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The Island,Man in the Wild,Amazing Adventure.... This is a game about exploring and surviving on a...
ARK Survival Evolved
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Stranded on the shores of a mysterious island, you must learn to survive. Use your cunning to kill...
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Built for you, the driver. CoPilot is always ready to guide you with clear directions, reliable...
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30% Off | Summer Sale | Limited Time Only Built for you, the driver. CoPilot is always ready to...
Acanthea Grimscythe (300 KP) rated Bird Box in Books
May 16, 2018
If you're looking for something that is fast-paced and just might give you an anxiety attack, Josh Malerman's debut novel Bird Box may be exactly what you need. Set in the very near future, Bird Box is a book that simultaneously takes place during and after the apocalypse. Human beings find their minds under assault by an unseen force, one that drives them toward homicidal and suicidal tendencies. The only way to remain safe is to never, ever open your eyes.
Imagine with me what living in a world, robbed suddenly of sight, might be like. We rely heavily on our senses and, as an avid reader, I highly value my ability to be able to see the written word. I can't even begin to fathom what it would be like to find myself forced into an eternally dark void, and never have I thought of a scenario in which I would choose to be blind.
In Bird Box, Malorie and her children aren't given that option. Stranded in a home that is not her own, and faced with dwindling supplies and a lack of social interaction with anyone but her two children, Malorie must embark on a dangerous mission to find a new, safer haven for her small family: only their destination isn't very close to them, and they are not alone. There's a fourth party traveling with them and they are helpless to identify the newcomer.
The entire story does not follow that journey alone, though. In fact, it simultaneously takes place prior to Malorie's endeavor, introducing us to an entire cast of characters ranging from lovable to untrustworthy; from the purely innocent to those whose madness goes beyond all help. Though I'm not a huge fan of the constant back and forth chronology (in fact, I find it to be extremely distracting), the manner in which Malerman reveals bits and pieces of his story is crucial to progression: it gives readers the opportunity to develop their own feelings for Malorie and how she handles her problems. I also found that the odd way in which he split the story kept me reading, if only because more often that not, I found myself wondering how or why something was the way it was presently if, at the beginning of the end, everything seemed to be headed in a totally different direction.
Like most stories that take place after the world as we know it has met its doom, whether by nuclear fallout, bio-warfare, or the collapse of government, Bird Box brings out the best, and more readily, the worst in people. They become desperate or panicked, sometimes to the point that their actions defy all logic: such as the voluntary or involuntary blinding of oneself to avoid madness. Perhaps I so easily love post-apocalyptic books for that reason alone. They have a habit of reminding us exactly how pathetic and disgusting our own race can be; how often we are willing to put ourselves first, despite the suffering of others, should the situation call for it.
Imagine with me what living in a world, robbed suddenly of sight, might be like. We rely heavily on our senses and, as an avid reader, I highly value my ability to be able to see the written word. I can't even begin to fathom what it would be like to find myself forced into an eternally dark void, and never have I thought of a scenario in which I would choose to be blind.
In Bird Box, Malorie and her children aren't given that option. Stranded in a home that is not her own, and faced with dwindling supplies and a lack of social interaction with anyone but her two children, Malorie must embark on a dangerous mission to find a new, safer haven for her small family: only their destination isn't very close to them, and they are not alone. There's a fourth party traveling with them and they are helpless to identify the newcomer.
The entire story does not follow that journey alone, though. In fact, it simultaneously takes place prior to Malorie's endeavor, introducing us to an entire cast of characters ranging from lovable to untrustworthy; from the purely innocent to those whose madness goes beyond all help. Though I'm not a huge fan of the constant back and forth chronology (in fact, I find it to be extremely distracting), the manner in which Malerman reveals bits and pieces of his story is crucial to progression: it gives readers the opportunity to develop their own feelings for Malorie and how she handles her problems. I also found that the odd way in which he split the story kept me reading, if only because more often that not, I found myself wondering how or why something was the way it was presently if, at the beginning of the end, everything seemed to be headed in a totally different direction.
Like most stories that take place after the world as we know it has met its doom, whether by nuclear fallout, bio-warfare, or the collapse of government, Bird Box brings out the best, and more readily, the worst in people. They become desperate or panicked, sometimes to the point that their actions defy all logic: such as the voluntary or involuntary blinding of oneself to avoid madness. Perhaps I so easily love post-apocalyptic books for that reason alone. They have a habit of reminding us exactly how pathetic and disgusting our own race can be; how often we are willing to put ourselves first, despite the suffering of others, should the situation call for it.
Gareth von Kallenbach (980 KP) rated Kong: Skull Island (2017) in Movies
Jun 19, 2019
The legendary King Kong returns in an all new adventure that gives the classic tale a much needed update and new setting. Unlike Perter Jackson’s retelling of the original Black and White film, “Kong: Skull Island” eschews the old for the new and in doing so breathes a much needed new life and vitality into the franchise.
The film is set in 1973 when William Randa (John Goodman), informs the government that they have detected a previously unknown island and need to investigate it before the Soviets learn of it and beat them to whatever the island my hold.
William recruits a team which includes a former British officer named James Conrad (Tom Hiddleston), and Photographer Mason Weaver (Brie Larson), to assist his team lead by Houston Brooks (Corey Hawkins), in mapping the island.
William also asks for a military escort and the government enlists Lt. Colonel Preston Packard (Samuel L. Jackson), and his team to accompany the mission. Packard is trying to find his place in the world as he and his helicopter combat team are dealing with the recent end of the Vietnam War. His men are looking forward to going home and resuming their lives, but a dour Packard jumps at the chance for another mission over the uncertainty of the future.
Upon arriving on the mysterious island and starting their survey mission by using seismic charges, the team attract the attention of Kong who is not at all pleased with the intrusion on his island. Kong makes short work of the copters and the team finds themselves scattered about the dangerous island. They soon learn that Kong is not the only danger on the island and must find a way to rejoin each other and make it to their extraction point alive.
Naturally some of the characters have a hidden agenda and there are dangerous and action around every corner. Further complicating matters is the appearance of Marlow (John C. Reilly), a downed WWII pilot who has been stranded on the island for 23 years and warns of dangers far greater than Kong that are ahead of the team.
The film combines a solid cast with state of the art special effects to take a new twist on the standard adventure fare. While many parts of the film remain silly Popcorn entertainment, the quality of the assembled cast allows the film to move beyond being just an assembly of potential victims for a menagerie of CGI creatures to dispatch.
While the story is more in lines with the linear and thin plots of adventure films of old, the sum of the parts does add up to an enjoyable film experience for those who like the giant creature films. You will want to make sure to stay after the credits as there is a very good scene that shows a setup for a future film that had those in attendance at our press screening cheering.
The film may be a bit intense for younger viewers but if you are looking for a touch of nostalgia and action, you may find the film just what you need.
http://sknr.net/2017/03/08/kong-skull-island/
The film is set in 1973 when William Randa (John Goodman), informs the government that they have detected a previously unknown island and need to investigate it before the Soviets learn of it and beat them to whatever the island my hold.
William recruits a team which includes a former British officer named James Conrad (Tom Hiddleston), and Photographer Mason Weaver (Brie Larson), to assist his team lead by Houston Brooks (Corey Hawkins), in mapping the island.
William also asks for a military escort and the government enlists Lt. Colonel Preston Packard (Samuel L. Jackson), and his team to accompany the mission. Packard is trying to find his place in the world as he and his helicopter combat team are dealing with the recent end of the Vietnam War. His men are looking forward to going home and resuming their lives, but a dour Packard jumps at the chance for another mission over the uncertainty of the future.
Upon arriving on the mysterious island and starting their survey mission by using seismic charges, the team attract the attention of Kong who is not at all pleased with the intrusion on his island. Kong makes short work of the copters and the team finds themselves scattered about the dangerous island. They soon learn that Kong is not the only danger on the island and must find a way to rejoin each other and make it to their extraction point alive.
Naturally some of the characters have a hidden agenda and there are dangerous and action around every corner. Further complicating matters is the appearance of Marlow (John C. Reilly), a downed WWII pilot who has been stranded on the island for 23 years and warns of dangers far greater than Kong that are ahead of the team.
The film combines a solid cast with state of the art special effects to take a new twist on the standard adventure fare. While many parts of the film remain silly Popcorn entertainment, the quality of the assembled cast allows the film to move beyond being just an assembly of potential victims for a menagerie of CGI creatures to dispatch.
While the story is more in lines with the linear and thin plots of adventure films of old, the sum of the parts does add up to an enjoyable film experience for those who like the giant creature films. You will want to make sure to stay after the credits as there is a very good scene that shows a setup for a future film that had those in attendance at our press screening cheering.
The film may be a bit intense for younger viewers but if you are looking for a touch of nostalgia and action, you may find the film just what you need.
http://sknr.net/2017/03/08/kong-skull-island/
Claimed (Breaking Free #7)
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University student Demir Higgs is on the fast-track to graduate with honors and dive straight into...
Mpreg Omegaverse M_M
Lee (2222 KP) rated Fisherman's Friends (2019) in Movies
Mar 18, 2019 (Updated Mar 18, 2019)
Formulaic, clichéd, enjoyable bit of fun
Hot on the heels of Fighting with my Family comes yet another true story that I feel I should have known more about beforehand, but didn't. Fisherman's Friends tells the story of a group of singing Cornish fishermen who, in 2010, managed to land themselves not only a top 10 album but an appearance on Glastonbury's pyramid stage! The plot follows a much more formulaic and clichéd approach than Fighting with my Family does though, not quite managing to come close to the high bar that set, but is enjoyable enough all the same.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
We begin by following a group of four men heading out on their stag do in the beautiful town of Port Isaac in Cornwall. A&R man Danny (Daniel Mays), his annoying record exec boss Troy (Noel Clarke) and a couple of their colleagues all arrive in the small fishing town for the weekend and immediately find themselves on the wrong side of the locals - driving the wrong way down a narrow one way street, foolishly ordering lager instead of bitter in the local pub (they don't serve fizzy drinks there) and needing to be rescued after their careless weekend enjoyment finds them all stranded at sea. City types who think they know it all, but haven't got a clue.
The fishermen that rescued the lads turn out to be part of a popular local singing group - singing sea shanties together while working out at sea and regularly putting on small concerts for the locals down on the harbour. It's while performing one of those gigs that Danny and his friends come across them. After a few moments of watching, Troy tells Danny that he wants him to go over and sign them up, and that he's not to take no for an answer. Off he goes, not knowing that it's all just a big joke, while his three colleagues all return home. Danny is left behind, struggling to try and convince the group that their unique sound is going to make them all big stars.
Out of the group of fishermen, only a handful of them are really explored and fleshed out as characters in any kind of way, with the majority of them simply fading into the background - backing singers if you will. Jim (James Purefoy) and his father Jago (David Hayman), are the main focus of the movie, along with Jim's single-mum daughter Alwyn (Tuppence Middleton), who Danny eventually begins to strike up a friendship with, and her young daughter. One of the other fishermen runs the local pub at the heart of the community, along with his wife, but is struggling to make ends meet in a sub-plot which comes to a head later on in the movie.
Fisherman's Friends is a movie full of clichés - the city slicker who initially doesn't understand the simple life, the familiar rom-com couple who start off disliking one another, but will clearly be falling madly in love before long, annoying city types who don't even look like they know how to tie their own shoelaces, let alone become successfully music moguls. But, despite it all, the movie works considerably well. The relationship and chemistry between Danny and Alwyn is believable, and the highs and lows that the group go through on their journey to stardom is both heartwarming and fun in equal measure. It's the kind of reliable movie you could quite happily sit and watch on the TV, on a lazy Sunday afternoon.
Movie Metropolis (309 KP) rated Kong: Skull Island (2017) in Movies
Jun 10, 2019
Beauty and the Beast
The fact that Legendary Pictures are busying themselves with an epic Godzilla vs King Kong showdown is one of the worst kept secrets in Hollywood. Naturally, this presented a problem for Peter Jackson’s Kong who simply doesn’t measure up against the giant lizard in 2013’s Godzilla.
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
Movie Metropolis (309 KP) rated Passengers (2016) in Movies
Jun 11, 2019
Titanic in the Sky
Chris Pratt and Jennifer Lawrence are two of the world’s most bankable stars. What with Pratt helping to resurrect prehistoric franchises like Jurassic Park and Lawrence turning The Hunger Games series into one of the biggest ever, it seems they are the people Hollywood wants to work with, right here, right now.
It was inevitable they’d team up together at some point, though director Mortem Tyldum’s (The Imitation Game) sci-fi flick Passengers perhaps isn’t what their fan-bases had in mind. But do the pair sizzle together as much as they do apart?
On a routine journey through space to a new home, two passengers, sleeping in suspended animation, are awakened 90 years too early when their ship malfunctions. As Jim (Pratt) and Aurora (Lawrence) face living the rest of their lives on board, with every luxury they could ever ask for, they begin to fall for each other, unable to deny their intense attraction until they discover the ship is in grave danger. With the lives of 5,000 sleeping passengers at stake, only Jim and Aurora can save them all.
Adding to the ever expanding sci-fi universe, Passengers is a slickly directed and engrossing film with a coat of varnish like no other movie this year. It certainly looks the part, though it’s probably best not to scratch beneath the surface of this Titanic in the sky, as much like the Starship Avalon on which our unlucky duo are stranded on, there’s not much going on underneath.
Pratt and Lawrence thankfully have an intense chemistry together, and that’s a good thing considering they are, by and large, the only two characters throughout. Propping up a 2 hour film is no easy feat and its testament to their talents that they are able to do so. Sure, their dialogue is a little cheesy, but they’re likeable enough to warrant a pardon this time around.
Elsewhere, Michael Sheen comes close to stealing the show as an enthusiastic android bartender, providing yet another great droid to add to the genre’s roster. Alan Tudyk from last week’s Rogue One also showed how deep these mechanical characters can be.
The special effects are on the whole very good, though there are a few instances of CGI that don’t quite hit the spot. The Avalon itself however is fantastically realised and scenes like the much-marketed swimming pool gravity loss are stunning to watch, all the while helped by Pratt and Lawrence’s brilliant acting skills.
There is one big problem however. The story. There are numerous elements to the plot that aren’t mentioned in the trailer, so I won’t spoil them for you here, but Passengers has seriously miscalculated a couple of elements to Pratt and Lawrence’s relationship – with a sudden third act tonal shift leaving a sour taste in the mouth.
Luckily, these flaws don’t detract from what is a thrilling rollercoaster from start to finish. Whilst it may not be as deep and meaningful as Ridley Scott’s The Martian, Passengers has an immersive quality – it’s like being on-board the Avalon, and with Chris Pratt and Jennifer Lawrence keeping us company, who can blame us for going along for the ride.
https://moviemetropolis.net/2016/12/22/titanic-in-the-sky-passengers-review/
It was inevitable they’d team up together at some point, though director Mortem Tyldum’s (The Imitation Game) sci-fi flick Passengers perhaps isn’t what their fan-bases had in mind. But do the pair sizzle together as much as they do apart?
On a routine journey through space to a new home, two passengers, sleeping in suspended animation, are awakened 90 years too early when their ship malfunctions. As Jim (Pratt) and Aurora (Lawrence) face living the rest of their lives on board, with every luxury they could ever ask for, they begin to fall for each other, unable to deny their intense attraction until they discover the ship is in grave danger. With the lives of 5,000 sleeping passengers at stake, only Jim and Aurora can save them all.
Adding to the ever expanding sci-fi universe, Passengers is a slickly directed and engrossing film with a coat of varnish like no other movie this year. It certainly looks the part, though it’s probably best not to scratch beneath the surface of this Titanic in the sky, as much like the Starship Avalon on which our unlucky duo are stranded on, there’s not much going on underneath.
Pratt and Lawrence thankfully have an intense chemistry together, and that’s a good thing considering they are, by and large, the only two characters throughout. Propping up a 2 hour film is no easy feat and its testament to their talents that they are able to do so. Sure, their dialogue is a little cheesy, but they’re likeable enough to warrant a pardon this time around.
Elsewhere, Michael Sheen comes close to stealing the show as an enthusiastic android bartender, providing yet another great droid to add to the genre’s roster. Alan Tudyk from last week’s Rogue One also showed how deep these mechanical characters can be.
The special effects are on the whole very good, though there are a few instances of CGI that don’t quite hit the spot. The Avalon itself however is fantastically realised and scenes like the much-marketed swimming pool gravity loss are stunning to watch, all the while helped by Pratt and Lawrence’s brilliant acting skills.
There is one big problem however. The story. There are numerous elements to the plot that aren’t mentioned in the trailer, so I won’t spoil them for you here, but Passengers has seriously miscalculated a couple of elements to Pratt and Lawrence’s relationship – with a sudden third act tonal shift leaving a sour taste in the mouth.
Luckily, these flaws don’t detract from what is a thrilling rollercoaster from start to finish. Whilst it may not be as deep and meaningful as Ridley Scott’s The Martian, Passengers has an immersive quality – it’s like being on-board the Avalon, and with Chris Pratt and Jennifer Lawrence keeping us company, who can blame us for going along for the ride.
https://moviemetropolis.net/2016/12/22/titanic-in-the-sky-passengers-review/