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Jane, Unlimited
9.0
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Jane has lived a mostly ordinary life, raised by her recently deceased aunt Magnolia, whom she...
The Sunrisers
Book
After years of adventures, professional thief and amateur noodle critic Yael is invited to join The...
Lesbian Space Opera
How Paris Became Paris: The Invention of the Modern City
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At the beginning of the seventeenth century, Paris was known for isolated monuments but had not yet...
Christine A. (965 KP) rated To Sleep in a Sea of Stars in Books
Sep 16, 2020
Space Epic From The Author Of The Eragon Series
I was provided with a complimentary copy of this book so I could give an honest review. The opinions are entirely my own, and any quotes are taken from the ARC and may be different in the final published copy.
Having read and thoroughly enjoyed Christopher Paolini's Eragon series, I looked forward to listening to the audiobook of his latest novel, To Sleep in a Sea of Stars.
Paolini did not disappoint. His work on this space opera spanned for nearly a decade. The research completed to make it accurate as possible shows he did not rush his writing.
Do not expect to read/listen to this in one sitting. The run time is 32 hours, 29 minutes, and the book is 880 pages. The book could have been released into a trilogy but do not let that scare you. The story may be long, but it is well built and full of completely fleshed out characters and worlds. My favorite character is Gregorovich, a ship mind. Paolini's sarcastic words and the narrator's voice makes him a character as memorable as paranoid Marvin from H2G2.
In 2013, the narrator, Jennifer Hale, was recognized by Guinness World Records as "the most prolific video game voice actor (female)." Her voice is instantly recognizable, and the array of voices she uses in the audiobook are separate and distinct from each other.
Paolini's story and Hale's voices make this an enjoyable story to remember.
This 200-word review was published on Philomathinphila.com on 9/15/20.
Having read and thoroughly enjoyed Christopher Paolini's Eragon series, I looked forward to listening to the audiobook of his latest novel, To Sleep in a Sea of Stars.
Paolini did not disappoint. His work on this space opera spanned for nearly a decade. The research completed to make it accurate as possible shows he did not rush his writing.
Do not expect to read/listen to this in one sitting. The run time is 32 hours, 29 minutes, and the book is 880 pages. The book could have been released into a trilogy but do not let that scare you. The story may be long, but it is well built and full of completely fleshed out characters and worlds. My favorite character is Gregorovich, a ship mind. Paolini's sarcastic words and the narrator's voice makes him a character as memorable as paranoid Marvin from H2G2.
In 2013, the narrator, Jennifer Hale, was recognized by Guinness World Records as "the most prolific video game voice actor (female)." Her voice is instantly recognizable, and the array of voices she uses in the audiobook are separate and distinct from each other.
Paolini's story and Hale's voices make this an enjoyable story to remember.
This 200-word review was published on Philomathinphila.com on 9/15/20.
Dragon Pearl
8.0
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Rick Riordan Presents Yoon Ha Lee's space opera about thirteen-year-old Min, who comes from a long...
BankofMarquis (1832 KP) rated First Man (2018) in Movies
Oct 13, 2018
GREAT, Visceral Space Scenes - Boring, Soap-Opera-ish Earth Scenes
Get to the largest screen you can find with the best sound system and check out FIRST MAN. The visceral spectacle of space travel is expertly captured and needs to be seen on the BIG screen while your chair vibrates from the sound. You, the audience, fwill eel like you are in the spaceship with Neil Armstrong on his way to the moon.
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Too bad the Earth-bound moments of this film don't go to the same heights.
Directed by Damien Chazelle in his follow-up to his Oscar winning Directorial stint with LA LA LAND, FIRST MAN tells the story of Neil Armstrong in the 1960s, going from test pilot to the First Man who stepped foot on the moon.
As I stated earlier, the times that we are in the space capsule, or flight plane or test simulator with Armstrong are a visceral experience not to be missed. Chazelle puts his camera close in, often times seeing what Armstrong is seeing - most of that time with loud, shimming and shaking noises and shimming and shaking cameras that left me wonder how these Pioneers of Space Flight ever made it to the Moon and back safely. These scenes - and especially the last 1/2 hour of the film when Armstrong & Co. go to the moon - are worth the price of admission alone. Add on top of that a driving, visceral (there's that word again) score by Chazelle's musical collaborator Justin Hurwitz (Oscar winner for the music for LA LA LAND) and your heart will be thumping loudly in your chest during these exhilarating scenes.
And that is good, for Chazelle and screenwriter Josh Singer (SPOTLIGHT) try to squeeze in a Soap-Opera-esque plot and motivation for Armstrong throughout this film that just didn't work for me. They tried too hard to give Armstrong some "personal" motivations for being stoic, pragmatic and driven to his vision.
As for the acting, Ryan Gosling is...well...stoic, pragmatic and driven to his vision as Armstrong. Do you see that look on Gosling/Armstrong's face in the picture that is accompanying this review? You get that 90% of the time with him. Most of the other actors - Jason Clarke, Kyle Chandler, Pablo Schreiber, Ethan Embry, Lukas Haas - all give the same stoic, pragmatic performance, so there is no real personality here. Even the great Ciaran Hinds - who normally can chew scenery with the best of them - was toned way down to stoic, pragmatic proportions.
This made the performance of Corey Stoll as Buzz Aldrin all the more jarring for he bursts into this film at about the halfway point, cracking jokes and having a personality. Unfortunately, this was annoying at this point, rather than refreshing and I ended up thinking what a jerk Aldrin is.
Add to that Claire Foy (THE CROWN) as Armstrong's wife who has a constant pained expression on her face. She will get an Oscar nomination, for she had the big "Oscars" speech as the worried wife and mother - a speech where Gosling/Armstrong looked at her pragmatically and with solid stoicism.
Fortunately, what saves this movie is that these Earth-bound scenes of fairly boring people in cliched situations are quickly wiped away with awe-inspiring action pieces - they really are worth the price of admission - even the higher price you will need to pay to see it in IMAX with a kick-butt sound system.
Letter Grade: B+
7 1/2 (out of 10) stars - have I mentioned how great the space scenes in this film are?
And you can take that to the Bank(ofMarquis)
Dean (6921 KP) rated Dune (2021) in Movies
Nov 11, 2021 (Updated Nov 11, 2021)
Great visuals (1 more)
Very good ensemble cast
Space Opera
I'm totally new to Dune, I know nothing of the book or the previous film. So I have nothing to compare it to it that sense.
It's visually stunning and on a grand scale, with many wide angle shots to to get a good effect of scale. The design, look and feel of the film, along with Zimmer's score are all quality.
Then to the story which feels like a mix of The Matrix, meets Game of Thrones with a Star Wars setting. For new comers like myself it might be difficult keeping track of who is in alliance with who, as a lot of various faction names appear. The political side of things doesn't get too bogged down though. I did expect bigger and longer action scenes for a film of this scale. What action you do see is very good and the SFX are great.
So to those who are new to Dune it might be a bit of a mixed bag but there is no doubting the quality overall. Roll on part 2.
It's visually stunning and on a grand scale, with many wide angle shots to to get a good effect of scale. The design, look and feel of the film, along with Zimmer's score are all quality.
Then to the story which feels like a mix of The Matrix, meets Game of Thrones with a Star Wars setting. For new comers like myself it might be difficult keeping track of who is in alliance with who, as a lot of various faction names appear. The political side of things doesn't get too bogged down though. I did expect bigger and longer action scenes for a film of this scale. What action you do see is very good and the SFX are great.
So to those who are new to Dune it might be a bit of a mixed bag but there is no doubting the quality overall. Roll on part 2.
David McK (3185 KP) rated Dune 2 (2024) in Movies
Mar 7, 2024
Dennis Villeneuve averred Part 2 of a single book, part 1 viewed as a risk released in the middle of a COVID pandemic and with no guarantee there would ever be a part 2 (which was then further delayed by an actors strike), this very much benefits from having all the world (galaxy) building done in the previous installment.
This picks up almost exactly from the end of Part 1, with Paul Atreides and his mother Jessica having survived the Harkonnen attack on his family and now in the company of the Fremen of Arrakis.
So there's more time for intergalactic politicking and action sequences this time round - some of which are very impressive - as Paul and Jessica seek to assimilate into the Fremen culture and with Paul initially fighting against their belief he could be their Messiah (I kept thinking "he's not the Messiah, he's a very naughty boy") but also still seeking revenge in the Harkonnens and on the Emperor who precipitated/allowed the attack in the first place.
I also kept seeing where that *other* space opera got their inspiration for the Empire and the Rebellion from.
This picks up almost exactly from the end of Part 1, with Paul Atreides and his mother Jessica having survived the Harkonnen attack on his family and now in the company of the Fremen of Arrakis.
So there's more time for intergalactic politicking and action sequences this time round - some of which are very impressive - as Paul and Jessica seek to assimilate into the Fremen culture and with Paul initially fighting against their belief he could be their Messiah (I kept thinking "he's not the Messiah, he's a very naughty boy") but also still seeking revenge in the Harkonnens and on the Emperor who precipitated/allowed the attack in the first place.
I also kept seeing where that *other* space opera got their inspiration for the Empire and the Rebellion from.
Phil Leader (619 KP) rated On the Steel Breeze in Books
Nov 21, 2019
On The Steel Breeze is the second in Reynold's Poseidon's Children trilogy and deals with the relationship between humans and artificial intelligence.
Taking up the story several years after Blue Remembered Earth the main (human) protagonist is Chiku Akinya, daughter of Sunday Akinya from the first book. She has cloned herself and the three Chikus pursue different fates but their stories inevitably interact with each other.even across light years of space.
One is lost in space, presumed dead. Another is on a colony ship heading to a planet that images have shown has a clearly alien structure on the surface. The third remains on Earth, presumably in safety.
As the colony ships near the destination planet they are riven by internal strife and politics just as Chiku finds that things are not as they seem. There are secrets both within the colony ship and with the planet itself, secrets that are bound to cause conflict when they are brought to light. On earth it is clear that some important information has been hidden and Chiku must risk her safe existence to uncover the truth, but at a high cost.
The book starts slowly, maybe a little too keen to establish who Chiku is and reinforce how the world she inhabits is different from ours. However once the story moves to the colony ships it moves along at a good pace with enough twists and surprises to keep the reader's interest. There is plenty of intrigue and it really is hard to tell where the story is going next.
We have the usual 'hard physics' at work as should be expected in a Reynolds book. Except for the hand wavium 'Chibesa physics' that powers the ships, the laws of physics are rigidly adhered to. Again we see how a battle across millions of miles of space could be achieved.
I found the ending to be satisfying (I have read reviews criticising it). It ties up the story of the earth based Chiku. The story for the colonists is clearly only beginning and the third book in the series is set up neatly in the epilogue, while at the same time providing closure on the fate of the colonists.
My only real criticism of the book (and it in no way detracted from it) was the cloning-and-memory-merging gimmick used for the Chiku clones. Although this neatly allowed the story to move between the colony ships and the solar system, I felt that this had been explored better (and with more justification) in Reynold's novel House Of Suns. Here it just seems to be a 'sci-fieqsue' way of allowing the main protagonists to communicate and empathise across the vast tracts of space and otherwise seemed superfluous given the complex set up.
Overall another excellent book from Reynolds, definitely up there with the best 'space opera' novels. I am looking forward to the third book immensely.
Taking up the story several years after Blue Remembered Earth the main (human) protagonist is Chiku Akinya, daughter of Sunday Akinya from the first book. She has cloned herself and the three Chikus pursue different fates but their stories inevitably interact with each other.even across light years of space.
One is lost in space, presumed dead. Another is on a colony ship heading to a planet that images have shown has a clearly alien structure on the surface. The third remains on Earth, presumably in safety.
As the colony ships near the destination planet they are riven by internal strife and politics just as Chiku finds that things are not as they seem. There are secrets both within the colony ship and with the planet itself, secrets that are bound to cause conflict when they are brought to light. On earth it is clear that some important information has been hidden and Chiku must risk her safe existence to uncover the truth, but at a high cost.
The book starts slowly, maybe a little too keen to establish who Chiku is and reinforce how the world she inhabits is different from ours. However once the story moves to the colony ships it moves along at a good pace with enough twists and surprises to keep the reader's interest. There is plenty of intrigue and it really is hard to tell where the story is going next.
We have the usual 'hard physics' at work as should be expected in a Reynolds book. Except for the hand wavium 'Chibesa physics' that powers the ships, the laws of physics are rigidly adhered to. Again we see how a battle across millions of miles of space could be achieved.
I found the ending to be satisfying (I have read reviews criticising it). It ties up the story of the earth based Chiku. The story for the colonists is clearly only beginning and the third book in the series is set up neatly in the epilogue, while at the same time providing closure on the fate of the colonists.
My only real criticism of the book (and it in no way detracted from it) was the cloning-and-memory-merging gimmick used for the Chiku clones. Although this neatly allowed the story to move between the colony ships and the solar system, I felt that this had been explored better (and with more justification) in Reynold's novel House Of Suns. Here it just seems to be a 'sci-fieqsue' way of allowing the main protagonists to communicate and empathise across the vast tracts of space and otherwise seemed superfluous given the complex set up.
Overall another excellent book from Reynolds, definitely up there with the best 'space opera' novels. I am looking forward to the third book immensely.
Polaris Rising (Consortium Rebellion #1)
Book
A space princess on the run and a notorious outlaw soldier become unlikely allies in this...