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Jordan Binkerd (567 KP) rated Star Wars, Vol. 2: Showdown on the Smuggler's Moon in Books
Aug 9, 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 very much enjoyed the first volume of Marvel’s ongoing Star Wars series, but many other reviewers took issue with it for playing things safe and giving us a story like many we’d seen before. These criticisms are not completely unfounded, I’ll admit, but neither are they completely fair. Either way, this is not a problem the series has going forward…. This second volume also includes the one-off flashback story THE LAST OF HIS BREED, featuring Obi-Wan Kenobi adjusting to his exile on Tatooine, which is discussed separately below.
Luke Skywalker has successfully escaped the clutches of the bounty hunter Boba Fett, but all he got for his troubles was the journal of Obi-Wan Kenobi–no small prize, but probably not all that helpful in furthering his Jedi training. So what’s the next logical step in learning about the Jedi? Try and sneak onto Coruscant to infiltrate the old Jedi Temple, of course! But when his attempt to find a discreet ship and pilot in a seedy bar on Nar Shaddaa goes horribly awry, Luke finds himself the prisoner of Grakkus the Hutt. In addition to the traditional crime and vice, Grakkus has made a name for himself as one of the foremost collectors of Jedi artifacts. Now Luke faces the battle of his life in Grakkus’ arena, billed as “the last Jedi” and pitted against a fearsome creature for the amusement of Grakkus’ fellow crime lords….Meanwhile, Han and Leia are out scouting potential locations for a new Rebel base when they run across a figure from Han’s past. Her name is Sana, and she claims to be his wife….
As with the previous volume, this was some stellar work. Jason Aaron nails the banter between Han & Leia, to the point where you can almost hear Carrie Fisher and Harrison Ford delivering the lines, and Luke’s mix of cockiness and self-doubt is spot-on for his character and situation. Also of note is Stuart Immonen’s spectacular artwork. From the character closeups to the panoramic vistas, this was pure Star Wars. Also amusing was watching our entire cast wade into battle wielding lightsabers. Did Luke manage to salvage anything of value from Grakkus’ stash on his way out? I guess we’ll have to wait and see….
Then there’s the Obi-Wan backup story. It’s been seven years since the rise of the Empire, seven years since the death of the Jedi and the Republic. Formerly one of the greatest Jedi of his generation, now Obi-Wan Kenobi lives a life of obscurity on the desert planet of Tatooine. Where once he protected the innocent of the galaxy, now “Old Ben” forces himself to look the other way lest he draw the Empire’s notice as Jabba’s thugs extort water from the locals. All that matters is protecting the boy, Luke Skywalker, on whose unknowing shoulders rest the fate of the galaxy. But there are limits to the patience of even the greatest of Jedi….
This was a good one. The story was solid, and it’s always interesting to see Obi-Wan’s state of mind during his exile. Was this done better in John Jackson Miller’s KENOBI? Yes. That goes without saying, if only because he had more than twenty-four pages to tell his story. At any rate, KENOBI isn’t canon anymore, so we’ll not dwell on it. Simone Bianchi’s art here was stellar, I must say, and his Kenobi managed to blend Ewan McGregor and Alec Guinness superbly. I would very much like to see more of these one-off excerpts from Obi-Wan’s journal appear in future issues of the comic.
CONTENT: Moderate violence, not too gruesome most of the time. Mild profanity. Mild sexual innuendo and flirting.
Original posts: Main story (https://jordanbinkerd.wordpress.com/2015/11/23/review-star-wars-showdown-on-the-smugglers-moon-by-jason-aaron-stuart-immonen/) & Obi-Wan Flashback (https://jordanbinkerd.wordpress.com/2015/11/23/review-star-wars-the-last-of-his-breed-by-jason-aaron-simone-bianchi/)
I very much enjoyed the first volume of Marvel’s ongoing Star Wars series, but many other reviewers took issue with it for playing things safe and giving us a story like many we’d seen before. These criticisms are not completely unfounded, I’ll admit, but neither are they completely fair. Either way, this is not a problem the series has going forward…. This second volume also includes the one-off flashback story THE LAST OF HIS BREED, featuring Obi-Wan Kenobi adjusting to his exile on Tatooine, which is discussed separately below.
Luke Skywalker has successfully escaped the clutches of the bounty hunter Boba Fett, but all he got for his troubles was the journal of Obi-Wan Kenobi–no small prize, but probably not all that helpful in furthering his Jedi training. So what’s the next logical step in learning about the Jedi? Try and sneak onto Coruscant to infiltrate the old Jedi Temple, of course! But when his attempt to find a discreet ship and pilot in a seedy bar on Nar Shaddaa goes horribly awry, Luke finds himself the prisoner of Grakkus the Hutt. In addition to the traditional crime and vice, Grakkus has made a name for himself as one of the foremost collectors of Jedi artifacts. Now Luke faces the battle of his life in Grakkus’ arena, billed as “the last Jedi” and pitted against a fearsome creature for the amusement of Grakkus’ fellow crime lords….Meanwhile, Han and Leia are out scouting potential locations for a new Rebel base when they run across a figure from Han’s past. Her name is Sana, and she claims to be his wife….
As with the previous volume, this was some stellar work. Jason Aaron nails the banter between Han & Leia, to the point where you can almost hear Carrie Fisher and Harrison Ford delivering the lines, and Luke’s mix of cockiness and self-doubt is spot-on for his character and situation. Also of note is Stuart Immonen’s spectacular artwork. From the character closeups to the panoramic vistas, this was pure Star Wars. Also amusing was watching our entire cast wade into battle wielding lightsabers. Did Luke manage to salvage anything of value from Grakkus’ stash on his way out? I guess we’ll have to wait and see….
Then there’s the Obi-Wan backup story. It’s been seven years since the rise of the Empire, seven years since the death of the Jedi and the Republic. Formerly one of the greatest Jedi of his generation, now Obi-Wan Kenobi lives a life of obscurity on the desert planet of Tatooine. Where once he protected the innocent of the galaxy, now “Old Ben” forces himself to look the other way lest he draw the Empire’s notice as Jabba’s thugs extort water from the locals. All that matters is protecting the boy, Luke Skywalker, on whose unknowing shoulders rest the fate of the galaxy. But there are limits to the patience of even the greatest of Jedi….
This was a good one. The story was solid, and it’s always interesting to see Obi-Wan’s state of mind during his exile. Was this done better in John Jackson Miller’s KENOBI? Yes. That goes without saying, if only because he had more than twenty-four pages to tell his story. At any rate, KENOBI isn’t canon anymore, so we’ll not dwell on it. Simone Bianchi’s art here was stellar, I must say, and his Kenobi managed to blend Ewan McGregor and Alec Guinness superbly. I would very much like to see more of these one-off excerpts from Obi-Wan’s journal appear in future issues of the comic.
CONTENT: Moderate violence, not too gruesome most of the time. Mild profanity. Mild sexual innuendo and flirting.
Original posts: Main story (https://jordanbinkerd.wordpress.com/2015/11/23/review-star-wars-showdown-on-the-smugglers-moon-by-jason-aaron-stuart-immonen/) & Obi-Wan Flashback (https://jordanbinkerd.wordpress.com/2015/11/23/review-star-wars-the-last-of-his-breed-by-jason-aaron-simone-bianchi/)
Debbiereadsbook (1421 KP) rated I've Got You in Books
Jul 3, 2019
a stunning follow up!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is sort of the second book in the set, Let Me Show You is the first, and you really should read that one, I think, to give you the full picture of what Scott did to Carter in that book, and why he feels so bad about himself in this one. Not totally NECESSARY, but I think it would help a great deal.
Scott was awful to Carter, and then came out to him, which made what Scott did all the worse. When Scott kisses Davis, Tanner’s best friend, at Carter and Tanner’s party, Scott runs. It takes a great deal of Carter to bring Scott out of himself. Davis is profoundly affected by that kiss, and he knows what Scott did to Carter was bad, but when Davis sees Scott, really SEES deep into his eyes, Davis knows Scott is desperately unhappy with his lot. But can the newly outed vet be happy with the single dad? Can he be happy, at ALL?
Like I said, I think it would help a great deal to read Carter and Tanner’s book before this one. If only to give you the full picture of what Scott did to Carter, and why Tanner is reluctant to forgive Scott, even if Carter does, and just why Scott hates himself so much. You need that bigger picture, I think. Just my personal opinion, is all.
Scott is hurting. He knows what he did was wrong, and the fact that Carter has taken it upon himself to become Scott’s best friend shocks him but gives him hope. He doesn’t know if he will ever be truly happy with himself for that, but he has to try. Meeting Davis at Carter and Tanner’s party was a bit of a revelation. He doesn’t know why he kissed Davis, but he liked it, a lot. Getting to know Davis seems like a good idea, but a deeply scary one for Scott, especially since Davis has a baby daughter.
Davis is lovely! I loved his patience with Scott, he knows Scott is hurting, and he knows Scott is newly out, so he understands explaining stuff is hard work, but very quickly, very early on, Davis knows Scott is the man for him. He just has to bide his time while Scott gets himself sorted. When Scott comes to work in Davis’ coffee shop, it gives Davis the ideal opportunity to get close to Scott. And when Scott meets Libby?? Davis is smitten, deeply!
There is, for Scott, a great deal of soul-searching in this book. Davis is an open book here and Scott is not. It takes time for Scott to come out of himself, and for the relationship between Davis and Scott to develop and I loved that. In Carter and Tanner’s review, I said I loved being made to wait for the main event but here? I wasn’t even sure we would GET the main event! It’s a close thing, I tell ya. But it’s right and proper that these two take their time, and get to know each other properly, I think.
It has some sexy time, some deeply emotional time, some funny moments and some shocking ones. Both Davis and Scott have their say, in the first person. Both voices are very different, and each change is clearly headed at the beginning of a chapter.
It also has some very homophobic comments from a shocking source, where you don’t expect them, but once you know, you understand why Scott was in a bad place before.
We leave this little town, with Scott and Davis, and Carter and Tanner happily settling down to their new lives together. We also get to meet Scott’s sister. I’d like her to be happy too. She had it tough for a long time, and reconnecting with Scott gives her the courage to do something about her life. She deserves the kind of happiness her brother has found, too, please Ms Seymour!
Not quite as warm and fuzzies and too stinking cute as Let Me Some You, but it’s a very close thing! Still. . .
5 full and shiny stars
**same worded review will appear elsewhere**
This is sort of the second book in the set, Let Me Show You is the first, and you really should read that one, I think, to give you the full picture of what Scott did to Carter in that book, and why he feels so bad about himself in this one. Not totally NECESSARY, but I think it would help a great deal.
Scott was awful to Carter, and then came out to him, which made what Scott did all the worse. When Scott kisses Davis, Tanner’s best friend, at Carter and Tanner’s party, Scott runs. It takes a great deal of Carter to bring Scott out of himself. Davis is profoundly affected by that kiss, and he knows what Scott did to Carter was bad, but when Davis sees Scott, really SEES deep into his eyes, Davis knows Scott is desperately unhappy with his lot. But can the newly outed vet be happy with the single dad? Can he be happy, at ALL?
Like I said, I think it would help a great deal to read Carter and Tanner’s book before this one. If only to give you the full picture of what Scott did to Carter, and why Tanner is reluctant to forgive Scott, even if Carter does, and just why Scott hates himself so much. You need that bigger picture, I think. Just my personal opinion, is all.
Scott is hurting. He knows what he did was wrong, and the fact that Carter has taken it upon himself to become Scott’s best friend shocks him but gives him hope. He doesn’t know if he will ever be truly happy with himself for that, but he has to try. Meeting Davis at Carter and Tanner’s party was a bit of a revelation. He doesn’t know why he kissed Davis, but he liked it, a lot. Getting to know Davis seems like a good idea, but a deeply scary one for Scott, especially since Davis has a baby daughter.
Davis is lovely! I loved his patience with Scott, he knows Scott is hurting, and he knows Scott is newly out, so he understands explaining stuff is hard work, but very quickly, very early on, Davis knows Scott is the man for him. He just has to bide his time while Scott gets himself sorted. When Scott comes to work in Davis’ coffee shop, it gives Davis the ideal opportunity to get close to Scott. And when Scott meets Libby?? Davis is smitten, deeply!
There is, for Scott, a great deal of soul-searching in this book. Davis is an open book here and Scott is not. It takes time for Scott to come out of himself, and for the relationship between Davis and Scott to develop and I loved that. In Carter and Tanner’s review, I said I loved being made to wait for the main event but here? I wasn’t even sure we would GET the main event! It’s a close thing, I tell ya. But it’s right and proper that these two take their time, and get to know each other properly, I think.
It has some sexy time, some deeply emotional time, some funny moments and some shocking ones. Both Davis and Scott have their say, in the first person. Both voices are very different, and each change is clearly headed at the beginning of a chapter.
It also has some very homophobic comments from a shocking source, where you don’t expect them, but once you know, you understand why Scott was in a bad place before.
We leave this little town, with Scott and Davis, and Carter and Tanner happily settling down to their new lives together. We also get to meet Scott’s sister. I’d like her to be happy too. She had it tough for a long time, and reconnecting with Scott gives her the courage to do something about her life. She deserves the kind of happiness her brother has found, too, please Ms Seymour!
Not quite as warm and fuzzies and too stinking cute as Let Me Some You, but it’s a very close thing! Still. . .
5 full and shiny stars
**same worded review will appear elsewhere**
Sophia (Bookwyrming Thoughts) (530 KP) rated Echoes in Books
Jan 23, 2020
<b><i>I received this book for free from in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
<h2><strong><cite>Echoes</cite></strong><strong> by Alice Reeds is so confusing yet interesting at the exact same time.</strong></h2>
Alice Reed's latest novel is <i>super</i> vague in its synopsis with two teens (Fiona and Miles) applying for an internship and somehow waking up on a deserted island with no recollection of how they got there in the first place.
<strong>I can't tell if my feelings are a good thing or a bad thing. </strong>I have so many thoughts and feelings about <i>Echoes</i>, so I'm going to run around in the middle. 🤔
<h3><strong><i>Echoes</i></strong><strong> is confusing AF</strong></h3>
Reeds lays out this book in two time periods - Berlin and the island. Berlin is supposedly right before they got to the island, but I am left with so many questions of <i>how</i> they even got there.
Heck, I'm left with so many questions after finishing the novel. If that was Reeds's intention, she did a phenomenal job with it, because I'm confused AF with a vague idea of what even happened.
<h3><strong>There is instalove</strong></h3>
You don't even need to try to know that this is instalove and enemies to lovers on the spot. Fiona and Miles are high school enemies - they've hated each other from the moment they met and <i>somehow</i> ended up on an island together. Alone. What else is going to happen in the world of book tropes? 🤷
<h3><strong>To be honest, this book makes you think</strong></h3>
I don't think I've walked away even one step ahead from each chapter without having to retrace my steps and think about what really happened. This might be why I'm still super confused - I'm constantly asking, "How did this happen?" and "Why did this happen?"
<strong>I had to step away </strong><strong><i>a lot</i></strong><strong> because I was confused.</strong> My brain was just pure:
<img class="aligncenter size-full wp-image-2767" src="https://bookwyrmingthoughts.com/wp-content/uploads/sites/317/2017/08/what-the-fuck.gif"; alt="" width="320" height="159" />
I'm still lost and I have not returned from this lostness. (Maybe I was tired.)
<h3><strong>It still kept you interested despite the confusion</strong></h3>
I <i>nearly</i> DNFed this book, but I wanted to know <i>what</i> happened and what <i>will</i> happen at the end. Fortunately for fictional books, I don't get killed for being curious.
<h3><strong>The characters felt pretty flat and writing was meh</strong></h3>
I didn't care too much about Fiona and Miles - sure I want them alive, but do I care? Not really... I cared more about how they got there in the first and how they got from Berlin to a deserted island. All I got from the characters is:
<ol>
<li>Fiona is a champion kickboxer</li>
<li>Miles is a wealthy and popular kid at school</li>
<li>Their fathers didn't really give a shit about them</li>
</ol>
Plus the writing! First of all, let's set aside that confusion and focus on the writing by itself, which was okay, but definitely not the best. <strong>There was a lot of telling and descriptions that made me want to roll over and fall asleep</strong> than "I WANT TO KNOW WHAT HAPPENS NEXT." And for me, meh writing + confusion = does not have the desire to continue the book.
<h2><strong>Honestly, </strong><i><strong>Echoes</strong></i><strong> is just plain confusion, which is great if you want to be confused. I just felt like I had no answers by the end of the book when all I wanted </strong><strong><i>were</i></strong><strong> answers.</strong></h2>
<a href="https://bookwyrmingthoughts.com/echoes-by-alice-reeds/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<h2><strong><cite>Echoes</cite></strong><strong> by Alice Reeds is so confusing yet interesting at the exact same time.</strong></h2>
Alice Reed's latest novel is <i>super</i> vague in its synopsis with two teens (Fiona and Miles) applying for an internship and somehow waking up on a deserted island with no recollection of how they got there in the first place.
<strong>I can't tell if my feelings are a good thing or a bad thing. </strong>I have so many thoughts and feelings about <i>Echoes</i>, so I'm going to run around in the middle. 🤔
<h3><strong><i>Echoes</i></strong><strong> is confusing AF</strong></h3>
Reeds lays out this book in two time periods - Berlin and the island. Berlin is supposedly right before they got to the island, but I am left with so many questions of <i>how</i> they even got there.
Heck, I'm left with so many questions after finishing the novel. If that was Reeds's intention, she did a phenomenal job with it, because I'm confused AF with a vague idea of what even happened.
<h3><strong>There is instalove</strong></h3>
You don't even need to try to know that this is instalove and enemies to lovers on the spot. Fiona and Miles are high school enemies - they've hated each other from the moment they met and <i>somehow</i> ended up on an island together. Alone. What else is going to happen in the world of book tropes? 🤷
<h3><strong>To be honest, this book makes you think</strong></h3>
I don't think I've walked away even one step ahead from each chapter without having to retrace my steps and think about what really happened. This might be why I'm still super confused - I'm constantly asking, "How did this happen?" and "Why did this happen?"
<strong>I had to step away </strong><strong><i>a lot</i></strong><strong> because I was confused.</strong> My brain was just pure:
<img class="aligncenter size-full wp-image-2767" src="https://bookwyrmingthoughts.com/wp-content/uploads/sites/317/2017/08/what-the-fuck.gif"; alt="" width="320" height="159" />
I'm still lost and I have not returned from this lostness. (Maybe I was tired.)
<h3><strong>It still kept you interested despite the confusion</strong></h3>
I <i>nearly</i> DNFed this book, but I wanted to know <i>what</i> happened and what <i>will</i> happen at the end. Fortunately for fictional books, I don't get killed for being curious.
<h3><strong>The characters felt pretty flat and writing was meh</strong></h3>
I didn't care too much about Fiona and Miles - sure I want them alive, but do I care? Not really... I cared more about how they got there in the first and how they got from Berlin to a deserted island. All I got from the characters is:
<ol>
<li>Fiona is a champion kickboxer</li>
<li>Miles is a wealthy and popular kid at school</li>
<li>Their fathers didn't really give a shit about them</li>
</ol>
Plus the writing! First of all, let's set aside that confusion and focus on the writing by itself, which was okay, but definitely not the best. <strong>There was a lot of telling and descriptions that made me want to roll over and fall asleep</strong> than "I WANT TO KNOW WHAT HAPPENS NEXT." And for me, meh writing + confusion = does not have the desire to continue the book.
<h2><strong>Honestly, </strong><i><strong>Echoes</strong></i><strong> is just plain confusion, which is great if you want to be confused. I just felt like I had no answers by the end of the book when all I wanted </strong><strong><i>were</i></strong><strong> answers.</strong></h2>
<a href="https://bookwyrmingthoughts.com/echoes-by-alice-reeds/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Sophia (Bookwyrming Thoughts) (530 KP) rated Going Down in Flames (Going Down in Flames, #1) in Books
Jan 23, 2020
For once, I think my instincts were right (not that I ever listen) about Going Down in Flames. I was expecting a lot more.
The idea and the concept were unique and interesting. Shape-shifting dragons? Check. Oddball at a prestigious boarding school Bryn is being sent to on her sixteenth birthday? Check. Proof that the Directorate isn't always right? Check. TRYING to stay alive? Ooo, interesting. Check! All the ingredients of a great book. I was even so excited about DRAGONS!
<img border="0" src="http://1.bp.blogspot.com/-cuqBh1sDPEY/U6NzNu6g3hI/AAAAAAAADhs/Pb2oaXOydkQ/s1600/how_to_train_your_dragon_2_gif_by_thegrzebol-d6wlb2k.gif"; height="106" width="320">
Plus, the pretty cover and the tag line: If her love life is going down in flames, she might as well spark a revolution.
WHAT REVOLUTION?!?!?! is my biggest question right at this very moment. There's no revolution, not really. At least, not one that Bryn starts. That revolution, which is apparently peaceful and started by Zavien-Not-Zayn, was there well before Bryn comes around. She doesn't even know about that revolution or even the fact that she's a dragon until said dude starts stalking her for awhile.
<img border="0" src="http://4.bp.blogspot.com/-98SDXmeq-i8/U6Nzpun3IGI/AAAAAAAADh0/d0iqv6tv0OU/s1600/giphy.gif"; height="175" width="320">
So I'm really curious as to the definition of revolution here. Because in the long run, it's all sparkly rainbows and unicorns with the abrupt end. The last sentence? Damn Directorate. If anything, damning the Directorate shows there hasn't been a revolution. Sure, Bryn makes her point. She's a crossbreed and she's just like any other dragon. She made a change. To have a love life, that is, but it's not like she gets to choose. I mean, her grandmother and the mom of the dude she hates most attempts at playing matchmaker. Arranged marriage still exists.
*sighs* Not a dramatic change if you ask me. A change for future crossbreeds, sure. Certainly the Directorate wasn't overthrown.
<img border="0" src="http://3.bp.blogspot.com/-1ffyT3n870o/U6N0wvDSjhI/AAAAAAAADiA/3S69yaZT8RM/s1600/giphy+(2).gif"; height="176" width="320">
Perhaps the most interesting part of Going Down in Flames for me were the death threats. The way they're written and set up. They're thrown in at surprising, yet right times. Oh, and there's no warning on those attempts. It kept me at the edge of my seat trying to guess where the next attack would be at.
There also seems to be something missing from the characters. Particularly with Jaxon and Bryn. They hate each other and then all of a sudden, he starts helping her. Not just to save his reputation, but to protect her. There is something remotely wrong with a character who hates you from the bottom of their hearts to "protecting you." O_o
<blockquote>Jaxon: I also did it to help you.
Bryn: I saved your life. Dont get snippy with me.
Jaxon: *slams coffee cup down* I came to secure protection for your life.</blockquote>
Tell me there isn't something wrong with that. O_o Because it ends shortly after, and now I can't really decide if Bryn gets stuck marrying Jaxon due to arranged marriage or she gets to choose who she wants to marry. If there are any other life threatening stuff going on afterward or the dragons that used to hate her now treat her as an equal. If her mother actually gets a happy reunion with her parents. If Zavien is still stuck with his intended or if he and the Revisionists peacefully achieve more individual rights for dragons.
<img border="0" src="http://4.bp.blogspot.com/-v3e-NYdq7P8/U6N2FJxKKNI/AAAAAAAADiM/7xswneekUqs/s1600/giphy+(3).gif"; height="239" width="320">
There are just so many questions that aren't answered yet, that this feels like an entire end is missing and Going Down in Flames is the very first of a trilogy or series. Yet... this is a stand alone... according to Goodreads. Am I missing something, or did anyone else who read this feel the same way?
--------------------------
Advanced copy provided by the publisher
Original Rating: 2.5
This review and more found over at <a href="http://bookwyrming-thoughts.blogspot.com/2014/06/arc-review-going-down-in-flames-by-chris-cannon.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://4.bp.blogspot.com/-Gi5Rk5yLloA/UtliaUbdL3I/AAAAAAAACbE/J27z92_qrYU/s1600/Official+Banner.png"; /></a>
The idea and the concept were unique and interesting. Shape-shifting dragons? Check. Oddball at a prestigious boarding school Bryn is being sent to on her sixteenth birthday? Check. Proof that the Directorate isn't always right? Check. TRYING to stay alive? Ooo, interesting. Check! All the ingredients of a great book. I was even so excited about DRAGONS!
<img border="0" src="http://1.bp.blogspot.com/-cuqBh1sDPEY/U6NzNu6g3hI/AAAAAAAADhs/Pb2oaXOydkQ/s1600/how_to_train_your_dragon_2_gif_by_thegrzebol-d6wlb2k.gif"; height="106" width="320">
Plus, the pretty cover and the tag line: If her love life is going down in flames, she might as well spark a revolution.
WHAT REVOLUTION?!?!?! is my biggest question right at this very moment. There's no revolution, not really. At least, not one that Bryn starts. That revolution, which is apparently peaceful and started by Zavien-Not-Zayn, was there well before Bryn comes around. She doesn't even know about that revolution or even the fact that she's a dragon until said dude starts stalking her for awhile.
<img border="0" src="http://4.bp.blogspot.com/-98SDXmeq-i8/U6Nzpun3IGI/AAAAAAAADh0/d0iqv6tv0OU/s1600/giphy.gif"; height="175" width="320">
So I'm really curious as to the definition of revolution here. Because in the long run, it's all sparkly rainbows and unicorns with the abrupt end. The last sentence? Damn Directorate. If anything, damning the Directorate shows there hasn't been a revolution. Sure, Bryn makes her point. She's a crossbreed and she's just like any other dragon. She made a change. To have a love life, that is, but it's not like she gets to choose. I mean, her grandmother and the mom of the dude she hates most attempts at playing matchmaker. Arranged marriage still exists.
*sighs* Not a dramatic change if you ask me. A change for future crossbreeds, sure. Certainly the Directorate wasn't overthrown.
<img border="0" src="http://3.bp.blogspot.com/-1ffyT3n870o/U6N0wvDSjhI/AAAAAAAADiA/3S69yaZT8RM/s1600/giphy+(2).gif"; height="176" width="320">
Perhaps the most interesting part of Going Down in Flames for me were the death threats. The way they're written and set up. They're thrown in at surprising, yet right times. Oh, and there's no warning on those attempts. It kept me at the edge of my seat trying to guess where the next attack would be at.
There also seems to be something missing from the characters. Particularly with Jaxon and Bryn. They hate each other and then all of a sudden, he starts helping her. Not just to save his reputation, but to protect her. There is something remotely wrong with a character who hates you from the bottom of their hearts to "protecting you." O_o
<blockquote>Jaxon: I also did it to help you.
Bryn: I saved your life. Dont get snippy with me.
Jaxon: *slams coffee cup down* I came to secure protection for your life.</blockquote>
Tell me there isn't something wrong with that. O_o Because it ends shortly after, and now I can't really decide if Bryn gets stuck marrying Jaxon due to arranged marriage or she gets to choose who she wants to marry. If there are any other life threatening stuff going on afterward or the dragons that used to hate her now treat her as an equal. If her mother actually gets a happy reunion with her parents. If Zavien is still stuck with his intended or if he and the Revisionists peacefully achieve more individual rights for dragons.
<img border="0" src="http://4.bp.blogspot.com/-v3e-NYdq7P8/U6N2FJxKKNI/AAAAAAAADiM/7xswneekUqs/s1600/giphy+(3).gif"; height="239" width="320">
There are just so many questions that aren't answered yet, that this feels like an entire end is missing and Going Down in Flames is the very first of a trilogy or series. Yet... this is a stand alone... according to Goodreads. Am I missing something, or did anyone else who read this feel the same way?
--------------------------
Advanced copy provided by the publisher
Original Rating: 2.5
This review and more found over at <a href="http://bookwyrming-thoughts.blogspot.com/2014/06/arc-review-going-down-in-flames-by-chris-cannon.html">Bookwyrming Thoughts</a>
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Gareth von Kallenbach (980 KP) rated Goosebumps (2015) in Movies
Aug 6, 2019
I think I speak for most of my generation when I say I grew up on Goosebumps. Many a night I lay terrified and awake after reading one of the twisty tales concocted from the mind of R.L. Stine. Naturally, when Sony announced a Goosebumps movie, I was fearful. But they also had many different stories to tell as there were countless books in the series, all with a different monster. And then they went gave us the plot to the film… I was still fearful.
Goosebumps introduces us to Zach (Dylan Minnette) who, along with his mother, Gale (Amy Ryan), moved to the small town of Madison, Delaware one year after his father passed away. With quick resolve, Zach meets his neighbor, Hannah (Odeya Rush), whom he finds very intriguing. And as any protective father would do, Hannah’s creepy father (Jack Black) tries to scare off Zach. But as Zach is trying to get to the bottom of exactly who this family is, he discovers locked Goosebumps manuscripts in Hannah’s father’s study. Accidentally opening The Abominable Snowman of Pasadena, Zach soon discovers that there is something special about these manuscripts as the stories themselves, or rather the monsters from them, begin to come to life… for real. Can Zach, Hannah and her Father, along with the bumbling Champ (Ryan Lee), save Madison from the monsters? Watch and see.
I had to constantly remind myself of the target audience for this film for about an hour after seeing it. I was hoping for so much more, and while it had mildly entertaining moments, I have feeling that this film is going to fall flat for most adults. Jack Black played the same part he has become really good at over the years, and it almost seems like he is basically playing it straight now. But it was kind of awesome to see some of the ideas of these books come to life, and with the evil Slappy the dummy (voiced by Black) at the helm, things did truly get out of hand. But I just found myself picking out plot holes and inconsistencies in the movie, which is highly unlike me. I may realize things like that much later after watching for most films, but this one I was noticing everything as I was watching it. This doesn’t bode well at all. For example, Hannah takes Zach to an abandoned carnival that was right in the middle of the woods. Hannah explains that they ran out of money before they finished building. So first, no one builds a permanent carnival like this in the middle of the woods, where the trees would interfere with pretty much everything the way it was set up. And it’s not like the trees grew up around the carnival, the technology was too new and the trees too big for that to make any sense. The other thing is, Hannah pulls a big lever and gets power to the carnival to light it up. First, why is there even power to an abandoned carnival? And let’s say we just accept that there is power to this place, we’re missing the second part. Hannah indicates that she visits the place often, but why haven’t the cops showed up to investigate why there was power at this abandoned carnival. The lights were clearly visible for miles, especially from up on top of the Ferris Wheel where we find Hannah and Zach.
But again… I remind myself of the intended audience. There were many youngsters in the screening with us. And most, if not all, really enjoyed the film. There was a continuous stream of laughter or gasps, as appropriate for the feel of the movie, and many after the film were incredibly happy. So I cannot say they missed their mark.
Ultimately, I ask myself the same question I always do: will I buy the movie on home release? The answer is probably yes, as I know a couple kids who would really enjoy the film, but I wouldn’t be making the purchase if it were just me in the picture. I give it 3 out of 5 stars. I would have given it a two, but I bring myself back to thinking about the target audience. And they definitely knocked it out of the water in that demographic.
Goosebumps introduces us to Zach (Dylan Minnette) who, along with his mother, Gale (Amy Ryan), moved to the small town of Madison, Delaware one year after his father passed away. With quick resolve, Zach meets his neighbor, Hannah (Odeya Rush), whom he finds very intriguing. And as any protective father would do, Hannah’s creepy father (Jack Black) tries to scare off Zach. But as Zach is trying to get to the bottom of exactly who this family is, he discovers locked Goosebumps manuscripts in Hannah’s father’s study. Accidentally opening The Abominable Snowman of Pasadena, Zach soon discovers that there is something special about these manuscripts as the stories themselves, or rather the monsters from them, begin to come to life… for real. Can Zach, Hannah and her Father, along with the bumbling Champ (Ryan Lee), save Madison from the monsters? Watch and see.
I had to constantly remind myself of the target audience for this film for about an hour after seeing it. I was hoping for so much more, and while it had mildly entertaining moments, I have feeling that this film is going to fall flat for most adults. Jack Black played the same part he has become really good at over the years, and it almost seems like he is basically playing it straight now. But it was kind of awesome to see some of the ideas of these books come to life, and with the evil Slappy the dummy (voiced by Black) at the helm, things did truly get out of hand. But I just found myself picking out plot holes and inconsistencies in the movie, which is highly unlike me. I may realize things like that much later after watching for most films, but this one I was noticing everything as I was watching it. This doesn’t bode well at all. For example, Hannah takes Zach to an abandoned carnival that was right in the middle of the woods. Hannah explains that they ran out of money before they finished building. So first, no one builds a permanent carnival like this in the middle of the woods, where the trees would interfere with pretty much everything the way it was set up. And it’s not like the trees grew up around the carnival, the technology was too new and the trees too big for that to make any sense. The other thing is, Hannah pulls a big lever and gets power to the carnival to light it up. First, why is there even power to an abandoned carnival? And let’s say we just accept that there is power to this place, we’re missing the second part. Hannah indicates that she visits the place often, but why haven’t the cops showed up to investigate why there was power at this abandoned carnival. The lights were clearly visible for miles, especially from up on top of the Ferris Wheel where we find Hannah and Zach.
But again… I remind myself of the intended audience. There were many youngsters in the screening with us. And most, if not all, really enjoyed the film. There was a continuous stream of laughter or gasps, as appropriate for the feel of the movie, and many after the film were incredibly happy. So I cannot say they missed their mark.
Ultimately, I ask myself the same question I always do: will I buy the movie on home release? The answer is probably yes, as I know a couple kids who would really enjoy the film, but I wouldn’t be making the purchase if it were just me in the picture. I give it 3 out of 5 stars. I would have given it a two, but I bring myself back to thinking about the target audience. And they definitely knocked it out of the water in that demographic.
Purple Phoenix Games (2266 KP) rated Elementos in Tabletop Games
Aug 6, 2019
I am going to be honest. I am typically not a fan of abstract strategy games unless they have some kind of interesting theme on them: Azul (a Golden Feather Award winner), Patchwork, Reef, Onitama, Hive. These are all in my Top 100 of All Time, but they also have some sort of theme working for them to help me digest the immense calculating nature of most abstracts. So when I tell you that Elementos has also now breached my Top 100 with a very loose theme, I’m kinda shook myself.
So the winner of Elementos is the player that can get their wand (the wooden stick) to one of the three squares on the opponent’s side of the board (a la American football). This is accomplished by moving the element discs down the board and overtaking discs using the game’s elemental weakness wheel: fire burns trees, trees drink water, water douses fire. Movement can be made to any space obliquely, straight forward, or forward diagonally, unless the piece being moved is carrying the wand. Those wand-carrying pieces can only be moved straight forward.
Undoubtedly players will find themselves wanting to enter a space containing an opponent’s disc. Following the movement rules and elemental wheel described above, the attacking piece can overtake the opponent’s space and remove the opponent’s disc from the board. Easy, right? Let me explain the kicker here. The discs are double-sided and have different elements on the flip-side. So for an action (instead of moving) a player can simply flip any of their discs to the other side – perhaps to block movement, or setup a takeover on the next turn. As you only have one action to use on your turn you may not flip and move on the same turn. The other allowable action on a turn is to pass the wand to another friendly piece, observing movement rules for wand movement as well. The benefit with this is that the wand-carrying discs can neither attack nor BE attacked. Need to protect your tree from that fire ahead? Pass it the wand and be safe.
The rule sheet states that at any time you may peek at what element is on the flip-side of any piece at any time, but there is a variant described where you play the game without peeking, and we found that to be a more enjoyable way to play. You just never know if the other side of your tree is a fire or a water, and it sometimes results in turns where you effectively shoot yourself in the foot. Yes, it diminishes the tactics of the game, and if you would rather plan your moves well ahead of your turns like a Chess Grand Master, so be it. I kinda like the chaotic nature of not knowing what’s on the other side.
Components. So this is a clam shell wooden box that pulls double duty as the game board and storage for the other components. It is of good quality, and is reminiscent of the keepsake boxes one might find at Hobby Lobby or the like. The discs are painted and silk-screened plywood discs with a hole in the middle to accept the wand. The wand itself is a length of wooden dowel. All of these components are of good quality, but I wish a different finish was applied to the wood. The finish on the copy I was sent for review isn’t really conducive to sliding pieces on, so I suggest you pick up the pieces (any Average White Band fans here?) and place them where they need to go. Do as I say, not as I do.
Overall this is a really great game that I know will see lots of play in my house. My wife likes abstracts a lot and I predict she will enjoy this one as much as she adores Blokus (which she adores a TON). For the ease of teaching, play, and that itch to play just one more time, we at Purple Phoenix Games give this one a no-peek 9 / 12. If you are a fan of Chess, Checkers, or any of the other abstract strategy games I listed earlier, you should really check this one out. It’s a little different and a lot fun.
So the winner of Elementos is the player that can get their wand (the wooden stick) to one of the three squares on the opponent’s side of the board (a la American football). This is accomplished by moving the element discs down the board and overtaking discs using the game’s elemental weakness wheel: fire burns trees, trees drink water, water douses fire. Movement can be made to any space obliquely, straight forward, or forward diagonally, unless the piece being moved is carrying the wand. Those wand-carrying pieces can only be moved straight forward.
Undoubtedly players will find themselves wanting to enter a space containing an opponent’s disc. Following the movement rules and elemental wheel described above, the attacking piece can overtake the opponent’s space and remove the opponent’s disc from the board. Easy, right? Let me explain the kicker here. The discs are double-sided and have different elements on the flip-side. So for an action (instead of moving) a player can simply flip any of their discs to the other side – perhaps to block movement, or setup a takeover on the next turn. As you only have one action to use on your turn you may not flip and move on the same turn. The other allowable action on a turn is to pass the wand to another friendly piece, observing movement rules for wand movement as well. The benefit with this is that the wand-carrying discs can neither attack nor BE attacked. Need to protect your tree from that fire ahead? Pass it the wand and be safe.
The rule sheet states that at any time you may peek at what element is on the flip-side of any piece at any time, but there is a variant described where you play the game without peeking, and we found that to be a more enjoyable way to play. You just never know if the other side of your tree is a fire or a water, and it sometimes results in turns where you effectively shoot yourself in the foot. Yes, it diminishes the tactics of the game, and if you would rather plan your moves well ahead of your turns like a Chess Grand Master, so be it. I kinda like the chaotic nature of not knowing what’s on the other side.
Components. So this is a clam shell wooden box that pulls double duty as the game board and storage for the other components. It is of good quality, and is reminiscent of the keepsake boxes one might find at Hobby Lobby or the like. The discs are painted and silk-screened plywood discs with a hole in the middle to accept the wand. The wand itself is a length of wooden dowel. All of these components are of good quality, but I wish a different finish was applied to the wood. The finish on the copy I was sent for review isn’t really conducive to sliding pieces on, so I suggest you pick up the pieces (any Average White Band fans here?) and place them where they need to go. Do as I say, not as I do.
Overall this is a really great game that I know will see lots of play in my house. My wife likes abstracts a lot and I predict she will enjoy this one as much as she adores Blokus (which she adores a TON). For the ease of teaching, play, and that itch to play just one more time, we at Purple Phoenix Games give this one a no-peek 9 / 12. If you are a fan of Chess, Checkers, or any of the other abstract strategy games I listed earlier, you should really check this one out. It’s a little different and a lot fun.
What Did Jesus Drive?: Crisis PR in Cars, Computers and Christianity
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What Did Jesus Drive, Is mostly about crises in the car industry, but then it's so much bigger! It's...
Sarah (7800 KP) rated Crisis (2021) in Movies
Feb 19, 2021
Worth it just for Oldman
Crisis is a 2021 film from write, director and producer Nicholas Jarecki, who previously brought us 2012's Arbitrage starring Richard Gere. Crisis is a story about drugs, namely opioids, and follows three separate yet related narratives about opioids and their impact on US society. There's an undercover DEA agent posing as a drug trafficker arranging a Fentanyl smuggling operation between Canada and the US (Armie Hammer), a recovering addict architect determined to track down those responsible for her son's involvement in narcotics (Evangeline Lilly), and a university professor (Gary Oldman) who's research laboratory uncovers dangerous revelations about a new drug that they've been paid to research by a very influential drug company and their executives (Luke Evans).
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
The main purpose of Crisis appears to be highlighting two entirely juxtaposed real life issues with opioids - the illegal smuggling and import of street drugs and the completely legal yet questionable drugs introduced by drug companies with full support of the government. For most, neither of these stories should be particularly surprising as they're fairly common knowledge and have been featured in countless films and documentaries over the years, although I think this may be the first time the two stories have been shown together in a film. And for Crisis this really works - showing the two contrasting issues makes for a more interesting and unique story rather than concentrating solely on one that we've seen many times before, especially as its split into three separate narratives.
However, the problem with Crisis is that not all of the narratives are as engaging as intended. Evangeline Lilly puts in a wonderful and emotional performance as architect and mother Claire, but her narrative becomes a little unrealistic as she becomes bent on revenge at those responsible for involving her son in the drugs underworld. And unfortunately Armie Hammer's narrative as undercover federal agent Jake is nothing original, with a smuggling operation and drugs bust that we've seen in many other films, some of which I'm afraid have done it a lot better. The most interesting narrative though is that of Gary Oldman as Dr Tyrone Brower, whose struggle over whether to tell the truth about a new dangerous drug or take the money from his drug company employers is a surprisingly thrilling morality tale. It's helped by a superb turn from Oldman himself and a wonderful supporting role from Greg Kinnear (who I've adored since 1997's As Good As It Gets), and the verbal sparring scenes between Brower and Kinnear's university Dean are probably the best in the film. It's a shame however that Luke Evans isn't given as much to do with his part in this narrative, even with his questionable American accent.
The biggest problem I had with all of the narratives is that unlike similar films that intertwine related narratives that eventually intersect dramatically (think 2006's Best Picture Oscar winner Crash), the narratives here don't all come together in the way I was expecting, which was rather disappointing.
Cinematography-wise, director and writer Jarecki does a good job as the film looks and feels good, and really highlights the US and Canadian settings. The soundtrack only adds to the overall tense and suspenseful feel of the film, although it does feature the typical pulsing, drum beat style that seems to be standard for a modern thriller. And the script, while possibly a little clichéd especially around the drugs bust and smuggling, is good and with his supporting acting role as Jake's fellow DEA agent Stan, Nicholas Jarecki could be one to watch in future.
Overall, Crisis is a good thriller that tells the story of well-known drug issues in a different way and does well in highlighting real life concerns. For the most part it succeeds in bringing an interesting set of narratives together for a fairly gripping albeit slightly long film, and despite my preconceptions about how its intersecting storylines should play out, it is an enjoyable watch, although for the most part thanks to the talents of Gary Oldman.
Sarah (7800 KP) rated Truth Seekers - Season 1 in TV
Nov 8, 2020
Enjoyably British
Truth Seekers is the latest collaboration from Nick Frost and Simon Pegg, and centres around employees of a network services provider who run a YouTube channel as amateur paranormal investigators.
The series follows Gus Roberts (Nick Frost), the top installation engineer for network provider Smyle. He lives with his dad (Malcolm McDowell) and investigates paranormal activities in his spare time, running his own YouTube channel as ‘The Truth Seeker’. His boss Dave (Simon Pegg) pairs Gus with a new employee Elton John (Samson Kayo), and Truth Seekers follows the pair as they increasingly encounter paranormal and mysterious entities as they go about their daily work, including a haunted young woman called Astrid (Emma D’Arcy).
Truth Seekers starts off as a case by episode series, with a new spooky encounter every time (think Supernatural but very British) and then mid-way works into a bigger overall plot involving Julian Barratt’s Dr Peter Toynbee that seems to tie all the earlier elements together. As a supernatural horror show, this works really well. It doesn’t rely on typical jump scares, and instead uses well known horror situations to be as creepy as possible. Admittedly this is a tad cliched – think of all the known supernatural experiences you’d expect to see (psychiatric hospitals, hotels, demons and satanic books to name a few) and you’ll definitely find them here. However this doesn’t matter as they’re done well and in such a smart, creepy and very British way. Even the special effects are impressive for something that looks like it should be fairly low budget.
Whilst this is made out to be a horror comedy, it’s the comedy side that appears to be a little lacking. Don’t get me wrong, this has its’s funny and witty moments and seems to relish all of the pop culture references it throws in at every opportunity, however it doesn’t seem quite as edgy and quick witted as Frost and Pegg’s previous collaborations. Frost delivers his usual deadpan style well and is ably supported by Samson Kayo’s Elton as his rather adorable and unwitting partner. The standout though is unsurprisingly Malcolm McDowell as Gus’ dad Richard. Right from the first episode McDowell shines and is an absolute riot. Every scene he’s in gives rise to so many laughs and in particular there’s one scene featuring him going upstairs on a stair lift so slowly that nearly had me crying with laughter. But despite this the humour is maybe a little lacking from what we’d expect. I also felt like some of the pop culture references were a little forced and unnatural, which is a shame as there were also a lot that worked quite well – nods to Aliens and The Shawshank Redemption were particularly appreciated.
Truth Seekers may be lacking a little in humour, but what is there is adeptly delivered by a rather stellar cast. Pegg takes a backseat as boss Dave with an atrocious hairpiece and there are some small roles for Kelly MacDonald, Susie Wokoma and Julian Barratt, but everyone puts in a great performance no matter the screen time. McDowell undoubtedly steals the show, but the main trio of Frost, Kayo and D’Arcy carry the show well between them.
What surprised me the most about Truth Seekers is how short it was. A mere eight episodes running at 30 minutes each doesn’t seem like enough – by the end of the eighth episode I was shocked to see there wasn’t any more, although the final scenes do at least set this up for a second series that will hopefully come to fruition. I was a little concerned about the main plot involving Toynbee as it did get a little convoluted towards the end, and the final scenes do nothing but add to this and hint at a much bigger story going on. This could end up being rather good, but it could also turn what is by and large a very enjoyable British supernatural series into something rather crazy and confused. Only series two will tell.
The series follows Gus Roberts (Nick Frost), the top installation engineer for network provider Smyle. He lives with his dad (Malcolm McDowell) and investigates paranormal activities in his spare time, running his own YouTube channel as ‘The Truth Seeker’. His boss Dave (Simon Pegg) pairs Gus with a new employee Elton John (Samson Kayo), and Truth Seekers follows the pair as they increasingly encounter paranormal and mysterious entities as they go about their daily work, including a haunted young woman called Astrid (Emma D’Arcy).
Truth Seekers starts off as a case by episode series, with a new spooky encounter every time (think Supernatural but very British) and then mid-way works into a bigger overall plot involving Julian Barratt’s Dr Peter Toynbee that seems to tie all the earlier elements together. As a supernatural horror show, this works really well. It doesn’t rely on typical jump scares, and instead uses well known horror situations to be as creepy as possible. Admittedly this is a tad cliched – think of all the known supernatural experiences you’d expect to see (psychiatric hospitals, hotels, demons and satanic books to name a few) and you’ll definitely find them here. However this doesn’t matter as they’re done well and in such a smart, creepy and very British way. Even the special effects are impressive for something that looks like it should be fairly low budget.
Whilst this is made out to be a horror comedy, it’s the comedy side that appears to be a little lacking. Don’t get me wrong, this has its’s funny and witty moments and seems to relish all of the pop culture references it throws in at every opportunity, however it doesn’t seem quite as edgy and quick witted as Frost and Pegg’s previous collaborations. Frost delivers his usual deadpan style well and is ably supported by Samson Kayo’s Elton as his rather adorable and unwitting partner. The standout though is unsurprisingly Malcolm McDowell as Gus’ dad Richard. Right from the first episode McDowell shines and is an absolute riot. Every scene he’s in gives rise to so many laughs and in particular there’s one scene featuring him going upstairs on a stair lift so slowly that nearly had me crying with laughter. But despite this the humour is maybe a little lacking from what we’d expect. I also felt like some of the pop culture references were a little forced and unnatural, which is a shame as there were also a lot that worked quite well – nods to Aliens and The Shawshank Redemption were particularly appreciated.
Truth Seekers may be lacking a little in humour, but what is there is adeptly delivered by a rather stellar cast. Pegg takes a backseat as boss Dave with an atrocious hairpiece and there are some small roles for Kelly MacDonald, Susie Wokoma and Julian Barratt, but everyone puts in a great performance no matter the screen time. McDowell undoubtedly steals the show, but the main trio of Frost, Kayo and D’Arcy carry the show well between them.
What surprised me the most about Truth Seekers is how short it was. A mere eight episodes running at 30 minutes each doesn’t seem like enough – by the end of the eighth episode I was shocked to see there wasn’t any more, although the final scenes do at least set this up for a second series that will hopefully come to fruition. I was a little concerned about the main plot involving Toynbee as it did get a little convoluted towards the end, and the final scenes do nothing but add to this and hint at a much bigger story going on. This could end up being rather good, but it could also turn what is by and large a very enjoyable British supernatural series into something rather crazy and confused. Only series two will tell.
