Search
Search results
JT (287 KP) rated Fast & Furious 6 (2013) in Movies
Mar 10, 2020
I've been a fan of this franchise since the very first film, and while Tokyo Drift might have been a little blip, or bump in the road, there is no denying that the films have delivered box office success. Fast and Furious 6 is the second film to be left on a cliffhanger (we’ll get to that later) and delves deep into the story of the mystery surrounding Letty’s (Michelle Rodriguez) death a few films ago. I don’t regard that as a plot spoiler as it’s in the trailer. Having demolished most of Rio and now living peacefully in a country with no extradition Dom and new dad Brian think that they have put all their troubles behind them.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If you’re a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a ménage à trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldn’t care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibson’s Roman providing much of the light heartedness that the film needed. Let’s face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and you’ll need to check your brain in at the door. To quote a cliché it ‘does what it says on the tin’, and doesn’t take itself too seriously.
After the opening credits montage, agent Hobbs (Johnson) comes knocking. His offer requires all the team converge once again, this time they have to track down and capture a ruthless mercenary called Owen Shaw (Luke Evans). Hobbs and Toretto have to stand side by side working together to take down the villain. Letty of course has returned and is working for the bad guys but has no memory of her past life. If you’re a true fan then the plot will reveal more back story and as it turns out part six is practically a sequel to part four with past villains announcing a few home truths.
The film and action is set in the heart of London which, includes a car chase that defies belief, a ménage à trois of fist fights on the underground, shoot outs and a drag race that drifts through Piccadilly Circus. The action is pulsating and over the top but you shouldn’t care in the least about that. What were you expecting the film to do? Each vehicular sequence is more mind bending than the next.
Take the opening chase for example. A modified F1 style car pursued by Toretto and his crew as well as local police weaves its way through the streets with the ability to flip oncoming cars. Justin Lin who directed the last four films is well in control and more than happy to up the action.
Fast and Furious 6 is guilty of plot holes, but these will only be deconstructed by people who have nothing better to do. That said, even I was left wondering what distance the longest runway in the world was? There is a good level of humour with Tyrese Gibson’s Roman providing much of the light heartedness that the film needed. Let’s face it The Avengers had the same level of action and humour mixed and that seemed to work.
One of the dangers for this was having a cast that was pretty extensive, regrouping the team meant that there was jostling for position. But on the whole everyone has their time to shine and no one is really cast to the shadows. Evans does a good job as the main antagonist and Gina Carano also proves her worth after the abject Haywire a few years back.
Fast and Furious 7 takes place back in LA after the events of this film and has a teasing post credit sequence that will bait those fans to come back once again. James Wan steps into the directors chair for the seventh film switching from the comfort of the horror genre. I found Fast and Furious 6 to be a highly entertaining film, and you’ll need to check your brain in at the door. To quote a cliché it ‘does what it says on the tin’, and doesn’t take itself too seriously.
Gareth von Kallenbach (980 KP) rated Gods Of Egypt (2016) in Movies
Aug 6, 2019
Gods of Egypt is a visually stunning fantasy film that teeters on the edge of being campy.
The trailers for this film set high expectations, promising a story of the mythical, god-like beings that come from Egyptian lore. But they also raised questions: would the story keep in tune with common mythos, or branch out into a whole new realm?
With Game of Thrones star Nikolaj Coster-Waldau taking the lead, along with 300’s Gerard Butler, the film starts off in a beautiful, ancient Egypt, ruled over by Osiris and his Queen. Horus, Osiris’s son (Coster- Waldau), is ready to assume the crown, but Set (Butler), brother to Osiris, has other plans. He feels scorned for having to live in the desert, and decides it is his time to rule all of Egypt. He murders Osiris, but leaves Horus alive, taking his eyes instead of his life.
Enter a thief, who wants to rescue his beloved from the clutches of Set’s architect (Rufus Sewell). The love of his life somehow talks him into rallying a dejected Horus to fight Set.
All the gods of Egypt are represented in some form or fashion, even if in minor capacity.
The gods have the ability to morph into larger, more powerful beings. They are nigh invincible, but still age, and die. They pray to Ra, god of the sun and grandfather to Horus.
This two-hour movie is filled to the brim with star-power, and superb acting. The special effects are a sight to behold, and they instill a sense of wonderment. The adventure is grand indeed, and will certainly leave you entertained.
That said, the script is sub-par. There are moments where emotional lines could be delivered, but aren’t. This is not from lack of trying on the part of the actors; the writers simply failed to find the proper words. In these moments, there was laughter from the audience at my viewing — during scenes clearly not meant for humor. This is the precarious knife-edge the movie walks between greatness and campy.
I’ve read several articles about how moviegoers are upset at the very Caucasian-looking cast. I shared this sentiment, to a certain degree. It seemed odd that a movie about a specific time and place in history made little effort to be ethnically accurate.
In the end, I let it go. The movie’s lore turned out to be so far from a real-world tie in that it no longer mattered. It was clear this was some sort of alternate universe; one of the major plot holes is a lack of connection to planet Earth.
If you can divorce yourself from some of these elements, you can really enjoy the film for what it is.
My screener companion said he didn’t care for the graphics, because they were obviously fake. I experienced this movie using animated films as my frame of reference, and that made it easier to watch. It is also clearly a High Fantasy film.
In summary: great acting is the glue that holds this film together. Without that talent, it wouldn’t stand up. It is, however, worth seeing if you love fantasy films. You will be entertained, for sure.
3.5 out 5 stars
The trailers for this film set high expectations, promising a story of the mythical, god-like beings that come from Egyptian lore. But they also raised questions: would the story keep in tune with common mythos, or branch out into a whole new realm?
With Game of Thrones star Nikolaj Coster-Waldau taking the lead, along with 300’s Gerard Butler, the film starts off in a beautiful, ancient Egypt, ruled over by Osiris and his Queen. Horus, Osiris’s son (Coster- Waldau), is ready to assume the crown, but Set (Butler), brother to Osiris, has other plans. He feels scorned for having to live in the desert, and decides it is his time to rule all of Egypt. He murders Osiris, but leaves Horus alive, taking his eyes instead of his life.
Enter a thief, who wants to rescue his beloved from the clutches of Set’s architect (Rufus Sewell). The love of his life somehow talks him into rallying a dejected Horus to fight Set.
All the gods of Egypt are represented in some form or fashion, even if in minor capacity.
The gods have the ability to morph into larger, more powerful beings. They are nigh invincible, but still age, and die. They pray to Ra, god of the sun and grandfather to Horus.
This two-hour movie is filled to the brim with star-power, and superb acting. The special effects are a sight to behold, and they instill a sense of wonderment. The adventure is grand indeed, and will certainly leave you entertained.
That said, the script is sub-par. There are moments where emotional lines could be delivered, but aren’t. This is not from lack of trying on the part of the actors; the writers simply failed to find the proper words. In these moments, there was laughter from the audience at my viewing — during scenes clearly not meant for humor. This is the precarious knife-edge the movie walks between greatness and campy.
I’ve read several articles about how moviegoers are upset at the very Caucasian-looking cast. I shared this sentiment, to a certain degree. It seemed odd that a movie about a specific time and place in history made little effort to be ethnically accurate.
In the end, I let it go. The movie’s lore turned out to be so far from a real-world tie in that it no longer mattered. It was clear this was some sort of alternate universe; one of the major plot holes is a lack of connection to planet Earth.
If you can divorce yourself from some of these elements, you can really enjoy the film for what it is.
My screener companion said he didn’t care for the graphics, because they were obviously fake. I experienced this movie using animated films as my frame of reference, and that made it easier to watch. It is also clearly a High Fantasy film.
In summary: great acting is the glue that holds this film together. Without that talent, it wouldn’t stand up. It is, however, worth seeing if you love fantasy films. You will be entertained, for sure.
3.5 out 5 stars
Gareth von Kallenbach (980 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
Gareth von Kallenbach (980 KP) rated A Walk Among the Tombstones (2014) in Movies
Aug 6, 2019
A Walk Among the Tombstones stars Liam Neeson as former cop, and former alcoholic, Matthew Scudder in this adaptation of the tenth novel in Lawrence Block’s long-running series. Set in 1999, amid the Y2K scare, Scudder operates just outside of the law as an unlicensed private investigator. Approached by a fellow AA member, he is tasked with finding the men responsible for kidnapping and murdering the wife of a local drug trafficker. Along the way, he receives help from homeless teen T.J. (played, with admirable restraint in a role easy to overdo, by newcomer Brian ‘Astro’ Bradley) and discovers that the two men he is investigating have killed before, and will do so again.
This is exactly the type of movie that I find myself drawn to, a brooding, hard-edged film-noir, but what stops me from enjoying it more and rating it higher is that right from the opening frames, Tombstones, unlike last year’s Prisoners, which defied all my expectations, doesn’t strive to do anything more than to satisfy the requirements of its genre and lean heavily on the performance of its lead.
That being said, it is another fantastic performance from Neeson and, still sporting that questionable American accent, he brings real weight to the character of Scudder. Don’t expect to see a tour-de-force the likes of Denzel Washington battling alcoholism in Flight, but it is refreshing to see these types of characters humanized and played straight in roles that have previously been over-the-top and laughably romanticized.
Another highlight is the relationship between Scudder and T.J, something that from the outset seems a cliché and had the potential to detract from the plot, it is however surprisingly well-constructed. One scene in particular between them is a stand-out as we see Scudder’s reaction to finding out that T.J. has been carrying a presumably stolen firearm. I will refrain from ruining the punchline, but it is a rare piece of frank dialogue and is deservedly shocking in its delivery.
Where A Walk Among the Tombstones unfortunately falls short is in its lack of subtlety, through a heavy-handed score and, more importantly, a bloated running time. More times than I would have liked, I found myself asking, “Is this scene necessary, or relevant?” Less would have been so much more, especially in the case of the two antagonists, who are set up as being formidable psychopaths for our anti-hero, they are instantly deflated through a single moment that depicts the normality of what we assume is their morning routine. Though it’s not unheard of that the most violent of criminals lead ordinary lives, the tongue-in-cheek nature of the scene does nothing to intensify the fear and dread we are supposed to feel toward these men.
Fans of Liam Neeson should be pleased, but what we’re given here is a solid first act and dialogue that ranges from good to great, but ultimately a predictable, over-long, paint-by-numbers effort. Sure, it hits all the right notes atmospherically, but I can’t expect that it will be more or less memorable than any of the other recent thriller entries in Neeson’s oeuvre (anyone remember 2011’s Unknown?). Between this and knowing that a third Taken is on the way, I now find myself longing for another great dramatic turn from him along the lines of Five Minutes of Heaven, or Kinsey.
This is exactly the type of movie that I find myself drawn to, a brooding, hard-edged film-noir, but what stops me from enjoying it more and rating it higher is that right from the opening frames, Tombstones, unlike last year’s Prisoners, which defied all my expectations, doesn’t strive to do anything more than to satisfy the requirements of its genre and lean heavily on the performance of its lead.
That being said, it is another fantastic performance from Neeson and, still sporting that questionable American accent, he brings real weight to the character of Scudder. Don’t expect to see a tour-de-force the likes of Denzel Washington battling alcoholism in Flight, but it is refreshing to see these types of characters humanized and played straight in roles that have previously been over-the-top and laughably romanticized.
Another highlight is the relationship between Scudder and T.J, something that from the outset seems a cliché and had the potential to detract from the plot, it is however surprisingly well-constructed. One scene in particular between them is a stand-out as we see Scudder’s reaction to finding out that T.J. has been carrying a presumably stolen firearm. I will refrain from ruining the punchline, but it is a rare piece of frank dialogue and is deservedly shocking in its delivery.
Where A Walk Among the Tombstones unfortunately falls short is in its lack of subtlety, through a heavy-handed score and, more importantly, a bloated running time. More times than I would have liked, I found myself asking, “Is this scene necessary, or relevant?” Less would have been so much more, especially in the case of the two antagonists, who are set up as being formidable psychopaths for our anti-hero, they are instantly deflated through a single moment that depicts the normality of what we assume is their morning routine. Though it’s not unheard of that the most violent of criminals lead ordinary lives, the tongue-in-cheek nature of the scene does nothing to intensify the fear and dread we are supposed to feel toward these men.
Fans of Liam Neeson should be pleased, but what we’re given here is a solid first act and dialogue that ranges from good to great, but ultimately a predictable, over-long, paint-by-numbers effort. Sure, it hits all the right notes atmospherically, but I can’t expect that it will be more or less memorable than any of the other recent thriller entries in Neeson’s oeuvre (anyone remember 2011’s Unknown?). Between this and knowing that a third Taken is on the way, I now find myself longing for another great dramatic turn from him along the lines of Five Minutes of Heaven, or Kinsey.
IELTS Test Questions - English Language Prep
Education and Reference
App
*** British Council Promo - IELTS TestBank is 100% FREE to download & test drive for 7 days. ...
TonalEnergy Chromatic Tuner and Metronome
Music and Utilities
App
For musicians from pros to beginners, whether you sing, play a brass, woodwind or stringed...
Genesis
Sebastiao Salgado and Lella Salgado
Book
Human (and) nature. Epic journeys to the ends of the earth: Salgado's opus on our planet in its...
Bob Mann (459 KP) rated Minari (2020) in Movies
Apr 23, 2021
Ensemble cast acting (2 more)
Music and Cinematography
Engrossing story
A Korean Hillbilly Elegy, done right
In "Minari", a struggling Korean immigrant family - the Yi's led by Jacob (Steven Yeun) and Monica (Yeri Han) - leave California for Arkansas farmland to seek a better life. While employed sexing chicks at a factory, Jacob dreams of farming the land on which they live to improve their lives. But will his obsession for this dream stand between him and his family?
The tale is told through the eyes of young David (Alan S. Kim), who is struggling with a hole in the heart and doubts about his mortality. The arrival of Monica's mother (Yuh-Jung Youn) is resented by David, but the woman is wise (as well as foul mouthed) and perhaps the pair will eventually learn to respect one another?
Positives:
- Gloriously bucolic cinematography (by Lachlan Milne) frames an engrossing story of an immigrant family striving for the American dream. The fact that it is semi-biographical for the writer/director Lee Isaac Chung (also Oscar nominated for both) makes it all the more fascinating.
- All of the leading cast work fabulously as an ensemble. Steven Yeun and Yuh-Jung Youn have all the Oscar nomination glory (with Youn as the Grandmother odds-on to win the Supporting Actress award on Sunday). But Yeri Han is also great and the film wouldn't work unless the two child actors (Alan Kim and Noel Cho) delivered, which they do in spades.
- The music, by Emile Mosseri, is strikingly good and - deservedly - also Oscar nominated.
Negatives:
- The ending. Now, I'm all for leaving things in a thoughtful way, allowing the viewer to ponder on things. But this ending was a little too obscure for me. You need to understand (with thanks to this article) that the vegetable Minari purifies (water), grows in unfavourable soils and only really thrives in its second season. Now, forgive me for not being 'up' on my Korean plant botany, but this was too much of a leap for me. For the uninitiated (I assume 95% of the audience) the ending will feel abrupt and unsatisfying.
Summary Thoughts on "Minari":
Having watched "Hillbilly Elegy" and "Minari" on consecutive nights, I was struck by the unexpected parallels between the films (over and above the Yi's calling themselves "Hillbillies"). Both feature a dysfunctional family (though less so here). And both also feature a lead character, from an impoverished background, trying to better themselves and follow the 'American dream'. And front and centre is the growing relationship between a young boy and their grandmother.
But there the similarities end. For I just loved the simplicity of the story-telling in "Minari". No fancy flashbacks and disjointed timeline here. And a sense that you were really in on the journey of both Jacob and his farm and of the relationship between David and his Grandma.
This was heading at one point for a 10 star rating for me. But - for me anyway - the obscurity of the ending left me with a "WTF" feeling. So I've tempered my rating. Still a great film though, and recommended.
(For the full graphical review, please check out the post on One Mann's Movies on the web or Facebook. Thanks).
The tale is told through the eyes of young David (Alan S. Kim), who is struggling with a hole in the heart and doubts about his mortality. The arrival of Monica's mother (Yuh-Jung Youn) is resented by David, but the woman is wise (as well as foul mouthed) and perhaps the pair will eventually learn to respect one another?
Positives:
- Gloriously bucolic cinematography (by Lachlan Milne) frames an engrossing story of an immigrant family striving for the American dream. The fact that it is semi-biographical for the writer/director Lee Isaac Chung (also Oscar nominated for both) makes it all the more fascinating.
- All of the leading cast work fabulously as an ensemble. Steven Yeun and Yuh-Jung Youn have all the Oscar nomination glory (with Youn as the Grandmother odds-on to win the Supporting Actress award on Sunday). But Yeri Han is also great and the film wouldn't work unless the two child actors (Alan Kim and Noel Cho) delivered, which they do in spades.
- The music, by Emile Mosseri, is strikingly good and - deservedly - also Oscar nominated.
Negatives:
- The ending. Now, I'm all for leaving things in a thoughtful way, allowing the viewer to ponder on things. But this ending was a little too obscure for me. You need to understand (with thanks to this article) that the vegetable Minari purifies (water), grows in unfavourable soils and only really thrives in its second season. Now, forgive me for not being 'up' on my Korean plant botany, but this was too much of a leap for me. For the uninitiated (I assume 95% of the audience) the ending will feel abrupt and unsatisfying.
Summary Thoughts on "Minari":
Having watched "Hillbilly Elegy" and "Minari" on consecutive nights, I was struck by the unexpected parallels between the films (over and above the Yi's calling themselves "Hillbillies"). Both feature a dysfunctional family (though less so here). And both also feature a lead character, from an impoverished background, trying to better themselves and follow the 'American dream'. And front and centre is the growing relationship between a young boy and their grandmother.
But there the similarities end. For I just loved the simplicity of the story-telling in "Minari". No fancy flashbacks and disjointed timeline here. And a sense that you were really in on the journey of both Jacob and his farm and of the relationship between David and his Grandma.
This was heading at one point for a 10 star rating for me. But - for me anyway - the obscurity of the ending left me with a "WTF" feeling. So I've tempered my rating. Still a great film though, and recommended.
(For the full graphical review, please check out the post on One Mann's Movies on the web or Facebook. Thanks).
Debbiereadsbook (1669 KP) rated Billionaire's Muse (The Billionaire’s Playground #3) in Books
Jul 28, 2021
HIGH on the warm and fuzzy/too stinking cute scale!
Independent reviewer for Archaeolibarian, I was gifted my copy of this book.
I stand by what I said in my review for book 2. This is book 3 in the Billionaire's Playground but its not necessary to have read book one, Property of a Billionaire, nor book 2, Reluctant Billionaire before this one. However, those books are where we meet Nanna and you might want to get the full force of her nature :-)
Marcus is a photographer, dis-illusioned with his current career path. Taking pictures in war zones is eating away at his soul. Doing a favour for his best friend seems like just the distraction he needs. Until he meets Finlo. Now that man is a distraction to end ALL distraction and Marcus is smitten. Finlo is also smitten with the older man, but Marcus wouldn't want him, surely? Fin who has no mouth to brain filter? Who says whatever pops into his head? Fin, who is a skinny runt?? Surely not?
OH! This book? I loved this book! So much more than the other two books and I really enjoyed them! This book is so much more than them, and I will *attempt* to explain!
Mostly, I think it's Fin who makes this book. He's a character all right and I loved him. He has no filter, he says and sees things in black and white and he knows he not everyone cuppa tea, indeed, he thinks he is NO-ONE's cuppa tea, but Marcus is drawn to Fin in ways he never knew he could be drawn in. It's not just the beauty he sees when he looks at Fin through the camera lens, cos He can see that the man is stunning, even if Fin doesn't think so. No, it's what Marcus does when Fin starts rambling, and panicking about anything and everything: nothing. He lets Fin ramble, he lets Fin work his way through whatever is bothering him and he never once tries to shut him up, well. . .he DOES, but only in a way that Fin wants :-)
Nanna's meddling is there, as in the other books, but I found it to be a little on the low side, Marcus and Fin don't need much meddling, but a few little pushes, rather than a full scale assault is all they need, Fin, actually needs those pushes. And a shopping trip or two!
It's low on the angst, but high on the steam. But not explicit, just steamy enough.
Again, Marcus doesn't flaunt his wealth. He works HARD for his money, and he wants to share that wealth. And he does, in ways that surprises Fin. Marcus WILL spoil Fin, if he'll just let him. His mum was a surprise, especially after she meets Fin's eco-warrior, teepee-living mum. Those two were meant to be friends!
And when Marcus does what he does at the end?? Very fitting for these two, the way he does that, it really was!
I found this to be a beautiful read, that is high on the warm and fuzzies, and too stinking cute scale, and I loved it so much MORE than the other two!
So it can only get....
5 full and shiny stars!
**same worded review will appear elsewhere**
I stand by what I said in my review for book 2. This is book 3 in the Billionaire's Playground but its not necessary to have read book one, Property of a Billionaire, nor book 2, Reluctant Billionaire before this one. However, those books are where we meet Nanna and you might want to get the full force of her nature :-)
Marcus is a photographer, dis-illusioned with his current career path. Taking pictures in war zones is eating away at his soul. Doing a favour for his best friend seems like just the distraction he needs. Until he meets Finlo. Now that man is a distraction to end ALL distraction and Marcus is smitten. Finlo is also smitten with the older man, but Marcus wouldn't want him, surely? Fin who has no mouth to brain filter? Who says whatever pops into his head? Fin, who is a skinny runt?? Surely not?
OH! This book? I loved this book! So much more than the other two books and I really enjoyed them! This book is so much more than them, and I will *attempt* to explain!
Mostly, I think it's Fin who makes this book. He's a character all right and I loved him. He has no filter, he says and sees things in black and white and he knows he not everyone cuppa tea, indeed, he thinks he is NO-ONE's cuppa tea, but Marcus is drawn to Fin in ways he never knew he could be drawn in. It's not just the beauty he sees when he looks at Fin through the camera lens, cos He can see that the man is stunning, even if Fin doesn't think so. No, it's what Marcus does when Fin starts rambling, and panicking about anything and everything: nothing. He lets Fin ramble, he lets Fin work his way through whatever is bothering him and he never once tries to shut him up, well. . .he DOES, but only in a way that Fin wants :-)
Nanna's meddling is there, as in the other books, but I found it to be a little on the low side, Marcus and Fin don't need much meddling, but a few little pushes, rather than a full scale assault is all they need, Fin, actually needs those pushes. And a shopping trip or two!
It's low on the angst, but high on the steam. But not explicit, just steamy enough.
Again, Marcus doesn't flaunt his wealth. He works HARD for his money, and he wants to share that wealth. And he does, in ways that surprises Fin. Marcus WILL spoil Fin, if he'll just let him. His mum was a surprise, especially after she meets Fin's eco-warrior, teepee-living mum. Those two were meant to be friends!
And when Marcus does what he does at the end?? Very fitting for these two, the way he does that, it really was!
I found this to be a beautiful read, that is high on the warm and fuzzies, and too stinking cute scale, and I loved it so much MORE than the other two!
So it can only get....
5 full and shiny stars!
**same worded review will appear elsewhere**
