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Acanthea Grimscythe (300 KP) rated Wolf Blood in Books
Jan 31, 2019
Wolf Blood is a fresh, new take on the apocalypse–free of zombies and nuclear fallout. It’s a welcome breath of fresh air in a market that’s already overly saturated with the same tropes, and for that Steve Morris deserves props. That’s not to say that there aren’t issues with Wolf Blood. There are several, actually. It does, however, mean that this is a title worth taking the time to read if you’re sick of the same washed up material.
Professor Wiseman and his three students, Samuel, Leann, and Adam, have tucked themselves away in the Carpathians after a poorly received publication foretelling of a werewolf apocalypse is met with widespread mockery and criticism. His reputation ruined, the Professor and his students continue their research in quiet solitude–until things go wrong. All three students become infected, soon returning to London to bring back the superiority of wolves.
Let’s be honest, this idea is pretty interesting and in execution, Morris does a pretty decent job. I didn’t find any outwardly obvious plot holes, and that’s a plus too. The book is fast-paced, making for an easy and quick read. It isn’t bogged down with too much exposition, either. In fact, it might not have enough in some cases. Fortunately, it doesn’t detract too much from what’s going on.
Also, characters. There are too many characters whose purpose isn’t revealed in this book. Granted it’s the first of a series and they probably have a reason to exist later on down the road, but ultimately I feel it would have been better if those characters were introduced later. Instead we end up with a handful of people we don’t care about, and not enough time to develop feelings for those we do meet.
Morris’s werewolves are an important topic of discussion too. They are somewhere in-between the romanticized version and the truly monstrous. As a fan of gore and horror, I was hoping for purely the latter–especially since it is an apocalypse book. While there is some sappiness to this crew of mangy mutts, much of their desires lean toward the more primal nature of a wolf.
Overall, I thoroughly enjoyed reading this; I devoured it in just over twenty-four hours and, considering all that’s going on in my life, that’s a good thing. Rating wise, I’m stuck between three and four. Considering how much fun I had reading it, I’ve decided to lean toward the higher rating. This is definitely a fun book.
I would like to thank the publisher and NetGalley for providing me with a free copy of this book in exchange for an honest and unbiased review.
Professor Wiseman and his three students, Samuel, Leann, and Adam, have tucked themselves away in the Carpathians after a poorly received publication foretelling of a werewolf apocalypse is met with widespread mockery and criticism. His reputation ruined, the Professor and his students continue their research in quiet solitude–until things go wrong. All three students become infected, soon returning to London to bring back the superiority of wolves.
Let’s be honest, this idea is pretty interesting and in execution, Morris does a pretty decent job. I didn’t find any outwardly obvious plot holes, and that’s a plus too. The book is fast-paced, making for an easy and quick read. It isn’t bogged down with too much exposition, either. In fact, it might not have enough in some cases. Fortunately, it doesn’t detract too much from what’s going on.
Also, characters. There are too many characters whose purpose isn’t revealed in this book. Granted it’s the first of a series and they probably have a reason to exist later on down the road, but ultimately I feel it would have been better if those characters were introduced later. Instead we end up with a handful of people we don’t care about, and not enough time to develop feelings for those we do meet.
Morris’s werewolves are an important topic of discussion too. They are somewhere in-between the romanticized version and the truly monstrous. As a fan of gore and horror, I was hoping for purely the latter–especially since it is an apocalypse book. While there is some sappiness to this crew of mangy mutts, much of their desires lean toward the more primal nature of a wolf.
Overall, I thoroughly enjoyed reading this; I devoured it in just over twenty-four hours and, considering all that’s going on in my life, that’s a good thing. Rating wise, I’m stuck between three and four. Considering how much fun I had reading it, I’ve decided to lean toward the higher rating. This is definitely a fun book.
I would like to thank the publisher and NetGalley for providing me with a free copy of this book in exchange for an honest and unbiased review.
Gareth von Kallenbach (980 KP) rated The Meg (2018) in Movies
Jun 19, 2019
The long journey to bring “The Meg” to the big screen is finally over as Author Steve Alten’s classic book series has arrived.
The film stars Jason Statham as Jonas Taylor, an expert in underwater rescues who has to makes a very difficult choice when a rescue goes bad after suffering a very unexpected encounter mid-rescue.
Five years later Jonas is out of the rescue game as he has been labeled as unreliable and prone to PTSD so he drinks his time away in Thailand working on local boats.
200 miles off the coasts of China is an advanced research lab which is the pet project of a Billionaire named Morris (Rainn Wilson), who arrives in time to witness an attempt by the crew to go deeper than ever thought possible by going through a layer that was previously believed to be the ocean floor. The experiment works and the crew is amazed by their new discoveries until something violently attacks their ship leaving them stranded on the bottom of the ocean.
With a limited amount of air and time ticking away, Jonas is recruited despite his numerous refusals as not only is one of the stranded people his ex; but the last transmission sent by the sub mentions how Jonas had been right all along when he had years early claimed they were not alone during the rescue attempt gone bad.
Jonas is teamed with a spirited member of the team named Suyin (Bingbing Li), who has taken a sub down ahead of Jonas as she was not willing to wait for outside help to arrive. She locates her comrades and is attacked by a massive shark long thought extinct.
The harrowing rescue goes off but again Jonas is faced with a no-win situation and is blamed by a former colleague for the issues.
While Morris is eager to exploit the new find for the huge financial opportunity it presents, their plans change when the creature emerges from its contained area and threatens a level of carnage on the seas the likes of which society and the ecosystem are very unprepared for.
What follows is a frantic and often intense series of engagements as Jonas and the crew must battle the massive and deadly creature and find a way to survive.
The film has some very solid effects and the intensity at times had people in the press screening partially covering their eyes during some of the more harrowing moments.
The cast is solid and work well with one another as the film does what it can to keep some of the characters from being little more than generic victims for the Meg.
The movie does differ from the book in terms of being set off China versus California but this was largely due to the joint-production with Chinese owned Gravity Pictures. The film is also much less gory than the book as Director Jon Turteltaub was mandated to deliver a PG-13 film by the studio to improve the odds of returning on the $150.00 million invested in the film.
The dialogue is also a bit stilted and formulaic in parts but action films are not known for their complex plots or advanced dialogue and I attributed this largely to the challenges of a blended cast; many of whom do not speak English as their primary language.
Despite a delay from its planned 2017 release date, “The Meg” is a solid and fun action-thriller that gives audiences one of the best excuses not to go swimming since “Jaws”. While there have been numerous Shark films over the years, “The Meg” deftly weaves good sets and production values with a top-notch cast and lavish visuals to bring the film to life.
With several other books in the series already available, I hope we see the next film surface in a few years as I cannot wait to see what comes next.
http://sknr.net/2018/08/08/the-meg/
The film stars Jason Statham as Jonas Taylor, an expert in underwater rescues who has to makes a very difficult choice when a rescue goes bad after suffering a very unexpected encounter mid-rescue.
Five years later Jonas is out of the rescue game as he has been labeled as unreliable and prone to PTSD so he drinks his time away in Thailand working on local boats.
200 miles off the coasts of China is an advanced research lab which is the pet project of a Billionaire named Morris (Rainn Wilson), who arrives in time to witness an attempt by the crew to go deeper than ever thought possible by going through a layer that was previously believed to be the ocean floor. The experiment works and the crew is amazed by their new discoveries until something violently attacks their ship leaving them stranded on the bottom of the ocean.
With a limited amount of air and time ticking away, Jonas is recruited despite his numerous refusals as not only is one of the stranded people his ex; but the last transmission sent by the sub mentions how Jonas had been right all along when he had years early claimed they were not alone during the rescue attempt gone bad.
Jonas is teamed with a spirited member of the team named Suyin (Bingbing Li), who has taken a sub down ahead of Jonas as she was not willing to wait for outside help to arrive. She locates her comrades and is attacked by a massive shark long thought extinct.
The harrowing rescue goes off but again Jonas is faced with a no-win situation and is blamed by a former colleague for the issues.
While Morris is eager to exploit the new find for the huge financial opportunity it presents, their plans change when the creature emerges from its contained area and threatens a level of carnage on the seas the likes of which society and the ecosystem are very unprepared for.
What follows is a frantic and often intense series of engagements as Jonas and the crew must battle the massive and deadly creature and find a way to survive.
The film has some very solid effects and the intensity at times had people in the press screening partially covering their eyes during some of the more harrowing moments.
The cast is solid and work well with one another as the film does what it can to keep some of the characters from being little more than generic victims for the Meg.
The movie does differ from the book in terms of being set off China versus California but this was largely due to the joint-production with Chinese owned Gravity Pictures. The film is also much less gory than the book as Director Jon Turteltaub was mandated to deliver a PG-13 film by the studio to improve the odds of returning on the $150.00 million invested in the film.
The dialogue is also a bit stilted and formulaic in parts but action films are not known for their complex plots or advanced dialogue and I attributed this largely to the challenges of a blended cast; many of whom do not speak English as their primary language.
Despite a delay from its planned 2017 release date, “The Meg” is a solid and fun action-thriller that gives audiences one of the best excuses not to go swimming since “Jaws”. While there have been numerous Shark films over the years, “The Meg” deftly weaves good sets and production values with a top-notch cast and lavish visuals to bring the film to life.
With several other books in the series already available, I hope we see the next film surface in a few years as I cannot wait to see what comes next.
http://sknr.net/2018/08/08/the-meg/
Bob Mann (459 KP) rated Instant Family (2019) in Movies
Sep 28, 2021
Enjoyable and harmless comedy laced with a degree of sentimentality.
The Plot
Pete (Mark Wahlberg) and Ellie (Rose Byrne) are focused and business-oriented home designers. They’ve talked about having kids “sometime in the future” but the years – as years are want to do – are motoring away from them. Pete is concerned that if they have their own kids now then he will end up being an “old dad” (cue very funny, black-comedy, flashback). This leads them into contact with the State’s fostering service – led by Karen (Octavia Spencer) and Sharon (Tig Notaro) – and they progress into foster training. This introduces into their ‘perfect adult lives’ 15-year old Lizzy (Isabela Moner) and her younger siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz). As these guys come from a troubled background Pete and Ellie find they have their work cut out. Who will crack first?
The turns
You’ve got to admire Mark Wahlberg as an actor. In the same vein as Steve Carell, he seems to be able to flex from dramatic (in his case, tough-guy action roles) to comedy without a blink. He’s nowhere near the calibre of actor as Carell, but he brings to all his roles a sense of menace – derived no doubt from his torrid criminal background in younger days. (His wiki page makes your eyes water: there’s a great biopic screenplay waiting to be written there! ) It must have made the kid actor who plays Charlie (Carson Holmes) actually soil himself at a key point in the film!
Wahlberg and the excellent Rose Byrne make a believable driven-couple, and Byrne has such a range of expressive faces that she can’t help but make you laugh.
Of the child actors, Nickelodeon star Isabella Moner shines with genuine brilliance, both in terms of her acting as the fiercely loyal Lizzy but also in terms of her musical ability (she sings the impressive end-title song). With Hollywood in ‘post-La-La-Showman: Here we go again’ mode, this is a talented young lady I predict might be in big demand over the next few years.
Top of my list of the most stupid “where the hell have I seen her before bang-my-head-against-the-cinema-wall” moments is the actress playing Ellie’s mother Jan. She is OF COURSE Julie Hagerty, air-hostess supreme from “Airplane!”.
Also good value, and topping my list of “I know her from lots of films but don’t know her name” is Margo Martindale* as Pete’s exuberant and easily bought mother Sandy. (*Must write this out 100 times before her picture appears in the Picturehouse Harbour Lights film quiz!).
A well-crafty script with some wayward characters
The script by director Sean (“Daddy’s Home”) Anders and John Morris zips along at a fine pace, albeit in a wholly predictable direction. It helps that I struggle the think of many films about the adoption process itself. Sure there have been lots of movies about children that have been adopted – Manchester By The Sea and Lion being two recent examples – but the only film I can immediately think of (and not in a good way) with foster care at its heart was the Katherine Heigl comedy from a few years ago “Life as we know it”. So this is good movie territory to mine.
There are some fine running jokes, notably young Juan’s penchant for constantly getting injured. However, the script also lapses as did Anders’ “Daddy’s Home 2” from last year – into moments of slushy sentimentality. (My dear departed Dad always used to affect an exaggerated snore at such points, and I could hear him in my head at regular intervals during the film!). I would have preferred a harder and blacker edge to the comedy: something that last year’s excellent “Game Night” pulled off so well.
There are also a couple of characters in the film that were poorly scripted and which just didn’t work. While Octavia Spencer was fine (channelling an almost identical version of her wisecracking and sardonic character from “The Shape of Water“), I just had no idea what her colleague Sharon (Tig Notaro) was supposed to be. The tone was all over the place. Similarly, who should pop up on a balcony in an unexpected cameo but the great Joan Cusack. And very funny she is too for the 10 second interruption. But the writers having got her there just couldn’t leave alone and we get a plain embarrassing extended interruption that strikes a duff note in the flow of the film.
Summary
The film is amusing and harmless without taxing many brain cells. Most notably unlike many so-called American ‘comedies’ it did actually make me laugh at multiple points. I should also point out that my wife absolutely loved it, rating it a strong 4* going on 5*.
But the really cute thing is that…
…the film is “inspired by a true family”: namely Anders’ own. He and his wife fostered three kids out of the US foster service, so the script is undoubtedly loosely based on their own experiences, which give it an extra impact for some of Peter and Ellie’s lines. In an essay for TIME (source: bustle.com) Anders wrote:
My wife Beth and I had been talking for years about whether we should have kids,” he wrote. “For the longest time we just felt like we couldn’t afford it. Then I sold a couple of scripts and was feeling like I might have a career, but we were in our 40s and worried we had left it too long. We knew kids would make our life bigger, so one day I joked, ‘Why don’t we just adopt a five-year-old and it will be like we got started five years ago?'”
It gives you a completely different perspective on the film knowing this. My wife after the film was saying “I’m not sure how accurately it portrays the fostering process”. But it clearly does.
Pete (Mark Wahlberg) and Ellie (Rose Byrne) are focused and business-oriented home designers. They’ve talked about having kids “sometime in the future” but the years – as years are want to do – are motoring away from them. Pete is concerned that if they have their own kids now then he will end up being an “old dad” (cue very funny, black-comedy, flashback). This leads them into contact with the State’s fostering service – led by Karen (Octavia Spencer) and Sharon (Tig Notaro) – and they progress into foster training. This introduces into their ‘perfect adult lives’ 15-year old Lizzy (Isabela Moner) and her younger siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz). As these guys come from a troubled background Pete and Ellie find they have their work cut out. Who will crack first?
The turns
You’ve got to admire Mark Wahlberg as an actor. In the same vein as Steve Carell, he seems to be able to flex from dramatic (in his case, tough-guy action roles) to comedy without a blink. He’s nowhere near the calibre of actor as Carell, but he brings to all his roles a sense of menace – derived no doubt from his torrid criminal background in younger days. (His wiki page makes your eyes water: there’s a great biopic screenplay waiting to be written there! ) It must have made the kid actor who plays Charlie (Carson Holmes) actually soil himself at a key point in the film!
Wahlberg and the excellent Rose Byrne make a believable driven-couple, and Byrne has such a range of expressive faces that she can’t help but make you laugh.
Of the child actors, Nickelodeon star Isabella Moner shines with genuine brilliance, both in terms of her acting as the fiercely loyal Lizzy but also in terms of her musical ability (she sings the impressive end-title song). With Hollywood in ‘post-La-La-Showman: Here we go again’ mode, this is a talented young lady I predict might be in big demand over the next few years.
Top of my list of the most stupid “where the hell have I seen her before bang-my-head-against-the-cinema-wall” moments is the actress playing Ellie’s mother Jan. She is OF COURSE Julie Hagerty, air-hostess supreme from “Airplane!”.
Also good value, and topping my list of “I know her from lots of films but don’t know her name” is Margo Martindale* as Pete’s exuberant and easily bought mother Sandy. (*Must write this out 100 times before her picture appears in the Picturehouse Harbour Lights film quiz!).
A well-crafty script with some wayward characters
The script by director Sean (“Daddy’s Home”) Anders and John Morris zips along at a fine pace, albeit in a wholly predictable direction. It helps that I struggle the think of many films about the adoption process itself. Sure there have been lots of movies about children that have been adopted – Manchester By The Sea and Lion being two recent examples – but the only film I can immediately think of (and not in a good way) with foster care at its heart was the Katherine Heigl comedy from a few years ago “Life as we know it”. So this is good movie territory to mine.
There are some fine running jokes, notably young Juan’s penchant for constantly getting injured. However, the script also lapses as did Anders’ “Daddy’s Home 2” from last year – into moments of slushy sentimentality. (My dear departed Dad always used to affect an exaggerated snore at such points, and I could hear him in my head at regular intervals during the film!). I would have preferred a harder and blacker edge to the comedy: something that last year’s excellent “Game Night” pulled off so well.
There are also a couple of characters in the film that were poorly scripted and which just didn’t work. While Octavia Spencer was fine (channelling an almost identical version of her wisecracking and sardonic character from “The Shape of Water“), I just had no idea what her colleague Sharon (Tig Notaro) was supposed to be. The tone was all over the place. Similarly, who should pop up on a balcony in an unexpected cameo but the great Joan Cusack. And very funny she is too for the 10 second interruption. But the writers having got her there just couldn’t leave alone and we get a plain embarrassing extended interruption that strikes a duff note in the flow of the film.
Summary
The film is amusing and harmless without taxing many brain cells. Most notably unlike many so-called American ‘comedies’ it did actually make me laugh at multiple points. I should also point out that my wife absolutely loved it, rating it a strong 4* going on 5*.
But the really cute thing is that…
…the film is “inspired by a true family”: namely Anders’ own. He and his wife fostered three kids out of the US foster service, so the script is undoubtedly loosely based on their own experiences, which give it an extra impact for some of Peter and Ellie’s lines. In an essay for TIME (source: bustle.com) Anders wrote:
My wife Beth and I had been talking for years about whether we should have kids,” he wrote. “For the longest time we just felt like we couldn’t afford it. Then I sold a couple of scripts and was feeling like I might have a career, but we were in our 40s and worried we had left it too long. We knew kids would make our life bigger, so one day I joked, ‘Why don’t we just adopt a five-year-old and it will be like we got started five years ago?'”
It gives you a completely different perspective on the film knowing this. My wife after the film was saying “I’m not sure how accurately it portrays the fostering process”. But it clearly does.