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Catch a Ghost (Hell or High Water, #1)
8.0
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Book
Everyone knows that Prophet — former Navy SEAL, former CIA spook, full-time pain in the ass —...
You Don't Know JS - Async & Performance
Book
No matter how much experience you have with JavaScript, odds are you don't fully understand the...
Jackjack (877 KP) rated The Babysitter: Killer Queen (2020) in Movies
Sep 13, 2020
Brilliant film!
Where do I start, I personally don't have a problem with low budget films, especially qwerky comedy/horror's like this one. It all started when a young man stayed awake to see what his babysitter got upto whilst he sleeps, turns out the hot fun babysitter called Bee (better known as samara weaving who played a brilliant rill in the comedy horror ready or not!) is part of a blood cult, a deal with the devil and tries to perform a ritual but this scared kid reeks havoc as he tried to escape them because no one is to know what happened that night.
With this well made film, 2 years later it goes back to see how his life is now since then, no. 2 offers good twists and I was happy to see they used all the same actors! In this sequel there is plenty of blood gore and comedy to keep you entertained. Definitely one to watch if you enjoyed the first one this will not disappoint.
With this well made film, 2 years later it goes back to see how his life is now since then, no. 2 offers good twists and I was happy to see they used all the same actors! In this sequel there is plenty of blood gore and comedy to keep you entertained. Definitely one to watch if you enjoyed the first one this will not disappoint.
Weave Them And Reap (Weavers Of The Ether #1)
8.0
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As a world-hopping tour guide, I can take you to places you’ve never even imagined. But I’ve...
Paranormal Romance Reverse Harem Fated Mates Why Choose? Opposites Attract
Gareth von Kallenbach (977 KP) rated Miss Sloane (2016) in Movies
Jul 12, 2019
Elizabeth Sloane (Jessica Chastain) is one of the most sought-after lobbyists in Washington, D.C. In Miss Sloane, she represents clients on both domestic and international issues ranging from environment and ecological concerns like palm oil to more volatile topics as 2nd Amendment issues.
At a point, Elizabeth sees a crossroads on the horizon and leaves her prestigious firm to take up the fight for gun control with a much smaller firm with less resources, money, and personnel. She is not necessarily “fighting the good fight,” rather, she wants to prove that she can win.
Winning, to her, is all that matters. It matters more than the issues and clients she represents. It matters more than any relationships that she could foster throughout her career. Winning, and her legacy as a winner, is what matters.
The film is a simple approach to something that is sorely needed in the film world outside of the realm of sci-fi: a strong female lead character. Elizabeth is a cut throat lobbyist who is focused on her end goal. In pursuing her outcomes, she sees people as obstacles that she must either maneuver around or go through.
She presents an image that she is a cold, calculating megalomaniacal individual. When behind closed doors, the audience is able to see who she really is: human. Elizabeth finds herself stuck in a world of deception, power, and money. She doesn’t know how to escape in one piece. In fact, she doesn’t know how to escape. Her identity is wrapped up into her profession.
Her reputation is what draws people in and keeps others at bay. When she undergoes a congressional hearing about regulations violations, she finds out how easily this empire that she built could crumble down, or, at least, that is what she lets others think.
The film is strong in its approach to a world that much of the audience is only familiar with during election years as candidates rail against lobbying or are exposed for their close connections to these organizations.
It is not overly ambitious nor does it dumb down the material and dialogue to offer a sense of “universal appeal.” The intrigue will keep audiences fully focused on speculating as to what her next move will be in trying to outmaneuver everyone who seems to be opposed to her.
Her rivals, as well as the audience, will be captivated to the end. Miss Sloane is a political thriller that rivals films like All the President’s Men and The Candidate. It doesn’t disappoint.
At a point, Elizabeth sees a crossroads on the horizon and leaves her prestigious firm to take up the fight for gun control with a much smaller firm with less resources, money, and personnel. She is not necessarily “fighting the good fight,” rather, she wants to prove that she can win.
Winning, to her, is all that matters. It matters more than the issues and clients she represents. It matters more than any relationships that she could foster throughout her career. Winning, and her legacy as a winner, is what matters.
The film is a simple approach to something that is sorely needed in the film world outside of the realm of sci-fi: a strong female lead character. Elizabeth is a cut throat lobbyist who is focused on her end goal. In pursuing her outcomes, she sees people as obstacles that she must either maneuver around or go through.
She presents an image that she is a cold, calculating megalomaniacal individual. When behind closed doors, the audience is able to see who she really is: human. Elizabeth finds herself stuck in a world of deception, power, and money. She doesn’t know how to escape in one piece. In fact, she doesn’t know how to escape. Her identity is wrapped up into her profession.
Her reputation is what draws people in and keeps others at bay. When she undergoes a congressional hearing about regulations violations, she finds out how easily this empire that she built could crumble down, or, at least, that is what she lets others think.
The film is strong in its approach to a world that much of the audience is only familiar with during election years as candidates rail against lobbying or are exposed for their close connections to these organizations.
It is not overly ambitious nor does it dumb down the material and dialogue to offer a sense of “universal appeal.” The intrigue will keep audiences fully focused on speculating as to what her next move will be in trying to outmaneuver everyone who seems to be opposed to her.
Her rivals, as well as the audience, will be captivated to the end. Miss Sloane is a political thriller that rivals films like All the President’s Men and The Candidate. It doesn’t disappoint.
Rikki Hammond (33 KP) rated Drakon (fourth edition) in Tabletop Games
May 24, 2019
Quick to teach and learn (2 more)
Fast Turns, little downtime
Player powers are balanced
Higher player counts can be too chaotic (2 more)
Infinite loops can become annoying
Some games are more exciting than others
A Simple, Light Filler of a Dungeon Game
The best way that I can describe Drakon is that it is 'Carcassonne in a dungeon.' It's just as easy to pick up and play, but adds the concept of building your own dungeon as you progress through the game.
Each player will have 4 tiles in their hand, and on their turn, they can either place a tile (drawing a new one afterwards) or move their character into an adjacent chamber. Each tile has a door or an arrow on each side. You can place a tile door to door or arrow to door, but never arrow to arrow. Once a player moves through a door, you can't go back the eay you came (by the usual means anyway.) The goal of the game is to collect 10 coins through entering a chamber with gold in it, or by stealing them from another player. Each coin will have a value between 1 and 3, and the players keep them secret from the others.
A chamber might have an effect associated with it, which is activated when someone mives into it, such as allowing you to rotate a chamber, removing one from the game entirely, teleporting to another part of the dungeon, or even unleashing Drakon the dragon into the dungeon.
Once Drakon is in the dungeon, whoever next lands on her space can move her up to 3 spaces, ignoring doors and arrows along the way. If she ends on a space with a character, that player must put back a random coin into the stack and return to the entrance chamber.
Once someone collects 10 coins total, they win the game. If the tile stack runs out, the game automatically ends, and the player with the most coins at the end will be the winner.
For the base game, I would say that Drakon is TOO simple, and I highly recommend playing with the alternate methods, which gives each character it's own unique power to use once per game, and whoever collects 10 coins must then either make it back to the entrance chamber, make it to a teleport tile, or use an escape tile. This makes the game a lot more fun in my opinion, and also adds the element of the other players trying to stop you if they suspect you are trying to escape.
Drakon can be a mixed bag. Sometimes the games are really enjoyable, as the chambee effects can really play havoc with other players, esoecially if Drakon comes out. Other times, it can be rather boring, and sometimes a player can build an infinite loop of collecting coins, with no way of stopping them, which isn't really fun for anyone. I also feel that anything over 4 players makes the game a little too chaotic, and it can make the game overstay it's welcome. Generally though, Drakon is a quick, light filler game that can hold up well in anyones collection.
Each player will have 4 tiles in their hand, and on their turn, they can either place a tile (drawing a new one afterwards) or move their character into an adjacent chamber. Each tile has a door or an arrow on each side. You can place a tile door to door or arrow to door, but never arrow to arrow. Once a player moves through a door, you can't go back the eay you came (by the usual means anyway.) The goal of the game is to collect 10 coins through entering a chamber with gold in it, or by stealing them from another player. Each coin will have a value between 1 and 3, and the players keep them secret from the others.
A chamber might have an effect associated with it, which is activated when someone mives into it, such as allowing you to rotate a chamber, removing one from the game entirely, teleporting to another part of the dungeon, or even unleashing Drakon the dragon into the dungeon.
Once Drakon is in the dungeon, whoever next lands on her space can move her up to 3 spaces, ignoring doors and arrows along the way. If she ends on a space with a character, that player must put back a random coin into the stack and return to the entrance chamber.
Once someone collects 10 coins total, they win the game. If the tile stack runs out, the game automatically ends, and the player with the most coins at the end will be the winner.
For the base game, I would say that Drakon is TOO simple, and I highly recommend playing with the alternate methods, which gives each character it's own unique power to use once per game, and whoever collects 10 coins must then either make it back to the entrance chamber, make it to a teleport tile, or use an escape tile. This makes the game a lot more fun in my opinion, and also adds the element of the other players trying to stop you if they suspect you are trying to escape.
Drakon can be a mixed bag. Sometimes the games are really enjoyable, as the chambee effects can really play havoc with other players, esoecially if Drakon comes out. Other times, it can be rather boring, and sometimes a player can build an infinite loop of collecting coins, with no way of stopping them, which isn't really fun for anyone. I also feel that anything over 4 players makes the game a little too chaotic, and it can make the game overstay it's welcome. Generally though, Drakon is a quick, light filler game that can hold up well in anyones collection.
Suswatibasu (1701 KP) rated Tell Me How it Ends: An Essay in Forty Questions in Books
Jan 3, 2018
A human portrait of child migrants
With the world being shaped by migration, this essay comes at a timely fashion. Exploring the nuances of this reality, Valeria Luiselli, a skilful and gifted Mexican writer knows the migratory experience first-hand having travelled across the globe. This compassionate, short book finds her in a head-on confrontation with daily reality.
Based on her experiences working as an interpreter for dozens of Central American child migrants, she speaks to those who risked their lives crossing Mexico to escape their fraught existence back home. To stay in the US, each must be vetted by the Citizenship and Immigration Services, a vast, impersonal bureaucracy. It's her job to help these kids, but in order to do so, they must answer 40 questions that will determine their fate.
The truth about the crossing may be much more brutal in reality, with 80% of women and girls who cross from Mexico to the US being raped, hence some of the children appear evasive when answering questions. But this book is fueled, in no small part, by Luiselli's bottles up shame and rage. She's aghast at the gap between American ideals and the way they actually treat undocumented children, yet her writing is measured and fair-minded.
Luiselli takes us inside the grand dream of migration, offering the valuable reminder that exceedingly few immigrants abandon their past and brave death to come to America for dark or nasty reasons. Fantastic read.
Based on her experiences working as an interpreter for dozens of Central American child migrants, she speaks to those who risked their lives crossing Mexico to escape their fraught existence back home. To stay in the US, each must be vetted by the Citizenship and Immigration Services, a vast, impersonal bureaucracy. It's her job to help these kids, but in order to do so, they must answer 40 questions that will determine their fate.
The truth about the crossing may be much more brutal in reality, with 80% of women and girls who cross from Mexico to the US being raped, hence some of the children appear evasive when answering questions. But this book is fueled, in no small part, by Luiselli's bottles up shame and rage. She's aghast at the gap between American ideals and the way they actually treat undocumented children, yet her writing is measured and fair-minded.
Luiselli takes us inside the grand dream of migration, offering the valuable reminder that exceedingly few immigrants abandon their past and brave death to come to America for dark or nasty reasons. Fantastic read.
Sarah (7798 KP) rated Halloween (2018) in Movies
Oct 24, 2018
Not bad, but another unnecessary sequel
The biggest question I had about this film, was did we really need another Halloween sequel? The answer is sadly a no.
They’ve at least had the common sense to completely erase all references to the other sequels, which was definitely a smart move. And getting Jamie Lee Curtis back was another good choice. I’m not going to lie, hearing the original Halloween theme music back on the big screen gave me the creeps, but in a good way. It’s just a shame that the majority of this film is a bit cliched and formulaic. It was easy to predict how the film was going to progress and who’d survive at the end, and having Michael escape in a prison bus transfer is so cliched it was painful.
There are some creepy moments in this, mainly for me around Michael's willingness to kill anyone in sight and a few jump scares. There’s also a fair amount of blood and gore too which was very much welcome. It was good to see some strong female characters in this and the subject of PTSD raised as well. The most overwhelming feeling I had watching this film was boredom. Apart from when Michael was on screen, which didn’t seem to be often enough, I found a lot of the other scenes a bit tedious and boring and the ending seemed rushed and was a bit of a letdown.
They’ve at least had the common sense to completely erase all references to the other sequels, which was definitely a smart move. And getting Jamie Lee Curtis back was another good choice. I’m not going to lie, hearing the original Halloween theme music back on the big screen gave me the creeps, but in a good way. It’s just a shame that the majority of this film is a bit cliched and formulaic. It was easy to predict how the film was going to progress and who’d survive at the end, and having Michael escape in a prison bus transfer is so cliched it was painful.
There are some creepy moments in this, mainly for me around Michael's willingness to kill anyone in sight and a few jump scares. There’s also a fair amount of blood and gore too which was very much welcome. It was good to see some strong female characters in this and the subject of PTSD raised as well. The most overwhelming feeling I had watching this film was boredom. Apart from when Michael was on screen, which didn’t seem to be often enough, I found a lot of the other scenes a bit tedious and boring and the ending seemed rushed and was a bit of a letdown.
The Soul of an Octopus: A Surprising Exploration into the Wonder of Consciousness
Book
In 2011 Sy Montgomery wrote a feature for Orion magazine entitled 'Deep Intellect' about her...
Show Me A Mountain
Book
A story of revolution and oppression, privilege and poverty, love and betrayal from the Costa and...
Dean (6925 KP) Sep 14, 2020