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Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
5 Minute Movie Guy (379 KP) rated Whiplash (2014) in Movies
Jul 1, 2019
Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance. It'll have you on the edge of your seat, with your heart still pounding even after it's over.
I believe that there’s a desire in all of us to achieve greatness. A deep, internal yearning for importance, respect, and acceptance. We want to be remembered and we want to fulfill a sense of purpose in our lives. For Andrew Nieman (Miles Teller), the central character in the 2014 Best Picture nominated film Whiplash, that desire is to be one of the all-time great jazz drummers. Of course, he knows that accomplishing such a goal will require a firmly fixed focus, an uncompromising dedication, and endless hours of practice. What he surely wasn’t expecting was to run into a teacher like Terence Fletcher (J.K. Simmons), who will stop at nothing in order to push his students to strive to be their very best. Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance.
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!
Darren (1599 KP) rated A Scanner Darkly (2006) in Movies
Jun 20, 2019
Story: A Scanner Darkly starts by introducing us to Charles Freck (Cochrane) a man being pestered by bugs while on a new drug. Calling a friend James Barris (Downey Jr) for advice they plan to meet to look at the bugs. Skip to the Police who are trying to crack down on narcotics with a new undercover suit worn b Officer Fred (Reeves) as he goes undercover to fight the war on narcotics. Substance D is the new drug on the streets that they are most trying to stop taking a hold on the users.
Officer Fred is undercover with dealer Donna (Ryder) using his alias Bob Arctor who is a suspect he is meant to be after, he also knows Charles and James along with follower stoner Ernie Luckman (Harrelson). We watch as Officer Fred starts to lose his mind as he struggles to deal with the different realities the drug world is leaving him in. Fred has to work out who to trust and why the police are after him as well as why Barris is trying to sell him out.
A Scanner Darkly is one of those films that really pulls you in to start with but in the end fizzles out, it is a shame because the idea was a good concept but it doesn’t give us enough potential surprises like who Hank is, it is clear who early on. The subject looks at how the drugs can affect the people who are just undercover rather than the ones who are who are the stoners. I think more focus on who and what is really going on should have been had because the end feels empty rather than concluded. (6/10)
Actor Review
Robert Downey Jr: James Barris one of the stoners who believes he is smarter than the rest of them. He wants to out one of his group not knowing he is the guy undercover. Robert does a good job in what was one of his recovery roles. (7/10)
robert
Keanu Reeves: Bob Arctor/Officer Fred the undercover cop whose identity is a secret to the force while he gets close to the dealers. Keanu does a good job in a role you wouldn’t imagine him in. (7/10)
keanu
Winona Ryder: Donna Hawthorne main dealer and girlfriend of Bob, she keeps the guys hooked up. Winona does a good job but doesn’t get enough screen time. (6/10)
winoan
Woody Harrelson: Ernie Luckman one of the stoners who gets all philosophical whenever high. Woody makes for a solid supporting character but needed more screen time. (5/10)
Rory Cochrane: Charles Freck the man who gets most affected by the substance D who starts seeing things before anybody else and is always the fear of what the group could become. Rory does a good job and as for that opening scene that really pulls you in and you want to see more of his character. (8/10)
rory
Support Cast: A Scanner Darkly only has supporting characters working in the police be it officers or doctors checking on Fred. They all help try to show his better side rather than his drug side.
Director Review: Richard Linklater – Richard has become one of the biggest names in Hollywood this year and this showed that he is a visionary director. (8/10)
Animation: A Scanner Darkly is very original with its style of animation which makes the story be able to go in direction that wouldn’t be possible if it was just one or the other. (9/10)
Mystery: A Scanner Darkly tries to keep you guessing but sadly doesn’t keep it up enough of the way through the film. (6/10)
Thriller: A Scanner Darkly keeps you wondering but never pushes you to the edge like it could. (6/10)
Settings: A Scanner Darkly settings are created well throughout the film. (7/10)
Special Effects: A Scanner Darkly uses both brilliant special effects and animation to create a unique look for the film. (8/10)
Suggestion: A Scanner Darkly is one to try it isn’t the most perfect film but the visual could be rewarding. (Try It)
Best Part: Visuals.
Worst Part: Fizzles out near the end.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Box Office: $7.6 Million
Budget: $8.5 Million
Runtime: 1 Hour 40 Minutes
Tagline: Everything Is Not Going To Be OK
Overall: Brave Idea
https://moviesreview101.com/2015/02/28/a-scanner-darkly-2006/
Officer Fred is undercover with dealer Donna (Ryder) using his alias Bob Arctor who is a suspect he is meant to be after, he also knows Charles and James along with follower stoner Ernie Luckman (Harrelson). We watch as Officer Fred starts to lose his mind as he struggles to deal with the different realities the drug world is leaving him in. Fred has to work out who to trust and why the police are after him as well as why Barris is trying to sell him out.
A Scanner Darkly is one of those films that really pulls you in to start with but in the end fizzles out, it is a shame because the idea was a good concept but it doesn’t give us enough potential surprises like who Hank is, it is clear who early on. The subject looks at how the drugs can affect the people who are just undercover rather than the ones who are who are the stoners. I think more focus on who and what is really going on should have been had because the end feels empty rather than concluded. (6/10)
Actor Review
Robert Downey Jr: James Barris one of the stoners who believes he is smarter than the rest of them. He wants to out one of his group not knowing he is the guy undercover. Robert does a good job in what was one of his recovery roles. (7/10)
robert
Keanu Reeves: Bob Arctor/Officer Fred the undercover cop whose identity is a secret to the force while he gets close to the dealers. Keanu does a good job in a role you wouldn’t imagine him in. (7/10)
keanu
Winona Ryder: Donna Hawthorne main dealer and girlfriend of Bob, she keeps the guys hooked up. Winona does a good job but doesn’t get enough screen time. (6/10)
winoan
Woody Harrelson: Ernie Luckman one of the stoners who gets all philosophical whenever high. Woody makes for a solid supporting character but needed more screen time. (5/10)
Rory Cochrane: Charles Freck the man who gets most affected by the substance D who starts seeing things before anybody else and is always the fear of what the group could become. Rory does a good job and as for that opening scene that really pulls you in and you want to see more of his character. (8/10)
rory
Support Cast: A Scanner Darkly only has supporting characters working in the police be it officers or doctors checking on Fred. They all help try to show his better side rather than his drug side.
Director Review: Richard Linklater – Richard has become one of the biggest names in Hollywood this year and this showed that he is a visionary director. (8/10)
Animation: A Scanner Darkly is very original with its style of animation which makes the story be able to go in direction that wouldn’t be possible if it was just one or the other. (9/10)
Mystery: A Scanner Darkly tries to keep you guessing but sadly doesn’t keep it up enough of the way through the film. (6/10)
Thriller: A Scanner Darkly keeps you wondering but never pushes you to the edge like it could. (6/10)
Settings: A Scanner Darkly settings are created well throughout the film. (7/10)
Special Effects: A Scanner Darkly uses both brilliant special effects and animation to create a unique look for the film. (8/10)
Suggestion: A Scanner Darkly is one to try it isn’t the most perfect film but the visual could be rewarding. (Try It)
Best Part: Visuals.
Worst Part: Fizzles out near the end.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Box Office: $7.6 Million
Budget: $8.5 Million
Runtime: 1 Hour 40 Minutes
Tagline: Everything Is Not Going To Be OK
Overall: Brave Idea
https://moviesreview101.com/2015/02/28/a-scanner-darkly-2006/
Hazel (1853 KP) rated He Walks Among Us: Encounters with Christ in a Broken World in Books
Dec 17, 2018
<b>Synopsis</b>
Richard Stearns is the president of World Vision United States who, along with his wife Reneé, regularly visits the poorer countries of our world to see the ways the charity is helping to change people's lives. <i>He Walks Among Us</i> is a compilation of short thoughts and observations (two-to-three pages, including photographs) they have both had while conducting their work. As they alternate the writing, we are given opinions and experiences that we may be able to relate to our own. As Richard is the president of the organisation, he can give an insight into the way World Vision works, however, he can also express his opinions as a father, grandfather and believer in Christ. Reneé is also a World Vision worker, but due to her nature, gives a more maternal impression of the scenes she witnesses.
The individuals written about in this book come from all over the world. Most are located in Africa, but there are also similar stories in Asia, South and North America, and even Eastern Europe. The terrors these people have faced are shocking (AIDs, war, sexual abuse, natural disasters etc), but each family has been aided in some way by World Vision and their donors.
The purpose of <i>He Walks Among Us</i> is not to promote World Vision, but to encourage us to let God and Jesus into our lives. Richard and Reneé assume their readers are Christians, however, they realise that being a Christian does not equate to fully accepting God's plans. The victims of war, rape, and poverty mentioned have also been touched by Jesus. Many did not know him before World Vision came into their lives, but they have now been transformed through the power of his love - although their situation may not have significantly improved.
The actual stories used to illustrate the work of World Vision are only brief mentions, providing the bare bones of the situations. What Richard and Reneé have focused on is linking these lives, their lives and our lives to passages from the Bible. Either taken literally or metaphorically, the pair manage to relate everything to the actions and fates of a number of key Biblical characters. This emphasises that Our Lord is walking among us, giving life, peace, hope and steadfast faith.
<b>Ideas</b>
Giving someone new hope or purpose in their life can be related to Jesus raising Lazarus from the dead. Whether people are literally dying, or on the edge of hopelessness and despair, improving their situation can turn their lives around.
The donors and workers at World Vision are like the Good Samaritan in Jesus' parable. We do not know these people, know their religion or circumstances, yet we send money and aid. To do nothing would make us the Priest or Levite in the story.
David was only a young boy when he had to face Goliath, yet, against all odds, he defeated him. The children mentioned in this book are similar to David. They each have their metaphorical Goliath's: poverty, illness, loss of parents, war, hunger etc, but with God working through us, these can be overcome.
<b>Noteworthy Bible Verses</b>
Each chapter of the book begins with a Bible verse, and often more are included within the text. Here are a few that really relate to the work of World Vision and the ways in which we can involve ourselves:
Philippians 4:12-13
Luke 21:3-4
Luke 6:20-21
Psalm 23:4
<b>Statistics</b>
23 million people in sub-Sahara Africa are suffering from HIV.
In Soviet-controlled Georgia, churches were banned. Some villages are only just seeing their first church in over 400 years.
20 thousand children under the age of 5 die every day.
Every 4 seconds a child under 5 dies.
Over 2 billion people in the world are living on $2 or less a day.
1 billion people have no access to clean drinking water.
41% of the population in Niger have no clean water.
<b>Citations</b>
Helen Keller: "So much has been given to me, I have no time to ponder over that which is denied."
Oswald Chambers: "The great hindrance in spiritual life is that we will look for big things to do. Jesus took a towel ... and began to wash the disciples' feet."
Mother Theresa: "I am a pencil in the hand of a writing God who is sending a love letter to the world."
C.S. Lewis: "Humility is not thinking less of yourself but thinking of yourself less."
<b>Other Mentions</b>
Hymn - Frances R. Havergal, <i>Take my Life and let it be.</i>
Film - <i>Pushing the Elephant</i>
Richard Stearns is the president of World Vision United States who, along with his wife Reneé, regularly visits the poorer countries of our world to see the ways the charity is helping to change people's lives. <i>He Walks Among Us</i> is a compilation of short thoughts and observations (two-to-three pages, including photographs) they have both had while conducting their work. As they alternate the writing, we are given opinions and experiences that we may be able to relate to our own. As Richard is the president of the organisation, he can give an insight into the way World Vision works, however, he can also express his opinions as a father, grandfather and believer in Christ. Reneé is also a World Vision worker, but due to her nature, gives a more maternal impression of the scenes she witnesses.
The individuals written about in this book come from all over the world. Most are located in Africa, but there are also similar stories in Asia, South and North America, and even Eastern Europe. The terrors these people have faced are shocking (AIDs, war, sexual abuse, natural disasters etc), but each family has been aided in some way by World Vision and their donors.
The purpose of <i>He Walks Among Us</i> is not to promote World Vision, but to encourage us to let God and Jesus into our lives. Richard and Reneé assume their readers are Christians, however, they realise that being a Christian does not equate to fully accepting God's plans. The victims of war, rape, and poverty mentioned have also been touched by Jesus. Many did not know him before World Vision came into their lives, but they have now been transformed through the power of his love - although their situation may not have significantly improved.
The actual stories used to illustrate the work of World Vision are only brief mentions, providing the bare bones of the situations. What Richard and Reneé have focused on is linking these lives, their lives and our lives to passages from the Bible. Either taken literally or metaphorically, the pair manage to relate everything to the actions and fates of a number of key Biblical characters. This emphasises that Our Lord is walking among us, giving life, peace, hope and steadfast faith.
<b>Ideas</b>
Giving someone new hope or purpose in their life can be related to Jesus raising Lazarus from the dead. Whether people are literally dying, or on the edge of hopelessness and despair, improving their situation can turn their lives around.
The donors and workers at World Vision are like the Good Samaritan in Jesus' parable. We do not know these people, know their religion or circumstances, yet we send money and aid. To do nothing would make us the Priest or Levite in the story.
David was only a young boy when he had to face Goliath, yet, against all odds, he defeated him. The children mentioned in this book are similar to David. They each have their metaphorical Goliath's: poverty, illness, loss of parents, war, hunger etc, but with God working through us, these can be overcome.
<b>Noteworthy Bible Verses</b>
Each chapter of the book begins with a Bible verse, and often more are included within the text. Here are a few that really relate to the work of World Vision and the ways in which we can involve ourselves:
Philippians 4:12-13
Luke 21:3-4
Luke 6:20-21
Psalm 23:4
<b>Statistics</b>
23 million people in sub-Sahara Africa are suffering from HIV.
In Soviet-controlled Georgia, churches were banned. Some villages are only just seeing their first church in over 400 years.
20 thousand children under the age of 5 die every day.
Every 4 seconds a child under 5 dies.
Over 2 billion people in the world are living on $2 or less a day.
1 billion people have no access to clean drinking water.
41% of the population in Niger have no clean water.
<b>Citations</b>
Helen Keller: "So much has been given to me, I have no time to ponder over that which is denied."
Oswald Chambers: "The great hindrance in spiritual life is that we will look for big things to do. Jesus took a towel ... and began to wash the disciples' feet."
Mother Theresa: "I am a pencil in the hand of a writing God who is sending a love letter to the world."
C.S. Lewis: "Humility is not thinking less of yourself but thinking of yourself less."
<b>Other Mentions</b>
Hymn - Frances R. Havergal, <i>Take my Life and let it be.</i>
Film - <i>Pushing the Elephant</i>
BankofMarquis (1832 KP) rated Joker (2019) in Movies
Oct 10, 2019
Joaquin's Performance Elevates This Film
Give Joaquin Phoenix the Oscar right now. His bravura performance as the titular character in JOKER is one for the ages. He is on the screen in every scene of this film and captivates and repulses you at the same time. This performance raises this film to another level.
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
The question is - what level was this film at, and where does this performance raise it to?
Set in Gotham City right around the time of the murder of Bruce Wayne's parents, JOKER tells the origin story of...well...a character that calls himself JOKER. This sad sack, with the name of Arthur Fleck, is a part-time clown (standing outside of store closings with a spinning sign or going to Children's Hospital). We watch his origins as he rises (or perhaps...falls?) to the anarchic symbol that is JOKER. And that's the interesting thing about this film. You are watching the fall of a man and the rise of a symbol - does Fleck find comfort or madness in this journey - or, perhaps, maybe he finds comfort in madness?
Embodying this broken spirit that keeps getting up despite whatever beatings (sometimes physical, sometimes mental, always with the potential to finally break him) is the unique talent that is Joaquin Phoenix. You can tell from his portrayal of Arthur that there is something just "off" with him and you continually wait for the breaking point that will drive him down the road of JOKER. But it is not only his acting that is on display here, it the manipulation and movements of his body that is amazing and outstanding. Much like a professional dancer, Phoenix/Fleck waltzes through this film like there is a musical score that only he can hear - and that is both fascinating and disturbing at the same time. There is a fine line that needs to be trod here, for if you don't, this character and performance can easily be one of total madness (a.k.a. Jack Nicholson as Jack Torrance in the SHINING) but Phoenix balances sanity/insanity very well and you are waiting for the final blow that will send him, inevitably, over the edge. It's like watching a ticking time bomb that you cannot see the clock counting down to zero - but count down to zero you are sure it will do.
Exchanging blows with Phoenix for about 1/3 of this film is Robert DeNiro as talk show host Murray Franklin (think a meaner version of Johnny Carson). DeNiro is VERY good in this role and it is good to see that he still can "bring it" as a serious actor when he wants to. Unfortunately, DeNiro's character isn't really in the first 2/3 of this film and that's too bad. Phoenix' Arthur Fleck is a force to be reckoned with and he really could have used another character just as strong to play against.
Unfortunately, Writer/Director Todd Phillips (THE HANGOVER films) doesn't really give Phoenix anyone strong to play against for the first 2/3 of this film though Frances Conroy (overbearing mother), Zazie Beetz (potential love interest) and Brett Cullen (billionaire Thomas Wayne, father of Bruce) come and go in all too brief appearances that never really are on screen long enough to stand their ground (though Conroy comes close). This makes the first part of this film very on-sided, dreary, depressing and dark. I get that Director/Writer Phillips was going for the "Decaying of Gotham" theme as seen through the eyes of Fleck, but it became a slog after awhile. I wanted to yell at the screen at about the 1 hour mark "All right, I get it!"
Now...to give Phillips credit, he creates an interesting version of this world that we all know well (through the Dark Knight and various other DC Universe films), so I give him points for originality. And...he really NAILS the ending (the last 1/3 of the film - the part WITH DeNiro). I thought it was effective and potent and left it's mark.
Which brings me back to my opening thought. Phoenix raises this film up with his performance - the question is "from where to where". I'd have to say (because of the slowness of the first 2/3 of this film) that Phoenix fearless performance raises this dark and dreary film from a "C" to a "B". So with that in mind, I give JOKER...
Letter Grade: B
7 (out of 10) stars and you can take that to the Bank(ofMarquis)
Purple Phoenix Games (2266 KP) rated Dollars to Donuts in Tabletop Games
Jul 21, 2020 (Updated Jul 21, 2020)
I don’t think I even have to say anything up top here to get those juices flowing – just looking at the box to Dollars to Donuts makes you pine for them. Just me? Nah, everyone loves donuts – even most of the diabetics I’ve known. So when I heard that we had a chance to preview a tile-laying, set collection donut-themed game, I knew we had to jump on it. And oh, spoilers, it’s GREAT.
Dollars to Donuts is a game where you are literally turning dollars into donuts. Pretty on the nose with the title, eh? Agreed, but once you play it, I promise you will be hooked.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter running until August 10, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
There really are plenty of rules for this game, and I will not touch on everything. To setup, deal each player a board in their color along with the matching starting 1×1 donut tiles to be placed on the boards according to the rules, as well as the proper starting Dollar Tiles. Populate the Specials Board (shown below), reveal the top four Customer Cards (shown below), separate the Donut Tiles into like piles, and throw the rest of the Dollar Tiles into the cloth bag. The game is now ready to begin!
Each player will be purchasing a Donut tile (1×4) on their turn and placing it on their board. The interesting thing here is that these tiles do NOT have to be confined to the spaces on the Player Mat (board) – tiles can hang off the edge. And icons that are hanging off, however, cannot score or provide any benefit, so that is the trade-off. After placing the Donut Tile on the board, players will then collect Donut VP Tokens if placing on the board created a complete donut. If the placing created a mismatched donut, the player will instead collect as many Dollar Tiles as the highest number of $ symbols of the mismatched donut (so a plain donut half is worth $1 but a chocolate is worth $2 so a mismatched donut of those two flavors would count as $2). At this point, the player may choose to place a 1×1 double-sided Dollar Tile on their board to fill a gap, or hole, and I’ll be darned if you don’t use donut holes to fill holes in your board. Lastly, a player may then Serve a Customer using their earned Donut VP Tokens. Serving customers increases the value of the VP tokens, so serving is certainly beneficial.
Play continues in this fashion until a player has filled their empty board spaces with delicious donuts. Complete the round and then count the scores to see who really is the Donut Champ.
Components. Again, we were provided with a prototype copy of Dollars to Donuts, and upgraded components are stretch goals for a successful Kickstarter campaign. That said, the art on this is really great. Dylan Mangini can illustrate games superbly for sure. I love the colors they have chosen, the art style, and fun start player token that came with it (and I hope it is something that can be offered to all through a stretch goal or something). I have no complaints here and I look forward to seeing how the final products looks.
So it is absolutely no surprise that I loved this one. I have a special place in my heart for games with ever-changing resource costs, tile-placing, donuts, multi-use components, and donuts. I love being able to use any part of the Donut Tiles, even if my board looks kooky at the end (see below). It’s so refreshing when a game comes along that takes a comfortable given and turns it on its head. We all know how to keep components within the boundaries of our player board. But WHYYYYY? Dollars to Donuts fixes that, even at the cost of our more organized players’ sanity. I simply love this game and can’t wait to get my final copy. If you also are excited to grab a copy of this one, head over to Kickstarter and join the campaign going on NOW (at the time of this writing) until August 10, 2020. I would also suggest ordering a dozen or two of your favorite bakery treats to have on hand when you play this – your tummy will thank you. Unless you’re diabetic. Then I am sorry.
Dollars to Donuts is a game where you are literally turning dollars into donuts. Pretty on the nose with the title, eh? Agreed, but once you play it, I promise you will be hooked.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and the final components may be different from these shown. Also, it is not my intention to detail every rule in the game, but to give our readers an idea of how the game plays. You are invited to back the game on Kickstarter running until August 10, 2020, order from your FLGS, or purchase through any retailers stocking it after it is fulfilled. -T
There really are plenty of rules for this game, and I will not touch on everything. To setup, deal each player a board in their color along with the matching starting 1×1 donut tiles to be placed on the boards according to the rules, as well as the proper starting Dollar Tiles. Populate the Specials Board (shown below), reveal the top four Customer Cards (shown below), separate the Donut Tiles into like piles, and throw the rest of the Dollar Tiles into the cloth bag. The game is now ready to begin!
Each player will be purchasing a Donut tile (1×4) on their turn and placing it on their board. The interesting thing here is that these tiles do NOT have to be confined to the spaces on the Player Mat (board) – tiles can hang off the edge. And icons that are hanging off, however, cannot score or provide any benefit, so that is the trade-off. After placing the Donut Tile on the board, players will then collect Donut VP Tokens if placing on the board created a complete donut. If the placing created a mismatched donut, the player will instead collect as many Dollar Tiles as the highest number of $ symbols of the mismatched donut (so a plain donut half is worth $1 but a chocolate is worth $2 so a mismatched donut of those two flavors would count as $2). At this point, the player may choose to place a 1×1 double-sided Dollar Tile on their board to fill a gap, or hole, and I’ll be darned if you don’t use donut holes to fill holes in your board. Lastly, a player may then Serve a Customer using their earned Donut VP Tokens. Serving customers increases the value of the VP tokens, so serving is certainly beneficial.
Play continues in this fashion until a player has filled their empty board spaces with delicious donuts. Complete the round and then count the scores to see who really is the Donut Champ.
Components. Again, we were provided with a prototype copy of Dollars to Donuts, and upgraded components are stretch goals for a successful Kickstarter campaign. That said, the art on this is really great. Dylan Mangini can illustrate games superbly for sure. I love the colors they have chosen, the art style, and fun start player token that came with it (and I hope it is something that can be offered to all through a stretch goal or something). I have no complaints here and I look forward to seeing how the final products looks.
So it is absolutely no surprise that I loved this one. I have a special place in my heart for games with ever-changing resource costs, tile-placing, donuts, multi-use components, and donuts. I love being able to use any part of the Donut Tiles, even if my board looks kooky at the end (see below). It’s so refreshing when a game comes along that takes a comfortable given and turns it on its head. We all know how to keep components within the boundaries of our player board. But WHYYYYY? Dollars to Donuts fixes that, even at the cost of our more organized players’ sanity. I simply love this game and can’t wait to get my final copy. If you also are excited to grab a copy of this one, head over to Kickstarter and join the campaign going on NOW (at the time of this writing) until August 10, 2020. I would also suggest ordering a dozen or two of your favorite bakery treats to have on hand when you play this – your tummy will thank you. Unless you’re diabetic. Then I am sorry.
Bob Mann (459 KP) rated Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) in Movies
Feb 15, 2020
A lot of squawking birds
Although not saying much, Margot Robbie’s Harley Quinn was one of the best thing in the lacklustre D.C. outing “Suicide Squad” of 2016. Now, she returns in her own vehicle. Jared Leto’s Joker is a thing of the past (clearly he wasn’t keen on dredging up the past for even a cameo in this one).
Harley had spent years building up a catalog of enemies in Gotham, with no-one daring to lift a finger for fear of “the big J’s” retribution. With that now a thing of the past, the streets are no longer safe for Harley. Whereas most characters have a reason to want to kill Harley, mid-level gangster Roman Sionis (Ewan McGregor) has a list as long as his arm (a blurred list that will probably make freeze-framing of the blu-ray entertaining!). Roman, who has a penchant for having his right-hand man Victor (Chris Messina) de-glove his victim’s faces, has his heart set on obtaining a missing diamond that (McGuffin-alert) is engraved with account details to $billions.
Through a convoluted and messy plot, Harley meets various ‘birds of prey’ who are either friend or foe: notably young pickpocket Cassandra (Ella Jay Basco); cop Renée Montoya (Rosie Perez); the “Crossbow Killer” (Mary Elizabeth Winstead); and the “Black Canary” (Jurnee Smollett-Bell), who you don’t want to let near your best glasses.
As you might expect from your knowledge of Harley Quinn’s character, the movie is bat-shit crazy, with periodic breaking of the 4th wall; much acrobatic kick-boxing; and some random dream sequences….. Robbie as Marilyn is particularly entertaining, although at times (the ‘egg sandwich’ sequence in particular) the gurning made me muse to myself about just what a good film “I, Tonya” was.
It all comes across as something of a “Deadpool” sequel. Actually, I’d more describe it as “Deadpool-lite” since it’s not powered here by the charisma of Ryan Reynolds. However, I did find myself quite enjoying the first reel of the movie.
Unfortunately, it didn’t last.
It all just becomes incredibly tiresome. Although Margot Robbie is very good in the role, Harley’s incessant squawking just gets annoying.
Also in this battle of men vs women, the women always win and are (mostly) completely unscathed. In one particular scene there are 5 or 6 burly men taking on Harley: clearly she whips their sorry asses in improbable fashion. What? Only one at a time guys?
If you were confused by the timeline of “Little Women“, this will blow your mind! It makes Greta Gerwig‘s masterpiece look as linear as “News at Ten”! It’s really difficult to follow at times as the timeline flashes forwards and backwards and sideways at random!
Also confusing (for me anyway… did I have a nap?) was the finale. There’s something to do with a ring which made NO SENSE to me at all? Am I alone in that?
Ewan MacGregor has fun with his role as the gay (I assume?) gangster, but it all turns cartoonish at times. But perhaps, that’s the point? However while the violence in “Deadpool” was cartoonishly funny (as in Tom and Jerry) the violence here is decidedly of the vicious and unpleasant variety, with a vindictive edge. It makes you not particularly like any of the movie’s characters.
The movie is written by Christina Hodson, who is slated to write too more upcoming superhero films: “The Flash” and “Batgirl”. The director is Chinese director Cathy Yan in only her second directorial feature.
Summary: It’s loud and brash and at 109 minutes it overstays its welcome by about 20 minutes. Less would have been more. It’s somewhat better than “Suicide Squad” (which I unfathomably seem to have given 2.5 stars to), but it’s still a movie that I will struggle to remember in a month’s time.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/02/15/one-manns-movies-film-review-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn-2020/
Harley had spent years building up a catalog of enemies in Gotham, with no-one daring to lift a finger for fear of “the big J’s” retribution. With that now a thing of the past, the streets are no longer safe for Harley. Whereas most characters have a reason to want to kill Harley, mid-level gangster Roman Sionis (Ewan McGregor) has a list as long as his arm (a blurred list that will probably make freeze-framing of the blu-ray entertaining!). Roman, who has a penchant for having his right-hand man Victor (Chris Messina) de-glove his victim’s faces, has his heart set on obtaining a missing diamond that (McGuffin-alert) is engraved with account details to $billions.
Through a convoluted and messy plot, Harley meets various ‘birds of prey’ who are either friend or foe: notably young pickpocket Cassandra (Ella Jay Basco); cop Renée Montoya (Rosie Perez); the “Crossbow Killer” (Mary Elizabeth Winstead); and the “Black Canary” (Jurnee Smollett-Bell), who you don’t want to let near your best glasses.
As you might expect from your knowledge of Harley Quinn’s character, the movie is bat-shit crazy, with periodic breaking of the 4th wall; much acrobatic kick-boxing; and some random dream sequences….. Robbie as Marilyn is particularly entertaining, although at times (the ‘egg sandwich’ sequence in particular) the gurning made me muse to myself about just what a good film “I, Tonya” was.
It all comes across as something of a “Deadpool” sequel. Actually, I’d more describe it as “Deadpool-lite” since it’s not powered here by the charisma of Ryan Reynolds. However, I did find myself quite enjoying the first reel of the movie.
Unfortunately, it didn’t last.
It all just becomes incredibly tiresome. Although Margot Robbie is very good in the role, Harley’s incessant squawking just gets annoying.
Also in this battle of men vs women, the women always win and are (mostly) completely unscathed. In one particular scene there are 5 or 6 burly men taking on Harley: clearly she whips their sorry asses in improbable fashion. What? Only one at a time guys?
If you were confused by the timeline of “Little Women“, this will blow your mind! It makes Greta Gerwig‘s masterpiece look as linear as “News at Ten”! It’s really difficult to follow at times as the timeline flashes forwards and backwards and sideways at random!
Also confusing (for me anyway… did I have a nap?) was the finale. There’s something to do with a ring which made NO SENSE to me at all? Am I alone in that?
Ewan MacGregor has fun with his role as the gay (I assume?) gangster, but it all turns cartoonish at times. But perhaps, that’s the point? However while the violence in “Deadpool” was cartoonishly funny (as in Tom and Jerry) the violence here is decidedly of the vicious and unpleasant variety, with a vindictive edge. It makes you not particularly like any of the movie’s characters.
The movie is written by Christina Hodson, who is slated to write too more upcoming superhero films: “The Flash” and “Batgirl”. The director is Chinese director Cathy Yan in only her second directorial feature.
Summary: It’s loud and brash and at 109 minutes it overstays its welcome by about 20 minutes. Less would have been more. It’s somewhat better than “Suicide Squad” (which I unfathomably seem to have given 2.5 stars to), but it’s still a movie that I will struggle to remember in a month’s time.
(For the full graphical review, check out One Mann's Movies here - https://bob-the-movie-man.com/2020/02/15/one-manns-movies-film-review-birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn-2020/
Emeli Sande recommended track Take the Box by Amy Winehouse in Frank by Amy Winehouse in Music (curated)
Hadley (567 KP) rated Stranger Things: Darkness on the Edge of Town in Books
Jul 17, 2019
Jim Hopper (1 more)
Serial killers and cults, oh my!
Too much attention to detail (1 more)
Using the same body language for every character
In 1977, New York City was a disaster; men were trying to return to a normal life after Vietnam ended, gangs were on every street corner, and a serial killer, by the name 'Son of Sam,' was on the loose. But for Detective Jim Hopper, New York was housing another serial killer just for him- - - a killer who is killing Vietnam war veterans, and leaving behind a psychic calling card, known as the Zener cards.
Adam Christopher is the chosen author to tell Stranger Things' fans about the most important homicide case that Jim Hopper ever worked on in the novel 'Darkness on the Edge of Town.' Fans may recall from season 2, when Eleven found a secret hatch in Hopper's cabin, it revealed boxes under the floor - one which was labeled 'New York.' This is that story.
The entire book is Hopper telling Eleven about his greatest homicide story from New York City. Readers get to meet new characters from Hopper's past, but the most memorable may be his partner in the Homicide Unit, Rosario Delgado (1977 was a time where Homicide Units didn't allow female detectives, and Delgado is one of the first of few that is allowed into the unit). Delgado, who is Cuban, but was raised in Queens, New York, has all the right attitude that wins over her partner, Hopper. The reader will realize that they are two-peas-in-a-pod.
Quickly, the story gets into the first case the two have together: the Zener card serial killer; here, we learn that there were two previous victims, both murdered the same way: stabbed five times with the wounds joining together to form a five-pointed star. Throughout the book, the story goes back and forth between 1977 and the present, where Eleven asks questions about the story, and also, Hopper questioning himself as to whether he should continue to tell Eleven the story.
But soon, we meet a very important man named Leroy Washington - a gang member who wants protection in exchange for the information that he holds- this leads Hopper to our villain: a cult leader who goes by the name Saint John. This villain believes that Satan is going to rise and destroy New York City.
Backtracking a little before, Hopper and Delgado are taken off the case of the Zener card murders, introducing readers to Special Agent Gallup. Gallup states that the third victim, Jacob Hoeler, was also a Special Agent, so the case is turned over to Federal Agents. "What you don't know, Detective, is that Jacob Hoeler is one of ours- - - Special Agent Jacob Hoeler. He was working on assignment, and the fact that he was killed in the course of his duties is of primary concern to my department. Therefore, we need to be sure that a most thorough investigation is carried out. In order to ensure that happens, we will be taking the case in-house. " Hopper, along with Delgado, refuse to let the case go, and secretly continue to work on it. But, as they dig deeper into the evidence and crime scenes, the two realize the murder case is a part of something much bigger - - - a cult that is armed with vehicles and weapons, ready to take over New York City for their leader, Saint John.
Readers get to see the story from both Hopper's and Delgado's point of view, which readers may question how Hopper knows Delgado's side of the story, but quickly to react, Eleven asks this very question for us: " 'Fair point,' said Hopper. 'But we - - - I mean, Delgado and me- - - we pieced it all together afterward. We had to interview everyone we could, and we put it all into a big official report. Actually, it took way longer to write that thing up than we spent on the investigation itself. We were even flown down to D.C. to present it to a bunch of anonymous suits in some federal building. They grilled us pretty well, too, although I ever found out who they all were. ' He grinned. ' Kinda sums the whole thing up, really.' " Even so, without Delgado's point of view, the story wouldn't have turned out as well as it did.
Hopper's obsession with cracking this case lands him in the center of it- - - he is recruited, not by choice, to the task force that is trying to top Saint John's big plan to destroy New York City. Leroy Washington, the informant from before, is Hopper's wing man for the mission, because Washington turns out to be a recruiting officer for the cult. Hopper is to pretend that he is a new recruit, and that he is an ex-cop, who just happened to 'murder' two people the night before. Hopper infiltrating the cult is one of the most exciting parts of the book, but the sequence of these scenes are much too short, leaving this reader disappointed.
Unfortunately, by this time, Delgado has become somewhat of a secondary character. She still works the case, being in the-know of Hopper going undercover, but we see little else of Delgado's character being developed. This is a missed opportunity indeed.
Although I enjoyed Christopher bringing Hopper's backstory to light, the writer is so detail oriented in his writing, that it bogged down much of the flow in the story. The reader is told things in almost every scene that come to nothing, and just seem to waste the reader's time. You may also find that the author uses the same words or physical actions to describe emotions for every single character (such as neck rolling to show stress), which gets old very quickly.
With that said, and only a few inconsistencies here and there, the book was very good. The story takes off pretty quickly and doesn't seem to slow down. The scenery descriptions put the reader right there with our favorite Hawkins Police Chief, Jim Hopper, but the best part about this book is that you don't have to be a Stranger Things' fan to enjoy it; anyone who enjoys Crime Fiction would love this story. Highly recommend!
Adam Christopher is the chosen author to tell Stranger Things' fans about the most important homicide case that Jim Hopper ever worked on in the novel 'Darkness on the Edge of Town.' Fans may recall from season 2, when Eleven found a secret hatch in Hopper's cabin, it revealed boxes under the floor - one which was labeled 'New York.' This is that story.
The entire book is Hopper telling Eleven about his greatest homicide story from New York City. Readers get to meet new characters from Hopper's past, but the most memorable may be his partner in the Homicide Unit, Rosario Delgado (1977 was a time where Homicide Units didn't allow female detectives, and Delgado is one of the first of few that is allowed into the unit). Delgado, who is Cuban, but was raised in Queens, New York, has all the right attitude that wins over her partner, Hopper. The reader will realize that they are two-peas-in-a-pod.
Quickly, the story gets into the first case the two have together: the Zener card serial killer; here, we learn that there were two previous victims, both murdered the same way: stabbed five times with the wounds joining together to form a five-pointed star. Throughout the book, the story goes back and forth between 1977 and the present, where Eleven asks questions about the story, and also, Hopper questioning himself as to whether he should continue to tell Eleven the story.
But soon, we meet a very important man named Leroy Washington - a gang member who wants protection in exchange for the information that he holds- this leads Hopper to our villain: a cult leader who goes by the name Saint John. This villain believes that Satan is going to rise and destroy New York City.
Backtracking a little before, Hopper and Delgado are taken off the case of the Zener card murders, introducing readers to Special Agent Gallup. Gallup states that the third victim, Jacob Hoeler, was also a Special Agent, so the case is turned over to Federal Agents. "What you don't know, Detective, is that Jacob Hoeler is one of ours- - - Special Agent Jacob Hoeler. He was working on assignment, and the fact that he was killed in the course of his duties is of primary concern to my department. Therefore, we need to be sure that a most thorough investigation is carried out. In order to ensure that happens, we will be taking the case in-house. " Hopper, along with Delgado, refuse to let the case go, and secretly continue to work on it. But, as they dig deeper into the evidence and crime scenes, the two realize the murder case is a part of something much bigger - - - a cult that is armed with vehicles and weapons, ready to take over New York City for their leader, Saint John.
Readers get to see the story from both Hopper's and Delgado's point of view, which readers may question how Hopper knows Delgado's side of the story, but quickly to react, Eleven asks this very question for us: " 'Fair point,' said Hopper. 'But we - - - I mean, Delgado and me- - - we pieced it all together afterward. We had to interview everyone we could, and we put it all into a big official report. Actually, it took way longer to write that thing up than we spent on the investigation itself. We were even flown down to D.C. to present it to a bunch of anonymous suits in some federal building. They grilled us pretty well, too, although I ever found out who they all were. ' He grinned. ' Kinda sums the whole thing up, really.' " Even so, without Delgado's point of view, the story wouldn't have turned out as well as it did.
Hopper's obsession with cracking this case lands him in the center of it- - - he is recruited, not by choice, to the task force that is trying to top Saint John's big plan to destroy New York City. Leroy Washington, the informant from before, is Hopper's wing man for the mission, because Washington turns out to be a recruiting officer for the cult. Hopper is to pretend that he is a new recruit, and that he is an ex-cop, who just happened to 'murder' two people the night before. Hopper infiltrating the cult is one of the most exciting parts of the book, but the sequence of these scenes are much too short, leaving this reader disappointed.
Unfortunately, by this time, Delgado has become somewhat of a secondary character. She still works the case, being in the-know of Hopper going undercover, but we see little else of Delgado's character being developed. This is a missed opportunity indeed.
Although I enjoyed Christopher bringing Hopper's backstory to light, the writer is so detail oriented in his writing, that it bogged down much of the flow in the story. The reader is told things in almost every scene that come to nothing, and just seem to waste the reader's time. You may also find that the author uses the same words or physical actions to describe emotions for every single character (such as neck rolling to show stress), which gets old very quickly.
With that said, and only a few inconsistencies here and there, the book was very good. The story takes off pretty quickly and doesn't seem to slow down. The scenery descriptions put the reader right there with our favorite Hawkins Police Chief, Jim Hopper, but the best part about this book is that you don't have to be a Stranger Things' fan to enjoy it; anyone who enjoys Crime Fiction would love this story. Highly recommend!
Merissa (12934 KP) rated All Boy in Books
Jul 15, 2019
All Boy by Mia Kerick
All Boy is about two teenagers who both have issues and pasts to deal with. Callie wanted to start anew after an experience at her school. She is not very keen on giving her trust, and also allows herself to fall back into old habits, just to make life easier. Jayden is living on a knife's edge, always afraid that someone will find out his secret.
These two were excellent characters, so rich and full of emotion. They were absolutely perfect for each other, and I loved how they balanced each other out. For Callie and Jayden, they had the best back-up team ever invented in Lauren and Willy. What a cast of characters! Of course, not every character is likeable, and there is one in particular who I took a dislike to (just as I was meant to). For me though, it was Lauren's words of wisdom that made me appreciate her more than I had done up to that point.
For all this is fiction, I am sure it only scratches the surface of what trans-men actually go through. It is a raw, heart-rending story, that will break you down, and build you up again. An eye-opener in so many ways, this is a gritty story filled with hope. I was gripped from the very beginning, and I hope for a HEA for Callie and Jayden. After all, #LoveIsLove.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
These two were excellent characters, so rich and full of emotion. They were absolutely perfect for each other, and I loved how they balanced each other out. For Callie and Jayden, they had the best back-up team ever invented in Lauren and Willy. What a cast of characters! Of course, not every character is likeable, and there is one in particular who I took a dislike to (just as I was meant to). For me though, it was Lauren's words of wisdom that made me appreciate her more than I had done up to that point.
For all this is fiction, I am sure it only scratches the surface of what trans-men actually go through. It is a raw, heart-rending story, that will break you down, and build you up again. An eye-opener in so many ways, this is a gritty story filled with hope. I was gripped from the very beginning, and I hope for a HEA for Callie and Jayden. After all, #LoveIsLove.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!