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Ryan Hill (152 KP) rated The Avengers (2012) in Movies
May 9, 2019
Some assembly required
There's a lot about this movie I love (it used to be one of my favorite films to rewatch when I was a teenager), one thing that really stood out to me about watching this again for the first time in awhile, is how much Whedon understands the language of comics.
Whenever people bring that aspect up, they usually talk about the splash panel inspired sequences (the long take through the Battle of New York), but nobody tends to talk about the choices he makes with how he and Seamus McGarvey decide to shoot the smaller scale scenes like they were regular panels.
Take Loki's entrance for example; as the laser begins to open the portal, we cut above, seeing how big the room is and how long the laser is, all in a wide, beautiful shot, taken from an angel to capture the intensity of the villain's entrance, and then that's followed up with a panel inspired close up on Loki's eyes as he breaks into a grin. Or the shot of Natasha being integrated from the prospective of the mirror in the room, and we see various different treasures as it pushes away from it.
Or probably the best example of this, is Steve's introduction; repeatedly working himself up with every punch, flashing back to the events in his life that make him feel the most intense, before punching it straight off its hook, only for him to grab another one of several he has lying there.
It's little touches like this that are sprinkled throughout, making you feel like you're watching a comic book in motion without having to go full on "Scott Pilgrim", "Into The Spider-Verse", "Speed Racer", or even "Batman: The Movie", along with capturing the lavish and striking lighting and colors found within some of the best artists for them.
Plus, while Whedon's writing is known for his sense of humor (for better and worse, especially when it comes to it's impact on the rest of these films post this one), I don't think enough of us take into account how much that humor is there to service the characters, not just the viewers.
Both this and his work with Drew Goddard on "Cabin in the Woods" showcase this perfectly. When Marty in "Cabin" asks if anyone else thinks something weird is going on when Curt contradict himself by saying they should split up, he isn't just saying that for the sake of a gag, it's Whedon and Goddard's way of hinting that he knows more than the others, and establishing that he's immune from these tricks being played on them.
When Steve and Tony are arguing about who's stronger and Steve keeps saying "put on the suit!", once shit hits the fan, he says it once again, but in a way that's far more urgent and fearful, not just being there for the sake of a funny payoff, but as progression for the next series of events that need to play out.
And, man....
There's just so many great moments. Not just the action or the characters working off of each other, but little moments, like the Old Man standing up for Earth to Loki, Steve giving Fury ten bucks after seeing the Helicarrier in action, Bruce mentioning the time he figured he had enough and how he couldn't end it himself, complete with the fear trembling in his voice and facial expression, Loki saying "I'm listening" as Thor was taken away from him, or his monologue to Natasha, the entire New York battle centering around them both trying to keep the army at bay and save as many by standards as possible, just too many to name.
It's one of the most memorable and entertaining blockbusters of this decade and while it doesn't feel as special seeing all of these people in the same movie anymore, it still has them at their best and manages to do it so effortlessly. Like it's one thing that this movie exists, but the fact that it worked is something that'll never not be amazing.
What else can I say, really? It's "The Avengers". You've likely seen it, memed about it, quoted it, referenced it, it doesn't matter, it's been here for nearly ten years now and it's impact is still felt and mentioned. As well as something that's super easy to put on and rewatch, either for some lazy day entertainment, or to revisit during the lead up to their next big adventure.....
Whenever people bring that aspect up, they usually talk about the splash panel inspired sequences (the long take through the Battle of New York), but nobody tends to talk about the choices he makes with how he and Seamus McGarvey decide to shoot the smaller scale scenes like they were regular panels.
Take Loki's entrance for example; as the laser begins to open the portal, we cut above, seeing how big the room is and how long the laser is, all in a wide, beautiful shot, taken from an angel to capture the intensity of the villain's entrance, and then that's followed up with a panel inspired close up on Loki's eyes as he breaks into a grin. Or the shot of Natasha being integrated from the prospective of the mirror in the room, and we see various different treasures as it pushes away from it.
Or probably the best example of this, is Steve's introduction; repeatedly working himself up with every punch, flashing back to the events in his life that make him feel the most intense, before punching it straight off its hook, only for him to grab another one of several he has lying there.
It's little touches like this that are sprinkled throughout, making you feel like you're watching a comic book in motion without having to go full on "Scott Pilgrim", "Into The Spider-Verse", "Speed Racer", or even "Batman: The Movie", along with capturing the lavish and striking lighting and colors found within some of the best artists for them.
Plus, while Whedon's writing is known for his sense of humor (for better and worse, especially when it comes to it's impact on the rest of these films post this one), I don't think enough of us take into account how much that humor is there to service the characters, not just the viewers.
Both this and his work with Drew Goddard on "Cabin in the Woods" showcase this perfectly. When Marty in "Cabin" asks if anyone else thinks something weird is going on when Curt contradict himself by saying they should split up, he isn't just saying that for the sake of a gag, it's Whedon and Goddard's way of hinting that he knows more than the others, and establishing that he's immune from these tricks being played on them.
When Steve and Tony are arguing about who's stronger and Steve keeps saying "put on the suit!", once shit hits the fan, he says it once again, but in a way that's far more urgent and fearful, not just being there for the sake of a funny payoff, but as progression for the next series of events that need to play out.
And, man....
There's just so many great moments. Not just the action or the characters working off of each other, but little moments, like the Old Man standing up for Earth to Loki, Steve giving Fury ten bucks after seeing the Helicarrier in action, Bruce mentioning the time he figured he had enough and how he couldn't end it himself, complete with the fear trembling in his voice and facial expression, Loki saying "I'm listening" as Thor was taken away from him, or his monologue to Natasha, the entire New York battle centering around them both trying to keep the army at bay and save as many by standards as possible, just too many to name.
It's one of the most memorable and entertaining blockbusters of this decade and while it doesn't feel as special seeing all of these people in the same movie anymore, it still has them at their best and manages to do it so effortlessly. Like it's one thing that this movie exists, but the fact that it worked is something that'll never not be amazing.
What else can I say, really? It's "The Avengers". You've likely seen it, memed about it, quoted it, referenced it, it doesn't matter, it's been here for nearly ten years now and it's impact is still felt and mentioned. As well as something that's super easy to put on and rewatch, either for some lazy day entertainment, or to revisit during the lead up to their next big adventure.....
Gareth von Kallenbach (980 KP) rated I Am Legend (2007) in Movies
Aug 14, 2019
Dr. Robert Neville (Will Smith) is a man with a very unique and very dangerous situation. Once hailed as a savior to the human race, Dr. Neville now finds himself wandering the streets of New York, alone, save for the company of his trusted dog Sam.
In the new film “I Am Legend”, Will Smith finds himself in a world gone mad when a cure for cancer has mutated horribly and reducing infected populations to dangerous mutants who roam dark places destroying all they encounter.
With the back-story of the film told largely through flashbacks, it is learned that Dr. Neville was close to finding the cure for the outbreak, but when the virus became airborne, New York City was to be quarantined via Presidential order.
Unwilling to leave the city, as he is convinced a cure is to be found there, Dr. Neville, stays behind, and three years later is the sole survivor in a city that has become an overgrown and desolate wasteland.
Robert has become a creature of habit, as he hunts for food and useful items during the day, and in keeping with a broadcasted message, he appears at the docks every day in hopes that someone has heard his message and will be waiting for him.
Robert also amuses himself by renting movies at a nearby store and has positioned and named mannequins throughout the city in order to have some since of companionship and conversation, but it is clear that the years of isolation are starting to take their toll.
When night falls, Robert and Sam take refuge behind the reinforced shutters of their home, as dangerous bands of light sensitive mutants wander the streets at night, forcing him to stay inside until the safety of the morning sun arrives.
Robert gets a sense of hope, when he sees some potential from a new vaccine he has developed. While testing it on a captured mutant does not deliver the desired results, it does show promise that at last progress is being made in finding a way to eliminate the threat of the plague once and for all.
When a series of unexpected and surprising situations arise, Robert is forced to examine his priorities, and prepare for the ultimate confrontation if there is to be a future for humanity.
The film is the third film version of the book of the same name as Vincent Price started in “The Last Man on Earth”, and Charlton Heston gave a memorable turn in the classic “Omega Man”. Smith is solid in the role of a man driven by his desire to complete what he has started no matter the cost, even though he believes that humanity has already perished. He mixes pathos with humor, to create a sympathetic though flawed character that is unlike many of his likeable everyman roles.
At one time years ago, this film was considered as a vehicle for a pre-Governor Arnold Schwarzenegger, and it deftly mixes drama, suspense, and action to create a very memorable experience.
My biggest issue with the film was the finale, as up until that point, the film had been pacing itself to be a 2hr plus film, and it seems as if the filmmakers decided to wrap things up quickly, as the pacing of the film rapidly changed gears for what in many ways was a standard pat ending, that does not equal the quality of the first ¾ of the film.
That being said, if you can overlook the very disappointing finale to the film and focus on the solid premise and work of Smith, then you might find this one of the years more enjoyable films.
In the new film “I Am Legend”, Will Smith finds himself in a world gone mad when a cure for cancer has mutated horribly and reducing infected populations to dangerous mutants who roam dark places destroying all they encounter.
With the back-story of the film told largely through flashbacks, it is learned that Dr. Neville was close to finding the cure for the outbreak, but when the virus became airborne, New York City was to be quarantined via Presidential order.
Unwilling to leave the city, as he is convinced a cure is to be found there, Dr. Neville, stays behind, and three years later is the sole survivor in a city that has become an overgrown and desolate wasteland.
Robert has become a creature of habit, as he hunts for food and useful items during the day, and in keeping with a broadcasted message, he appears at the docks every day in hopes that someone has heard his message and will be waiting for him.
Robert also amuses himself by renting movies at a nearby store and has positioned and named mannequins throughout the city in order to have some since of companionship and conversation, but it is clear that the years of isolation are starting to take their toll.
When night falls, Robert and Sam take refuge behind the reinforced shutters of their home, as dangerous bands of light sensitive mutants wander the streets at night, forcing him to stay inside until the safety of the morning sun arrives.
Robert gets a sense of hope, when he sees some potential from a new vaccine he has developed. While testing it on a captured mutant does not deliver the desired results, it does show promise that at last progress is being made in finding a way to eliminate the threat of the plague once and for all.
When a series of unexpected and surprising situations arise, Robert is forced to examine his priorities, and prepare for the ultimate confrontation if there is to be a future for humanity.
The film is the third film version of the book of the same name as Vincent Price started in “The Last Man on Earth”, and Charlton Heston gave a memorable turn in the classic “Omega Man”. Smith is solid in the role of a man driven by his desire to complete what he has started no matter the cost, even though he believes that humanity has already perished. He mixes pathos with humor, to create a sympathetic though flawed character that is unlike many of his likeable everyman roles.
At one time years ago, this film was considered as a vehicle for a pre-Governor Arnold Schwarzenegger, and it deftly mixes drama, suspense, and action to create a very memorable experience.
My biggest issue with the film was the finale, as up until that point, the film had been pacing itself to be a 2hr plus film, and it seems as if the filmmakers decided to wrap things up quickly, as the pacing of the film rapidly changed gears for what in many ways was a standard pat ending, that does not equal the quality of the first ¾ of the film.
That being said, if you can overlook the very disappointing finale to the film and focus on the solid premise and work of Smith, then you might find this one of the years more enjoyable films.
Connor Sheffield (293 KP) rated Blackbeard in TV
May 28, 2017
Good cast (1 more)
Decent for a TV miniseries/movie
Not entirely accurate (2 more)
The characters and boats are far too clean
TV effects (or lack of) might spoil some scenes
Somewhat entertaining
So I was on the search for some more Pirate movies at my local DVD stores, in hopes of finding something with the effects of Pirates of the Caribbean, but a more serious plot like that of the Black Sails series. Something that feels more like how the golden age of piracy would seem, not quite as quirky and humorous as the Disney films, although I cannot fault them for they are some of my favourite movies. It was on my search, that I came across this, and my initial thoughts were that whilst it looked cheap, it could be an entertaining film. As it turns out, I discovered this was a TV miniseries, merged into roughly a 162 minute film.
It has some charm, I can say that much for it. The cast are decent with very few famous names, and the acting itself isn't dreadful. However, there seems to be some lacking in the actual filming and editing of the episodes/feature. It has a decent plot which involves a hunt for treasure, a hunt for justice and slight revenge, which makes the viewing, feel like a pirate experience should be, but there still seems to lack the proper visuals to complete the experience.
If you take a look at Pirates of the Caribbean, one aspect that makes those films so darn good is the visuals. The pirates are dirty, rotting teeth, golden teeth, dirty fingernails, and their ships are battle worn with scars in the woodwork and again, the dirt from barnicles, and land. The ships in this feature on the other hand, are the cleanest ships you'll see in a pirate themed show or movie, and they look as if they were freshly made straight from the ship builder themselves. There doesn't appear to be any barnicles clung onto them, nor are there any battle scars, even after you witness a battle in the beginning of the film. The pirates themselves are also clean, all with white teeth as though they visited a dentist and brushed their teeth with colgate or the next best brand. There's not a single sign of scurvy which was popular among pirates during the golden age, and I didn't really spot any scars from battles apart from the obvious ones where you witness a member of Blackbeards crew have part of his leg removed due to injury (you don't see the gruesome imagery, as it's 12 rated series). Other than that though, there no facial scars, no sign to tell us that Blackbeard has fought enough battles and lived through them to become reknowned as a devil instead of a man. We only see what appears to be a couple of weeks of him as a Captain, and yet he claims to already be known as the scurge of the seas, which is highly unlikely given that we only see him battle one ship and spend the rest of his time hunting treasure, never running across another opposing ship until the finale, which sees Blackbeard battle against a crew of Royal Navy soldiers led by Lieutenant Robert Maynard.
Whilst the plot had me intrigued for the most part, I can't say that this is a film I would 'Highly' recommend, but if you fancy watching a pirate movie, this could be somewhat sufficient until you find something else, despite some of the deaths in battle seeming very staged, as sometimes I would notice a sword being shoved theatrically into someones armpit, only for the victim of the blade to fall lifeless to the floor, some holding onto the blade as though left in their body, others being retrieved from the 'corpse' with no visible blood on the blade.
With very historical accuracy's, mostly about the legend of Captain Kidd, hiding treasure, and the title's that Blackbeard earned, before his life was taken by that of Robert Maynard, the location of his death, and some other less important factors, were dramatized for the series alone and should not be taken as historically accurate.
It's a decent film, but it's just not quite what I was hoping for, and certainly not as great as it could have been.
It has some charm, I can say that much for it. The cast are decent with very few famous names, and the acting itself isn't dreadful. However, there seems to be some lacking in the actual filming and editing of the episodes/feature. It has a decent plot which involves a hunt for treasure, a hunt for justice and slight revenge, which makes the viewing, feel like a pirate experience should be, but there still seems to lack the proper visuals to complete the experience.
If you take a look at Pirates of the Caribbean, one aspect that makes those films so darn good is the visuals. The pirates are dirty, rotting teeth, golden teeth, dirty fingernails, and their ships are battle worn with scars in the woodwork and again, the dirt from barnicles, and land. The ships in this feature on the other hand, are the cleanest ships you'll see in a pirate themed show or movie, and they look as if they were freshly made straight from the ship builder themselves. There doesn't appear to be any barnicles clung onto them, nor are there any battle scars, even after you witness a battle in the beginning of the film. The pirates themselves are also clean, all with white teeth as though they visited a dentist and brushed their teeth with colgate or the next best brand. There's not a single sign of scurvy which was popular among pirates during the golden age, and I didn't really spot any scars from battles apart from the obvious ones where you witness a member of Blackbeards crew have part of his leg removed due to injury (you don't see the gruesome imagery, as it's 12 rated series). Other than that though, there no facial scars, no sign to tell us that Blackbeard has fought enough battles and lived through them to become reknowned as a devil instead of a man. We only see what appears to be a couple of weeks of him as a Captain, and yet he claims to already be known as the scurge of the seas, which is highly unlikely given that we only see him battle one ship and spend the rest of his time hunting treasure, never running across another opposing ship until the finale, which sees Blackbeard battle against a crew of Royal Navy soldiers led by Lieutenant Robert Maynard.
Whilst the plot had me intrigued for the most part, I can't say that this is a film I would 'Highly' recommend, but if you fancy watching a pirate movie, this could be somewhat sufficient until you find something else, despite some of the deaths in battle seeming very staged, as sometimes I would notice a sword being shoved theatrically into someones armpit, only for the victim of the blade to fall lifeless to the floor, some holding onto the blade as though left in their body, others being retrieved from the 'corpse' with no visible blood on the blade.
With very historical accuracy's, mostly about the legend of Captain Kidd, hiding treasure, and the title's that Blackbeard earned, before his life was taken by that of Robert Maynard, the location of his death, and some other less important factors, were dramatized for the series alone and should not be taken as historically accurate.
It's a decent film, but it's just not quite what I was hoping for, and certainly not as great as it could have been.
Gareth von Kallenbach (980 KP) rated Bewitched (2005) in Movies
Aug 14, 2019
Turning a classic television series into a feature film can be a risky proposition. While the built in audience of Baby Boomers and new fans of a show gained through reruns make remakes a potentially lucrative venture, the task of recasting classic characters and modernizing the story to today’s audiences is rife with hazards.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
Debbiereadsbook (1444 KP) rated Honey From the Lion (Love Across Time #2) in Books
May 7, 2019
beautifully written love story
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
This is the second book in the Love Across Time series, but you don't need to have read book one, Heroes For Ghosts, for this one to make sense. They are only related in that they both are time travel stories.
Laurie books himself a week on a dude ranch and on the first night there is caught in a snow storm along with a meteor shower. Waking up freezing, he manages to find himself in John's cabin, in 1891. John just wants to be left alone, to get on with his solitary life after the horrors of the war. Finding a freezing young man on his doorstep kind of throws him for a loop but the pair grow close. When Laurie gets caught in a storm again, and comes back to his time, he knows where he wants to be: with John. But how to get there?
I liked this, I liked this A LOT. Just one teeny weeny thing stopped it getting 5 stars, but I will come back to that.
Laurie is burnt out from work, and decides a dude ranch week is just the thing. First night there, he hears the legend of Old Joe and his little fox he found. Waking up in 1891, finding John and subsequently meeting the people in this legend, don't bother Laurie so much, as when he returns to his time. He KNOWS he needs to be with John, and when the lady on the ranch explains the legend PROPERLY, and what The Iron Mountain, the snow storms AND the meteor showers are said to do, Laurie knows, he KNOWS where he needs to be, and how to get there.
I loved that Laurie was almost totally UNphased by everything! He's like: Okay then! I went to sleep in 2018 and I woke up in 1891! Let's get on and live here! There wasn't really any panicking on his part, except when they went to town and Laurie was attacked, and I liked that he was all calm about everything.
I must admit, I thought he might have put the clues together about the legend before he did, but Laurie was enjoying his time with John. Teaching John all the pleasures he has missed up to now, even if it might get them killed. Coming back to his time, though, he sees it then.
It's not overly explicit, but it carries passion and love a plenty. Full of words and phrases of the time though. It takes time for Laurie and John to properly come together, and I liked being made to wait for it. It isn't a quick thing, them falling in love, it creeps up on them both and I loved that it did.
The only niggle I have is this: only Laurie has a say. I desperately wanted to hear from John, I really did. There were some important points that I needed to hear what he was thinking about, feeling, experiencing with Laurie, and he doesn't tell me. And if John had had a say, this would have been a 5 star read, I'm sure.
It's a beautifully written love story, this, don't mistake what I'm saying! It's just, I needed John, and I don't get him.
But even though only Laurie has a say, his voice is strong and clear and he grabbed me and did not let go. One sitting, 300 pages, two and a half hours, not a muscle moved off the sofa! Job done.
4 meteor stars, shooting across the sky.
**same worded review will appear elsewhere**
This is the second book in the Love Across Time series, but you don't need to have read book one, Heroes For Ghosts, for this one to make sense. They are only related in that they both are time travel stories.
Laurie books himself a week on a dude ranch and on the first night there is caught in a snow storm along with a meteor shower. Waking up freezing, he manages to find himself in John's cabin, in 1891. John just wants to be left alone, to get on with his solitary life after the horrors of the war. Finding a freezing young man on his doorstep kind of throws him for a loop but the pair grow close. When Laurie gets caught in a storm again, and comes back to his time, he knows where he wants to be: with John. But how to get there?
I liked this, I liked this A LOT. Just one teeny weeny thing stopped it getting 5 stars, but I will come back to that.
Laurie is burnt out from work, and decides a dude ranch week is just the thing. First night there, he hears the legend of Old Joe and his little fox he found. Waking up in 1891, finding John and subsequently meeting the people in this legend, don't bother Laurie so much, as when he returns to his time. He KNOWS he needs to be with John, and when the lady on the ranch explains the legend PROPERLY, and what The Iron Mountain, the snow storms AND the meteor showers are said to do, Laurie knows, he KNOWS where he needs to be, and how to get there.
I loved that Laurie was almost totally UNphased by everything! He's like: Okay then! I went to sleep in 2018 and I woke up in 1891! Let's get on and live here! There wasn't really any panicking on his part, except when they went to town and Laurie was attacked, and I liked that he was all calm about everything.
I must admit, I thought he might have put the clues together about the legend before he did, but Laurie was enjoying his time with John. Teaching John all the pleasures he has missed up to now, even if it might get them killed. Coming back to his time, though, he sees it then.
It's not overly explicit, but it carries passion and love a plenty. Full of words and phrases of the time though. It takes time for Laurie and John to properly come together, and I liked being made to wait for it. It isn't a quick thing, them falling in love, it creeps up on them both and I loved that it did.
The only niggle I have is this: only Laurie has a say. I desperately wanted to hear from John, I really did. There were some important points that I needed to hear what he was thinking about, feeling, experiencing with Laurie, and he doesn't tell me. And if John had had a say, this would have been a 5 star read, I'm sure.
It's a beautifully written love story, this, don't mistake what I'm saying! It's just, I needed John, and I don't get him.
But even though only Laurie has a say, his voice is strong and clear and he grabbed me and did not let go. One sitting, 300 pages, two and a half hours, not a muscle moved off the sofa! Job done.
4 meteor stars, shooting across the sky.
**same worded review will appear elsewhere**
Justin Patchett (42 KP) rated The Trump Prophecy (2018) in Movies
Mar 9, 2019 (Updated Mar 24, 2019)
My prophetic vision of how bad it could get
Contains spoilers, click to show
Part of my bill-paying job is managing our store’s DVD section. This past Tuesday, I opened our new release boxes to find a number of copies of a movie called "The Trump Prophecy." I got physically ill. Not ill enough to go home, but I could feel my stomach turn. It wasn’t because I was holding in my hands a movie about Donald Trump, though, because I can make it through many a title about the Bedswerver-in-Chief. There’s something worse: Associating support of him with Christian faith.
Now, ordinarily, I do movie reviews. That’s where I have to watch a movie, first, before writing about it. This time, though, I feel obligated to attempt my own sort of prophecy and write a review of a movie before I see it. I'll take a bit of research on the subject of the film, but until the final paragraph, I'm not actually going to watch this film. Here goes nothing.
"The Trump Prophecy" follows a self-proclaimed prophet, Mark Taylor, as he and a pseudo-publicist, Mary Colbert, spread the word of his vision: That Trump will become President of the United States. They lead a prayer movement to try to see it through, and lo and behold, it works. Sort of. You see, Taylor first put pen to paper to write out his vision in April of 2011, stating that while “they will spend billions to keep this president in,” “the next election will be a clean sweep for the man [Trump] I have chosen.” Clearly, this can only refer to the 2012 election, the very next presidential election in which Barack Obama would end up successfully keeping the presidency for one more term. An election in which Donald Trump did not even run. With that in mind, Taylor’s self-glorification film glosses over the fact that he was completely wrong about that prophecy out of necessity, instead focusing on his rehash of the prophecy going into 2016.
This movie lazily creeps into both the political propaganda and faith-based film genres. Faith-based films generally serve as evangelistic tools. "The Trump Prophecy" fails that, as its characters are already faithful Christians prior to the events of the film, providing no real evangelistic moments for its unsaved audience. It's almost like they know nobody is coming to this film for that. Political propaganda films, on the other hand, intend to indoctrinate in a certain belief. "The Trump Prophecy" fails that, as well. In fact, it has to actively avoid political discussion at all. Could you imagine a movie like this having to make a failing attempt to reconcile Christian faith against supporting Donald Trump?
The cinematography looks like it was shot as a bootleg of "The Room." The leads act with a flatness on par with their cardboard cutouts. Its lone redeeming quality is not tricking you into anything other than what it is: A schlocky puff piece intended to associate Christianity with support of the President, as Trump was God’s chosen man. Allegedly.
Get past its worst cinematic qualities and you’re left with even more problems. "The Trump Prophecy" insults its target audience by minimizing God. It suggests God can't enact his will unless people pray for the things He reveals to them as visions of the future. It paradoxically says God is either not omnipotent to make Trump president, not omniscient to know whether or not Trump would be made president, or both. It also suggests gullibility being the key to godliness, urging the viewer not to question the source of a grammatically incorrect prophecy. (Seriously. Taylor confuses the homophones “waste” and “waist” in his 2011 "Commander in Chief" prophecy). This call to gullibility is precisely why Jerry Falwell Jr.'s Liberty University got itself involved in this mess. If you weren’t a fan of Trump before, you should be one because God said so. To a provably false prophet.
Which leads me to the point where I actually have to subject myself to this nonsense and tell you just how right I was about it.
And dear gosh, was I right. In fact, it’s stranger than I might have though. Remember how I mentioned Taylor’s false prophecy? The opening narration directly quotes from it, giving you the chance, if you haven’t already looked into it, to see exactly where he went from potential prophet to false prophet. And if you missed it the first time, you'll have it repeated twice more. Finally, I'll admit the fault to my prophetic review: Cinematically, "The Trump Prophecy" is closer to a bootleg of a movie produced by The Asylum, but Asylum films are actually enjoyable. But as a bonus, though, combine it with the special effects work of "Birdemic." The film "ends" with an embedded music video and a series of so-called reflective conversations--monologues by demagogues. I can't remember much about these because I had already tuned out. The only fairness I'll give is that "The Trump Prophecy" may be unintentionally hilarious on occasion, but it’s mostly cringe-worthy. The biggest cringe, though is when you realize how many people actually believe this film as fact.
Now, ordinarily, I do movie reviews. That’s where I have to watch a movie, first, before writing about it. This time, though, I feel obligated to attempt my own sort of prophecy and write a review of a movie before I see it. I'll take a bit of research on the subject of the film, but until the final paragraph, I'm not actually going to watch this film. Here goes nothing.
"The Trump Prophecy" follows a self-proclaimed prophet, Mark Taylor, as he and a pseudo-publicist, Mary Colbert, spread the word of his vision: That Trump will become President of the United States. They lead a prayer movement to try to see it through, and lo and behold, it works. Sort of. You see, Taylor first put pen to paper to write out his vision in April of 2011, stating that while “they will spend billions to keep this president in,” “the next election will be a clean sweep for the man [Trump] I have chosen.” Clearly, this can only refer to the 2012 election, the very next presidential election in which Barack Obama would end up successfully keeping the presidency for one more term. An election in which Donald Trump did not even run. With that in mind, Taylor’s self-glorification film glosses over the fact that he was completely wrong about that prophecy out of necessity, instead focusing on his rehash of the prophecy going into 2016.
This movie lazily creeps into both the political propaganda and faith-based film genres. Faith-based films generally serve as evangelistic tools. "The Trump Prophecy" fails that, as its characters are already faithful Christians prior to the events of the film, providing no real evangelistic moments for its unsaved audience. It's almost like they know nobody is coming to this film for that. Political propaganda films, on the other hand, intend to indoctrinate in a certain belief. "The Trump Prophecy" fails that, as well. In fact, it has to actively avoid political discussion at all. Could you imagine a movie like this having to make a failing attempt to reconcile Christian faith against supporting Donald Trump?
The cinematography looks like it was shot as a bootleg of "The Room." The leads act with a flatness on par with their cardboard cutouts. Its lone redeeming quality is not tricking you into anything other than what it is: A schlocky puff piece intended to associate Christianity with support of the President, as Trump was God’s chosen man. Allegedly.
Get past its worst cinematic qualities and you’re left with even more problems. "The Trump Prophecy" insults its target audience by minimizing God. It suggests God can't enact his will unless people pray for the things He reveals to them as visions of the future. It paradoxically says God is either not omnipotent to make Trump president, not omniscient to know whether or not Trump would be made president, or both. It also suggests gullibility being the key to godliness, urging the viewer not to question the source of a grammatically incorrect prophecy. (Seriously. Taylor confuses the homophones “waste” and “waist” in his 2011 "Commander in Chief" prophecy). This call to gullibility is precisely why Jerry Falwell Jr.'s Liberty University got itself involved in this mess. If you weren’t a fan of Trump before, you should be one because God said so. To a provably false prophet.
Which leads me to the point where I actually have to subject myself to this nonsense and tell you just how right I was about it.
And dear gosh, was I right. In fact, it’s stranger than I might have though. Remember how I mentioned Taylor’s false prophecy? The opening narration directly quotes from it, giving you the chance, if you haven’t already looked into it, to see exactly where he went from potential prophet to false prophet. And if you missed it the first time, you'll have it repeated twice more. Finally, I'll admit the fault to my prophetic review: Cinematically, "The Trump Prophecy" is closer to a bootleg of a movie produced by The Asylum, but Asylum films are actually enjoyable. But as a bonus, though, combine it with the special effects work of "Birdemic." The film "ends" with an embedded music video and a series of so-called reflective conversations--monologues by demagogues. I can't remember much about these because I had already tuned out. The only fairness I'll give is that "The Trump Prophecy" may be unintentionally hilarious on occasion, but it’s mostly cringe-worthy. The biggest cringe, though is when you realize how many people actually believe this film as fact.
Merissa (12911 KP) rated Surfacing Secrets (Elemental Evidence #3) in Books
Apr 4, 2018
Surfacing Secrets (Elemental Evidence #3) by Bellora Quinn & Sadie Rose Bermingham
Surfacing Secrets is the third book in the Elemental Evidence series, and I looked forward to reuniting with Jake and Mari to see how things have moved on for them. Mari is surfing online to try and find an answer to his 'problem'. Instead, he finds a video of someone being murdered. He shows it to Jake, who passes it on to the police, but it looks like Mari is finding it hard to stop connecting online. It is becoming an addiction, one he denies having.
I thoroughly enjoy these books! It isn't just romance, there is plenty here for everyone to enjoy. I do have to say though that Mari once again pings on my radar for acting like a jerk. The addiction part I tried to ignore, as he couldn't exactly control what he was saying or thinking at the time. But he does insist on knocking Jake down all the time, even in his thoughts. Poor Jake! I love his character, and although I can see the love he has for Mari, I just want it reciprocated. I am longing for the book where Mari doesn't act like an ass and becomes the man Jake deserves.
A story with a dark twist, told amazingly well by these two authors. With no editing or grammatical errors to disrupt my reading flow, it was simply Mari who jolted me. The flow was smooth, and the pacing perfect. I love the interaction between all of the characters, yes - even Mari and Jake. Absolutely recommended for those who love a bit of mystery mixed in with their paranormal.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and my comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
I thoroughly enjoy these books! It isn't just romance, there is plenty here for everyone to enjoy. I do have to say though that Mari once again pings on my radar for acting like a jerk. The addiction part I tried to ignore, as he couldn't exactly control what he was saying or thinking at the time. But he does insist on knocking Jake down all the time, even in his thoughts. Poor Jake! I love his character, and although I can see the love he has for Mari, I just want it reciprocated. I am longing for the book where Mari doesn't act like an ass and becomes the man Jake deserves.
A story with a dark twist, told amazingly well by these two authors. With no editing or grammatical errors to disrupt my reading flow, it was simply Mari who jolted me. The flow was smooth, and the pacing perfect. I love the interaction between all of the characters, yes - even Mari and Jake. Absolutely recommended for those who love a bit of mystery mixed in with their paranormal.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and my comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Gareth von Kallenbach (980 KP) rated The Gift (2015) in Movies
Aug 6, 2019
The new film ‘The Gift’ will be the first movie released by the new company STX Entertainment.
It stars Jason Bateman as Simon, Joel Edgerton as Gordo, and Rebecca Hall as Robyn, Simons’ wife.
The story begins with Simon and Robyn just moving back to Los Angeles. He works in cyber security, and she is an interior designer trying to start her own business.
While out shopping for new home decor, Robyn is approached by a man she’s never seen, who says he is an old acquaintance of Simons.
Through a series of instances where Gordo delivers unasked for, and at least in Simons case, unwanted, gifts the story unravels into a twisty path of creepy stalking behavior with an undercurrent of as yet unrevealed plots for revenge.
While Robyn thinks that Gordo is just lonely and trying to make a friendly good impression, Simon insists that Gordo is ‘weird’ and that he has an ulterior motive due to his attraction to Robyn.
While not quite a ‘Fatal Attraction’ story as much as a ‘Revenge’ plot, this movie does keep you interested, invested and involved. It isn’t quite a ‘digging your nails into your palms’ kind of scary but more of a ‘what the HECK is he doing’, and ‘oh my gosh he can’t possibly be doing THAT’ story.
At least twice, the audience jumped and some of us yelped at at least one point.
The movie keeps you not quite sure who to feel most sorry for and not quite knowing who, if anyone, you are ‘rooting for’
The end is a twisted mess (in a good way) that had my jaw dropping and saying to myself ‘oh no no no no no no NO that’s not happening, it can’t be that way…..’, even though I had seen it coming.
I liked the movie and think people looking for a psychological thriller will really enjoy it.
I would give this movie 4 out of 5 stars.
It stars Jason Bateman as Simon, Joel Edgerton as Gordo, and Rebecca Hall as Robyn, Simons’ wife.
The story begins with Simon and Robyn just moving back to Los Angeles. He works in cyber security, and she is an interior designer trying to start her own business.
While out shopping for new home decor, Robyn is approached by a man she’s never seen, who says he is an old acquaintance of Simons.
Through a series of instances where Gordo delivers unasked for, and at least in Simons case, unwanted, gifts the story unravels into a twisty path of creepy stalking behavior with an undercurrent of as yet unrevealed plots for revenge.
While Robyn thinks that Gordo is just lonely and trying to make a friendly good impression, Simon insists that Gordo is ‘weird’ and that he has an ulterior motive due to his attraction to Robyn.
While not quite a ‘Fatal Attraction’ story as much as a ‘Revenge’ plot, this movie does keep you interested, invested and involved. It isn’t quite a ‘digging your nails into your palms’ kind of scary but more of a ‘what the HECK is he doing’, and ‘oh my gosh he can’t possibly be doing THAT’ story.
At least twice, the audience jumped and some of us yelped at at least one point.
The movie keeps you not quite sure who to feel most sorry for and not quite knowing who, if anyone, you are ‘rooting for’
The end is a twisted mess (in a good way) that had my jaw dropping and saying to myself ‘oh no no no no no no NO that’s not happening, it can’t be that way…..’, even though I had seen it coming.
I liked the movie and think people looking for a psychological thriller will really enjoy it.
I would give this movie 4 out of 5 stars.
Lyndsey Gollogly (2893 KP) rated Rhapsodic (The Bargainer #1) in Books
Apr 27, 2020
Callypso Lillis is a siren with a very big problem, one that stretches up her arm and far into her past. For the last seven years she’s been collecting a bracelet of black beads up her wrist, magical IOUs for favors she’s received. Only death or repayment will fulfill the obligations. Only then will the beads disappear.
Everyone knows that if you need a favor, you go to the Bargainer to make it happen. He’s a man who can get you anything you want … at a price. And everyone knows that sooner or later he always collects.
But for one of his clients, he’s never asked for repayment. Not until now. When Callie finds the fae king of the night in her room, a grin on his lips and a twinkle in his eye, she knows things are about to change. At first it’s just a chaste kiss—a single bead’s worth—and a promise for more.
For the Bargainer, it’s more than just a matter of rekindling an old romance. Something is happening in the Otherworld. Fae warriors are going missing one by one. Only the women are returned, each in a glass casket, a child clutched to their breast. And then there are the whispers among the slaves, whispers of an evil that’s been awoken.
If the Bargainer has any hope to save his people, he’ll need the help of the siren he spurned long ago. Only, his foe has a taste for exotic creatures, and Callie just happens to be one.
I loved it! I’ve only read one other book by this author and I that too! It’s so romantic! I absolutely love the story line! Not much more to say as it’s one of those that I recommend just going in and reading! The last book that I loved like this was the Merry Gentry series by Laurell K Hamilton
Everyone knows that if you need a favor, you go to the Bargainer to make it happen. He’s a man who can get you anything you want … at a price. And everyone knows that sooner or later he always collects.
But for one of his clients, he’s never asked for repayment. Not until now. When Callie finds the fae king of the night in her room, a grin on his lips and a twinkle in his eye, she knows things are about to change. At first it’s just a chaste kiss—a single bead’s worth—and a promise for more.
For the Bargainer, it’s more than just a matter of rekindling an old romance. Something is happening in the Otherworld. Fae warriors are going missing one by one. Only the women are returned, each in a glass casket, a child clutched to their breast. And then there are the whispers among the slaves, whispers of an evil that’s been awoken.
If the Bargainer has any hope to save his people, he’ll need the help of the siren he spurned long ago. Only, his foe has a taste for exotic creatures, and Callie just happens to be one.
I loved it! I’ve only read one other book by this author and I that too! It’s so romantic! I absolutely love the story line! Not much more to say as it’s one of those that I recommend just going in and reading! The last book that I loved like this was the Merry Gentry series by Laurell K Hamilton
The Jungle Book (Illustrated with Interactive Elements): (Illustrated with Interactive Elements)
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