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Purple Phoenix Games (2266 KP) rated Destinies in Tabletop Games
Jan 29, 2022
I can recall so many instances of my board game purchases being based on either the designer, artist, or publisher. Surely I am not alone here. Josh will probably always be a Stonemaier Games fanboy. Laura has aligned herself with Daily Magic Games and Button Shy Games. While I am a big fan of the Valeriaverse, I think my current preferences put me on teams Weird Giraffe Games, Blue Orange Games, and Lucky Duck Games. Speaking of the latter, LDG have come through with some seriously excellent hybrid app-driven games that just wow me every single time. I was definitely a hybrid game naysayer when the first Chronicles of Crime came out, but the more I play them, the more I appreciate the accomplishments. Destinies has now come along to me and it has been some time since I have been this jazzed to play a game over and over and over and over.
Destinies is a hybrid app-driven adventure board game for one to three players. In it, players will be choosing their characters and how to play them, along with the path of their individual destinies across several campaign scenarios. When playing multiplayer, the player who completes their destiny first will win. When playing solo (which is also amazing), the player wins when they successfully complete their destiny.
DISCLAIMER: We are using the Kickstarter version of the game. We do have the expansions from the KS campaign, but will not be using those for this review. Also, we do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. -T
Usually I list out the steps to setup a game in this section, but there are so many little items and steps to be taken that I will simply show you, the reader, how a scenario may look once setup. The app will instruct players how to create their character’s stats and which map tiles should be placed out initially. Typically, though, each player will receive a player board, Destiny card (with their character headshot on one side and their Destiny choices on back), two main dice, three effort dice, and one gold coin. Once setup, the app will drive the story along and the players will be rolling dice and making choices in order to win the game or scenario.
Each player will be given their Destiny card with two distinct Destiny paths on the backside. These paths correlate with the current scenario, and the player will be able to choose one of the two given paths to help move their games forward. However, sometimes players will switch their Destiny mid-game due to several factors including successes on previous tasks or current inventory. The only way to win the game is to complete a Destiny, so staying on track is paramount in this open sandbox game – it is incredibly easy to become sidetracked and lose sight of specific tasks to be performed.
Each turn a player may move to a new tile, to previously-explored tiles, or points of interest on specific map tiles. These points of interest could be unique characters to be visited, or more general spaces on the tile represented by tokens. Sometimes visiting a POI (point of interest) will have the player rolling dice to complete tests, initiating trade with the POI NPC, revealing information about their distinct Destiny, or even issuing side quests. Players take their chances by visiting a POI because only one may be visited on a turn. Once a player has moved and visited a POI, their turn is over and the next player’s turn begins.
The most interesting aspect of this game is the experience tracker and results of tests. Player stats are divided between Intelligence, Dexterity, and Power (Strength for my D&D readers). These stats are constantly in flux due to tests and experience, and levels range from 1-12+ on the player board. A player will roll both main dice and any effort dice they wish on each test, and the total result is compared to the discs present on the main player board. One success is counted for each disc’s value equal to or below the rolled result. For example, if the roll is a 6, and the player has a disc on 3 and another on 6 the player counts two successes. Effort dice add values to the rolled result, and one side of these dice depict a star, which counts as one success. Throughout the game players will be moving their skill marker tokens (discs) up and down the tracks. Sometimes this is due to a test being failed or succeeded, but sometimes experience tokens are earned. A player may improve their skill levels by two total values on the tracks for each experience token discarded. Players may choose which tracks, and may maximize their character’s skill or spread out the experience across multiple skills.
Play continues in this fashion of referencing the app for story and plot items, players working toward completing their Destinies, and adventuring across the land rolling tests and improving skills until one player finishes their Destiny and wins the game!
Components. As always, I am going to be honest here by stating I believe that Destinies packs the box with the best components I have seen in a game. The multi-layered insert is perfectly formed and well-thought out, all the cardboard tokens are super-thick, the dice are so fun to handle and roll, the cards and other components feature incredible artwork, and did I mention there’s about a thousand minis in this game? I am reluctant to even call some of these things minis as they are large and in charge for SURE. I have zero complaints or comments on the components present in Destinies. Lucky Duck knocks it out of the park once again. Incredible.
I actually backed this one on Kickstarter just because it comes from Lucky Duck Games. I had played Chronicles of Crime and loved it, and just wanted to try something different but using a similar system. Typically I don’t keep up with the comments and updates to a game I have backed because I enjoy being surprised by the product that arrives at my door. Destinies was certainly a surprise to me, and I have been kicking myself in the butt for not getting it to the table the very first day I received it.
Destinies is my favorite Lucky Duck Games title, and that is saying a ton, as I rave about every game of theirs I have played. I hope you all back me up here, and if you haven’t yet tried this one, I hope you visit your closest friend or board game cafe that owns it. The tutorial scenario is great, and the campaign scenarios have been awesome so far. Okay, yes, when I first played it with Laura, my wife made several comments about it being a 3 hour game, but once that first one is completed, the subsequent plays run much smoother.
What I love so much about this is how indefinitely expandable it is. Most of the components are multi-use (akin to all the character cards in the Chronicles of Crime games), and can be used in campaign after campaign. The drawbacks I see for this, though, is any sort of waning interest in it forcing designers to abandon plans to create more scenarios. Could a new scenario pack be an acceptable expansion versus a large expansion box with oodles of new components and minis? I think so, but I am no designer. Could the Millennium Series treatment be given to Destinies? Absolutely! This system does not need to be played in a medieval fantasy world. It could be molded to almost anything, and that gives me excited shivers over the future of this game.
If you are anything like me and have now embraced the hybrid gaming trend, I highly recommend Destinies. I plan to also review all the expansions in the near future, so do look out for those, but please do yourself a giant favor and pick up Destinies. The excellent storytelling, great components, and just amazing fun helps Purple Phoenix Games give this one a perfectly deserved 12 / 12, and a Golden Feather Award! I can’t stop thinking about it and how I would play it differently next time, and hopefully after I have played through the expansion material I will be able to restart from the very beginning with different characters and choices. It’s a sign of a great game when I can’t stop thinking about it, and I do believe Destinies currently is knocking at the door of my Top 10 Games of All Time. No, it’s there. It’s totally there. TOP 10 BABY!!
Destinies is a hybrid app-driven adventure board game for one to three players. In it, players will be choosing their characters and how to play them, along with the path of their individual destinies across several campaign scenarios. When playing multiplayer, the player who completes their destiny first will win. When playing solo (which is also amazing), the player wins when they successfully complete their destiny.
DISCLAIMER: We are using the Kickstarter version of the game. We do have the expansions from the KS campaign, but will not be using those for this review. Also, we do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. -T
Usually I list out the steps to setup a game in this section, but there are so many little items and steps to be taken that I will simply show you, the reader, how a scenario may look once setup. The app will instruct players how to create their character’s stats and which map tiles should be placed out initially. Typically, though, each player will receive a player board, Destiny card (with their character headshot on one side and their Destiny choices on back), two main dice, three effort dice, and one gold coin. Once setup, the app will drive the story along and the players will be rolling dice and making choices in order to win the game or scenario.
Each player will be given their Destiny card with two distinct Destiny paths on the backside. These paths correlate with the current scenario, and the player will be able to choose one of the two given paths to help move their games forward. However, sometimes players will switch their Destiny mid-game due to several factors including successes on previous tasks or current inventory. The only way to win the game is to complete a Destiny, so staying on track is paramount in this open sandbox game – it is incredibly easy to become sidetracked and lose sight of specific tasks to be performed.
Each turn a player may move to a new tile, to previously-explored tiles, or points of interest on specific map tiles. These points of interest could be unique characters to be visited, or more general spaces on the tile represented by tokens. Sometimes visiting a POI (point of interest) will have the player rolling dice to complete tests, initiating trade with the POI NPC, revealing information about their distinct Destiny, or even issuing side quests. Players take their chances by visiting a POI because only one may be visited on a turn. Once a player has moved and visited a POI, their turn is over and the next player’s turn begins.
The most interesting aspect of this game is the experience tracker and results of tests. Player stats are divided between Intelligence, Dexterity, and Power (Strength for my D&D readers). These stats are constantly in flux due to tests and experience, and levels range from 1-12+ on the player board. A player will roll both main dice and any effort dice they wish on each test, and the total result is compared to the discs present on the main player board. One success is counted for each disc’s value equal to or below the rolled result. For example, if the roll is a 6, and the player has a disc on 3 and another on 6 the player counts two successes. Effort dice add values to the rolled result, and one side of these dice depict a star, which counts as one success. Throughout the game players will be moving their skill marker tokens (discs) up and down the tracks. Sometimes this is due to a test being failed or succeeded, but sometimes experience tokens are earned. A player may improve their skill levels by two total values on the tracks for each experience token discarded. Players may choose which tracks, and may maximize their character’s skill or spread out the experience across multiple skills.
Play continues in this fashion of referencing the app for story and plot items, players working toward completing their Destinies, and adventuring across the land rolling tests and improving skills until one player finishes their Destiny and wins the game!
Components. As always, I am going to be honest here by stating I believe that Destinies packs the box with the best components I have seen in a game. The multi-layered insert is perfectly formed and well-thought out, all the cardboard tokens are super-thick, the dice are so fun to handle and roll, the cards and other components feature incredible artwork, and did I mention there’s about a thousand minis in this game? I am reluctant to even call some of these things minis as they are large and in charge for SURE. I have zero complaints or comments on the components present in Destinies. Lucky Duck knocks it out of the park once again. Incredible.
I actually backed this one on Kickstarter just because it comes from Lucky Duck Games. I had played Chronicles of Crime and loved it, and just wanted to try something different but using a similar system. Typically I don’t keep up with the comments and updates to a game I have backed because I enjoy being surprised by the product that arrives at my door. Destinies was certainly a surprise to me, and I have been kicking myself in the butt for not getting it to the table the very first day I received it.
Destinies is my favorite Lucky Duck Games title, and that is saying a ton, as I rave about every game of theirs I have played. I hope you all back me up here, and if you haven’t yet tried this one, I hope you visit your closest friend or board game cafe that owns it. The tutorial scenario is great, and the campaign scenarios have been awesome so far. Okay, yes, when I first played it with Laura, my wife made several comments about it being a 3 hour game, but once that first one is completed, the subsequent plays run much smoother.
What I love so much about this is how indefinitely expandable it is. Most of the components are multi-use (akin to all the character cards in the Chronicles of Crime games), and can be used in campaign after campaign. The drawbacks I see for this, though, is any sort of waning interest in it forcing designers to abandon plans to create more scenarios. Could a new scenario pack be an acceptable expansion versus a large expansion box with oodles of new components and minis? I think so, but I am no designer. Could the Millennium Series treatment be given to Destinies? Absolutely! This system does not need to be played in a medieval fantasy world. It could be molded to almost anything, and that gives me excited shivers over the future of this game.
If you are anything like me and have now embraced the hybrid gaming trend, I highly recommend Destinies. I plan to also review all the expansions in the near future, so do look out for those, but please do yourself a giant favor and pick up Destinies. The excellent storytelling, great components, and just amazing fun helps Purple Phoenix Games give this one a perfectly deserved 12 / 12, and a Golden Feather Award! I can’t stop thinking about it and how I would play it differently next time, and hopefully after I have played through the expansion material I will be able to restart from the very beginning with different characters and choices. It’s a sign of a great game when I can’t stop thinking about it, and I do believe Destinies currently is knocking at the door of my Top 10 Games of All Time. No, it’s there. It’s totally there. TOP 10 BABY!!
Purple Phoenix Games (2266 KP) rated Chronicles of Crime in Tabletop Games
Jul 1, 2021
Find the murderer, the weapon, and the location. That’s Clue/Cluedo right? Yes. Find the priceless artifact that was stolen from the museum while other complications arise is Chronicles of Crime, and specifically the Curse of the Pharaohs case. Do you have what it takes to solve this crime, and more importantly, do you have a cell phone or tablet??
Chronicles of Crime is an app-driven storytelling, deduction, adventure board game that can be played solo or cooperatively. Players will be assuming the mantles of London detectives attempting to solve difficult cases at Scotland Yard. As it is a cooperative game players will win or lose together, but the game itself will be helping players along the way.
To setup, place the Evidence Board on the table and surround it with these components: Location Boards in a stack, but Scotland Yard attached to the bottom of the Evidence Board, Character and Special Items cards in face-down stacks, Evidence Category cards face-up, and the four Forensic Contact cards nearby as well. Open the app, choose the scenario to play, and let the app guide you through the introduction to the game.
As there are no real “turns” Chronicles of Crime allows freedom for players to essentially roam around London’s sectors looking for clues to whatever crime has taken place, interrogating suspects, asking the Forensics Contacts team for support when encountering people or items, and finally attempting the solve the case. I cannot really go into much more detail in word or photo, as I wish to avoid all spoilers, but the app will guide players and assist in gentle nudges along the way. The app will be heavily used as players will need to scan the QR codes on several components in order to interact with them, and scannable components may not always be assigned the same roles in other scenarios. Once players have explored as much as they deem necessary, they may claim the group is ready to connect the dots and win the game. Players win or lose by visiting Scotland Yard to solve the case successfully or otherwise.
Components. All of the physical components included in the box are incredible. The cards feature great artwork, the components are wonderful quality, and everything has unique QR codes to scan in the app. The box insert is cleverly-designed and certainly ready to accept expansion materials. The greatest component, however, is the Chronicles of Crime companion app. This app is simply amazing. It is absolutely necessary for play, but once downloaded it requires no Internet access (unless you decide to download additional materials or scenarios). The app is so well-designed and engaging, and the music is minimal but certainly mood-setting. I can clearly see why using an app is essential here, and allows the team to add more and more content without having to alter the physical components at all. A stroke of genius, in my mind!
All in all I was, and still am, blown away by Chronicles of Crime. The marriage of board game and digital app is something I was leery of at first because I much prefer board games, but this simply works. And works quite well. I love being able to travel to a location, check it out, interrogate any persons of interest there, and try to assemble the story in my mind. I want to play all of the scenarios with different groups of people to see if that will change anything, but currently during COVID it’s a no-go.
Chronicles of Crime may never break into my Top 10 Games of All Time, but I will not be moving it out of my collection ever. Well, unless Lucky Duck Games decides to remove the app or something weird like that. I don’t have many board/digital hybrid games in my collection, and if I never add another I will still be happy with this one (ahem, keep your eyes peeled for the Chronicles of Crime: 1400 preview I will be doing soon – or will have done depending on when you read this review). Purple Phoenix Games gives Chronicles of Crime an enthusiastically shifty-eyed 11 / 12. I think you might get bonus VPs at the end of the game for putting on a British accent when you play. I’ll have to scour the rules for that one…
Chronicles of Crime is an app-driven storytelling, deduction, adventure board game that can be played solo or cooperatively. Players will be assuming the mantles of London detectives attempting to solve difficult cases at Scotland Yard. As it is a cooperative game players will win or lose together, but the game itself will be helping players along the way.
To setup, place the Evidence Board on the table and surround it with these components: Location Boards in a stack, but Scotland Yard attached to the bottom of the Evidence Board, Character and Special Items cards in face-down stacks, Evidence Category cards face-up, and the four Forensic Contact cards nearby as well. Open the app, choose the scenario to play, and let the app guide you through the introduction to the game.
As there are no real “turns” Chronicles of Crime allows freedom for players to essentially roam around London’s sectors looking for clues to whatever crime has taken place, interrogating suspects, asking the Forensics Contacts team for support when encountering people or items, and finally attempting the solve the case. I cannot really go into much more detail in word or photo, as I wish to avoid all spoilers, but the app will guide players and assist in gentle nudges along the way. The app will be heavily used as players will need to scan the QR codes on several components in order to interact with them, and scannable components may not always be assigned the same roles in other scenarios. Once players have explored as much as they deem necessary, they may claim the group is ready to connect the dots and win the game. Players win or lose by visiting Scotland Yard to solve the case successfully or otherwise.
Components. All of the physical components included in the box are incredible. The cards feature great artwork, the components are wonderful quality, and everything has unique QR codes to scan in the app. The box insert is cleverly-designed and certainly ready to accept expansion materials. The greatest component, however, is the Chronicles of Crime companion app. This app is simply amazing. It is absolutely necessary for play, but once downloaded it requires no Internet access (unless you decide to download additional materials or scenarios). The app is so well-designed and engaging, and the music is minimal but certainly mood-setting. I can clearly see why using an app is essential here, and allows the team to add more and more content without having to alter the physical components at all. A stroke of genius, in my mind!
All in all I was, and still am, blown away by Chronicles of Crime. The marriage of board game and digital app is something I was leery of at first because I much prefer board games, but this simply works. And works quite well. I love being able to travel to a location, check it out, interrogate any persons of interest there, and try to assemble the story in my mind. I want to play all of the scenarios with different groups of people to see if that will change anything, but currently during COVID it’s a no-go.
Chronicles of Crime may never break into my Top 10 Games of All Time, but I will not be moving it out of my collection ever. Well, unless Lucky Duck Games decides to remove the app or something weird like that. I don’t have many board/digital hybrid games in my collection, and if I never add another I will still be happy with this one (ahem, keep your eyes peeled for the Chronicles of Crime: 1400 preview I will be doing soon – or will have done depending on when you read this review). Purple Phoenix Games gives Chronicles of Crime an enthusiastically shifty-eyed 11 / 12. I think you might get bonus VPs at the end of the game for putting on a British accent when you play. I’ll have to scour the rules for that one…
Bob Mann (459 KP) rated Spielberg (2017) in Movies
Sep 29, 2021
On making Drew Barrymore cry.
“Spielberg” is an HBO-produced documentary by documentarian Susan Lacy. You’ll never guess who the subject is?!
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Gareth von Kallenbach (971 KP) rated Good Boys (2019) in Movies
Aug 16, 2019
Every generation has a coming of age classic that they can point to and say that it resonated with them. Whether it be classic John Hughes movies such as Pretty in Pink or The Breakfast Club, there is always something that defines the youth of that generation. Whether it be the situations that the main characters find themselves in, or even something as simple as the music and fashion, there is usually something that will strike a familiar chord with the audience. Even when I go back and rewatch the classics, it reminds me of a simpler time, when my life struggles involved asking a girl to a dance or attempting to fit in to any number of awkward first-time moments that each of us at one time or another go through. Good Boys is such a movie, about the awkwardness and naivety of youth, even if the kids had a bigger potty mouth than I did as a child.
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
Chris Sawin (602 KP) rated Watchmen (2009) in Movies
Jun 22, 2019
**I've seen Tales of the Black Freighter, but I'm not sure I've ever seen the Ultimate Cut of this.**
A comedian died in New York. Someone threw him out of a window and when he hit the sidewalk his head was driven into his stomach. The only person that seems to care is Rorschach, the one superhero who refuses to take off his mask. The Keene Act was passed in 1977 banning all forms of costumed crimefighting. Rorschach continues to do so as he feels his mask is his true face. His theory is that someone is out to kill costumed heroes and that it's his responsibility to inform his former colleagues. There's Dan Dreiberg/Nite Owl II whom Rorschach used to be partners with before Dan retired, Adrian Veidt/Ozymondias, one of two costumed heroes to make his identity public who's also a self-made millionaire and considered to be the smartest man in the world, Dr. Jon Osterman/Dr. Manhattan, the only one of the group who has genuine super powers thanks to an accident that nearly killed him who is now commissioned by the government, Laurie Jupiter/Silk Spectre II, her mother was in the Minutemen along with The Comedian and wanted her daughter to follow in her footsteps, and finally Edward Blake/The Comedian, another superhero commissioned by the government that knows more than he should while his knowledge takes its toll on him and whoever is around him at the time thanks to his reckless and sadistic behavior. What any of them fail to realize is that there's a conspiracy going on that's bigger than any of them could have ever imagined.
I had watched the motion comic in its entirety earlier in the week to get myself ready for this and it had really gotten me excited for this film. The first time I read Watchmen, I thought it was good but not great. However, I thoroughly enjoyed it the second time through. My biggest question going into the film is how I would feel about the altered ending since I already knew about that going into it. Turns out that the ending in question wasn't so bad, but I wasn't happy with some of the other things that were changed or left out to lead up to said ending.
The film is pretty much right on the money the majority of the time. Zack Snyder continues his trend of pulling panels directly from the source material and making them a cinematic reality. The dialogue is often times word for word from the graphic novel and doesn't feel forced or out of place when something new is used. The cast left nothing to be complained about as they all did a great job. Jackie Earle Haley was a fantastic Rorschach. He sounded just the way I expected Rorschach to sound and just looked like a splitting image of Walter Kovacs. Billy Crudup's emotionless Dr. Manhattan was also pretty much just as I envisioned. Jeffrey Dean Morgan as The Comedian was the one I seemed to be most pleased with. He did a great job making you care about this costumed superhero who did brutally sadistic things to people yet somehow still made you care about his character. Snyder's use of slow motion seems to be used more efficiently this time around. It felt like it was used only when needed rather than just to be eye candy. The effects used with Dr. Manhattan are worth a mention. Even if he's just standing there, you can tell how much time and effort was put into making him look spectacular. Let alone cost quite a bit of money. Rorschach's mask was also an interesting special effect that is sure to catch anyone's eye. The effects are pretty flawless and should please most moviegoers.
There was a lot of material left out of the film or changed that I wasn't particularly happy with. I don't want to seem too nitpicky, so I'll only touch base on a few of them. I view most of the stuff that was left out as character development that was important to the overall story. Most of the material in question concerns Rorschach; he visited Adrian Veidt to warn him of his mask killer theory not Dan, his response to The Keene Act, Walter Kovac's landlady, anything concerning his apartment, and his drop box, where he hides his mask during the day, everything about his psychiatrist's relationship bending and breaking during the course of the Rorschach case, how and where he got the mask, how he disposed of the man who kidnapped that little girl, and it just keeps going. Most of that was left out of the theatrical version of the film. Around the halfway point to the end of the film, I felt like it just strayed further and further away from the source material. In the novel, Dr. Manhattan is the only superhero with superpowers. The film kind of leaves that up in the air since other characters are seen punching stone off of walls and jumping to inhuman heights into the air. It was just kind of a, "Wait...what?" kind of moment for me. I realize it was probably just the wirework used that I'm questioning, but it didn't sit well with me.
I'm hoping the final cut of the film that's rumored to be three hours to three and a half hours long puts some of these important bits (including Hollis' death and The Black Freighter storyline among other things) back into the story. It wasn't that I didn't enjoy it, but it wound up just not meeting my expectations. My recommendation is don't read the graphic novel before viewing the film. The film is worthwhile for Zack Snyder enthusiasts, comic book fans, and pretty much anyone looking for a good action film. I would recommend it to just about anyone, but I think that ultimate version of the DVD is going to be what fans will really be excited over and for good reason. As a film, it's incredibly entertaining. In comparison to the graphic novel, it comes up a bit short. For now, I just see it as a good film that could have been a lot better.
A comedian died in New York. Someone threw him out of a window and when he hit the sidewalk his head was driven into his stomach. The only person that seems to care is Rorschach, the one superhero who refuses to take off his mask. The Keene Act was passed in 1977 banning all forms of costumed crimefighting. Rorschach continues to do so as he feels his mask is his true face. His theory is that someone is out to kill costumed heroes and that it's his responsibility to inform his former colleagues. There's Dan Dreiberg/Nite Owl II whom Rorschach used to be partners with before Dan retired, Adrian Veidt/Ozymondias, one of two costumed heroes to make his identity public who's also a self-made millionaire and considered to be the smartest man in the world, Dr. Jon Osterman/Dr. Manhattan, the only one of the group who has genuine super powers thanks to an accident that nearly killed him who is now commissioned by the government, Laurie Jupiter/Silk Spectre II, her mother was in the Minutemen along with The Comedian and wanted her daughter to follow in her footsteps, and finally Edward Blake/The Comedian, another superhero commissioned by the government that knows more than he should while his knowledge takes its toll on him and whoever is around him at the time thanks to his reckless and sadistic behavior. What any of them fail to realize is that there's a conspiracy going on that's bigger than any of them could have ever imagined.
I had watched the motion comic in its entirety earlier in the week to get myself ready for this and it had really gotten me excited for this film. The first time I read Watchmen, I thought it was good but not great. However, I thoroughly enjoyed it the second time through. My biggest question going into the film is how I would feel about the altered ending since I already knew about that going into it. Turns out that the ending in question wasn't so bad, but I wasn't happy with some of the other things that were changed or left out to lead up to said ending.
The film is pretty much right on the money the majority of the time. Zack Snyder continues his trend of pulling panels directly from the source material and making them a cinematic reality. The dialogue is often times word for word from the graphic novel and doesn't feel forced or out of place when something new is used. The cast left nothing to be complained about as they all did a great job. Jackie Earle Haley was a fantastic Rorschach. He sounded just the way I expected Rorschach to sound and just looked like a splitting image of Walter Kovacs. Billy Crudup's emotionless Dr. Manhattan was also pretty much just as I envisioned. Jeffrey Dean Morgan as The Comedian was the one I seemed to be most pleased with. He did a great job making you care about this costumed superhero who did brutally sadistic things to people yet somehow still made you care about his character. Snyder's use of slow motion seems to be used more efficiently this time around. It felt like it was used only when needed rather than just to be eye candy. The effects used with Dr. Manhattan are worth a mention. Even if he's just standing there, you can tell how much time and effort was put into making him look spectacular. Let alone cost quite a bit of money. Rorschach's mask was also an interesting special effect that is sure to catch anyone's eye. The effects are pretty flawless and should please most moviegoers.
There was a lot of material left out of the film or changed that I wasn't particularly happy with. I don't want to seem too nitpicky, so I'll only touch base on a few of them. I view most of the stuff that was left out as character development that was important to the overall story. Most of the material in question concerns Rorschach; he visited Adrian Veidt to warn him of his mask killer theory not Dan, his response to The Keene Act, Walter Kovac's landlady, anything concerning his apartment, and his drop box, where he hides his mask during the day, everything about his psychiatrist's relationship bending and breaking during the course of the Rorschach case, how and where he got the mask, how he disposed of the man who kidnapped that little girl, and it just keeps going. Most of that was left out of the theatrical version of the film. Around the halfway point to the end of the film, I felt like it just strayed further and further away from the source material. In the novel, Dr. Manhattan is the only superhero with superpowers. The film kind of leaves that up in the air since other characters are seen punching stone off of walls and jumping to inhuman heights into the air. It was just kind of a, "Wait...what?" kind of moment for me. I realize it was probably just the wirework used that I'm questioning, but it didn't sit well with me.
I'm hoping the final cut of the film that's rumored to be three hours to three and a half hours long puts some of these important bits (including Hollis' death and The Black Freighter storyline among other things) back into the story. It wasn't that I didn't enjoy it, but it wound up just not meeting my expectations. My recommendation is don't read the graphic novel before viewing the film. The film is worthwhile for Zack Snyder enthusiasts, comic book fans, and pretty much anyone looking for a good action film. I would recommend it to just about anyone, but I think that ultimate version of the DVD is going to be what fans will really be excited over and for good reason. As a film, it's incredibly entertaining. In comparison to the graphic novel, it comes up a bit short. For now, I just see it as a good film that could have been a lot better.
Gareth von Kallenbach (971 KP) rated The Hitchhiker's Guide to the Galaxy (2005) in Movies
Aug 14, 2019
Making films from books has always been a tricky proposition. For every film adaptation that hits it big such as Jaws, Lord of the Rings and The Silence of the Lambs, there are several that fail to work or are downright disasters such as The Bonfire of the Vanities.
In the film The Hitchhiker’s Guide to the Galaxy, the late Douglas Adams first book in his classic series has finally arrived on the big screen after many delays getting started and a successful version on PBS.
The film stars Martin Freeman as Arthur Dent, a simple, easy going fellow whose entire goal in life is to stop the demolition of his beloved home from those who want to put a new highway in its current location.
As Arthur attempts to block the demolition, his good friend Ford Prefect (Mos Def), arrives and stalls the demolition with free beer for the work crew. Thinking he has been saved, Arthur is puzzled when Ford takes him to a local pub and buys rounds for the entire pub, saying the world is ending in a few minutes.
Ford in reality is an alien visiting the Earth and learns that the Earth is about to be destroyed to make way for a new galactic expressway. Before he knows what has happened, Arthur is whisked away seconds before the destruction of the Earth by Ford as they end up on a ship of the demolition fleet.
After a series of bizarre events and a narrow escape, Ford and Arthur end up on a passing ship that has been stolen by galactic president Zaphod Beeblebrox (Sam Rockwell), and Trillian (Zooey Deschanel), who just happens to be the lady of Arthur’s dreams and who is also unaware that the Earth has been destroyed in the short amount of time since she left Earth to explore with Zaphod.
As if this was not enough, the ship also has a depressed android named Marvin (Warwick Davis and voiced by Allan Rickman).
It is at this point that the film goes horribly wrong as the amusing and interesting setup quickly goes nowhere. While the crew is sent on a series of quests, each becomes less interesting than the one before it, and the very bland production values of the film are exposed. The sets are very basic and look as if they were borrowed from many of the budget driven British Sci-Fi that frequents PBS. Somehow the idea of an alien room being nothing but a rusty wall and a slapped up sign just does not cut it for me. At times I thought I was watching a home video production done by fans or another late night B movie rather than a major studio summer release.
As bad as the sets were what is even more amazing was the at times laughable attempts at visual effects where it was obvious that the actors were standing in front of screens as the matting lines were visible.
I tried to put a lot of this off to the idea that the film was trying to be quirky in keeping with the book, but quirky is not an excuse for underwhelming effects, basic sets, and lousy costuming and make up effects as I half expected to see zippers on the costumes of many aliens that looked like they were cobbled from parts at a hardware store.
So now that I have covered my issues with the look of the film, let’s look at the story itself. In a word: boring. I could not believe how dull and lazy the film became, and how the staff seemed to be going through the motions. The cast has zero chemistry and Rockwell is so frantic that his character is annoying to watch. After five minutes of his rock star in the spotlight style shtick, I wanted to strangle the character or at least get him on some serious medication.
Director Garth Jennings also has many scenes that simply go nowhere or drag on only to cut at odd times resulting in a complete and utter lack of pacing.
I am a big fan of the book series and I had very high hopes for this film. Sadly the disaster that resulted may very well have Douglas Adams spinning in his grave as his classic work was destroyed. I have to wonder how much of his original draft for the script that was used as the basis for the film survived.
While extreme die hard fans may enjoy the film, even they are likely to be disappointed and I can only hope that if they try to make the next book in the series, “The Restaurant at the End of the Universe”, they do a much better job then this effort, as this is one awful film adaptation.
In the film The Hitchhiker’s Guide to the Galaxy, the late Douglas Adams first book in his classic series has finally arrived on the big screen after many delays getting started and a successful version on PBS.
The film stars Martin Freeman as Arthur Dent, a simple, easy going fellow whose entire goal in life is to stop the demolition of his beloved home from those who want to put a new highway in its current location.
As Arthur attempts to block the demolition, his good friend Ford Prefect (Mos Def), arrives and stalls the demolition with free beer for the work crew. Thinking he has been saved, Arthur is puzzled when Ford takes him to a local pub and buys rounds for the entire pub, saying the world is ending in a few minutes.
Ford in reality is an alien visiting the Earth and learns that the Earth is about to be destroyed to make way for a new galactic expressway. Before he knows what has happened, Arthur is whisked away seconds before the destruction of the Earth by Ford as they end up on a ship of the demolition fleet.
After a series of bizarre events and a narrow escape, Ford and Arthur end up on a passing ship that has been stolen by galactic president Zaphod Beeblebrox (Sam Rockwell), and Trillian (Zooey Deschanel), who just happens to be the lady of Arthur’s dreams and who is also unaware that the Earth has been destroyed in the short amount of time since she left Earth to explore with Zaphod.
As if this was not enough, the ship also has a depressed android named Marvin (Warwick Davis and voiced by Allan Rickman).
It is at this point that the film goes horribly wrong as the amusing and interesting setup quickly goes nowhere. While the crew is sent on a series of quests, each becomes less interesting than the one before it, and the very bland production values of the film are exposed. The sets are very basic and look as if they were borrowed from many of the budget driven British Sci-Fi that frequents PBS. Somehow the idea of an alien room being nothing but a rusty wall and a slapped up sign just does not cut it for me. At times I thought I was watching a home video production done by fans or another late night B movie rather than a major studio summer release.
As bad as the sets were what is even more amazing was the at times laughable attempts at visual effects where it was obvious that the actors were standing in front of screens as the matting lines were visible.
I tried to put a lot of this off to the idea that the film was trying to be quirky in keeping with the book, but quirky is not an excuse for underwhelming effects, basic sets, and lousy costuming and make up effects as I half expected to see zippers on the costumes of many aliens that looked like they were cobbled from parts at a hardware store.
So now that I have covered my issues with the look of the film, let’s look at the story itself. In a word: boring. I could not believe how dull and lazy the film became, and how the staff seemed to be going through the motions. The cast has zero chemistry and Rockwell is so frantic that his character is annoying to watch. After five minutes of his rock star in the spotlight style shtick, I wanted to strangle the character or at least get him on some serious medication.
Director Garth Jennings also has many scenes that simply go nowhere or drag on only to cut at odd times resulting in a complete and utter lack of pacing.
I am a big fan of the book series and I had very high hopes for this film. Sadly the disaster that resulted may very well have Douglas Adams spinning in his grave as his classic work was destroyed. I have to wonder how much of his original draft for the script that was used as the basis for the film survived.
While extreme die hard fans may enjoy the film, even they are likely to be disappointed and I can only hope that if they try to make the next book in the series, “The Restaurant at the End of the Universe”, they do a much better job then this effort, as this is one awful film adaptation.
Chris Sawin (602 KP) rated Conviction (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Betty Anne (Swank) and Kenneth Waters (Rockwell) are siblings who have been close ever since childhood. However Kenneth has always had problems with the law that only escalated as he got older and Betty Anne was always there for him to bail him out or give him a ride home. Now that he's facing life in prison for a murder he may not have even committed, Betty Anne is convinced that her brother is innocent of the charges even though everyone else has accepted the fact that Kenneth is a murderer including his daughter, Mandy (Graynor). Betty Anne is willing to do whatever it takes to make her brother a free man even if it means putting herself through law school, becoming a lawyer, and reopening a case that's 16 years old.
On the surface, Conviction seems like a very mixed bag. There had been little to no promotion for it out here while the trailer hadn't really been attached to any recent screenings. I do recall seeing a trailer for the film one time online months ago, but that's it. Truth be told, that's usually the best way to see a film. No scene has the chance to be overplayed because you had seen the trailer however many times. Conviction is very much an independent film and is borderline nonexistent even though it had a limited release last week. The result was not only an extremely emotional and powerful film, but Conviction also features some of the strongest performances of the year.
The dramatic film jumps around in time right from the beginning. We're shown the horrific aftermath of Katharina Brow's gruesome murder and then jump back to the present day where we see Betty Anne visiting Kenneth in prison. Soon after that, we travel back into the past where we're shown the adult lives of Betty Anne and Kenneth. They're very much a part of each other's lives even when they both have families of their own to worry about. Kenneth's run ins with the law become more frequent as he seems to be picked up whenever the law is broken in Ayer, Massachusetts. Then, we jump even further back into the past during Betty Anne and Kenneth's childhood. They were very close even at that age, but they didn't live normal lives. They were stealing, trespassing, and breaking and entering at an early age. The time jumps were kind of infrequent and abrupt; they seemed to just happen at whim but provided quite a bit of background history about Betty Anne and Kenneth that was crucial to the overall story.
I'm honestly not a fan of Hilary Swank. She's just never done anything for me. The main point of interest for me was Sam Rockwell. Ever since his magnificent performance in last year's Moon, I've been trying to see as many of his films as possible and they very rarely disappoint. Conviction relies on the chemistry between Swank and Rockwell though. The whole movie wouldn't be anything without the connection those two have. Swank is incredibly family driven as the aftermath of her devoting most of her life to freeing her brother takes its toll on the rest of her life and her family. Rockwell is as fantastic as ever as just a simple expression on his face seems to say more about his character than any kind of reaction could, but his emotional outbursts are just as spectacular. Before he went to prison, Kenneth Waters seemed like a family man with a warm personality that cracked a lot of jokes but flew off the handle at the drop of a hat and lost control that usually resulted in a trip downtown. Prison is tearing him apart and it shows not only in Rockwell's performance but Swank's as well.
Conviction is one of the most effective dramas of the year that delivers an impact you'll be feeling long after you leave the theater. It takes you on a roller coaster of emotions that is well worth the ride. All the chips on the table lie in the hands of Hilary Swank and Sam Rockwell while their on-screen presence alone seems to drive the film even when they're not saying anything. One of the best aspects of the film is that Betty Anne believes her brother is innocent and even when that comes into question, she doesn't want to hear any of it. Near the end of the film, it doesn't really seem to matter if Kenneth is innocent or not. Betty Anne believes it to be true and that's good enough for her. Her passion seems to be the underlying factor of this film. If you're looking for a film that feels heartfelt and genuine, then Conviction is a film you may want to look into.
On the surface, Conviction seems like a very mixed bag. There had been little to no promotion for it out here while the trailer hadn't really been attached to any recent screenings. I do recall seeing a trailer for the film one time online months ago, but that's it. Truth be told, that's usually the best way to see a film. No scene has the chance to be overplayed because you had seen the trailer however many times. Conviction is very much an independent film and is borderline nonexistent even though it had a limited release last week. The result was not only an extremely emotional and powerful film, but Conviction also features some of the strongest performances of the year.
The dramatic film jumps around in time right from the beginning. We're shown the horrific aftermath of Katharina Brow's gruesome murder and then jump back to the present day where we see Betty Anne visiting Kenneth in prison. Soon after that, we travel back into the past where we're shown the adult lives of Betty Anne and Kenneth. They're very much a part of each other's lives even when they both have families of their own to worry about. Kenneth's run ins with the law become more frequent as he seems to be picked up whenever the law is broken in Ayer, Massachusetts. Then, we jump even further back into the past during Betty Anne and Kenneth's childhood. They were very close even at that age, but they didn't live normal lives. They were stealing, trespassing, and breaking and entering at an early age. The time jumps were kind of infrequent and abrupt; they seemed to just happen at whim but provided quite a bit of background history about Betty Anne and Kenneth that was crucial to the overall story.
I'm honestly not a fan of Hilary Swank. She's just never done anything for me. The main point of interest for me was Sam Rockwell. Ever since his magnificent performance in last year's Moon, I've been trying to see as many of his films as possible and they very rarely disappoint. Conviction relies on the chemistry between Swank and Rockwell though. The whole movie wouldn't be anything without the connection those two have. Swank is incredibly family driven as the aftermath of her devoting most of her life to freeing her brother takes its toll on the rest of her life and her family. Rockwell is as fantastic as ever as just a simple expression on his face seems to say more about his character than any kind of reaction could, but his emotional outbursts are just as spectacular. Before he went to prison, Kenneth Waters seemed like a family man with a warm personality that cracked a lot of jokes but flew off the handle at the drop of a hat and lost control that usually resulted in a trip downtown. Prison is tearing him apart and it shows not only in Rockwell's performance but Swank's as well.
Conviction is one of the most effective dramas of the year that delivers an impact you'll be feeling long after you leave the theater. It takes you on a roller coaster of emotions that is well worth the ride. All the chips on the table lie in the hands of Hilary Swank and Sam Rockwell while their on-screen presence alone seems to drive the film even when they're not saying anything. One of the best aspects of the film is that Betty Anne believes her brother is innocent and even when that comes into question, she doesn't want to hear any of it. Near the end of the film, it doesn't really seem to matter if Kenneth is innocent or not. Betty Anne believes it to be true and that's good enough for her. Her passion seems to be the underlying factor of this film. If you're looking for a film that feels heartfelt and genuine, then Conviction is a film you may want to look into.
Gareth von Kallenbach (971 KP) rated V for Vendetta (2005) in Movies
Aug 14, 2019
On a dark and silent night, a young woman named Evey (Natalie Portman), treads carefully through the streets of London unaware of the direction her life is about to take. As an attractive young lady, sneaking out of her home after curfew is filled with peril, especially when she is confronted by a gang of local thugs who happen to work for the government. Despite her protests, the men set up Evey only to be confronted by a masked figure.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
Bob Mann (459 KP) rated Cruella (2021) in Movies
Jun 11, 2021
The two Emmas (2 more)
The rest of the ensemble cast
The technical team: cinematography, hair & make-up; costuming
An astonishing attack on the senses as Disney goes to the dark side.
Positives:
- The battle of the Emmas! It's really difficult to say who wins, since both Emma Thompson and Emma Stone give such fabulous performances here. You might think that Thompson steals a scene at one minute, only for Stone to come surfing in on a garbage truck and outdo her! I think it would be a surprise if both were not nominated for Actress and Supporting Actress Oscars for this.
- The supporting cast is also very strong. Paul Walter Hauser picks up the 'comedy villain' role as Horace Badun, and is so entertaining I could just about forgive his 'gor-blimey-guvnor' cockney accent: one that gives Dick Van Dyke a run for his money. Joel Fry - most recognisable to me as the useless roadie from "Yesterday" - plays the straight man in the duo, and does it very well. Mark Strong, cast against type as an evil henchman (#humour) is as good as always. And Kirby Howell-Baptiste and John McCrea round off the strong ensemble cast. But a particular shout-out I think should go to young Tipper Seifert-Cleveland who plays the young Estrella: she's way down the cast list, but I thought she gave a knock-out performance to ground the dramatic opening scenes of the movie.
- Technically, the film is marvellous and surely in line for a slew of technical Oscars next awards season. In fact, I think - even at this early point in the year - you would be a VERY brave person to bet against Cruella picking up the awards for Hair and Makeup (Nadia Stacey), Costume (Jenny Beavan and Tom Davies) and Production Design (Fiona Crombie). It's a stunning technical achievement - a real attack on the senses.
- The cinematography (Nicholas Karakatsanis) is also spectacular. A 'single-take' fly-through of the Liberty store from top to bottom is a tour-de-force, worthy of "1917"-style applause.
- And we should also add to this list a truly banging soundtrack from Nicholas Britell. Many of the tracks chosen - although regular visitors to cinema screen - catch the mood of the movie brilliantly and add to what is a joy-ride of a flick.
- The script is deliciously dark in places for a Disney film. Definitely NOT one for young children. Perhaps - given that it went down some of the roads it did, it could have been made EVEN BLACKER in places. (Did we REALLY need to see the Dalmatians again!) But some of the twists are delightful, especially 'mothageddon' which made me howl with laughter (even though I rather saw a variation of it coming).
Negatives:
- At 134 minutes, I felt the movie was a bit too long. There's a point (at about 100 minutes, where Emma Stone does her "I am Cruella" speech) which felt to me like the perfect end to a (first) film. I was delighted, happy and very content with the movie, thank-you very much. But then we dived back into the third reel. And, don't get me wrong, the ending was really entertaining. But, given that I suspect Disney KNEW that this was likely to be a big hit, I think a shorter film teasing for the sequel would have worked better.
Additional Notes:
- It's 12A certificate for a reason. Although a Disney, this is the dark-side of Disney and is not suitable for younger children.
- Yes, this one has a mid-credit scene - and for once its worth staying for: an introduction to two of the stars of the original cartoon that we haven't met yet, and for a rendition of a well-known tune (a TERRIBLE ear-worm that I've been quietly humming to myself ever since!).
Summary Thoughts on "Cruella": The cinema summer's still young, but it's already had some tricks up its sleeve. First "Nobody" came out of nowhere to delight me. And now, what a surprise! "Cruella" is a blisteringly funny, gloriously colourful and hugely entertaining blockbuster.
You'll know I'm not a fan of these Disney live-action re-imaginings of classic cartoons (although of course this one has previously had the Glenn Close treatment in two previous films in 1996 and 2000). But this is an origin story I really thought I didn't want... but now feel that I was wrong.
I've seen it described as "Devil Wears Prada meets Joker". The Prada analogy is well-deserved. But I'm not sure I agree with the Joker analogy. In Joker, our anti-hero was an everyman (albeit a disturbed one) driven to madness and anarchy by others. In Cruella, it's all inbred and that makes it perhaps even more deliciously dark. The fact that Disney released this - forewarned by a distinctly sombre and stormy castle logo at the start - is a minor miracle, and hopefully signs of more spice and adventure to come.
If you haven't caught it yet, it's highly recommended. As well as being in cinemas, its also available to buy on Disney+ streaming.
(Please check out the full graphical review at One Mann's Movies here - https://bob-the-movie-man.com/2021/06/11/cruella-an-astonishing-attack-on-the-senses-as-disney-goes-to-the-dark-side/. Thanks).
- The battle of the Emmas! It's really difficult to say who wins, since both Emma Thompson and Emma Stone give such fabulous performances here. You might think that Thompson steals a scene at one minute, only for Stone to come surfing in on a garbage truck and outdo her! I think it would be a surprise if both were not nominated for Actress and Supporting Actress Oscars for this.
- The supporting cast is also very strong. Paul Walter Hauser picks up the 'comedy villain' role as Horace Badun, and is so entertaining I could just about forgive his 'gor-blimey-guvnor' cockney accent: one that gives Dick Van Dyke a run for his money. Joel Fry - most recognisable to me as the useless roadie from "Yesterday" - plays the straight man in the duo, and does it very well. Mark Strong, cast against type as an evil henchman (#humour) is as good as always. And Kirby Howell-Baptiste and John McCrea round off the strong ensemble cast. But a particular shout-out I think should go to young Tipper Seifert-Cleveland who plays the young Estrella: she's way down the cast list, but I thought she gave a knock-out performance to ground the dramatic opening scenes of the movie.
- Technically, the film is marvellous and surely in line for a slew of technical Oscars next awards season. In fact, I think - even at this early point in the year - you would be a VERY brave person to bet against Cruella picking up the awards for Hair and Makeup (Nadia Stacey), Costume (Jenny Beavan and Tom Davies) and Production Design (Fiona Crombie). It's a stunning technical achievement - a real attack on the senses.
- The cinematography (Nicholas Karakatsanis) is also spectacular. A 'single-take' fly-through of the Liberty store from top to bottom is a tour-de-force, worthy of "1917"-style applause.
- And we should also add to this list a truly banging soundtrack from Nicholas Britell. Many of the tracks chosen - although regular visitors to cinema screen - catch the mood of the movie brilliantly and add to what is a joy-ride of a flick.
- The script is deliciously dark in places for a Disney film. Definitely NOT one for young children. Perhaps - given that it went down some of the roads it did, it could have been made EVEN BLACKER in places. (Did we REALLY need to see the Dalmatians again!) But some of the twists are delightful, especially 'mothageddon' which made me howl with laughter (even though I rather saw a variation of it coming).
Negatives:
- At 134 minutes, I felt the movie was a bit too long. There's a point (at about 100 minutes, where Emma Stone does her "I am Cruella" speech) which felt to me like the perfect end to a (first) film. I was delighted, happy and very content with the movie, thank-you very much. But then we dived back into the third reel. And, don't get me wrong, the ending was really entertaining. But, given that I suspect Disney KNEW that this was likely to be a big hit, I think a shorter film teasing for the sequel would have worked better.
Additional Notes:
- It's 12A certificate for a reason. Although a Disney, this is the dark-side of Disney and is not suitable for younger children.
- Yes, this one has a mid-credit scene - and for once its worth staying for: an introduction to two of the stars of the original cartoon that we haven't met yet, and for a rendition of a well-known tune (a TERRIBLE ear-worm that I've been quietly humming to myself ever since!).
Summary Thoughts on "Cruella": The cinema summer's still young, but it's already had some tricks up its sleeve. First "Nobody" came out of nowhere to delight me. And now, what a surprise! "Cruella" is a blisteringly funny, gloriously colourful and hugely entertaining blockbuster.
You'll know I'm not a fan of these Disney live-action re-imaginings of classic cartoons (although of course this one has previously had the Glenn Close treatment in two previous films in 1996 and 2000). But this is an origin story I really thought I didn't want... but now feel that I was wrong.
I've seen it described as "Devil Wears Prada meets Joker". The Prada analogy is well-deserved. But I'm not sure I agree with the Joker analogy. In Joker, our anti-hero was an everyman (albeit a disturbed one) driven to madness and anarchy by others. In Cruella, it's all inbred and that makes it perhaps even more deliciously dark. The fact that Disney released this - forewarned by a distinctly sombre and stormy castle logo at the start - is a minor miracle, and hopefully signs of more spice and adventure to come.
If you haven't caught it yet, it's highly recommended. As well as being in cinemas, its also available to buy on Disney+ streaming.
(Please check out the full graphical review at One Mann's Movies here - https://bob-the-movie-man.com/2021/06/11/cruella-an-astonishing-attack-on-the-senses-as-disney-goes-to-the-dark-side/. Thanks).
Jordan Binkerd (567 KP) rated The Long Earth in Books
Aug 13, 2019
Note: this review is transposted from my personal review blog, and so was originally written several years ago. I figured if I reposted it here, someone might actually read it….
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/