Countess gets a card as well. But the best part about that is that you get to choose which card goes to the Countess. That means that you are able to keep some semblance of strategy in your game, because you have the power to decide what cards go where, for the most part.
The other neat thing about solo play is the inclusion of Event cards in the game – which are not present in group play. The Events add an extra element that you have to take into account for the given round. Depending on the Event, it could compromise your strategy quite a bit, but that’s what keeps it interesting. You can’t just get into a groove and grind through the rounds, drafting everything you want, when you want. You have to adapt your strategy based upon the Event(s) in play, and the Countess’ village.
The only downside for me is that at the end of every round, the Countess gets the top face-down card from the Reserve, and depending on what card that is, it could throw a wrench into the strategy you’ve been working hard to set up. I guess that mimics a multiplayer game in a sense, though, because you can’t always control what your opponents will do. The biggest downside about solo play for me has nothing to do with actual gameplay, but rather table space. Every card that goes into the Countess’ village is a stand-alone, meaning that they do not chain together like cards in your village will. So depending on how long the game goes, the Countess’ village will get to be pretty large, and hog lots of the table. I think that just means I need a bigger table though…
All that being said – is Villagers a good game for solo play? I would say mostly yes. Strategy is still required for success, but adaptability of that strategy is what keeps the game engaging and entertaining. Nothing can quite replace the multiplayer experience, but playing against the AI character keeps the competitiveness alive in the game. As someone who does a lot of solo playing these days, I am glad that I have added Villagers to my collection. If you haven’t gotten a chance to play Villagers yet, I would highly recommend checking it out. Solo or multiplayer, it’s a great time!
Disclaimer: I do not intent to rehash the entire rulebook in this review, but rather provide an overview of the gameplay, and how it differs between multiplayer and solo play. -L
Villagers is a game of card drafting and tableau building in which players are competing to build the most prosperous village in the land. The game is played over a series of rounds, each broken up into the Draft Phase and the Build Phase. During the Draft Phase, players take turns drafting villagers from the available card stacks into their hands. During the Build Phase, players can add villagers from their hand to their tableau. Certain cards can be chained together, and provide more powers and/or end-game points – but they must be added to the village in chain order. At two points throughout the game, the First and Second Market Phases, all players will collect money depending on which cards they have in their villages. The game ends immediately after the Second Market Phase is completed, and the player with the most money is the winner!
As a solo game, Villagers plays very similarly to group play, with only a couple of differences. First, the solo player is battling against The Countess, an AI character, to create the best village. The Countess is incorporated into the game in a unique way. During the Draft Phase, whenever you draft a villager to your hand, you also select an available villager to go straight into the village of the Countess. The Build Phase is carried out as normal. At the end of every round, you blindly draw a face-down card from the Reserve (draw deck), and it automatically goes into the Countess’ village as well. The other twist to a solo game of Villagers is that there are Event cards in play each round. Events are resolved after the Build Phase, before beginning the next round, and are often detrimental to the player – like making you pay extra gold to unlock padlocks, for example. The First and Second Market Phases work the same as they do in a multiplayer game, and the game ends immediately after the Second Market Phase. If you have managed to accrue more money than the Countess, then you have won!
I want to start off by saying that I love Villagers. Card drafting and set collection are my JAM, and this is a game that highlights those really well without making it too complicated. Even when playing solo, those mechanics still feel balanced, and that makes the overall game enjoyable. From my previous Solo Chronicles, I have stated how much I dislike “Beat your own high score” solo modes, so I was extremely happy when I saw that Villagers pitted the solo player against an AI character – the Countess. For the most part, I think that the Countess works really well in this game. When you draft a card, the Countess gets a card as well. But the best part about that is that you get to choose which card goes to the Countess. That means that you are able to keep some semblance of strategy in your game, because you have the power to decide what cards go where, for the most part.
The other neat thing about solo play is the inclusion of Event cards in the game – which are not present in group play. The Events add an extra element that you have to take into account for the given round. Depending on the Event, it could compromise your strategy quite a bit, but that’s what keeps it interesting. You can’t just get into a groove and grind through the rounds, drafting everything you want, when you want. You have to adapt your strategy based upon the Event(s) in play, and the Countess’ village.
The only downside for me is that at the end of every round, the Countess gets the top face-down card from the Reserve, and depending on what card that is, it could throw a wrench into the strategy you’ve been working hard to set up. I guess that mimics a multiplayer game in a sense, though, because you can’t always control what your opponents will do. The biggest downside about solo play for me has nothing to do with actual gameplay, but rather table space. Every card that goes into the Countess’ village is a stand-alone, meaning that they do not chain together like cards in your village will. So depending on how long the game goes, the Countess’ village will get to be pretty large, and hog lots of the table. I think that just means I need a bigger table though…
All that being said – is Villagers a good game for solo play? I would say mostly yes. Strategy is still required for success, but adaptability of that strategy is what keeps the game engaging and entertaining. Nothing can quite replace the multiplayer experience, but playing against the AI character keeps the competitiveness alive in the game. As someone who does a lot of solo playing these days, I am glad that I have added Villagers to my collection. If you haven’t gotten a chance to play Villagers yet, I would highly recommend checking it out. Solo or multiplayer, it’s a great time!
Lee (2222 KP) rated Bombshell (2019) in Movies
Jan 8, 2020 (Updated Jan 8, 2020)
With media currently showing us scenes of disgraced Hollywood mogul Harvey Weinstein as he shuffles into court, expecting sympathy while his victims continue to try and rebuild their lives, along comes the timely release of Bombshell. Based on a high profile #MeToo scandal, Bombshell gives us a look deep inside the heart of Fox News, and tells the explosive story of the women who fought back against the powerful man who created it.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
Purple Phoenix Games (2266 KP) rated Food Chain Island in Tabletop Games
Jul 1, 2020
With the current pandemic (not the game) going on in the world, and the necessity for people to distance themselves from each other, game nights everywhere have been put on hold. That doesn’t mean that gaming must stop! Whether you’re a seasoned solo gamer, or new to the solo genre, ButtonShy has done it again with a fantastic new little wallet game in their Simply Solo series – check it out!
You find yourself on a small, isolated island teeming with wildlife – but there is no set hierarchy! It’s a world of ‘eat or be eaten’ and you’ve got to survive. Manipulate the wildlife and organize the food chain in such a way that leaves you on top. Are you able to strategize the best meals, or will the island be left in chaos?
Disclaimer: We were provided a PnP version of Food Chain Island for the purposes of this preview. Please excuse my lack of a color printer, but rest assured that the artwork of the final product is eye-catching, colorful, and easy to read! Check out the Kickstarter (Live now through June 6th) for a look at the finished production copy. -L
Food Chain Island is a solo card game of network building and chaining in which players are trying to end with the fewest remaining cards possible. The game, like its other ButtonShy siblings, contains only 18 cards, divided into Land animals (16 cards) and Water animals (2 cards). All animals have a special power associated with it, and all of the Land animal cards are numbered from 0-15. To setup the game, set the 2 Water animals off to the side (you’ll use those later), shuffle all of the Land animals, and create a 4×4 face-up grid of Land animal cards. Now you can start the game!
Every turn you will move one animal card to ‘eat’ another. Select an animal, and move it one space in one of the four cardinal directions so that it is placed over top of another animal. The card that is now covered up is considered ‘eaten.’ Each animal may only eat certain other animals, however, so this is where the card number comes into play. An animal can only ‘eat’ any animal card that is 1-3 numbers lower than its value. For example, the ‘4’ animal can only eat cards 3, 2, or 1. Simple, right? Not so fast. Each animal also has a special ability on it, and you must activate the ability of that card once it has eaten another animal. This step is mandatory, and can really help or hinder your strategy – so make sure you are thinking about those abilities and not just the card numbers. At any time during the game, you may choose to discard one of the 2 Water animals from the side to perform its special ability in addition to, or instead of, the ability you just triggered. The game ends when you have only 1-3 animals remaining, the number remaining signifying varying degrees of success. If you have 4 or more animals remaining but are unable to make any more legal moves, the game is over and you have lost.
For being a game with such simple rules and gameplay, it is way more strategic than meets the eye. Each card can only eat specific cards, so you’re trying to position them in a way that fulfills those requirements numerically. You also have to be thinking ahead to each card power, because that step is mandatory. You cannot choose to ignore a card ability just because it may be detrimental to you – that’s what keeps your strategy changing at all times! You’re playing a long game here, and must be looking ahead several turns in advance so as to not accidentally strand yourself with no legal moves left. Every move should be thought through and carefully calculated to see if you can truly win the game. Along with that, every game will have a different starting grid which ensures that you won’t play the same game twice. The rules even suggest alternate beginning grid layouts to provide further challenge to players.
The other thing I love about Food Chain Island is that it is so fast to play, and it has a small footprint. If I only had 5 minutes to spare and was dying to play a game, Food Chain Island is what I would pull out. The speed of gameplay doesn’t take away from the engagement and thought needed to be successful, and that keeps me coming back for more. I rarely just play one game at a time – I will play 4-5 in a row because it is so addicting! Although it’s not officially a Tiny Epic game, it is designed by the one and only Scott Almes who hits it out of the park with this one as well. Coupled with the quick play time, the small footprint of the game makes it easy to play at any place or time you want.
With every new wallet game, ButtonShy continues to surprise me with quality gameplay and design using only 18 cards. Food Chain Island is no exception, and is a perfect first installation in their new Simply Solo line of wallet games. I know that this is a game I will be backing to get the final production copy in lieu of my PnP copy. I encourage everyone to check this game out – whether you’ve played solo games or not, this is a great little filler or introductory game to the genre. Visit the Kickstarter before it’s too late!
You find yourself on a small, isolated island teeming with wildlife – but there is no set hierarchy! It’s a world of ‘eat or be eaten’ and you’ve got to survive. Manipulate the wildlife and organize the food chain in such a way that leaves you on top. Are you able to strategize the best meals, or will the island be left in chaos?
Disclaimer: We were provided a PnP version of Food Chain Island for the purposes of this preview. Please excuse my lack of a color printer, but rest assured that the artwork of the final product is eye-catching, colorful, and easy to read! Check out the Kickstarter (Live now through June 6th) for a look at the finished production copy. -L
Food Chain Island is a solo card game of network building and chaining in which players are trying to end with the fewest remaining cards possible. The game, like its other ButtonShy siblings, contains only 18 cards, divided into Land animals (16 cards) and Water animals (2 cards). All animals have a special power associated with it, and all of the Land animal cards are numbered from 0-15. To setup the game, set the 2 Water animals off to the side (you’ll use those later), shuffle all of the Land animals, and create a 4×4 face-up grid of Land animal cards. Now you can start the game!
Every turn you will move one animal card to ‘eat’ another. Select an animal, and move it one space in one of the four cardinal directions so that it is placed over top of another animal. The card that is now covered up is considered ‘eaten.’ Each animal may only eat certain other animals, however, so this is where the card number comes into play. An animal can only ‘eat’ any animal card that is 1-3 numbers lower than its value. For example, the ‘4’ animal can only eat cards 3, 2, or 1. Simple, right? Not so fast. Each animal also has a special ability on it, and you must activate the ability of that card once it has eaten another animal. This step is mandatory, and can really help or hinder your strategy – so make sure you are thinking about those abilities and not just the card numbers. At any time during the game, you may choose to discard one of the 2 Water animals from the side to perform its special ability in addition to, or instead of, the ability you just triggered. The game ends when you have only 1-3 animals remaining, the number remaining signifying varying degrees of success. If you have 4 or more animals remaining but are unable to make any more legal moves, the game is over and you have lost.
For being a game with such simple rules and gameplay, it is way more strategic than meets the eye. Each card can only eat specific cards, so you’re trying to position them in a way that fulfills those requirements numerically. You also have to be thinking ahead to each card power, because that step is mandatory. You cannot choose to ignore a card ability just because it may be detrimental to you – that’s what keeps your strategy changing at all times! You’re playing a long game here, and must be looking ahead several turns in advance so as to not accidentally strand yourself with no legal moves left. Every move should be thought through and carefully calculated to see if you can truly win the game. Along with that, every game will have a different starting grid which ensures that you won’t play the same game twice. The rules even suggest alternate beginning grid layouts to provide further challenge to players.
The other thing I love about Food Chain Island is that it is so fast to play, and it has a small footprint. If I only had 5 minutes to spare and was dying to play a game, Food Chain Island is what I would pull out. The speed of gameplay doesn’t take away from the engagement and thought needed to be successful, and that keeps me coming back for more. I rarely just play one game at a time – I will play 4-5 in a row because it is so addicting! Although it’s not officially a Tiny Epic game, it is designed by the one and only Scott Almes who hits it out of the park with this one as well. Coupled with the quick play time, the small footprint of the game makes it easy to play at any place or time you want.
With every new wallet game, ButtonShy continues to surprise me with quality gameplay and design using only 18 cards. Food Chain Island is no exception, and is a perfect first installation in their new Simply Solo line of wallet games. I know that this is a game I will be backing to get the final production copy in lieu of my PnP copy. I encourage everyone to check this game out – whether you’ve played solo games or not, this is a great little filler or introductory game to the genre. Visit the Kickstarter before it’s too late!
Bob Mann (459 KP) rated Soul (2020) in Movies
Dec 30, 2020
Soul is Pixar at its most cerebral
In the last few days I've seen Pixar's latest animation - "Soul" - described by various reviewers as a cross between "Inside Out", "Coco", "La La Land" and "Whiplash". I'll add to that some older movies with more obvious parallels with the story: 1946's "A Matter of Life and Death" with David Niven; 1941's "Here Comes Mr Jordan" with Robert Montgomery and its 1978 remake - a personal favourite of mine - "Heaven Can Wait" with Warren Beatty. For these all tell the story of someone plucked from the world a tad too early.
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
Bob Mann (459 KP) rated Solo: A Star Wars Story (2018) in Movies
Sep 29, 2021
Solo? So-so.
When the whole Disney “broaden out the Star Wars universe” thing was first mooted I was NOT enthusiastic about the prospect. Then, in Christmas 2016 “Rogue One” burst onto our screens as a breath of fresh air, and I thought “OK, I can be wrong!”. But even jolted by that pleasant surprise, I always thought that the second proposed diversion off the main hyperspace highway into “Radiator Springs” – a Han Solo back-story flick – might fall short. It just didn’t float my boat.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Gareth von Kallenbach (965 KP) rated Spider-Man 3 (2007) in Movies
Aug 14, 2019
The most anticipated film of the summer, Spider-Man 3 has arrived to the delight of moviegoers the world over. It has been roughly a little more than a year since Spider-Man (Tobey Maguire), defeated Dr. Octopus and saved the city from certain doom.
During this time, Spider-man has become New York City’s celebrated hero, and his day to day alter ego, Peter Parker, delights in his fame, while dating the love of his life, Mary Jane Watson (Kirsten Dunst).
As the film opens, Peter has decided to ask Mary Jane to be his wife, and plans to surprise her with a ring during dinner at a fancy restaurant. Mary Jane is starring in a Broadway play, and despite harsh reviews, she is living her dream and madly in love with Peter.
Things take an unexpected twist for Peter when he is attacked one night by his best friend Harry (James Franco), who blames him for the death of his father at the conclusion of the first film. Enhanced by his father’s Goblin serum, Harry is a deadly adversary for Peter who is able to fend off the attack eventually, and put into motion a series of events that will forever change his life.
When a career criminal named Flint Marko (Thomas Hayden Church), is accidentally caught in an experiment while fleeing the authorities, he becomes a living mass of sand, which enables him to start a string of robberies as “The Sandman”, and provides Spider-man with his most unusual opponent yet.
As if this was not enough, Peter must contend with a new hotshot photographer named Eddie Brock (Topher Grace), who is after a staff position at the Daily Bugle. The fact that Peter has more seniority at the paper is of little interest to Eddie, and he will stop at nothing to get the better of Peter.
At this point one would think that Peter has more than enough on his plate, but fate is about to drop an unexpected player into his life, a space based symbiote that bonds
with Peter’s costume and creates a dark black look for Spider-Man as well as an increase in his powers.
Peter becomes obsessed with his new powers, and there is a dramatic change in his persona, which does not sit well with Mary Jane. When new information is given to Peter about the death of his Uncle Ben, Peter is more than willing to use his new found abilities to exact the revenge that he craves.
Peter also has another area of interest as Gwen Stacy (Bryce Dallas Howard), the daughter of the local Chief of Police has caught his eye, much to the chagrin of both Mary Jane and Gwen’s current boyfriend Eddie Brock.
This tangled web of characters soon forces Peter to take stock of his life and the choices he makes, in order to determine what truly matters to him, the love and respect of his friends, or giving into his darker side and pursing power and unending praise and adulation.
The film starts out well, and the early conflict between Peter and Harry is a brilliantly staged spectacle of sight, sound, and motion. There are also some great moments between the lead characters and Church, Howard and Grace do well with their characters, yet something about Spider-Man 3 did not click for me the way the previous two films in the series have.
Having the luxury of time from the press screener to the opening, I was able to look back at the film the past week and a half to try to determine what did not work for me, and I kept coming back to the same conclusions.
First, the film wants very much to be much darker and edgier than the other films, yet just when you think you are going to see Peter fully cross the line, the film pulls back into campy mode, and we are given scenes of Peter hamming it up as a ladies’ man, and I kid you not, doing an impromptu dance number.
While this works for comedic effect, I am supposed to believe that the darker side of Peter’s soul is being exposed, and I had a hard time thinking that his inner demons include “Saturday Night Fever” style strut down the sidewalk, and a floor show.
The second thing that bothered me was the villains, as aside from Harry as the New Goblin, both the Sandman and Venom were sadly lacking. Neither The Sandman nor Venom had over the top plots to rule the world, kill or enslave the masses, or endanger huge parts of the city as was the case with the original Green Goblin and Dr Octopus.
Rather we have one who is content to steal to fund a noble cause, and wishes only to complete this cause and have Spider-Man out of his way. The second simply wants revenge for being slighted, and does not elude the menace nor danger that the character warrants.
effects wise the film is solid and there are some great moments in the film, but to many times I thought I had seen the same sand effects years early in the “Mummy” series which lead to many cases of “been there, seen that” for me. With a budget that many claim to be the most expensive film ever made when based on current dollar values, I had expected more from the film, especially given the talented and dynamic cast, and the ample backing of the studio.
Director and series Guru Sam Raimi seems to be coasting here as one has to wonder if he used up many of his great ideas in the last two films, and was trying so hard not to repeat himself, that he lost that magic spark that made the last two films such classics.
As it stands, “Spider-Man 3” is a good film, but you can’t help but feel it could have been a better one.
During this time, Spider-man has become New York City’s celebrated hero, and his day to day alter ego, Peter Parker, delights in his fame, while dating the love of his life, Mary Jane Watson (Kirsten Dunst).
As the film opens, Peter has decided to ask Mary Jane to be his wife, and plans to surprise her with a ring during dinner at a fancy restaurant. Mary Jane is starring in a Broadway play, and despite harsh reviews, she is living her dream and madly in love with Peter.
Things take an unexpected twist for Peter when he is attacked one night by his best friend Harry (James Franco), who blames him for the death of his father at the conclusion of the first film. Enhanced by his father’s Goblin serum, Harry is a deadly adversary for Peter who is able to fend off the attack eventually, and put into motion a series of events that will forever change his life.
When a career criminal named Flint Marko (Thomas Hayden Church), is accidentally caught in an experiment while fleeing the authorities, he becomes a living mass of sand, which enables him to start a string of robberies as “The Sandman”, and provides Spider-man with his most unusual opponent yet.
As if this was not enough, Peter must contend with a new hotshot photographer named Eddie Brock (Topher Grace), who is after a staff position at the Daily Bugle. The fact that Peter has more seniority at the paper is of little interest to Eddie, and he will stop at nothing to get the better of Peter.
At this point one would think that Peter has more than enough on his plate, but fate is about to drop an unexpected player into his life, a space based symbiote that bonds
with Peter’s costume and creates a dark black look for Spider-Man as well as an increase in his powers.
Peter becomes obsessed with his new powers, and there is a dramatic change in his persona, which does not sit well with Mary Jane. When new information is given to Peter about the death of his Uncle Ben, Peter is more than willing to use his new found abilities to exact the revenge that he craves.
Peter also has another area of interest as Gwen Stacy (Bryce Dallas Howard), the daughter of the local Chief of Police has caught his eye, much to the chagrin of both Mary Jane and Gwen’s current boyfriend Eddie Brock.
This tangled web of characters soon forces Peter to take stock of his life and the choices he makes, in order to determine what truly matters to him, the love and respect of his friends, or giving into his darker side and pursing power and unending praise and adulation.
The film starts out well, and the early conflict between Peter and Harry is a brilliantly staged spectacle of sight, sound, and motion. There are also some great moments between the lead characters and Church, Howard and Grace do well with their characters, yet something about Spider-Man 3 did not click for me the way the previous two films in the series have.
Having the luxury of time from the press screener to the opening, I was able to look back at the film the past week and a half to try to determine what did not work for me, and I kept coming back to the same conclusions.
First, the film wants very much to be much darker and edgier than the other films, yet just when you think you are going to see Peter fully cross the line, the film pulls back into campy mode, and we are given scenes of Peter hamming it up as a ladies’ man, and I kid you not, doing an impromptu dance number.
While this works for comedic effect, I am supposed to believe that the darker side of Peter’s soul is being exposed, and I had a hard time thinking that his inner demons include “Saturday Night Fever” style strut down the sidewalk, and a floor show.
The second thing that bothered me was the villains, as aside from Harry as the New Goblin, both the Sandman and Venom were sadly lacking. Neither The Sandman nor Venom had over the top plots to rule the world, kill or enslave the masses, or endanger huge parts of the city as was the case with the original Green Goblin and Dr Octopus.
Rather we have one who is content to steal to fund a noble cause, and wishes only to complete this cause and have Spider-Man out of his way. The second simply wants revenge for being slighted, and does not elude the menace nor danger that the character warrants.
effects wise the film is solid and there are some great moments in the film, but to many times I thought I had seen the same sand effects years early in the “Mummy” series which lead to many cases of “been there, seen that” for me. With a budget that many claim to be the most expensive film ever made when based on current dollar values, I had expected more from the film, especially given the talented and dynamic cast, and the ample backing of the studio.
Director and series Guru Sam Raimi seems to be coasting here as one has to wonder if he used up many of his great ideas in the last two films, and was trying so hard not to repeat himself, that he lost that magic spark that made the last two films such classics.
As it stands, “Spider-Man 3” is a good film, but you can’t help but feel it could have been a better one.
The Bandersnatch (199 KP) rated The Hunchback of Notre-Dame in Books
Nov 7, 2019
The Hunchback of Notre Dame is set in 1829's Paris, France where the gypsy Esmeralda (Born Agnes) captures the hearts of several men including captain Phoebus and Pierre Gringoire but especially Quasimodo the bell ringer and his guardian the Archdeacon Claude Frollo.
Frollo orders Quasimodo to bring Esmeralda to him and after a lot of chaos where the guards under Phoebus capture Quasimodo, Gringoire is knocked out and only rescued from hanging when Esmeralda saves him with promise of marriage and Quasimodo flogged and placed on a pillory for several hours of public exposure. When Esmeralda is accused of attempted murder Quasimodo helps by giving her space in the cathedral of Notre Dame under law of sanctuary. Frollo finds out that the court of parliament has voted the removal of Esmeralda's right for sanctuary and orders her to be taken and killed. Clopin the head of the gypsies hears this and leads a rescue party to help Esmeralda. During the chaos Quasimodo mistakes who is wanting to help the Gypsy he loves and ends up in aiding in her arrest. Frollo after failing to win her love betrays Esmeralda and sends her to be hung. Frollo laughs as Esmeralda dies and is pushed from the top of the Cathedral by Quasimodo. Quasimodo dies of starvation after joining Esmeralda's body in the cemetery.
Victor Hugo began writing the book in 1829The novels original title was Notre Dame de Paris, it was largely to make his contemporaries more aware of the value of the Gothic architecture, Notre Dame Cathedral had been in disrepair at the time and along with other buildings which were neglected and often destroyed to be replaced by new buildings or defaced by replacement of parts of buildings in a newer style. During the summer of 1830 Gosselin demanded that Hugo complete the book by February 1831, Hugo -starting in September 1830- worked non stop on the book finishing it six months later. Several ballets, comics, TV show, theatre, music, musical theatre and films have been inspired by The Hunchback of Notre Dame most notably has been the 1996 Walt Disney animated movie of the same name.
I think that The Hunchback of Notre Dame is a very prolific book which promotes the fact that it doesn't matter what you look like on the outside, its how you deal with people and what is on the inside that counts. The books portrayal of the romantic era as an extreme through the architecture, passion and religion as well as the exploration of determinism, revolution and social strife adds to the ultimately magical make up of the book. I believe that most people would see themselves in the position of Quasimodo, Esmeralda and Phoebus rather than that of Frollo. I know I certainly wouldn't see myself otherwise.
Victor Marie Hugo was born on February 26th 1802 in Besançon. eastern Franche-Combe as the third son of Joseph Leopold Sigisbert Hugo (1774-1828) and Sophie Trebuchet (1772-1821). Victor was a French poet, novelist and dramatist of the romantic movement, he's also considered one of the greatest and best known French writers. Victors childhood was a period of national political turmoil with Napoleon being proclaimed Emperor two years after he was born and the Bourbon monarchy was restored before his 13th birthday. His parents held vastly different political and religious views which prompted a brief separation in 1803, during that time Hugo's mother dominated his education and upbringing. Hugos work reflected her devotion to king and faith. However during the events leading up to France's 1848 revolution, Hugos work changed to that of Republicanism and free thought. Hugo went on to married to his childhood sweetheart Adele Foucher in 1822 and they had five children.
Victor Hugo's works hold a vast collection of poetry, novels and music. His first Novel Han D'Islande was published in 1823 and he published five volumes of poetry between 1829 and 1840 which cemented his reputation as a great elagiac and lyric poet. Hugos first mature work of fiction was published in February 1829 by Charles Gosselin without his name attached, this would infuse with his later work Le Dernier Jour d'un Condamne (The last day of a Condemned man) and go on to not only influence other writers including Charles Dickens and Albert Camus, and be a precursor to Hugo's work Les Miserables published in 1862.
After three attempts Hugo was finally elected to Academie francaise in 1841and in 1845 King Louis-Phillipe elevated him to the peerage and in 1848 he was elected to the national assembly of the second republic. When Louis Napoleon the 3rd seized power in 1851 Hugo openly declared him a traitor to France then relocated to Brussels, Jersey (where he was thrown out of for supporting a paper criticising Queen Victoria) and ending up in guernsey where he remained an exile until 1870. after returning to France a hero in 1870 Hugo spent the rest of his life writing and just living and died from pneumonia on may 22nd 1885 at the age of 83. He was given a state funeral by degree of president Jules Grevy, more than two million people joined his funeral procession in Paris which went form the Arc Du Triomphe to the Pantheon where he was consequently buried, he shared a crypt with Alexandre Dumas and Emile Zola. Most French towns and cities have streets named after him.
Victor Hugo in my opinion is one of those naturally born creative souls who had felt compelled to both write and at least try to make the world a better place. He definitely attempted to do so from the positions he accumulated in his life time and despite this the three mistresses he had in his later years definitely shows that his love life left something to be desired.
And there you have it a book for all the ages, its definitely under the banner of AWESOME!!!.
Frollo orders Quasimodo to bring Esmeralda to him and after a lot of chaos where the guards under Phoebus capture Quasimodo, Gringoire is knocked out and only rescued from hanging when Esmeralda saves him with promise of marriage and Quasimodo flogged and placed on a pillory for several hours of public exposure. When Esmeralda is accused of attempted murder Quasimodo helps by giving her space in the cathedral of Notre Dame under law of sanctuary. Frollo finds out that the court of parliament has voted the removal of Esmeralda's right for sanctuary and orders her to be taken and killed. Clopin the head of the gypsies hears this and leads a rescue party to help Esmeralda. During the chaos Quasimodo mistakes who is wanting to help the Gypsy he loves and ends up in aiding in her arrest. Frollo after failing to win her love betrays Esmeralda and sends her to be hung. Frollo laughs as Esmeralda dies and is pushed from the top of the Cathedral by Quasimodo. Quasimodo dies of starvation after joining Esmeralda's body in the cemetery.
Victor Hugo began writing the book in 1829The novels original title was Notre Dame de Paris, it was largely to make his contemporaries more aware of the value of the Gothic architecture, Notre Dame Cathedral had been in disrepair at the time and along with other buildings which were neglected and often destroyed to be replaced by new buildings or defaced by replacement of parts of buildings in a newer style. During the summer of 1830 Gosselin demanded that Hugo complete the book by February 1831, Hugo -starting in September 1830- worked non stop on the book finishing it six months later. Several ballets, comics, TV show, theatre, music, musical theatre and films have been inspired by The Hunchback of Notre Dame most notably has been the 1996 Walt Disney animated movie of the same name.
I think that The Hunchback of Notre Dame is a very prolific book which promotes the fact that it doesn't matter what you look like on the outside, its how you deal with people and what is on the inside that counts. The books portrayal of the romantic era as an extreme through the architecture, passion and religion as well as the exploration of determinism, revolution and social strife adds to the ultimately magical make up of the book. I believe that most people would see themselves in the position of Quasimodo, Esmeralda and Phoebus rather than that of Frollo. I know I certainly wouldn't see myself otherwise.
Victor Marie Hugo was born on February 26th 1802 in Besançon. eastern Franche-Combe as the third son of Joseph Leopold Sigisbert Hugo (1774-1828) and Sophie Trebuchet (1772-1821). Victor was a French poet, novelist and dramatist of the romantic movement, he's also considered one of the greatest and best known French writers. Victors childhood was a period of national political turmoil with Napoleon being proclaimed Emperor two years after he was born and the Bourbon monarchy was restored before his 13th birthday. His parents held vastly different political and religious views which prompted a brief separation in 1803, during that time Hugo's mother dominated his education and upbringing. Hugos work reflected her devotion to king and faith. However during the events leading up to France's 1848 revolution, Hugos work changed to that of Republicanism and free thought. Hugo went on to married to his childhood sweetheart Adele Foucher in 1822 and they had five children.
Victor Hugo's works hold a vast collection of poetry, novels and music. His first Novel Han D'Islande was published in 1823 and he published five volumes of poetry between 1829 and 1840 which cemented his reputation as a great elagiac and lyric poet. Hugos first mature work of fiction was published in February 1829 by Charles Gosselin without his name attached, this would infuse with his later work Le Dernier Jour d'un Condamne (The last day of a Condemned man) and go on to not only influence other writers including Charles Dickens and Albert Camus, and be a precursor to Hugo's work Les Miserables published in 1862.
After three attempts Hugo was finally elected to Academie francaise in 1841and in 1845 King Louis-Phillipe elevated him to the peerage and in 1848 he was elected to the national assembly of the second republic. When Louis Napoleon the 3rd seized power in 1851 Hugo openly declared him a traitor to France then relocated to Brussels, Jersey (where he was thrown out of for supporting a paper criticising Queen Victoria) and ending up in guernsey where he remained an exile until 1870. after returning to France a hero in 1870 Hugo spent the rest of his life writing and just living and died from pneumonia on may 22nd 1885 at the age of 83. He was given a state funeral by degree of president Jules Grevy, more than two million people joined his funeral procession in Paris which went form the Arc Du Triomphe to the Pantheon where he was consequently buried, he shared a crypt with Alexandre Dumas and Emile Zola. Most French towns and cities have streets named after him.
Victor Hugo in my opinion is one of those naturally born creative souls who had felt compelled to both write and at least try to make the world a better place. He definitely attempted to do so from the positions he accumulated in his life time and despite this the three mistresses he had in his later years definitely shows that his love life left something to be desired.
And there you have it a book for all the ages, its definitely under the banner of AWESOME!!!.
Kirk Bage (1775 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Mar 3, 2020
It took me over a month to get around to seeing this last night at the cinema. Not because I didn’t want to see the end of the new trilogy and say goodbye to it in style, but because I feared it just wouldn’t be very good. Put simply, it isn’t very good. Some parts, in fact, are downright awful. But it isn’t terrible either. I can’t say I hated it – I had fun; I enjoyed it for what it was, and some small moments in isolation were very well done indeed. However…
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.