Search
Search results
50in1 Piano HD
Music
App
Learn to play the piano, create your own songs and even sing to your compositions! 50in1 Piano HD...
![[5 CD]Classic Violin [100 Classical music]](/uploads/profile_image/6a1/5fed83d0-dcdf-4847-8744-d4532d71b6a1.jpg?m=1522353636)
[5 CD]Classic Violin [100 Classical music]
Music
App
4 Series 5CD 100 most classic violin, Classical, romantic, passion, magic, unaccompanied collection....
The Great Prank War
Games and Entertainment
App
Help Mordecai, Rigby, Muscle Man and Skips take the park back from Gene and his goons with a...
Star Wars: Rebellion
8.3
Rate It
Tabletop Game
Star Wars: Rebellion is a board game of epic conflict between the Galactic Empire and Rebel Alliance...
Boardgames StarwarsGames MiniaturesGames
Hazel (1853 KP) rated The Snow Child in Books
May 30, 2017
A Fairytale
“Terrific”, “Spellbinding” and “Enchanting” are just three of the many words that critics have used to describe this book; they are also a slight exaggeration. Obviously it is a matter of personal opinion but this novel, whilst having an interesting storyline, was a little too drawn out and, at times… not exactly boring but not all that gripping.
Set in Alaska during the 1920s this is the story of a couple, Jack and Mabel, who, aside from a stillbirth, have not had any children despite their desperate longing. Now that they are both approaching fifty years of age they know that they will never be able to have a son or daughter of their own. One winter, during the first snowfall, the two of them on an uncharacteristic, spur of the moment impulse build a snowman next to their cabin. Rather than building a large snowman they make a smaller one in the shape of a girl, decorating her with scarves and mittens – they have made a snow girl.
Eowyn Ivey has based her novel on a Russian fairy tale, Snegurochka, which in English translates to The Snow Maiden. It was Arthur Ransome’s retelling, Little Daughter of the Snow, which inspired Ivey, but the general storyline is essentially the same, although some versions have alternative endings. For those who are familiar with Snegurochka and its variants will know that it does not end happily therefore it seems inevitable that The Snow Child will head in the same direction. However which ending will it most resemble?
Throughout the novel it is impossible to be absolutely sure that the little girl who turns up outside the cabin the day after the snowman has been built (and destroyed) is in fact the snow girl magically transformed into flesh and bone; or whether it is a lost child and the circumstance are purely coincidental. There is a third option: Jack and Mabel could be imagining things through their desperate longing, but this is easy to rule out.
The snow is understandably a key theme throughout the story. At the beginning the anticipated Alaskan winter is imagined as a “cold on the valley like a coming death”. Not only will it be unbearably freezing, Jack and Mabel will struggle to make do with their limited amount of food and supplies. After the arrival of the child the winter becomes a happy occasion. Jack and Mabel’s relationship improves and they become less isolated after befriending some neighbours. The only heartbreak is when the girl, Faina, disappears in the spring; but as she comes back as soon as it snows, winter becomes something to look forward to. Another snowy link in the story is Faina’s name, which she claims means “the colour on snow when the sun turns” in Russian. This also makes the idea of her truly being the snow girl more convincing.
The novel does predictably have an unhappy ending but the epilogue makes up for this by revealing the contentment of the remaining characters a few years into the future.
As already mentioned, The Snow Child was not a very gripping read, but it was a beautiful tale in the way that fairy tales, even those with unhappy endings, often can be.
Set in Alaska during the 1920s this is the story of a couple, Jack and Mabel, who, aside from a stillbirth, have not had any children despite their desperate longing. Now that they are both approaching fifty years of age they know that they will never be able to have a son or daughter of their own. One winter, during the first snowfall, the two of them on an uncharacteristic, spur of the moment impulse build a snowman next to their cabin. Rather than building a large snowman they make a smaller one in the shape of a girl, decorating her with scarves and mittens – they have made a snow girl.
Eowyn Ivey has based her novel on a Russian fairy tale, Snegurochka, which in English translates to The Snow Maiden. It was Arthur Ransome’s retelling, Little Daughter of the Snow, which inspired Ivey, but the general storyline is essentially the same, although some versions have alternative endings. For those who are familiar with Snegurochka and its variants will know that it does not end happily therefore it seems inevitable that The Snow Child will head in the same direction. However which ending will it most resemble?
Throughout the novel it is impossible to be absolutely sure that the little girl who turns up outside the cabin the day after the snowman has been built (and destroyed) is in fact the snow girl magically transformed into flesh and bone; or whether it is a lost child and the circumstance are purely coincidental. There is a third option: Jack and Mabel could be imagining things through their desperate longing, but this is easy to rule out.
The snow is understandably a key theme throughout the story. At the beginning the anticipated Alaskan winter is imagined as a “cold on the valley like a coming death”. Not only will it be unbearably freezing, Jack and Mabel will struggle to make do with their limited amount of food and supplies. After the arrival of the child the winter becomes a happy occasion. Jack and Mabel’s relationship improves and they become less isolated after befriending some neighbours. The only heartbreak is when the girl, Faina, disappears in the spring; but as she comes back as soon as it snows, winter becomes something to look forward to. Another snowy link in the story is Faina’s name, which she claims means “the colour on snow when the sun turns” in Russian. This also makes the idea of her truly being the snow girl more convincing.
The novel does predictably have an unhappy ending but the epilogue makes up for this by revealing the contentment of the remaining characters a few years into the future.
As already mentioned, The Snow Child was not a very gripping read, but it was a beautiful tale in the way that fairy tales, even those with unhappy endings, often can be.
BankofMarquis (1832 KP) rated Paddington 2 (2017) in Movies
Feb 3, 2019
Wonderful, whimsical film for kids and adults alike
As I was perusing various "Top Films of 2018" lists, one surprising film kept showing up on these lists, so I thought I'd better check it out.
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
And I'm glad I did for PADDINGTON 2 is a charming family film that entranced me from beginning to end with wonderful performances and a charm and whimsy that hooked me from start to finish.
A follow-up to the moderate 2014 hit (based on the beloved children's books series) about a Peruvian bear that heads to 19th Century London seeking adventure - and finds a family - PADDINGTON 2 follows said Bear as he is caught up in a robbery and is mistakenly jailed for the crime. Can Paddington make friends with the burly inmates in the prison? Can the Brown family help find the true perpetrator of the crime and help spring Paddington? Can faith and love triumph in a time of skepticism and darkness?
It's a family film, what do you think?
The joy in this film is in the telling - and Paul King (returning as Director/Writer) does a wonderful job telling a joyous, family-friendly story without diving into sacrine-ness (is that a word? It is now) and schmaltz. He tells the story with a sly wink in his eye and dives deep into whimsical detail of late 19th century London - a London racing full throttle into the steam age. There is a light cyber-punk sensibility to the proceedings and this works wonderfully well.
As you would expect, King does a nice job getting the actors to click into the sensibilities and style of this film. Ben Wishaw is back as the voice of Paddington - and he is perfectly cast. Wishaw has a naivete and sense of wonder to his voice that serves the Paddington character well. Jim Broadbent, Hugh Bonneville, Sally Hawkins and Julie Walters all reprise their roles - in winning fashion. But it is the newcomers that shine. Brendan Gleeson shows off some comic chops as main prison bad guy "Knuckles" McGinty who forms an unlikely friendship/partnership with Paddington and, especially Hugh Grant as vain, egotistical actor Phoenix Buchanan. I won't spoil the antics of Grant's character but I have a feeling that Mr. Grant had as much fun bringing this character to screen as I did watching him.
Two final things - the finale really works for me as King sets up each character's "special skill" at the beginning of the film that they will need to bring to bear (no pun intended) during the action at the end. To often, character's and character threads are set up at the beginning of a film only to be abandoned by the end, so it is satisfying to me when King sets up items at the beginning of this film and then PAYS THEM OFF at the end.
And, finally, STAY THROUGH THE CREDITS. There is a scene in the credits that is as good as anything that is in the film. I won't spoil the fun for you, but want you to know about this so you won't miss it.
A wonderful, whimsical, time at the movies. If you have kids (5,6,7 years old), this is a MUST SEE. For the rest of you, if you're looking for fun escape from the world, this film will do it.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Movie Metropolis (309 KP) rated Thor (2011) in Movies
Jun 10, 2019 (Updated Jun 11, 2019)
Marvel films have become a staple for any movie fan’s diet over the past few years. We’ve had some bloody fantastic ones; Spiderman 2, Iron Man and the second X-Men to name a few; and we’ve had some pretty rubbish ones, Hulk, The Fantastic Four and Spiderman 3 are ones that spring to mind.
Here we stand, two years before the release of the much anticipated Avengers movie and the latest offering from Marvel blasts onto our screens: Thor, but is it a success?
Kenneth ‘Thespian’ Brannagh helms this more unknown superhero flick and surprisingly with his track record of Shakespearean cinema, makes one hell of a film.
Chris Hemsworth from Home & Away stars as the Viking god himself and is the perfect choice for the role; I can’t think of anyone better suited to playing him. 6 foot 6 with blonde hair and blue eyes, come on; it can’t just be a coincidence surely? Natalie Portman (Black Swan) and Stellen Skarsgard (Mamma Mia) also star but are unfortunately largely forgettable; Portman certainly won’t be receiving an Oscar for her performance here.
Thor takes place in the fictional realm of Asgard, ruled by an ill looking, but perfect as usual Anthony Hopkins as King Odin. Of course Asgard is created via special effects and these are flawless; from the rainbow bridge that connects that world to Earth, to the sweeping shots of the enemy Frost Giant’s home. It is here, in this beautiful place that Thor really shines, the story is dense and succinct with beautiful performances from all
the actors. The sheer scope of the film is literally immense and this could’ve dwarfed the characters, but thankfully it doesn’t.
Unfortunately, Thor’s banishment to Earth for reckless behaviour isn’t as exciting and these portions of the film feel a little flat in comparison to the bright lights of Asgard. Thankfully, Hemsworth makes sure that the usual Marvel humour is included which stops these scenes from being a complete failure. Portman and Skarsgard feel lost next to Hemsworth’s fantastic characterisation which is unfortunate as they have both proved themselves to be brilliant actors.
The constant tie-in’s with the upcoming Avengers film are shameless and an obvious marketing probe but they do little to detract from the film itself, the inclusion of S.H.I.E.L.D doesn’t feel as laboured as it could have done and thankfully they play a good part in the film – even if it is in the less interesting Earth scenes.
Thor is a film as mighty as the legendary hammer its title character uses; it’s loud, occasionally obnoxious and unashamedly reliant on special effects, more-so than any other Marvel film, but this time, it works.
Kenneth Brannagh’s influence is apparent from the off, with the Shakespearean narrative at the beginning being a real highlight of the film. Thankfully, the highlights don’t stop there and apart from a few lapses in judgement, the film steamrolls itself to a decent, if little underwhelming climax.
Overall, Thor is fabulous, a really good attempt at creating a brilliant film from a rather unknown superhero. If Iron Man hadn’t been released, it would most definitely be the best of the Marvel films to date, as a result, it comes a really close second. A real treat!
https://moviemetropolis.net/2011/05/19/thor-2011/
Here we stand, two years before the release of the much anticipated Avengers movie and the latest offering from Marvel blasts onto our screens: Thor, but is it a success?
Kenneth ‘Thespian’ Brannagh helms this more unknown superhero flick and surprisingly with his track record of Shakespearean cinema, makes one hell of a film.
Chris Hemsworth from Home & Away stars as the Viking god himself and is the perfect choice for the role; I can’t think of anyone better suited to playing him. 6 foot 6 with blonde hair and blue eyes, come on; it can’t just be a coincidence surely? Natalie Portman (Black Swan) and Stellen Skarsgard (Mamma Mia) also star but are unfortunately largely forgettable; Portman certainly won’t be receiving an Oscar for her performance here.
Thor takes place in the fictional realm of Asgard, ruled by an ill looking, but perfect as usual Anthony Hopkins as King Odin. Of course Asgard is created via special effects and these are flawless; from the rainbow bridge that connects that world to Earth, to the sweeping shots of the enemy Frost Giant’s home. It is here, in this beautiful place that Thor really shines, the story is dense and succinct with beautiful performances from all
the actors. The sheer scope of the film is literally immense and this could’ve dwarfed the characters, but thankfully it doesn’t.
Unfortunately, Thor’s banishment to Earth for reckless behaviour isn’t as exciting and these portions of the film feel a little flat in comparison to the bright lights of Asgard. Thankfully, Hemsworth makes sure that the usual Marvel humour is included which stops these scenes from being a complete failure. Portman and Skarsgard feel lost next to Hemsworth’s fantastic characterisation which is unfortunate as they have both proved themselves to be brilliant actors.
The constant tie-in’s with the upcoming Avengers film are shameless and an obvious marketing probe but they do little to detract from the film itself, the inclusion of S.H.I.E.L.D doesn’t feel as laboured as it could have done and thankfully they play a good part in the film – even if it is in the less interesting Earth scenes.
Thor is a film as mighty as the legendary hammer its title character uses; it’s loud, occasionally obnoxious and unashamedly reliant on special effects, more-so than any other Marvel film, but this time, it works.
Kenneth Brannagh’s influence is apparent from the off, with the Shakespearean narrative at the beginning being a real highlight of the film. Thankfully, the highlights don’t stop there and apart from a few lapses in judgement, the film steamrolls itself to a decent, if little underwhelming climax.
Overall, Thor is fabulous, a really good attempt at creating a brilliant film from a rather unknown superhero. If Iron Man hadn’t been released, it would most definitely be the best of the Marvel films to date, as a result, it comes a really close second. A real treat!
https://moviemetropolis.net/2011/05/19/thor-2011/
Movie Metropolis (309 KP) rated Independence Day: Resurgence (2016) in Movies
Jun 10, 2019
Good sci-fi, but a poor sequel
Independence Day: Resurgence has a lot in common with last year’s Jurassic World. They both are long-awaited sequels to fan-favourite blockbusters, bringing a new generation the same thrills and spills of their forbearers.
Unfortunately, it just so happens that they share the same pitfalls too. But is Independence Day: Resurgence a match for its 1996 predecessor? Or does it crash and burn?
Roland Emmerich returns to the director’s chair, bringing the same breadth of destruction he’s brought to all of his films. The Day After Tomorrow, 2012 and White House Down all prove he’s the master of the apocalypse and Resurgence is no exception.
As the Fourth of July nears, satellite engineer David Levinson (Jeff Goldblum) investigates a 3,000-mile-wide mother ship that’s approaching Earth. Fortunately, 20 years earlier, nations across the world started to use recovered extra-terrestrial technology to develop an immense defence program. When the alien invaders attack with unprecedented force, the U.S. president, teams of scientists and brave fighter pilots spring into action to save the planet from a seemingly invincible enemy.
Emmerich throws everything he can at the screen in a film just shy of two hours. The pace rarely lets up and it’s a rollercoaster ride to watch. Dozens of global landmarks are destroyed as our characters race to stop the new alien invasion.
Liam Hemsworth (The Hunger Games), Sela Ward (Gone Girl) and Jessie Usher make up the majority of the new cast with Bill Pullman and Judd Hirsch providing a warm sense of nostalgia from the first film. There’s no return for Will Smith, with Jessie Usher playing his step-son and his character is conveniently written out.
Unfortunately, despite the talents of the new cast, the script doesn’t really give them anything to sink their teeth into and the overabundance of, admittedly breath-taking CGI, means there’s nothing there for them to react to – and it shows. Nevertheless, it’s nice to see Jeff Goldblum front and centre after nearly a decade of small film roles.
It’s just a shame that the script is wholly unoriginal. We saw most of it done in 1996, and frankly done better. Since then, there have been countless generic sci-fi flicks that have pushed the same simple premise on their audience and Resurgence suffers due to its timing more than anything else.
Don’t get me wrong, it’s all good fun IF you’re a fan of the genre, and there are some nice references to the first film. The aliens themselves look fantastic and the cinematography is generally very impressive, especially during the aerial bound action sequences.
However, things unravel at the finale. With what is undoubtedly one of the most stupid endings ever put to film, it’s hard not to laugh in amazement as you ponder just what was said around the production table to end up with a final act as ill-advised as this.
Overall, Independence Day: Resurgence has a lot going for it. A likeable new and returning cast is bolstered by brilliant, if overused, CGI and a frantic pace. Unfortunately, it’s a victim of its timing and as such is a decent sci-fi flick, but a poor sequel to its fantastic predecessor.
https://moviemetropolis.net/2016/06/24/good-sci-fi-but-a-poor-sequel-independence-day-resurgence-review/
Unfortunately, it just so happens that they share the same pitfalls too. But is Independence Day: Resurgence a match for its 1996 predecessor? Or does it crash and burn?
Roland Emmerich returns to the director’s chair, bringing the same breadth of destruction he’s brought to all of his films. The Day After Tomorrow, 2012 and White House Down all prove he’s the master of the apocalypse and Resurgence is no exception.
As the Fourth of July nears, satellite engineer David Levinson (Jeff Goldblum) investigates a 3,000-mile-wide mother ship that’s approaching Earth. Fortunately, 20 years earlier, nations across the world started to use recovered extra-terrestrial technology to develop an immense defence program. When the alien invaders attack with unprecedented force, the U.S. president, teams of scientists and brave fighter pilots spring into action to save the planet from a seemingly invincible enemy.
Emmerich throws everything he can at the screen in a film just shy of two hours. The pace rarely lets up and it’s a rollercoaster ride to watch. Dozens of global landmarks are destroyed as our characters race to stop the new alien invasion.
Liam Hemsworth (The Hunger Games), Sela Ward (Gone Girl) and Jessie Usher make up the majority of the new cast with Bill Pullman and Judd Hirsch providing a warm sense of nostalgia from the first film. There’s no return for Will Smith, with Jessie Usher playing his step-son and his character is conveniently written out.
Unfortunately, despite the talents of the new cast, the script doesn’t really give them anything to sink their teeth into and the overabundance of, admittedly breath-taking CGI, means there’s nothing there for them to react to – and it shows. Nevertheless, it’s nice to see Jeff Goldblum front and centre after nearly a decade of small film roles.
It’s just a shame that the script is wholly unoriginal. We saw most of it done in 1996, and frankly done better. Since then, there have been countless generic sci-fi flicks that have pushed the same simple premise on their audience and Resurgence suffers due to its timing more than anything else.
Don’t get me wrong, it’s all good fun IF you’re a fan of the genre, and there are some nice references to the first film. The aliens themselves look fantastic and the cinematography is generally very impressive, especially during the aerial bound action sequences.
However, things unravel at the finale. With what is undoubtedly one of the most stupid endings ever put to film, it’s hard not to laugh in amazement as you ponder just what was said around the production table to end up with a final act as ill-advised as this.
Overall, Independence Day: Resurgence has a lot going for it. A likeable new and returning cast is bolstered by brilliant, if overused, CGI and a frantic pace. Unfortunately, it’s a victim of its timing and as such is a decent sci-fi flick, but a poor sequel to its fantastic predecessor.
https://moviemetropolis.net/2016/06/24/good-sci-fi-but-a-poor-sequel-independence-day-resurgence-review/