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Darren (1599 KP) rated Aliens (1986) in Movies
Jun 20, 2019
Story: Aliens starts when Ripley (Weaver) is finally rescued from her hyper sleep, only to find out that she has been sleeping for centuries, questioned for her action on the spacecraft she learns that the same planet LV-426 has been colonised with no problems from any alien species. We get to see how the colony is building on the planet which includes us watching Newt (Henn) and her family being the ones to find the alien ship.
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
The company representative Burke (Reiser) looks to recruit Ripley into helping them once the company loses connect with the colony, this time armed with marines led by Lieutenant Gorman (Hope). The elite unit including Corporal Hicks (Biehn), Private Hudson (Paxton), Private Vasquez (Goldstein) and Private Drake (Rolston) to mention a few is armed to the teeth ready for any combat needed, but it is the android Bishop (Henriksen) that cause Ripley the worries especially after what happened last time she was on a mission with one.
Once at the colony the soldiers find the place abandoned at first until they find Newt only to learn the truth about what happened at the base. The unit find themselves under attack from multiply xenomorphs and only Ripley knows how to fight them off.
Aliens is the sequel to one of the greatest horror movies that actually takes the film in a different direction by adding action element. This doesn’t take away anything because if the sequel had just been on one ship with limited weapons it simply would have been a remake feeling, this story feels fresh because we already know the basics of what our heroes are up against we just needed to learn how they will deal with them this time. When it comes to the story it once again is simple soldiers versus aliens in a battle to survive which all works perfectly for this classic 30 years later.
Actor Review
Sigourney Weaver: Ripley is the lone survivor from the events of the first film, she has been in hyper sleep for years. She is charged for her actions as no evidence of any alien life form is discovered in the wreck, dealing with all the side effects we get to see how she is getting on with her life again. All this changes when the company that blamed her turned to her for help on the same planet that we first met a xenomorph. When things go wrong she takes charge of the situation while trying to protect a little girl. Sigourney was nominated for an Oscar for this performance and it would hard not to praise her brilliant performance.ripley
Carrie Henn: Newt is the little girl that was living on the colony before the attack, she is also the lone survivor once the soldiers turn up to deal with the situation. She has survived by hiding and offers the soldiers much needed advice on where to survive. Carrie is great in this role for such a young actress at the time.
Michael Biehn: Corporal Hicks has to take charge of the soldiers once his seniors become incapacitated. He will listen to Ripley and make the right decisions when it comes to fighting the xenomorphs. Michael is great in this role where he actually plays the sensible soldier.
Lance Henriksen: Bishop is the android on the mission, he is instantly disliked by Ripley but this time we only see good from the android who is willing to risk his own life to save the humans. Lance is great as this android keeping the emotionless expression throughout.
Support Cast: Aliens has a supporting cast that is mostly the soldiers who are generic in their own way along with the company man that also works for this film very well.
Director Review: James Cameron – James is a director that always makes classics and this could well be his best.
Action: Aliens is filled with combat driven action which comes off very nicely in the confined spaces.
Horror: Aliens is still filled with horror of isolation on the planet being hunted down by an alien enemy.
Sci-Fi: Aliens puts our characters in space and a new planet ticking off all of the sci-fi elements to make this an action sci-fi film.
Settings: Aliens creates a larger isolation idea with the characters being trapped on a base rather than a ship with no escape from the enemy.
Special Effects: Aliens has stunning effects that still stand the test of time.xena
Suggestion: Aliens is one I do feel everyone should have watched at least once in a lifetime. (Watch)
Best Part: First meeting the aliens.
Worst Part: Depends which cut you watch, the shorter cut takes away a lot of back story.
Action Scene Of The Film: Final fight.
Favourite Quote: Ripley ‘Get away from her you bitch’
Believability: No
Chances of Tears: No
Chances of Sequel: Yes
Post Credits Scene: No
Oscar Chances: Won Two Oscars for Best Sound Effects and Visual Effects.
Box Office: $85 Million
Budget: $ 18.5 Million
Runtime: 2 Hours 34 Minutes
Tagline: There are some places in the universe you don’t go alone.
Trivia: The knife trick scene was not in the original shooting script. According to Lance Henriksen, the adding of Hudson’s hand to the knife trick was discussed with almost everyone, except Bill Paxton.
Overall: Stunning sci-fi action horror that really comes off as the true classic
https://moviesreview101.com/2016/05/25/aliens-1986/
Gareth von Kallenbach (980 KP) rated The X Files: I Want to Believe (2008) in Movies
Aug 14, 2019
It has been over six years since the popular and groundbreaking series, “The X-Files” went off the air leaving some of the series biggest questions unresolved. There was always talk that future films would resolve the alien conspiracy and invasion plotline that fueled the nine seasons of the show, but as time went on, many fans began to wonder if that storyline like so many of the cases Mulder and Scully investigated would remain unanswered.
A dispute between Fox and series creator Chris Carter was often listed as one of the main reasons that the second film had not arrived and thankfully with the resolution of the dispute and the pending writers strike, the new film was approved by the studio and placed into production.
The film picks up years after the series and finds both Mulder (David Duchovny), and Scully (Gillian Anderson), living with one another in a remote home in a rural area. The fact that Mulder is still a wanted man has forced him to lead a life of seclusion, but he still collects newspaper clippings related to bizarre happenings to feed his fascination with the supernatural.
Scully leads a more conventional life, as she has left the F.B.I. to return to her career as a Doctor in a local Catholic hospital.
Scully has been struggling to treat a young boy with a series condition that many of her superiors believe is a lost cause. As if this was not enough concern, Scully is approached by an F.B.I. agent named Agent Drummy (Xzibit), who informs Scully that the F.B.I. is in need of Mulder’s services in finding a missing agent.
Suspecting a trap to lure out Mulder, Scully refutes any knowledge of Mulder, but relays the information to a skeptical and bitter Mulder. The F.B.I. is willing to drop all charges against Mulder and despite his bitterness over his frame up, he agrees simply to help find the agent and clear his name.
Mulder and Scully are introduced to Agent Whitney (Amanda Peet), who is heading the investigation to recover the missing agent. Whitney has ruffled a few feathers at the bureau to bring Mulder back into the mix, but due to some odd facts of the case, and their own lack of leads, they believe Mulder may be the key to unraveling the mystery.
Mulder and Scully soon find themselves in a snow covered, remote area of Virginia where they must content not only with the elements but an ever changing case.
It is learned that a disgraced priest named Father Joe (Billy Connolly), is having psychic visions of the missing agent, and Mulder is tasked with not only helping find the missing agent, but determining the truth behind the visions of Father Joe.
As the case takes one bizarre twist after another, Scully becomes concerned over Mulder’s obsession with the case, as she worries that they are going to lose the new life they have had with one another, and once again be dragged into the old lifestyle they shared, that not only consumed them both, but cost both of them great hardships and suffering.
Scully believes that Father Joe is a sick individual who is faking the visions as his way to atone for his past sins, and believes that her time would be better spent caring for her patient and with Mulder.
Unwilling to let it go, Mulder is determined to find the truth, and will risk everything to uncover the mystery before him.
Writer/Director Chris Carter is to be praised as “The X-Files: I want to Believe” is a daring effort. Carter chose to ignore the standard movie trappings of being bigger and better and toned down the FX and action of the film to instead focus on a more intimate and character driven story.
Carter gambled that the chemistry between Duchovny and Anderson would not only attract fans, but would sustain the film without having to rely on an abundance of gimmicks. To this extent the film succeeds very well as the report between the two leads is amazing and it is a treat to see them both reprising their roles and underscoring that there is still a lot of life left in the characters.
Some may complain that the movie is little more than an extended episode and does not have the action, FX, nor eeriness to have this compare with some of the more memorable moments of the series, but to do so I believe would undermine this very worthy effort.
The film is not only a very clever character driven drama, it has plenty of subtle nods and gems for fans of the series, but holds up extremely well as a stand alone story for those not well versed in the series and it’s many complexities.
The final segment of the film truly shines as not only does it have an ending worthy of some of the best moments of the show, but it challenges the audience with questions of fate, faith, and the nature of life and the roles we are chosen to play.
From the solid acting, eerie locales and lighting and interesting themes of the film, this is a solid and enjoyable film. I only hope we do not have to wait so long for the next one.
A dispute between Fox and series creator Chris Carter was often listed as one of the main reasons that the second film had not arrived and thankfully with the resolution of the dispute and the pending writers strike, the new film was approved by the studio and placed into production.
The film picks up years after the series and finds both Mulder (David Duchovny), and Scully (Gillian Anderson), living with one another in a remote home in a rural area. The fact that Mulder is still a wanted man has forced him to lead a life of seclusion, but he still collects newspaper clippings related to bizarre happenings to feed his fascination with the supernatural.
Scully leads a more conventional life, as she has left the F.B.I. to return to her career as a Doctor in a local Catholic hospital.
Scully has been struggling to treat a young boy with a series condition that many of her superiors believe is a lost cause. As if this was not enough concern, Scully is approached by an F.B.I. agent named Agent Drummy (Xzibit), who informs Scully that the F.B.I. is in need of Mulder’s services in finding a missing agent.
Suspecting a trap to lure out Mulder, Scully refutes any knowledge of Mulder, but relays the information to a skeptical and bitter Mulder. The F.B.I. is willing to drop all charges against Mulder and despite his bitterness over his frame up, he agrees simply to help find the agent and clear his name.
Mulder and Scully are introduced to Agent Whitney (Amanda Peet), who is heading the investigation to recover the missing agent. Whitney has ruffled a few feathers at the bureau to bring Mulder back into the mix, but due to some odd facts of the case, and their own lack of leads, they believe Mulder may be the key to unraveling the mystery.
Mulder and Scully soon find themselves in a snow covered, remote area of Virginia where they must content not only with the elements but an ever changing case.
It is learned that a disgraced priest named Father Joe (Billy Connolly), is having psychic visions of the missing agent, and Mulder is tasked with not only helping find the missing agent, but determining the truth behind the visions of Father Joe.
As the case takes one bizarre twist after another, Scully becomes concerned over Mulder’s obsession with the case, as she worries that they are going to lose the new life they have had with one another, and once again be dragged into the old lifestyle they shared, that not only consumed them both, but cost both of them great hardships and suffering.
Scully believes that Father Joe is a sick individual who is faking the visions as his way to atone for his past sins, and believes that her time would be better spent caring for her patient and with Mulder.
Unwilling to let it go, Mulder is determined to find the truth, and will risk everything to uncover the mystery before him.
Writer/Director Chris Carter is to be praised as “The X-Files: I want to Believe” is a daring effort. Carter chose to ignore the standard movie trappings of being bigger and better and toned down the FX and action of the film to instead focus on a more intimate and character driven story.
Carter gambled that the chemistry between Duchovny and Anderson would not only attract fans, but would sustain the film without having to rely on an abundance of gimmicks. To this extent the film succeeds very well as the report between the two leads is amazing and it is a treat to see them both reprising their roles and underscoring that there is still a lot of life left in the characters.
Some may complain that the movie is little more than an extended episode and does not have the action, FX, nor eeriness to have this compare with some of the more memorable moments of the series, but to do so I believe would undermine this very worthy effort.
The film is not only a very clever character driven drama, it has plenty of subtle nods and gems for fans of the series, but holds up extremely well as a stand alone story for those not well versed in the series and it’s many complexities.
The final segment of the film truly shines as not only does it have an ending worthy of some of the best moments of the show, but it challenges the audience with questions of fate, faith, and the nature of life and the roles we are chosen to play.
From the solid acting, eerie locales and lighting and interesting themes of the film, this is a solid and enjoyable film. I only hope we do not have to wait so long for the next one.
Emma @ The Movies (1786 KP) rated Men in Black International (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
When Men In Black 3 came out 7 years ago I wasn't convinced they'd be able to follow the first two films, but it's probably become my favourite of the franchise for that ending alone. Seeing the trailers for International I was a little dubious but knowing how I felt the last time I was slightly optimistic about it.
*Eyes closed. Pinch bridge of nose. Slow, pained exhale.*
I hate it when the internet is right, it sets a very bad precedent. This film was not good, and it was fairly evident early on. Considering that at the beginning of the film we're seeing a kid discovering aliens for the first time I can't fathom how there is so little wonder and excitement in it. I found myself thinking it was cute, but cute isn't enough to kickstart a film.
I hoped for a while that it was just a slow burner, but after a third of the film had passed it was difficult to hold on to that hope. There was almost nothing that was exciting in it to make you want to ever see it again.
Somehow the effects have got both better and worse at the same time. The aliens in general look a little shoddy, apart from the main evil duo. There are some moments where they turn into a gaseous entity, their appearance changes to a galaxy like blur, and it's actually pretty beautiful to see... but then they turn back.
Tessa Thompson plays our obsessed wannabe woman in black. Relatively speaking her performance was quite good. I've only seen her in things from the last couple of years, and apart from Ragnarok I haven't been overly impressed with the roles she's played but Molly was a nice addition to her roster.
Chris Hemsworth... oh my dear boy... I'm not convinced that he should do comedy. Thor is great in Ragnarok but outside of that I'm not overly fond. There's only so far handsome and a little dumb can get you, and I think Thor and Kevin really used all of that up. When he's so good at drama I'm not sure why he keeps picking the same type of comedic pieces, as a dramatic actor in 12 Strong and Bad Times At The El Royale he was great and I really want to go back and see more of his serious roles. H in this is basically just Kevin from Ghostbusters in a black suit with a few more brain cells. It's a terribly scripted role and a massively disappointing lead in a series that has so much possibility behind it.
The standout performance for me is from Kumail Nanjiani as Pawny. Pawny is fantastically scripted, to the point that I wondered if someone else had written his part. The wonderful thing about it was that I could feel Nanjiani in everything that Pawny was doing, if you'd had him as a real-life character it would have been (almost) exactly the same performance. The only times I laughed were Pawny moments and I was genuinely annoyed when they were interrupted by the rest of the film.
Our four main supporting actors are a bit of a mix. Emma Thompson gives a repeat performance as O and ooooo is she glorious as always. Liam Neeson plays High T, the head of the London branch of MIB, it's fairly non-descript, sadly he's no Rip Torn. Rafe Spall plays Agent C who's a bit of a snitch. He has a rather slow start and when we meet him it's not a great scene for anyone involved, I found him to be terribly boring but thankfully his part does improve as we get deeper into it. Lastly we've got the surprise inclusion of Rebecca Ferguson as H's ex-girlfriend, Riza... I just... what was the point of her character?
"But the bad guy fights must have been good?"... am I the only one that felt like there wasn't really a bad guy in this? Don't get me wrong, there are plenty of options but we don't see enough of any of them to be really invested in the fact that they're bad. And when it comes to action scenes... were there really any of them either? I just... I can't even... ugh...
Considering I wasn't buzzing about this before I went in I'm amazed that I felt so disappointed by it. There was very little to enjoy beyond Nanjiani's Pawny, and hardly anything to workout as you watched because the trailers made it fairly obvious what was going to happen. You always hope that new instalments of series are going to stand up to its predecessors or at least not be so shit that they make you regret spending time watching it... yeah...
I want to like this more and I may give it a second chance after the slight success of Aladdin's second viewing, but no matter what happens, this is still going to be ranked fourth in the series.
What you should do
I really wouldn't bother watching this, spend your time rewatching the previous three instalments.
Movie thing you wish you could take home
I would like the only amazing thing from this film, one Pawny, please.
*Eyes closed. Pinch bridge of nose. Slow, pained exhale.*
I hate it when the internet is right, it sets a very bad precedent. This film was not good, and it was fairly evident early on. Considering that at the beginning of the film we're seeing a kid discovering aliens for the first time I can't fathom how there is so little wonder and excitement in it. I found myself thinking it was cute, but cute isn't enough to kickstart a film.
I hoped for a while that it was just a slow burner, but after a third of the film had passed it was difficult to hold on to that hope. There was almost nothing that was exciting in it to make you want to ever see it again.
Somehow the effects have got both better and worse at the same time. The aliens in general look a little shoddy, apart from the main evil duo. There are some moments where they turn into a gaseous entity, their appearance changes to a galaxy like blur, and it's actually pretty beautiful to see... but then they turn back.
Tessa Thompson plays our obsessed wannabe woman in black. Relatively speaking her performance was quite good. I've only seen her in things from the last couple of years, and apart from Ragnarok I haven't been overly impressed with the roles she's played but Molly was a nice addition to her roster.
Chris Hemsworth... oh my dear boy... I'm not convinced that he should do comedy. Thor is great in Ragnarok but outside of that I'm not overly fond. There's only so far handsome and a little dumb can get you, and I think Thor and Kevin really used all of that up. When he's so good at drama I'm not sure why he keeps picking the same type of comedic pieces, as a dramatic actor in 12 Strong and Bad Times At The El Royale he was great and I really want to go back and see more of his serious roles. H in this is basically just Kevin from Ghostbusters in a black suit with a few more brain cells. It's a terribly scripted role and a massively disappointing lead in a series that has so much possibility behind it.
The standout performance for me is from Kumail Nanjiani as Pawny. Pawny is fantastically scripted, to the point that I wondered if someone else had written his part. The wonderful thing about it was that I could feel Nanjiani in everything that Pawny was doing, if you'd had him as a real-life character it would have been (almost) exactly the same performance. The only times I laughed were Pawny moments and I was genuinely annoyed when they were interrupted by the rest of the film.
Our four main supporting actors are a bit of a mix. Emma Thompson gives a repeat performance as O and ooooo is she glorious as always. Liam Neeson plays High T, the head of the London branch of MIB, it's fairly non-descript, sadly he's no Rip Torn. Rafe Spall plays Agent C who's a bit of a snitch. He has a rather slow start and when we meet him it's not a great scene for anyone involved, I found him to be terribly boring but thankfully his part does improve as we get deeper into it. Lastly we've got the surprise inclusion of Rebecca Ferguson as H's ex-girlfriend, Riza... I just... what was the point of her character?
"But the bad guy fights must have been good?"... am I the only one that felt like there wasn't really a bad guy in this? Don't get me wrong, there are plenty of options but we don't see enough of any of them to be really invested in the fact that they're bad. And when it comes to action scenes... were there really any of them either? I just... I can't even... ugh...
Considering I wasn't buzzing about this before I went in I'm amazed that I felt so disappointed by it. There was very little to enjoy beyond Nanjiani's Pawny, and hardly anything to workout as you watched because the trailers made it fairly obvious what was going to happen. You always hope that new instalments of series are going to stand up to its predecessors or at least not be so shit that they make you regret spending time watching it... yeah...
I want to like this more and I may give it a second chance after the slight success of Aladdin's second viewing, but no matter what happens, this is still going to be ranked fourth in the series.
What you should do
I really wouldn't bother watching this, spend your time rewatching the previous three instalments.
Movie thing you wish you could take home
I would like the only amazing thing from this film, one Pawny, please.
Sophia (Bookwyrming Thoughts) (530 KP) rated Lucid in Books
Jan 23, 2020
<b><i>I received this book for free from Xpresso Book Tours in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
<i>Lucid</i> is really weird it's <b>not exactly a book with contents that I usually come across.</b> The last time I actually read a book that dealt with dreams was <i><a title="The Vault of Dreamers by Caragh M. O'Brien" href="https://bookwyrmingthoughts.com/arc-review-the-vault-of-dreamers-by-caragh-m-obrien/"; target="_blank" rel="noopener">The Vault of Dreamers</a></i>. <i>Lucid</i> kind of... <b>throws in dreams and nightmares together</b> when Lori Blaine's psychologist encourages her to finally go through a door reoccurring in her dreams for years. When Lori does, she is plunged into another world entirely where danger lurks around every corner.
<b>Bonansinga writes in a different style than what you might be used to.</b> As I read <i>Lucid</i>, <b>I felt like I was watching an episode of a TV series, or just merely an actress reading a script.</b> While Lori is our main character most of the time, <b>the author shifts outside of the character's thoughts every so often</b> and focuses on the dialogue and actions of the people around her. There's are a few moments where it's <b>almost as though there's a narrator observing everything going on but accidentally slips up and quickly tries to fix everything by repositioning the camera. Meanwhile, the characters, or "actors," pretend not to notice.</b>
<blockquote style="text-align: left;">They swerved around the body, which lay in a heap near the shouldergiving it a wide berthand then roared off into the night.
They never saw the body behind them casually sit up, rise to its feet, and walk away.
I promise Ill tell you everything, Lori was saying, searching through the glove box, as the damaged Geo chugged down a hill.</blockquote>
I've also <b>never seen so many caps in a book before.</b> I don't mean the first letter in every sentence, I mean the I'M YELLING AT YOU THOUGH INTERMASPACE kind. (Or <a title="Daughter of Deep Silence by Carrie Ryan" href="https://bookwyrmingthoughts.com/dnf-review-daughter-of-deep-silence-by-carrie-ryan/"; target="_blank" rel="noopener">my brain is raging at a book.</a> It's not necessarily one I didn't finish.)
<i>Lucid</i> is very <b>action-packed and vivid, but I don't really feel like this is a stand alone.</b> There's a pretty solid ending, but there may be a subtle loose end or two (I'll have to mull it over in my brain). <b>The dream world, however...</b>
I'm still very confused. I know there are five stages of sleep: brain activity slows down in the first, brain activity is everywhere in the second as the body transitions into the third stage, where brain activity is low. The fourth stage is similar to the third stage as the body prepares for the fifth stage, which is known as REM, or rapid eye movement, and dreams come alive.
I totally summarized that part. I probably came across this on a boring day and didn't remember anything but rapid eye movement is where dreams occur. REM is also a unit of measurement measuring the amount of radiation absorbed by human tissue. *drum rolls* I promise I'm not showing off.
Anyhoo, back to this whole dream world thing Bonansinga built <i>Lucid</i> on. According to the book, <b>there are three dimensions.</b> There's <b>WAKEworld</b>, which I assume is when all of us are awake and slouching in office/desk chairs (or curled up with a good book); <b>REMspace</b>, which I assume is the dream world and where you dream; and then there's <b>LIMBOspace/LIMBOworld</b>, which, knowing the word limbo, it's the middle world between dreams and wakefulness.
<b>I get the gist. But I don't <i>understand</i> how this whole LIMBOspace/LIMBOworld works.</b> I mean, <b>is it connected to that in-between where you're not living or dead,</b> because it's connected to comatose states? <b>What happens if Lori actually "ran out of time?"</b> She'll be a vegetable, most likely, but <b>if she runs out of time... is she a vegetable forever until her body is just a pile of bones and dust somewhere? But then what happens when you <i>are</i> a pile of bones and dust somewhere? Do you continue existing in this LIMBOspace, or do you just disappear?</b>
I could be over thinking this and taking it a curious step further than what is actually necessary (I would still wonder about that connection to comatose states though). <b><i>Lucid</i> has mind-boggling and creepy moments throughout the book, but it's really just similar to someone trying to stop demons entering the real world. Bonansinga just takes it from a dream level rather than an inferno one.</b> Points given for a unique take on an overused plot.
<a href="https://bookwyrmingthoughts.com/review-lucid-by-jay-bonansinga/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<i>Lucid</i> is really weird it's <b>not exactly a book with contents that I usually come across.</b> The last time I actually read a book that dealt with dreams was <i><a title="The Vault of Dreamers by Caragh M. O'Brien" href="https://bookwyrmingthoughts.com/arc-review-the-vault-of-dreamers-by-caragh-m-obrien/"; target="_blank" rel="noopener">The Vault of Dreamers</a></i>. <i>Lucid</i> kind of... <b>throws in dreams and nightmares together</b> when Lori Blaine's psychologist encourages her to finally go through a door reoccurring in her dreams for years. When Lori does, she is plunged into another world entirely where danger lurks around every corner.
<b>Bonansinga writes in a different style than what you might be used to.</b> As I read <i>Lucid</i>, <b>I felt like I was watching an episode of a TV series, or just merely an actress reading a script.</b> While Lori is our main character most of the time, <b>the author shifts outside of the character's thoughts every so often</b> and focuses on the dialogue and actions of the people around her. There's are a few moments where it's <b>almost as though there's a narrator observing everything going on but accidentally slips up and quickly tries to fix everything by repositioning the camera. Meanwhile, the characters, or "actors," pretend not to notice.</b>
<blockquote style="text-align: left;">They swerved around the body, which lay in a heap near the shouldergiving it a wide berthand then roared off into the night.
They never saw the body behind them casually sit up, rise to its feet, and walk away.
I promise Ill tell you everything, Lori was saying, searching through the glove box, as the damaged Geo chugged down a hill.</blockquote>
I've also <b>never seen so many caps in a book before.</b> I don't mean the first letter in every sentence, I mean the I'M YELLING AT YOU THOUGH INTERMASPACE kind. (Or <a title="Daughter of Deep Silence by Carrie Ryan" href="https://bookwyrmingthoughts.com/dnf-review-daughter-of-deep-silence-by-carrie-ryan/"; target="_blank" rel="noopener">my brain is raging at a book.</a> It's not necessarily one I didn't finish.)
<i>Lucid</i> is very <b>action-packed and vivid, but I don't really feel like this is a stand alone.</b> There's a pretty solid ending, but there may be a subtle loose end or two (I'll have to mull it over in my brain). <b>The dream world, however...</b>
I'm still very confused. I know there are five stages of sleep: brain activity slows down in the first, brain activity is everywhere in the second as the body transitions into the third stage, where brain activity is low. The fourth stage is similar to the third stage as the body prepares for the fifth stage, which is known as REM, or rapid eye movement, and dreams come alive.
I totally summarized that part. I probably came across this on a boring day and didn't remember anything but rapid eye movement is where dreams occur. REM is also a unit of measurement measuring the amount of radiation absorbed by human tissue. *drum rolls* I promise I'm not showing off.
Anyhoo, back to this whole dream world thing Bonansinga built <i>Lucid</i> on. According to the book, <b>there are three dimensions.</b> There's <b>WAKEworld</b>, which I assume is when all of us are awake and slouching in office/desk chairs (or curled up with a good book); <b>REMspace</b>, which I assume is the dream world and where you dream; and then there's <b>LIMBOspace/LIMBOworld</b>, which, knowing the word limbo, it's the middle world between dreams and wakefulness.
<b>I get the gist. But I don't <i>understand</i> how this whole LIMBOspace/LIMBOworld works.</b> I mean, <b>is it connected to that in-between where you're not living or dead,</b> because it's connected to comatose states? <b>What happens if Lori actually "ran out of time?"</b> She'll be a vegetable, most likely, but <b>if she runs out of time... is she a vegetable forever until her body is just a pile of bones and dust somewhere? But then what happens when you <i>are</i> a pile of bones and dust somewhere? Do you continue existing in this LIMBOspace, or do you just disappear?</b>
I could be over thinking this and taking it a curious step further than what is actually necessary (I would still wonder about that connection to comatose states though). <b><i>Lucid</i> has mind-boggling and creepy moments throughout the book, but it's really just similar to someone trying to stop demons entering the real world. Bonansinga just takes it from a dream level rather than an inferno one.</b> Points given for a unique take on an overused plot.
<a href="https://bookwyrmingthoughts.com/review-lucid-by-jay-bonansinga/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Purple Phoenix Games (2266 KP) rated Tiny Epic Kingdoms in Tabletop Games
Jul 30, 2019
Behold – the Tiny Epic game that started the saga. Tiny Epic Kingdoms is the OG, and it’s about time we got around to reviewing it. It’s tiny. It’s epic. Keep reading to find out if it’s a keeper!
In Tiny Epic Kingdoms, you are the ruler of (you guessed it) a tiny kingdom. You, however, are not content with simply maintaining your realm – you have plans to expand your borders and make your kingdom not-so-tiny! Send your adventurers out to explore new lands, learn new magics, construct towers to assert your dominance, and fight off others who would stand in your way! Do you have the strategy necessary to outwit your competitors and grow your kingdom? Play to find out!
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Tiny Epic Kingdoms is a game of worker placement, area control, and action point allowance. Players take turns gathering resources, buildings towers, researching magic, or exploring (and potentially waging war) in new lands. As the active player, on your turn you will select and perform one of the six available actions from the Action Card: Patrol, Quest, Build, Research, Expand, or Trade. Following your action, and still on your turn, the remaining players will either decide to perform the same action you chose, or collect resources. Once everyone has had the chance to act, your turn is over. The next player now becomes the active player and the process repeats with one big change – the action you chose on your turn is no longer available for selection. Each subsequent active player will always have 1 fewer action choice on their turn. This process repeats until there are no more actions available. When this happens, the Action Card is cleared and all actions are available once more for selection. Strategy is key – which action can you choose on your turn to best benefit you while also inhibiting your competitors? The game ends at the end of the turn in which one of these three things has happened: a player has all of their meeples in play, a player has built the 6th level on the tower card, or a player has reached the 5th level of magic on their faction card. End-game points are scored based on meeples in play, magic level, tower level, and control of Capital Cities. The player with the highest score wins!
For such a small game, there’s definitely a fair amount of strategy involved in Tiny Epic Kingdoms. You’ve got to decide on the best approach for you, and it must be adaptable to any given situation. Do you play it safe, quietly collecting resources, trying to achieve your end-game goals the fastest? Or do you venture out to confront your opponents, trying to usurp their territory and resources and take them out as your competition? Or maybe you try to stay civil, but an opponent is threatening your progress and now you’ve got to fight back? There are lots of strategic options, and every game feels like a new challenge.
One thing I enjoy about Tiny Epic Kingdoms is that you get to act on every single turn, even if you aren’t the active player. You don’t have to sit there and watch your friends play – you have the chance to benefit during every single turn, even if it’s merely collecting resources. The opportunity to act on every turn also adds a little bit of ‘take that’ to this game. I might choose an action on my turn as the active player that I know one of my competitors cannot perform – thus forcing them to collect resources and waste the opportunity to perform that specific action for an entire round. And since that action cannot be picked again until all available actions have already been chosen, I’ve successfully blocked their progress in a certain area of play. Your strategy has to extend beyond just your turn as the active player – you must consider all options for your opponents as well.
The thing I don’t necessarily like about Tiny Epic Kingdoms is that the gameplay can be a little stale. Unless you’re playing with people who actively try to engage with you, it is extremely easy to just stay in your own realm and not even interact with anyone at all. There’s no forced interaction in this game, and although it is admittedly nice sometimes, mostly it just feels like we’re all playing the same game alone. It’s like we all just take turns performing/following actions until someone has triggered the end-game.
Overall, I like Tiny Epic Kingdoms. It’s not my favorite Tiny Epic game, but it’s a good one. There’s a decent amount of strategy involved, but at times it can feel more like a ‘take that’ type game to me. The lack of forced player interaction can lead to dull gameplay and a lackluster experience. It’s not a bad game. It’s just not the most epic Tiny Epic game out there, in my opinion. That’s why Purple Phoenix Games gives it a regal 14 / 18.
In Tiny Epic Kingdoms, you are the ruler of (you guessed it) a tiny kingdom. You, however, are not content with simply maintaining your realm – you have plans to expand your borders and make your kingdom not-so-tiny! Send your adventurers out to explore new lands, learn new magics, construct towers to assert your dominance, and fight off others who would stand in your way! Do you have the strategy necessary to outwit your competitors and grow your kingdom? Play to find out!
DISCLAIMER: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. -T
Tiny Epic Kingdoms is a game of worker placement, area control, and action point allowance. Players take turns gathering resources, buildings towers, researching magic, or exploring (and potentially waging war) in new lands. As the active player, on your turn you will select and perform one of the six available actions from the Action Card: Patrol, Quest, Build, Research, Expand, or Trade. Following your action, and still on your turn, the remaining players will either decide to perform the same action you chose, or collect resources. Once everyone has had the chance to act, your turn is over. The next player now becomes the active player and the process repeats with one big change – the action you chose on your turn is no longer available for selection. Each subsequent active player will always have 1 fewer action choice on their turn. This process repeats until there are no more actions available. When this happens, the Action Card is cleared and all actions are available once more for selection. Strategy is key – which action can you choose on your turn to best benefit you while also inhibiting your competitors? The game ends at the end of the turn in which one of these three things has happened: a player has all of their meeples in play, a player has built the 6th level on the tower card, or a player has reached the 5th level of magic on their faction card. End-game points are scored based on meeples in play, magic level, tower level, and control of Capital Cities. The player with the highest score wins!
For such a small game, there’s definitely a fair amount of strategy involved in Tiny Epic Kingdoms. You’ve got to decide on the best approach for you, and it must be adaptable to any given situation. Do you play it safe, quietly collecting resources, trying to achieve your end-game goals the fastest? Or do you venture out to confront your opponents, trying to usurp their territory and resources and take them out as your competition? Or maybe you try to stay civil, but an opponent is threatening your progress and now you’ve got to fight back? There are lots of strategic options, and every game feels like a new challenge.
One thing I enjoy about Tiny Epic Kingdoms is that you get to act on every single turn, even if you aren’t the active player. You don’t have to sit there and watch your friends play – you have the chance to benefit during every single turn, even if it’s merely collecting resources. The opportunity to act on every turn also adds a little bit of ‘take that’ to this game. I might choose an action on my turn as the active player that I know one of my competitors cannot perform – thus forcing them to collect resources and waste the opportunity to perform that specific action for an entire round. And since that action cannot be picked again until all available actions have already been chosen, I’ve successfully blocked their progress in a certain area of play. Your strategy has to extend beyond just your turn as the active player – you must consider all options for your opponents as well.
The thing I don’t necessarily like about Tiny Epic Kingdoms is that the gameplay can be a little stale. Unless you’re playing with people who actively try to engage with you, it is extremely easy to just stay in your own realm and not even interact with anyone at all. There’s no forced interaction in this game, and although it is admittedly nice sometimes, mostly it just feels like we’re all playing the same game alone. It’s like we all just take turns performing/following actions until someone has triggered the end-game.
Overall, I like Tiny Epic Kingdoms. It’s not my favorite Tiny Epic game, but it’s a good one. There’s a decent amount of strategy involved, but at times it can feel more like a ‘take that’ type game to me. The lack of forced player interaction can lead to dull gameplay and a lackluster experience. It’s not a bad game. It’s just not the most epic Tiny Epic game out there, in my opinion. That’s why Purple Phoenix Games gives it a regal 14 / 18.
James P. Sumner (65 KP) rated Joker (2019) in Movies
Oct 7, 2019
An unapologetic masterpiece.
I wasn't sure what to expect going into this film. I'm a huge comic book fan, so the controversy and scepticism surrounding this movie, as well as the fact it's based within an established story world, had me doubting how it would work and how good the execution of it would be.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
Debbiereadsbook (1197 KP) rated Crossing the Touchline (Auckland Med. #2) in Books
May 7, 2019 (Updated Mar 3, 2021)
freaking loved this!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
*Edited to add the review for the AUDIO version.*
Gary Furlong narrates.
Now, I gotta say this. After listening to audio books for a good while now, I've noticed an influx of NON-American narrators. And I LOVE that, I really do. But Furlong narrates this book in the New Zealand accent, quite correctly, since that is where Reuben and Cam are from, and it just takes a little getting used to! This is the first I've listen to of his work, and I have to say, he NAILS this one!
Furlong gets over every single feeling, emotion, internal wrangling these guys have, and it's painful listening, it really is. It was difficult reading, but hearing it?? Oh Lord I wanted to wrap them both up and look after them so bad! And Reuben's dad?? He headed for another punching!
The emotions in the guy's voices, especially since this is first person, is amazing, and I had to stop what I was doing a time or two, to just LISTEN, you know? To hear the heartbreak pouring out for them, the rage, the passion, and finally, all that love.
I did have a little chuckle though. Michael (from book one, First Impressions, pops up. Michael is American, and it took me a little while to figure out why he sounded all kinds of wrong. It's because of that! His American accent, in the midst of all these New Zealand ones was odd, is all.
I loved this book when I read it, and listening to it?? Loved it more!
5 stars for the narration, my wish list just got a whole lot longer with Mr Furlong's books on it!
*Original Review*
Stealing the tagline from the official blurb, because it is just the perfect tagline I have ever come across!
What if your dream will cost you the man who's stolen your heart?
Reuben Taylor has a choice to make. Cameron Wano is that choice.
I'm struggling to say what I want to about this book, because I FREAKING loved it! So if this review runs away with the fairies, I apologise. I shall try to make a coherent sentence or two!
Reuben is so far in the closet, it's pitch black in his life. His brother is an alcoholic, trying to look after a small child, and his father is (in my humble opinion) an utter douchbag of a man. One kiss with Cameron and Reuben is scared. Scared of what could be, but also, scared of what could NEVER be.
Cam is well aware of his status with the rugby team his brother plays for. He is out and PROUD and loud about it. But becoming Reuben's friend is far more important than the possibility of losing Reuben altogether. When things spiral downwards, and passion between the two men spins out of control, Reuben has to make the one choice he never wanted to: his rugby career, or Cameron.
So, I make no bones that I am not a fan of first person books, especially if they are multi point of view. This book is written as such. But both Reuben and Cam have such distinct voices, it took me a while to actually figure out this was a first person book! So well done to Ms Hogan for that one.
I read this book in one sitting. It's not a short book, some three hundred pages. But I started it at 7pm, and did not stop til I ran out of book.
And I went through the whole gamut of human emotion and then some! I tell ya, this book has funny spots, dark spots, scary spots, sexy bits (so much with the sexy bits!) and points along the way that garnered so much rage out of me, had Reuben's father been around, that man would be flat on his back! You can't blame Reuben's brother for what he is doing to Reuben, because he really is not coping and not getting the correct help he and his son need, but I did want to punch him a time or two, too.
But it's not just Reuben who has such extreme's of emotions. Cam does too. He did all the "in the closet thing" and swore never to again. Which is why he decides Reuben needs him to be his friend. But Cam's emotions run away with him, and he can't stop the avalanche of feelings he gets every time he touches Reuben, even if it's just a brush past, or something. He didn't have the difficult upbringing Reuben did, his family love him just as he is, but he can understand why Reuben is hiding. It HURTS Cam, but he gets it.
But ultimately, it isn't something Reuben or Cam does that outs them, someone else does that. And the fall out?? Well, let's just say, I was very surprised about that! In a good way!
There is a wedding in this book, that Cam and Reuben attend (not together!): Michael and Josh work with Cam at the hospital. Cam says some things about these two guys that make me want to go back and read THEIR book, First Impressions. It's a stand alone to this one, but my interest is piqued and I will go back, at some point, and read. THAT book is Ms Hogan's first, that I can see. And THIS one, her second.
I'm a-gonna be following this one, I reckon!
5 emotional, gut wrenching stars!
**same worded review will appear elsewhere**
*Edited to add the review for the AUDIO version.*
Gary Furlong narrates.
Now, I gotta say this. After listening to audio books for a good while now, I've noticed an influx of NON-American narrators. And I LOVE that, I really do. But Furlong narrates this book in the New Zealand accent, quite correctly, since that is where Reuben and Cam are from, and it just takes a little getting used to! This is the first I've listen to of his work, and I have to say, he NAILS this one!
Furlong gets over every single feeling, emotion, internal wrangling these guys have, and it's painful listening, it really is. It was difficult reading, but hearing it?? Oh Lord I wanted to wrap them both up and look after them so bad! And Reuben's dad?? He headed for another punching!
The emotions in the guy's voices, especially since this is first person, is amazing, and I had to stop what I was doing a time or two, to just LISTEN, you know? To hear the heartbreak pouring out for them, the rage, the passion, and finally, all that love.
I did have a little chuckle though. Michael (from book one, First Impressions, pops up. Michael is American, and it took me a little while to figure out why he sounded all kinds of wrong. It's because of that! His American accent, in the midst of all these New Zealand ones was odd, is all.
I loved this book when I read it, and listening to it?? Loved it more!
5 stars for the narration, my wish list just got a whole lot longer with Mr Furlong's books on it!
*Original Review*
Stealing the tagline from the official blurb, because it is just the perfect tagline I have ever come across!
What if your dream will cost you the man who's stolen your heart?
Reuben Taylor has a choice to make. Cameron Wano is that choice.
I'm struggling to say what I want to about this book, because I FREAKING loved it! So if this review runs away with the fairies, I apologise. I shall try to make a coherent sentence or two!
Reuben is so far in the closet, it's pitch black in his life. His brother is an alcoholic, trying to look after a small child, and his father is (in my humble opinion) an utter douchbag of a man. One kiss with Cameron and Reuben is scared. Scared of what could be, but also, scared of what could NEVER be.
Cam is well aware of his status with the rugby team his brother plays for. He is out and PROUD and loud about it. But becoming Reuben's friend is far more important than the possibility of losing Reuben altogether. When things spiral downwards, and passion between the two men spins out of control, Reuben has to make the one choice he never wanted to: his rugby career, or Cameron.
So, I make no bones that I am not a fan of first person books, especially if they are multi point of view. This book is written as such. But both Reuben and Cam have such distinct voices, it took me a while to actually figure out this was a first person book! So well done to Ms Hogan for that one.
I read this book in one sitting. It's not a short book, some three hundred pages. But I started it at 7pm, and did not stop til I ran out of book.
And I went through the whole gamut of human emotion and then some! I tell ya, this book has funny spots, dark spots, scary spots, sexy bits (so much with the sexy bits!) and points along the way that garnered so much rage out of me, had Reuben's father been around, that man would be flat on his back! You can't blame Reuben's brother for what he is doing to Reuben, because he really is not coping and not getting the correct help he and his son need, but I did want to punch him a time or two, too.
But it's not just Reuben who has such extreme's of emotions. Cam does too. He did all the "in the closet thing" and swore never to again. Which is why he decides Reuben needs him to be his friend. But Cam's emotions run away with him, and he can't stop the avalanche of feelings he gets every time he touches Reuben, even if it's just a brush past, or something. He didn't have the difficult upbringing Reuben did, his family love him just as he is, but he can understand why Reuben is hiding. It HURTS Cam, but he gets it.
But ultimately, it isn't something Reuben or Cam does that outs them, someone else does that. And the fall out?? Well, let's just say, I was very surprised about that! In a good way!
There is a wedding in this book, that Cam and Reuben attend (not together!): Michael and Josh work with Cam at the hospital. Cam says some things about these two guys that make me want to go back and read THEIR book, First Impressions. It's a stand alone to this one, but my interest is piqued and I will go back, at some point, and read. THAT book is Ms Hogan's first, that I can see. And THIS one, her second.
I'm a-gonna be following this one, I reckon!
5 emotional, gut wrenching stars!
**same worded review will appear elsewhere**
Ryan Hill (152 KP) rated Batman v Superman: Dawn of Justice (2016) in Movies
May 25, 2019 (Updated May 25, 2019)
" You are my World"
Contains spoilers, click to show
Ultimate Edition review
Batman v Superman: Dawn of Justice was really unlucky. Not only did the movie hit the market during the heyday of the MCU, it also had to be cut for the cinema by 30 Minutes. Too bad, because this movie could not stand against the Marvelhype, let alone convince critics and viewers with the holey story of the theatrical version. After all, Warner bros has released an Ultimate Edition, in which you can see this movie in its true splendor. And the film in this cut is still one of the best superhero movies for me.
Let's start with the most obvious. The soundtrack of the movie is more than great. Hans Zimmer and Junkie XL have created an incredibly exciting, suitable and just really good soundtrack. You can listen to this at the beginning, during the Opening Credits sequence. If only briefly, but effectively, as the fate of the young Bruce Wayne is shown. This is already known from other Batman films, but it is especially important for this movie. But more on that later.
The rest of the Sountrack kicked ass consistently. Whether it's The Red Capes Are Coming, Is She With You or Beautiful Lie, everything is great!
Ben Affleck as Batman is perfect. His acting is really good, he convinces in every second, with every emotion. In addition, Henry Cavill here again shows what he can do as supes and it's awesome. Jeremy Irons as Alfred is great too, he plays Alfred really well and I liked him alot. Even Amy Adams, Gal Gadot, Holly Hunter and the usual suspects like Diane Lane, Laurence Fishburne and Harry Lennix are great.
The action in Batman v Superman: Dawn of Justice is also spectacular . Whether the great Batmobile chase, the battle of the giants or the final battle against Doomsday. In addition the action was clear and not too fast cut, so that one could follow and admire everything well!
Of course, the action was always supported by the successful effects. Everything looked great at all times. Doomsday may take some getting used to, but I found the effects good at all times!
I would also like to mention the humor, which is rather rare, but nevertheless effective and well placed.
I would also like to mention the introduction of Wonder Woman and the rest of the Justice League. I thought it was good and logical that Luthor has the information about the meta-beings and so Batman came to this, although he was actually looking for something else.
I also liked how the events in Man of Steel influenced this movie! But more on that later.
Incidentally, I think the already mentioned Opening Credits sequence is really good. At the same time showing the death of Bruce's parents and his meeting on the bats with Beautiful Lie in the background, I found a very successful and convincing start to this masterpiece!
Now I would like to come to the story, with which unfortunately most have problems. Because I find it consistently great!
Already at the beginning you can see how Bruce witnesses the death of his parents and how his dying father only says "Martha". This already shows directly that Batman is traumatized. This can also be seen by his dependence on alcohol and medication. With the appearance of Superman and the destruction of Metropolis that Bruce witnessed, he begins to despise Superman.
Lex Luthor, who through his many means knows who Batman and Superman are, tries to incite them against each other. But why? Because he was abused as a child by his father, now he's just crazy and wants to kill him because of his powerlessness over Superman. For in his world absolute power can not be innocent, and that power Superman has. And since Luthor knows he can not kill him, he wants Batman to do it.
And it is precisely this impotence that drives Bruce to despise Superman.
With the help of the attack, a few letters and the kidnapping of Martha Kent and Lois Lane, Lex then manages to fight day and night. Every move, every murder, everything was well thought out and planned. I think both Lex Luthor and his plan are well implemented here. In my eyes, without any logic holes, Batman v Superman: Dawn of Justice, especially in the first half is a superhero drama in which the world wonders if it needs Superman at all and in which there is anger in Batman, Lex Luthor and so on Superman is dammed and unloaded in the explosive finale! All characters act absolutely sensible, natural and human.
I would like to go into the Martha scene.
How can anyone make fun of such a serious scene? Superman has to kill Batman to save Martha, his mother. But when he is defeated, he only wants to ask Batman to save his mother. In saying his name, Bruce unleashes his traumatic memory, the death of his parents, in which his father says his last word, "Martha." And when Lois says that Martha (Kent) is Superman's mother, Batman realizes that Superman also has a human side, and that he is even more human than himself. He also notices that his anger was meaningless. And to save Martha and stop Lex, they both come together. What is wrong with that? I think that's great!
All in all, in conclusion, I can only say again that Batman v Superman: Dawn of Justice is an outstanding superhero action drama! Wonderfully written, performed and filmed.
Batman v Superman: Dawn of Justice was really unlucky. Not only did the movie hit the market during the heyday of the MCU, it also had to be cut for the cinema by 30 Minutes. Too bad, because this movie could not stand against the Marvelhype, let alone convince critics and viewers with the holey story of the theatrical version. After all, Warner bros has released an Ultimate Edition, in which you can see this movie in its true splendor. And the film in this cut is still one of the best superhero movies for me.
Let's start with the most obvious. The soundtrack of the movie is more than great. Hans Zimmer and Junkie XL have created an incredibly exciting, suitable and just really good soundtrack. You can listen to this at the beginning, during the Opening Credits sequence. If only briefly, but effectively, as the fate of the young Bruce Wayne is shown. This is already known from other Batman films, but it is especially important for this movie. But more on that later.
The rest of the Sountrack kicked ass consistently. Whether it's The Red Capes Are Coming, Is She With You or Beautiful Lie, everything is great!
Ben Affleck as Batman is perfect. His acting is really good, he convinces in every second, with every emotion. In addition, Henry Cavill here again shows what he can do as supes and it's awesome. Jeremy Irons as Alfred is great too, he plays Alfred really well and I liked him alot. Even Amy Adams, Gal Gadot, Holly Hunter and the usual suspects like Diane Lane, Laurence Fishburne and Harry Lennix are great.
The action in Batman v Superman: Dawn of Justice is also spectacular . Whether the great Batmobile chase, the battle of the giants or the final battle against Doomsday. In addition the action was clear and not too fast cut, so that one could follow and admire everything well!
Of course, the action was always supported by the successful effects. Everything looked great at all times. Doomsday may take some getting used to, but I found the effects good at all times!
I would also like to mention the humor, which is rather rare, but nevertheless effective and well placed.
I would also like to mention the introduction of Wonder Woman and the rest of the Justice League. I thought it was good and logical that Luthor has the information about the meta-beings and so Batman came to this, although he was actually looking for something else.
I also liked how the events in Man of Steel influenced this movie! But more on that later.
Incidentally, I think the already mentioned Opening Credits sequence is really good. At the same time showing the death of Bruce's parents and his meeting on the bats with Beautiful Lie in the background, I found a very successful and convincing start to this masterpiece!
Now I would like to come to the story, with which unfortunately most have problems. Because I find it consistently great!
Already at the beginning you can see how Bruce witnesses the death of his parents and how his dying father only says "Martha". This already shows directly that Batman is traumatized. This can also be seen by his dependence on alcohol and medication. With the appearance of Superman and the destruction of Metropolis that Bruce witnessed, he begins to despise Superman.
Lex Luthor, who through his many means knows who Batman and Superman are, tries to incite them against each other. But why? Because he was abused as a child by his father, now he's just crazy and wants to kill him because of his powerlessness over Superman. For in his world absolute power can not be innocent, and that power Superman has. And since Luthor knows he can not kill him, he wants Batman to do it.
And it is precisely this impotence that drives Bruce to despise Superman.
With the help of the attack, a few letters and the kidnapping of Martha Kent and Lois Lane, Lex then manages to fight day and night. Every move, every murder, everything was well thought out and planned. I think both Lex Luthor and his plan are well implemented here. In my eyes, without any logic holes, Batman v Superman: Dawn of Justice, especially in the first half is a superhero drama in which the world wonders if it needs Superman at all and in which there is anger in Batman, Lex Luthor and so on Superman is dammed and unloaded in the explosive finale! All characters act absolutely sensible, natural and human.
I would like to go into the Martha scene.
How can anyone make fun of such a serious scene? Superman has to kill Batman to save Martha, his mother. But when he is defeated, he only wants to ask Batman to save his mother. In saying his name, Bruce unleashes his traumatic memory, the death of his parents, in which his father says his last word, "Martha." And when Lois says that Martha (Kent) is Superman's mother, Batman realizes that Superman also has a human side, and that he is even more human than himself. He also notices that his anger was meaningless. And to save Martha and stop Lex, they both come together. What is wrong with that? I think that's great!
All in all, in conclusion, I can only say again that Batman v Superman: Dawn of Justice is an outstanding superhero action drama! Wonderfully written, performed and filmed.
Gareth von Kallenbach (980 KP) rated The Dark Knight (2008) in Movies
Aug 14, 2019
Riding a wave a fan expectations and anticipation as well as surrounding by the tragic death of Heath Ledger, the latest installment in Writer/Director Christopher Nolan’s Batman Series, “The Dark Knight”, has arrived. Christian Bale once again stars in the dual role of troubled billionaire playboy Bruce Wayne and the masked avenger Batman, as he attempts to bring order to Gotham City.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
The film picks up shortly after the events of “Batman Begins” and finds Bruce and his trusty sidekick Alfred (Michael Caine), splitting their time between a lofty penthouse and a secret lair while Wayne Manor is being rebuilt. The streets of Gotham have become safer as thanks to Batman many of the bad elements of the city have either been arrested or driven off.
Batman has a new ally in his fight, as new District Attorney Harvey Dent, (Aaron Eckhart), is waging a personal war on crime, and has vowed to stop at nothing to bring the remaining crime bosses and their associates to justice. Bruce is unsure what to make of Dent, and is further troubled by the growing relationship between Dent and his longtime flame Rachel Dawes (Maggie Gyllenhaal).
Unknown to Batman and Dent, the biggest threat ever to face Gotham City is about to move into the limelight, as a mysterious figure known as The Joker (Heath Ledger), has risen from the ranks of violent bank robber to psychopathic mastermind, attempting to get the remaining crime lords to join him in an scheme to kill Batman and prominent heads of the city to bring utter chaos.
As the Joker’s wave of violence, death, and destruction unfolds, Batman is drawn deeper into turmoil, as he is conflicted by his desire to abandon his Batman alter-ego and leave cleaning up the city to Dent and his trusted ally James Gordon (Gary Oldman). Bruce knows that he cannot be with Rachel as long as Batman is a part of his life, and he wishes he can abandon the fight to live a more normal existence.
As the crime wave escalates and the body count starts to mount, Bruce is driven to the edge as he matches wits with his toughest foe yet, a man who seems capable of matching his every move, and seems to be always one step ahead.
What follows is a truly gripping and enjoyably dark tale of murder, deception, action, and intrigue in what is not only the best Batman film ever but simply the best superhero film ever. This is strong praise considering the solid screen versions of “Spider-Man”, “Iron-Man” and the previous “Batman Beyond”, but Nolan has crafted a true cinematic masterpiece.
The key to the film is not only the solid cast but a serious and intelligent script that allows the actors to truly shine. This is not a thinly veiled comic story where plot and character are secondary to visuals and actions; instead it is a brilliant physiological study of madness, human nature, unchecked ambition, and morality, wrapped in a truly epic story.
Nolan deftly juggles the characters and action and never allows one to overshadow the other. He does not lose sight of the fact that despite the amazing and intense actions and visuals, this is a character driven story.
Many times during the press showing of the film I marveled at the high quality of the story and solid acting in the film. The impressive cast is anchored by a truly incredible performance by Ledger as he portrays the Joker as a deeply disturbed individual who mixes genius with absolute ruthless cunning. The mannerisms of the character are such that Ledger simply becomes the demented killer and at no time appears to be an actor portraying a character, but rather the personification of the character brought to reality.
His scenes with Bale are truly memorable and underscore the vast history between the two characters that has been established over the decades, and emphasizes the fact that, in some ways, Batman and the Joker are similar beings, both troubled souls who deal with their pain in different ways.
Bale is very good at portraying the torment his character lives with day in and day out, as well as the dark and seething rage that threatens to overtake him and his constant struggle to keep it under the control. Lesser actors would be lost against the amazing performance of Ledger, but Bale more than holds his own, and provides gripping cinema at its best during his scenes with Ledger and the talented cast.
Morgan Freeman and Michael Caine bring solid support to the film as their characters provide wisdom, morality, and direction for characters that walk the thin line between good and evil. The only real disappointment in the film for me was that Maggie Gyllenhaal is not given enough to do. She ably takes over the role originated by Katie Holmes, but she is not given any chance to stand out and her moments with Bale do not allow her to further her relationship with Bruce Wayne.
Eckhart gives a solid performance as Harvey Dent and his alter ego Two Face, taking great advantage of the time he was allowed to develop Dent. My only wish would have been for Two Face to have more time to develop as his arrival seems more of an add-on than a point of plot emphasis.
That being said, the film is a true masterpiece that proves you do not have to sacrifice character development and story to deliver a solid action film. The story sets up very well for future installments and I am sure I am not alone in wanting another outing for Nolan and Bale.
Purple Phoenix Games (2266 KP) rated Villagers in Tabletop Games
Jan 16, 2020
The saying is, “It takes a village…” but that village didn’t just magically appear overnight. Creating a prosperous and thriving community takes not only time, but hard work, ingenuity, and a little bit of luck! Villagers is a game that takes you through that process, as you strive to create a village of renown.
Disclaimer: I do not intent to rehash the entire rulebook in this review, but rather provide an overview of the gameplay, and how it differs between multiplayer and solo play. -L
Villagers is a game of card drafting and tableau building in which players are competing to build the most prosperous village in the land. The game is played over a series of rounds, each broken up into the Draft Phase and the Build Phase. During the Draft Phase, players take turns drafting villagers from the available card stacks into their hands. During the Build Phase, players can add villagers from their hand to their tableau. Certain cards can be chained together, and provide more powers and/or end-game points – but they must be added to the village in chain order. At two points throughout the game, the First and Second Market Phases, all players will collect money depending on which cards they have in their villages. The game ends immediately after the Second Market Phase is completed, and the player with the most money is the winner!
As a solo game, Villagers plays very similarly to group play, with only a couple of differences. First, the solo player is battling against The Countess, an AI character, to create the best village. The Countess is incorporated into the game in a unique way. During the Draft Phase, whenever you draft a villager to your hand, you also select an available villager to go straight into the village of the Countess. The Build Phase is carried out as normal. At the end of every round, you blindly draw a face-down card from the Reserve (draw deck), and it automatically goes into the Countess’ village as well. The other twist to a solo game of Villagers is that there are Event cards in play each round. Events are resolved after the Build Phase, before beginning the next round, and are often detrimental to the player – like making you pay extra gold to unlock padlocks, for example. The First and Second Market Phases work the same as they do in a multiplayer game, and the game ends immediately after the Second Market Phase. If you have managed to accrue more money than the Countess, then you have won!
I want to start off by saying that I love Villagers. Card drafting and set collection are my JAM, and this is a game that highlights those really well without making it too complicated. Even when playing solo, those mechanics still feel balanced, and that makes the overall game enjoyable. From my previous Solo Chronicles, I have stated how much I dislike “Beat your own high score” solo modes, so I was extremely happy when I saw that Villagers pitted the solo player against an AI character – the Countess. For the most part, I think that the Countess works really well in this game. When you draft a card, the Countess gets a card as well. But the best part about that is that you get to choose which card goes to the Countess. That means that you are able to keep some semblance of strategy in your game, because you have the power to decide what cards go where, for the most part.
The other neat thing about solo play is the inclusion of Event cards in the game – which are not present in group play. The Events add an extra element that you have to take into account for the given round. Depending on the Event, it could compromise your strategy quite a bit, but that’s what keeps it interesting. You can’t just get into a groove and grind through the rounds, drafting everything you want, when you want. You have to adapt your strategy based upon the Event(s) in play, and the Countess’ village.
The only downside for me is that at the end of every round, the Countess gets the top face-down card from the Reserve, and depending on what card that is, it could throw a wrench into the strategy you’ve been working hard to set up. I guess that mimics a multiplayer game in a sense, though, because you can’t always control what your opponents will do. The biggest downside about solo play for me has nothing to do with actual gameplay, but rather table space. Every card that goes into the Countess’ village is a stand-alone, meaning that they do not chain together like cards in your village will. So depending on how long the game goes, the Countess’ village will get to be pretty large, and hog lots of the table. I think that just means I need a bigger table though…
All that being said – is Villagers a good game for solo play? I would say mostly yes. Strategy is still required for success, but adaptability of that strategy is what keeps the game engaging and entertaining. Nothing can quite replace the multiplayer experience, but playing against the AI character keeps the competitiveness alive in the game. As someone who does a lot of solo playing these days, I am glad that I have added Villagers to my collection. If you haven’t gotten a chance to play Villagers yet, I would highly recommend checking it out. Solo or multiplayer, it’s a great time!
Disclaimer: I do not intent to rehash the entire rulebook in this review, but rather provide an overview of the gameplay, and how it differs between multiplayer and solo play. -L
Villagers is a game of card drafting and tableau building in which players are competing to build the most prosperous village in the land. The game is played over a series of rounds, each broken up into the Draft Phase and the Build Phase. During the Draft Phase, players take turns drafting villagers from the available card stacks into their hands. During the Build Phase, players can add villagers from their hand to their tableau. Certain cards can be chained together, and provide more powers and/or end-game points – but they must be added to the village in chain order. At two points throughout the game, the First and Second Market Phases, all players will collect money depending on which cards they have in their villages. The game ends immediately after the Second Market Phase is completed, and the player with the most money is the winner!
As a solo game, Villagers plays very similarly to group play, with only a couple of differences. First, the solo player is battling against The Countess, an AI character, to create the best village. The Countess is incorporated into the game in a unique way. During the Draft Phase, whenever you draft a villager to your hand, you also select an available villager to go straight into the village of the Countess. The Build Phase is carried out as normal. At the end of every round, you blindly draw a face-down card from the Reserve (draw deck), and it automatically goes into the Countess’ village as well. The other twist to a solo game of Villagers is that there are Event cards in play each round. Events are resolved after the Build Phase, before beginning the next round, and are often detrimental to the player – like making you pay extra gold to unlock padlocks, for example. The First and Second Market Phases work the same as they do in a multiplayer game, and the game ends immediately after the Second Market Phase. If you have managed to accrue more money than the Countess, then you have won!
I want to start off by saying that I love Villagers. Card drafting and set collection are my JAM, and this is a game that highlights those really well without making it too complicated. Even when playing solo, those mechanics still feel balanced, and that makes the overall game enjoyable. From my previous Solo Chronicles, I have stated how much I dislike “Beat your own high score” solo modes, so I was extremely happy when I saw that Villagers pitted the solo player against an AI character – the Countess. For the most part, I think that the Countess works really well in this game. When you draft a card, the Countess gets a card as well. But the best part about that is that you get to choose which card goes to the Countess. That means that you are able to keep some semblance of strategy in your game, because you have the power to decide what cards go where, for the most part.
The other neat thing about solo play is the inclusion of Event cards in the game – which are not present in group play. The Events add an extra element that you have to take into account for the given round. Depending on the Event, it could compromise your strategy quite a bit, but that’s what keeps it interesting. You can’t just get into a groove and grind through the rounds, drafting everything you want, when you want. You have to adapt your strategy based upon the Event(s) in play, and the Countess’ village.
The only downside for me is that at the end of every round, the Countess gets the top face-down card from the Reserve, and depending on what card that is, it could throw a wrench into the strategy you’ve been working hard to set up. I guess that mimics a multiplayer game in a sense, though, because you can’t always control what your opponents will do. The biggest downside about solo play for me has nothing to do with actual gameplay, but rather table space. Every card that goes into the Countess’ village is a stand-alone, meaning that they do not chain together like cards in your village will. So depending on how long the game goes, the Countess’ village will get to be pretty large, and hog lots of the table. I think that just means I need a bigger table though…
All that being said – is Villagers a good game for solo play? I would say mostly yes. Strategy is still required for success, but adaptability of that strategy is what keeps the game engaging and entertaining. Nothing can quite replace the multiplayer experience, but playing against the AI character keeps the competitiveness alive in the game. As someone who does a lot of solo playing these days, I am glad that I have added Villagers to my collection. If you haven’t gotten a chance to play Villagers yet, I would highly recommend checking it out. Solo or multiplayer, it’s a great time!
