Search
Search results
Movie Metropolis (309 KP) rated The Boss (2016) in Movies
Jun 11, 2019
Where's the comedy?
Melissa McCarthy is one of the biggest stars in Hollywood. Her rise to fame has been nothing short of extraordinary, helped in part by her leading roles in The Heat, Spy and of course the hilarious Bridesmaids.
However, each of those examples of comedic brilliance had one thing in common, apart from McCarthy, director Paul Feig. He brings out the very best in the actress and we’ll see if this formula continues to work with the controversial Ghostbusters reboot, released later this year.
For now, McCarthy teams up with director and real-life husband Ben Falcone (Tammy) in The Boss. But does it offer you a laugh a minute?
The Boss follows the fall from grace of Michelle Darnell (McCarthy), one of America’s wealthiest women, and her efforts to get back on top. Her plan? To start a cake-making empire. Alongside her for the ride is long-suffering assistant Claire (Kristen Bell). Side roles are reserved for Game of Thrones star Peter Dinklage as Michelle’s rival and Kathy Bates as her mentor.
Unfortunately, the biggest problem The Boss has is one that blights many films nowadays; the best bits have already been shown in the trailer. For an action adventure, this is disappointing, but for a comedy, it’s silver-screen suicide. Having laughed in the pre-release clips already, the rest of the film is as barren as the Sahara when it comes to raising a titter.
That’s a real shame as the film’s plot, whilst hardly ground-breaking, is fundamentally solid and the acting is, Dinklage’s hammy performance aside, decent. McCarthy in particular takes a poor script and injects some much-needed spice into it – a testament to her incredible talents as a comedienne. Bell is on-point and bounces off McCarthy’s presence very well while Kathy Bates provides the film with one of its more memorable scenes, albeit one already used in the trailer.
There’s also a well-choreographed bust-up between two groups of teenage girls that manages to raise a chuckle, but again the majority of it was added to the most recent trailer.
Overall, The Boss is McCarthy’s second true turkey with Tammy being the first, but there’s no blame to be placed on her shoulders here. Michelle Darnell is a cracking character, despite her striking resemblance to Rita from Coronation Street, and is one that deserves far better than a film that’s light on laughs and has to rest on the laurels of its lead star – now that’s just lazy.
Perhaps the next time her husband asks her to star in one of his comedies, she should really, really think about it first.
https://moviemetropolis.net/2016/06/11/wheres-the-comedy-the-boss-review/
However, each of those examples of comedic brilliance had one thing in common, apart from McCarthy, director Paul Feig. He brings out the very best in the actress and we’ll see if this formula continues to work with the controversial Ghostbusters reboot, released later this year.
For now, McCarthy teams up with director and real-life husband Ben Falcone (Tammy) in The Boss. But does it offer you a laugh a minute?
The Boss follows the fall from grace of Michelle Darnell (McCarthy), one of America’s wealthiest women, and her efforts to get back on top. Her plan? To start a cake-making empire. Alongside her for the ride is long-suffering assistant Claire (Kristen Bell). Side roles are reserved for Game of Thrones star Peter Dinklage as Michelle’s rival and Kathy Bates as her mentor.
Unfortunately, the biggest problem The Boss has is one that blights many films nowadays; the best bits have already been shown in the trailer. For an action adventure, this is disappointing, but for a comedy, it’s silver-screen suicide. Having laughed in the pre-release clips already, the rest of the film is as barren as the Sahara when it comes to raising a titter.
That’s a real shame as the film’s plot, whilst hardly ground-breaking, is fundamentally solid and the acting is, Dinklage’s hammy performance aside, decent. McCarthy in particular takes a poor script and injects some much-needed spice into it – a testament to her incredible talents as a comedienne. Bell is on-point and bounces off McCarthy’s presence very well while Kathy Bates provides the film with one of its more memorable scenes, albeit one already used in the trailer.
There’s also a well-choreographed bust-up between two groups of teenage girls that manages to raise a chuckle, but again the majority of it was added to the most recent trailer.
Overall, The Boss is McCarthy’s second true turkey with Tammy being the first, but there’s no blame to be placed on her shoulders here. Michelle Darnell is a cracking character, despite her striking resemblance to Rita from Coronation Street, and is one that deserves far better than a film that’s light on laughs and has to rest on the laurels of its lead star – now that’s just lazy.
Perhaps the next time her husband asks her to star in one of his comedies, she should really, really think about it first.
https://moviemetropolis.net/2016/06/11/wheres-the-comedy-the-boss-review/
David McK (3610 KP) rated Star Wars: Catalyst: A Rogue One Novel in Books
Jan 28, 2019
In much the same way that 'Rogue One: A Star Wars story' acts as a prequel to the original Star Wars movie (since subtilted 'A New Hope') by detailing the mission to steal the plans for the Death Star, so this is a direct prequel to Rogue One itself.
That movie starts, remember (minus the traditional opening crawl) with the Erso's hiding out on a planet before they are found by Director Krennic, with Galen Erso then forced to finish his work on the weapon that the Death Star was built to house before jumping forward about a decade or so to his daughter in a prison transport: Jynn then becoming the main focus of the rest of the film.
This novel details hiow they came to be hiding out on that planet in the first place, focusing nearly exclusivley on Jynn's parent Galen and Lyra Erso: the former a genius involved in the study of Kyber crystals (those that power the Jedi's lightsabre's) believing - at least initially - that he was involved in exploring new methods of renewable energy; the latter his wife and assistant.
Te novel takes place over a span of years: as it starts, the Clone Wars are still raging across the galaxy, with Order 66 yet to be implemented by the soon-to-be Emperor Palpatine: a character who, though mentioned, has no direct impact on the events in this at all. Indeed, the conclusion of the Clone Wars, the fall of the Jedi and the appearance of Vader are all really only background noise, 'fluff' (if you will) to the story told in this, with the novel split into three segemens: the first showing the friendship(?) between Erso and Krennic (or, at least, the latter manipulating events so that the former would believe this is the case), the middle segment Erso's work on the Kyber crystals leading up the first test-firing of the super-weapon (with Krennic keeping this secret from Erso) and the final section with Galen and Lyras growing doubts and disillusionment about the work they are involved in - doubts and disillusionments shared by the secondary character of Has Obitt who finds himself going from working for Krennic to being instrumental in providing the Empire for excuses to take over worlds to joining the (pre)Rebellion rebellion against the Empire before being captured and employed by Tarkin to spy on Krennic - yes, Tarkin also plays a role in these proceedings, albeit not to the exten he does in Rogue One, via his rivalry with Krennic.
Solid if not spectacular entry in the 'new' Star Wars canon - be prepared to find out more than you could possibly want to know, though, about crystals!
That movie starts, remember (minus the traditional opening crawl) with the Erso's hiding out on a planet before they are found by Director Krennic, with Galen Erso then forced to finish his work on the weapon that the Death Star was built to house before jumping forward about a decade or so to his daughter in a prison transport: Jynn then becoming the main focus of the rest of the film.
This novel details hiow they came to be hiding out on that planet in the first place, focusing nearly exclusivley on Jynn's parent Galen and Lyra Erso: the former a genius involved in the study of Kyber crystals (those that power the Jedi's lightsabre's) believing - at least initially - that he was involved in exploring new methods of renewable energy; the latter his wife and assistant.
Te novel takes place over a span of years: as it starts, the Clone Wars are still raging across the galaxy, with Order 66 yet to be implemented by the soon-to-be Emperor Palpatine: a character who, though mentioned, has no direct impact on the events in this at all. Indeed, the conclusion of the Clone Wars, the fall of the Jedi and the appearance of Vader are all really only background noise, 'fluff' (if you will) to the story told in this, with the novel split into three segemens: the first showing the friendship(?) between Erso and Krennic (or, at least, the latter manipulating events so that the former would believe this is the case), the middle segment Erso's work on the Kyber crystals leading up the first test-firing of the super-weapon (with Krennic keeping this secret from Erso) and the final section with Galen and Lyras growing doubts and disillusionment about the work they are involved in - doubts and disillusionments shared by the secondary character of Has Obitt who finds himself going from working for Krennic to being instrumental in providing the Empire for excuses to take over worlds to joining the (pre)Rebellion rebellion against the Empire before being captured and employed by Tarkin to spy on Krennic - yes, Tarkin also plays a role in these proceedings, albeit not to the exten he does in Rogue One, via his rivalry with Krennic.
Solid if not spectacular entry in the 'new' Star Wars canon - be prepared to find out more than you could possibly want to know, though, about crystals!
Gareth von Kallenbach (980 KP) rated Mission: Impossible - Fallout (2018) in Movies
Jul 8, 2019
Ethan Hunt (Tom Cruise) is back and on a mission to stop a terrorist group, known as The Apostles, from acquiring three uranium cores that they will use to create nuclear devices. Hunt and his Impossible Mission Force (IMF) team (Simon Pegg and Ving Rhames) set up a black market deal to purchase the cores. But during the buy Luther (Rhames) is taken hostage. In a rescue attempt Hunt and Benji (Pegg) let the cores slip into the hands of The Apostles. Due to Hunt’s choice to save his team over protecting the cores has put the world in danger of nuclear attack. Luckily, the head of the IMF, Alan Hunley (Alec Baldwin, has received intelligence that an arms dealer known as the White Widow (Vanessa Kirby) is looking to broker a deal for the cores. The only problem is the price is not money but the breaking out of the former IMF nemesis and anarchist Solomon Lane (Sean Harris). Hunt, eager for redemption, agrees to once again track down the cores. But the CIA want to make sure that this time the job is done right, so Director Erica Sloan (Angela Bassett) demands her top cleaner August Walker (Henry Cavill) accompany. With the help of the CIA they will try and break Lane out of prison and save the world from a catastrophic nuclear attack.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
This film, the sixth installment of the Mission: Impossible film franchise, is a true action packed summer blockbuster. Written and directed by Christopher McQuarrie (Mission: Impossible – Rogue Nation, Jack Reacher) this film has the action and suspense that viewers have come to expect from these films. Cruise, who famously does all of his own stunts, puts in a stellar performance, as does the rest of the cast. Rebecca Ferguson, as assassin and Hunt love interest Ilsa Faust, has good on screen chemistry with Cruise. The overall vision of the film is big and everything is well shot. One example is seamlessly shot motorcycle/car chase through Paris streets, with narrow misses, extreme speeds and iconic scenery. Along with all of the action you get the sometimes corny dialog that you can expect. As long as you expect it, and maybe embrace it, you will definitely enjoy the film. At 2 hours and 27 minutes the runtime might seem long but the pace is really good so it does not feel that long.
This is the best action film of the summer I have seen so far. The attention to detail in the action scenes really shows through. The twists and turns of the story keep you as engaged as the jaw dropping stunts. Maybe not the film for everyone but a great action/spy movie. For me it is definitely a film that should be seen in theaters, maybe more than once.
The Class of '79: Three Students Who Risked Their Lives to Destroy Apartheid
Book
Where did this book begin? It's hard to say. This is one version: I was back in South Africa for the...
Into the Black: The Electrifying True Story of How the First Flight of the Space Shuttle Nearly Ended in Disaster
Book
On 12th April 1981 a revolutionary new spacecraft blasted off from Florida on her maiden flight....
From the Fatherland with Love
Ryu Murakami, Charles De Wolf, Ralph McCarthy and Ginny Takemori
Book
An ambitious, epic dystopian novel - part political thriller and part satire. From the Fatherland,...
Charlie Cobra Reviews (1840 KP) rated Captive State (2019) in Movies
Jul 6, 2020
Not Captivating Enough - 6/10
Captive State is a 2019 sci-fi/thriller movie directed by Rupert Wyatt and co-written by Rupert Wyatt and Erica Beeney. It was produced by Amblin Partners and Participant Media with producers Rupert Wyatt and David Crockett. The film stars John Goodman, Ashton Sanders, Jonathan Majors, and Vera Farmiga.
In 2019, Chicago is placed under Martial Law as extraterrestrials invade Earth. Attempting to flee the city, the Drummond family, breaks through a barricade to a tunnel exit. Before they can back up and reverse, the aliens attack, vaporizing both parents, with the children having survived in the backseat. Nine years later, 2028, the world has surrendered to the conquering alien forces, who have now become the governing authority. They are called "The Legislators" because all rules of governance and subsequent laws come from them. Walled off from the rest of the city and deep beneath the ground, they've had conscripted humans build them suitable habitats called "Closed Zones" where only high government officials are granted access. Gabriel Drummond (Ashton Sanders), the younger son of the Drummond family is confronted by Chicago Police Commander William Mulligan (John Goodman) who believes he is a part of the resistance. Gabriel's brother Rafe Drummond (Jonathan Majors) was part of the resistance but died on a mission and murals are painted of him in Pilsen, the poor part of town, where Gabriel lives. Mulligan however is not convinced the resistance group, called Phoenix has been neutralized as believed and continues to work towards bringing them down.
This movie was not at all what I expected. I thought it was going to be better than what it was and that's because I didn't even have high expectations going into it. So from the previews/trailers it looked like it was going to be a bigger scale resistance. When I hear resistance fighting, I guess I picture more like fighting like Fallen Skies or like the resistance fighters in Star Wars. This was more of a political/spy thriller going back and forth between the point of view from members of the resistance and those tasked with bringing them down. It had sprinkling of sci-fi and aliens but was too grounded in reality to make it entertaining. It seemed very "done before" and lacked originality. John Goodman did a good job and so did Ashton Sanders but I feel this movie suffered from a bad plot to begin with. Or maybe it sounds good on paper but the delivery failed. Visually it was appealing, the aliens and ships and things looked wonderful but after watching seemed like it wasn't enough to leave the audience satisfied. I give it a 6/10.
In 2019, Chicago is placed under Martial Law as extraterrestrials invade Earth. Attempting to flee the city, the Drummond family, breaks through a barricade to a tunnel exit. Before they can back up and reverse, the aliens attack, vaporizing both parents, with the children having survived in the backseat. Nine years later, 2028, the world has surrendered to the conquering alien forces, who have now become the governing authority. They are called "The Legislators" because all rules of governance and subsequent laws come from them. Walled off from the rest of the city and deep beneath the ground, they've had conscripted humans build them suitable habitats called "Closed Zones" where only high government officials are granted access. Gabriel Drummond (Ashton Sanders), the younger son of the Drummond family is confronted by Chicago Police Commander William Mulligan (John Goodman) who believes he is a part of the resistance. Gabriel's brother Rafe Drummond (Jonathan Majors) was part of the resistance but died on a mission and murals are painted of him in Pilsen, the poor part of town, where Gabriel lives. Mulligan however is not convinced the resistance group, called Phoenix has been neutralized as believed and continues to work towards bringing them down.
This movie was not at all what I expected. I thought it was going to be better than what it was and that's because I didn't even have high expectations going into it. So from the previews/trailers it looked like it was going to be a bigger scale resistance. When I hear resistance fighting, I guess I picture more like fighting like Fallen Skies or like the resistance fighters in Star Wars. This was more of a political/spy thriller going back and forth between the point of view from members of the resistance and those tasked with bringing them down. It had sprinkling of sci-fi and aliens but was too grounded in reality to make it entertaining. It seemed very "done before" and lacked originality. John Goodman did a good job and so did Ashton Sanders but I feel this movie suffered from a bad plot to begin with. Or maybe it sounds good on paper but the delivery failed. Visually it was appealing, the aliens and ships and things looked wonderful but after watching seemed like it wasn't enough to leave the audience satisfied. I give it a 6/10.
Jesters_folly (230 KP) rated Psycho (1960) in Movies
Jan 6, 2021
Contains spoilers, click to show
Ah Psycho, the granddaddy of slashers and a film that I find somehow modern and dated at the same time.
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
Psycho is a slow burn, at the beginning even the dialogue is sparse as the film builds up to the confrontations with Norman Bates (argued by most as the first modern slasher) and this is part of what makes it dated (and modern), the lack of action and the main character driving around gives Psycho the feel of something that Tarantino might make but it lacks 'something' . It's hard to explain but, by todays standards, parts of Psycho are a bit bland, not necessarily boring but bland. The best example I can think would be the scenes in the car, Psycho has just one character in the car who is imagining what others are saying about her and lots of silence which are filled with dramatic music, where as something like Pulp Fiction you get two characters who are just talking, the music seems to take you out of the situation because, in a modern film it would just be in the background.
As the film progresses we start to pick up on some of the slasher tropes, Norman is strange, again we can't quite explain why but that is sometimes the same in a modern film, we see him spy, once, on Marion and, in a more modern film this would probably be stretched out a bit more.
The kills aren't actually as graphic as most modern day slashers but this doesn't matter as Hitchcock has a talent for making the viewer see what he wants and not just what is happening.
The character of Norman is quite interesting but a lot of 'fleshing out' is just told to the viewer in exposition near the end, however you can see how Norman/Mother could easily be an inspiration for the Jason/Pamela dynamic in the first 'Friday 13th'
Psycho has a lot to answer for, sighted by many as the first modern 'Slasher' movie it caused an uproar for other reasons, the first time a toilet was seen flushing on screen, the first time a 'Leading Lady' was killed off halfway through the film (still a slight oddity now as we normally have one 'final girl') and the fact that the stolen money is just thrown away when it is no longer needed to push the plot along. It is these firsts that help to make the film feel dated, we are used to more graphic kills, toilets are almost irrelevant and there is normally more nudity/sex in a modern slasher.
Apart from being a little dated Psycho is a pretty good and entertain film which has put some thought into it's story and characters
Gareth von Kallenbach (980 KP) rated Wonder Woman (2017) in Movies
Jul 11, 2019
The extent of my knowledge of Wonder Woman comes from vague memories of the TV show with Lynda Carter in the 70s and the Super Friends cartoon in the early 80s. So I knew she was an Amazon princess from Paradise Island who flew an invisible plane. I may have been Wonder Woman for Halloween back when you stuck your arms through a plastic sheet with Wonder Woman’s torso painted on it, that tied at the neck like a cheap, hospital gown, with a mask with eyes cutout and a mouth you really couldn’t breathe through. So really, I knew OF her, but I never really actually knew much about Wonder Woman.
Fast forward some 40 years later and I’m in a theater learning Diana is the fiercely spirited daughter of Queen Hippolyta who sculpted her from clay and was brought to life by Zeus. Wait. What? Tell me more! She’s raised on the secluded island of Themyscira where, thanks to her aunt Antiope’s training, Diana develops extraordinary skill in combat.
Those skills come in handy when Steve Trevor somehow crashes through the protective barrier surrounding Themyscira, while trying to escape from the Germans. Suddenly made aware of an outside world, Diana decides to leave Themyscira with Trevor for war-torn Europe believing she must help stop the great war.
Gal Gadot portrays Wonder Woman as a strong-willed, worldly but still naïve force to reckon with. Chris Pine plays a wiley American spy who isn’t immune to Diana’s beauty but remains respectful of the innocence he can see behind her conviction. Together they team up with a motley crew of unlikely heroes to bring down a horrific German, whom Diana believes is Ares, the God of War, reborn.
I wasn’t sure what kept me more riveted, the storyline, the chemistry between Gadot and Pine,or Wonder Woman’s physical beauty and prowess. I can tell you that I never heard a screener audience cheer for Batman or Superman like they did for Wonder Woman, just at the sight of the determined superhero slowly walking towards battle, prompted in part by the pounding opening wails of Wonder Woman’s theme music.
Wonder Woman is an origin story well-told, something I really can’t say for the previous Justice League movies. Where Man of Steel, Batman v Superman and Suicide Squad have left me “meh” for future DC movies, Wonder Woman left me hopeful for Justice League and future DC Extended Universe movies. I hope the directors of DCEU movies take some lessons from Wonder Woman’s director, Patty Jenkins. Simply put, we want to root for a multi-dimensional superhero with a story we can easily follow and get behind. In other words, be like Wonder Woman.
Fast forward some 40 years later and I’m in a theater learning Diana is the fiercely spirited daughter of Queen Hippolyta who sculpted her from clay and was brought to life by Zeus. Wait. What? Tell me more! She’s raised on the secluded island of Themyscira where, thanks to her aunt Antiope’s training, Diana develops extraordinary skill in combat.
Those skills come in handy when Steve Trevor somehow crashes through the protective barrier surrounding Themyscira, while trying to escape from the Germans. Suddenly made aware of an outside world, Diana decides to leave Themyscira with Trevor for war-torn Europe believing she must help stop the great war.
Gal Gadot portrays Wonder Woman as a strong-willed, worldly but still naïve force to reckon with. Chris Pine plays a wiley American spy who isn’t immune to Diana’s beauty but remains respectful of the innocence he can see behind her conviction. Together they team up with a motley crew of unlikely heroes to bring down a horrific German, whom Diana believes is Ares, the God of War, reborn.
I wasn’t sure what kept me more riveted, the storyline, the chemistry between Gadot and Pine,or Wonder Woman’s physical beauty and prowess. I can tell you that I never heard a screener audience cheer for Batman or Superman like they did for Wonder Woman, just at the sight of the determined superhero slowly walking towards battle, prompted in part by the pounding opening wails of Wonder Woman’s theme music.
Wonder Woman is an origin story well-told, something I really can’t say for the previous Justice League movies. Where Man of Steel, Batman v Superman and Suicide Squad have left me “meh” for future DC movies, Wonder Woman left me hopeful for Justice League and future DC Extended Universe movies. I hope the directors of DCEU movies take some lessons from Wonder Woman’s director, Patty Jenkins. Simply put, we want to root for a multi-dimensional superhero with a story we can easily follow and get behind. In other words, be like Wonder Woman.
Sensitivemuse (246 KP) rated Amberlough in Books
May 23, 2018
Rich setting, memorable characters
This was the type of book that when I finished it, I had to lie back down and just stare at the ceiling. It was mind blowing. There are layers of intrigue and you don’t watch it unfold, in fact it’s the opposite, you watch it form and develop as the story progresses.
The setting in this one is one of a lot of political instability. It’s explained in the earlier parts of the book. It’s a bit difficult to follow (notes may help some readers) perhaps a character list would help in this case to keep everything straight. A glossary would have helped as well as the characters have their own slang - most of it straight forward but it would help nevertheless. That being said despite these little shortcomings, the world is rich and detailed. Amberlough is decadent and has remnants of Weimar Berlin. Now I did say previously it’s hard to follow because of the slang, but it’s precisely because of this slang that makes the world more detailed and fun to read.
The pace of the plot is slow and steady as it sets up the stage for what would follow after. It is essentially, a spy novel, so it quickly leads to a lot of double dealing, moments of backstabbing and betrayal. There are only three characters that you really need to focus on as the supporting ones just add to the flavor of the novel. Of the three that are central to the plot, one must love Aristide.
With a name like Aristide Makicosta you know he’s going to be a character to remember. He’s flamboyant, street smart and clever. Despite the world burning around him he always manages to do everything in style. It’s hard not to fall for his charms and so you would understand Cyril’s love for him. I still don’t know what to think about Cyril. He was doing the job and had to. It came at a great cost but he had no choice and he had to think for himself (although I know there seems to be a lot of hate for him).
I love Cordelia. She’s got sass, she’s just as street smart and a survivor. Her character development is on point in this book. Yes she may be just a ‘dancer’ but she soon develops into someone with a cause to defend the city she loves. Despite the horrors she goes through in the latter half of the novel, she doesn’t let it break her. It’s admirable and she’s likable not only because of her catchy personality but also because of her unstoppable strength.
That ENDING THOUGH. I felt my eyes grow wide each time I turned the pages throughout the last third of the novel. This was why I had to sit back and just absorb everything I’ve read when I finished this one. It was that good.
Greatly recommended if you like intrigue, a decadent setting, and memorable characters. I absolutely enjoyed this book.
The setting in this one is one of a lot of political instability. It’s explained in the earlier parts of the book. It’s a bit difficult to follow (notes may help some readers) perhaps a character list would help in this case to keep everything straight. A glossary would have helped as well as the characters have their own slang - most of it straight forward but it would help nevertheless. That being said despite these little shortcomings, the world is rich and detailed. Amberlough is decadent and has remnants of Weimar Berlin. Now I did say previously it’s hard to follow because of the slang, but it’s precisely because of this slang that makes the world more detailed and fun to read.
The pace of the plot is slow and steady as it sets up the stage for what would follow after. It is essentially, a spy novel, so it quickly leads to a lot of double dealing, moments of backstabbing and betrayal. There are only three characters that you really need to focus on as the supporting ones just add to the flavor of the novel. Of the three that are central to the plot, one must love Aristide.
With a name like Aristide Makicosta you know he’s going to be a character to remember. He’s flamboyant, street smart and clever. Despite the world burning around him he always manages to do everything in style. It’s hard not to fall for his charms and so you would understand Cyril’s love for him. I still don’t know what to think about Cyril. He was doing the job and had to. It came at a great cost but he had no choice and he had to think for himself (although I know there seems to be a lot of hate for him).
I love Cordelia. She’s got sass, she’s just as street smart and a survivor. Her character development is on point in this book. Yes she may be just a ‘dancer’ but she soon develops into someone with a cause to defend the city she loves. Despite the horrors she goes through in the latter half of the novel, she doesn’t let it break her. It’s admirable and she’s likable not only because of her catchy personality but also because of her unstoppable strength.
That ENDING THOUGH. I felt my eyes grow wide each time I turned the pages throughout the last third of the novel. This was why I had to sit back and just absorb everything I’ve read when I finished this one. It was that good.
Greatly recommended if you like intrigue, a decadent setting, and memorable characters. I absolutely enjoyed this book.