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Ryan Hill (152 KP) rated Guardians of the Galaxy (2014) in Movies
May 10, 2019
“You said it yourself bitch, we’re the Guardians of the Galaxy”
The Marvel marathon continues. We started with the story of a soldier out of time. Now we move on to the tale of a group of losers having to learn not to kill each other and maybe, just maybe, becoming friends along the way. Guardians of the Galaxy I view as the movie that fully cemented Marvel Studios as the powerhouse we know today. The popularity of Iron Man and Thor spiked after their respective films, but I'm gonna guess if you pulled someone random off the street and asked them who either character was before their movies were released, they could probably at least tell you who they are. Now, not too far separated from the humongous success of The Avengers, here comes Marvel with a film about characters next to no one, not even some avid fans of comics, knew existed. And wouldn't you know, five years after Guardians came out and made Groot a household word, it's still one of their best films Marvel has made.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
Movie Metropolis (309 KP) rated Pompeii (2014) in Movies
Jun 11, 2019
The disaster movie has always been a genre guaranteed to create incredible box-office returns. If you look at Roland Emmerich’s impressive blockbuster hit 2012, which grossed over $750million, it is clear that destroying well-known landmarks = bums on seats.
However since 2012‘s 2009 release the genre has fallen into a dormant state. Nevertheless, four years later Paul W.S. Anderson attempts to reawaken this box-office behemoth with his take on the tragic true events at Pompeii, but does the film succeed in its task?
Partially is the short answer. Anderson’s first film since 2012’s disaster Resident Evil: Retribution is as cheesy as a Dairylea triangle, but it also has some stunning special effects to give it some life.
Game of Thrones’ Kit Harington stars as Milo, a slave captured by the Romans after they wiped out his entire family. He is taken to a gloriously recreated Pompeii and immediately sets his sights on the very beautiful Lady Cassia, played by a rather dull Emily Browning, who just so happens to be the daughter of the city ruler, Severus. I’m sure you can guess the plot…
What ensues is a cheesy mess of terrible acting and stilted dialogue that jars with the period nature of the film. Only the knowing of what is to come from Mt Vesuvius, which is beautifully rendered in CGI, stops the film from grinding to a halt.
Kiefer Sutherland dons a downright ridiculous English accent for the role of Senator Corvus, the chief antagonist in the film. He is on business in Pompeii to see if trade can be established and investment can be agreed with the great city of Rome – though this plot point gets lost along the way.
Another issue is the true story which Pompeii is based on. The great tale of tragedy and mother nature showing her ruthless side is one we all know – but all we really want to see is the mountain going boom. Unfortunately we must wait whilst Anderson tries his best to make us care about the characters with their sickly back-stories, for which he fails in breathtaking fashion.
Finally after nearly an hour of what feels like a poor-mans Gladiator we are treat to a stunning spectacle, as Mt Vesuvius explodes in rip-roaring style. As the mountain blows and the fireballs rage Anderson once again tries to get us interested in the paper-thin story, thankfully not pushing too hard this time, and he lets the special effects take over.
Historical accuracy is, surprisingly, very good. According to the director, Pompeii was faithfully recreated for the film with aerial shots of the city as it stands today topped up with CGI to show the thriving metropolis we see in the film.
Unfortunately, scientific accuracy takes a back-seat for the sake of high drama, which is the case with many films of this nature. The iconic pyroclastic flow, attributed to killing the majority of Pompeii’s inhabitants due to its huge speed and massive temperatures is slowed right down to ensure the film can last another ten minutes or so – though this is perhaps to be expected.
Overall, Paul W.S. Anderson has created a film which certainly looks the part, but is lacking in so many other areas. Kiefer Sutherland’s villain is completely upstaged by the constant shots of the volcano, which are almost pantomime like in their ‘it’s behind you’ staging, and the rest of the cast are wooden and not particularly likeable.
However, what it lacks in story and acting finesse it makes up in the beautiful special effects and engaging cinematography. It’s worth a watch just to see Pompeii get obliterated – which is probably not a very nice thing to say at all.
https://moviemetropolis.net/2014/05/03/pompeii-3d-review/
However since 2012‘s 2009 release the genre has fallen into a dormant state. Nevertheless, four years later Paul W.S. Anderson attempts to reawaken this box-office behemoth with his take on the tragic true events at Pompeii, but does the film succeed in its task?
Partially is the short answer. Anderson’s first film since 2012’s disaster Resident Evil: Retribution is as cheesy as a Dairylea triangle, but it also has some stunning special effects to give it some life.
Game of Thrones’ Kit Harington stars as Milo, a slave captured by the Romans after they wiped out his entire family. He is taken to a gloriously recreated Pompeii and immediately sets his sights on the very beautiful Lady Cassia, played by a rather dull Emily Browning, who just so happens to be the daughter of the city ruler, Severus. I’m sure you can guess the plot…
What ensues is a cheesy mess of terrible acting and stilted dialogue that jars with the period nature of the film. Only the knowing of what is to come from Mt Vesuvius, which is beautifully rendered in CGI, stops the film from grinding to a halt.
Kiefer Sutherland dons a downright ridiculous English accent for the role of Senator Corvus, the chief antagonist in the film. He is on business in Pompeii to see if trade can be established and investment can be agreed with the great city of Rome – though this plot point gets lost along the way.
Another issue is the true story which Pompeii is based on. The great tale of tragedy and mother nature showing her ruthless side is one we all know – but all we really want to see is the mountain going boom. Unfortunately we must wait whilst Anderson tries his best to make us care about the characters with their sickly back-stories, for which he fails in breathtaking fashion.
Finally after nearly an hour of what feels like a poor-mans Gladiator we are treat to a stunning spectacle, as Mt Vesuvius explodes in rip-roaring style. As the mountain blows and the fireballs rage Anderson once again tries to get us interested in the paper-thin story, thankfully not pushing too hard this time, and he lets the special effects take over.
Historical accuracy is, surprisingly, very good. According to the director, Pompeii was faithfully recreated for the film with aerial shots of the city as it stands today topped up with CGI to show the thriving metropolis we see in the film.
Unfortunately, scientific accuracy takes a back-seat for the sake of high drama, which is the case with many films of this nature. The iconic pyroclastic flow, attributed to killing the majority of Pompeii’s inhabitants due to its huge speed and massive temperatures is slowed right down to ensure the film can last another ten minutes or so – though this is perhaps to be expected.
Overall, Paul W.S. Anderson has created a film which certainly looks the part, but is lacking in so many other areas. Kiefer Sutherland’s villain is completely upstaged by the constant shots of the volcano, which are almost pantomime like in their ‘it’s behind you’ staging, and the rest of the cast are wooden and not particularly likeable.
However, what it lacks in story and acting finesse it makes up in the beautiful special effects and engaging cinematography. It’s worth a watch just to see Pompeii get obliterated – which is probably not a very nice thing to say at all.
https://moviemetropolis.net/2014/05/03/pompeii-3d-review/
Kristy H (1252 KP) rated The Animators in Books
Feb 13, 2018
Sharon Kisses (yep, that's her real name) and Mel Vaught meet in college in upstate New York. Sharon is a reserved, talented girl from a rural Kentucky town. Mel is a out, tough, lesbian from Florida -- all bravado hiding a softer interior. The two form a fast friendship, bonding quickly over their art and their family histories: both come from dysfunctional families who have formed the girls into what they are today. Mel and Sharon pour this into their art, and they become talented animation partners, with their first movie showing a raw, truthful look at Mel's childhood and her mother, a rough woman who ended up in jail. The two are on the cusp of success -- tours, awards, artistic grants. But success comes with an edge: Mel starts drinking and turning to drugs, while Sharon doubts herself and her role in this brilliant duo. Suddenly, however, none of that matters when tragedy strikes the pair, and everything they've known changes in an instant.
This book is insane and amazing. I honestly had no idea what it was about when I started to read it; I surely had read the ARC blurb when I chose it, but had forgotten by the time I began, and the cover art seems to indicate a light-hearted tale about movies and animation. It is not. This is a powerful, gut-wrenching novel that will drag you into its story and characters and eventually spit you out, exhilarated and exhausted. There was so much about this novel I loved and related to: the fast friendship of two girls in college; an actual lead lesbian character (but whose lesbianism wasn't her only defining aspect - how refreshing); Sharon and her doubts and insecurities - the way she feels as if she's disappearing into herself in her thirties; the way Whitaker so easily captured growing up in a rural town (Sharon's Kentucky hometown)... I immediately identified with both characters, although Sharon is our protagonist, and the one telling us our story.
I won't lie to you: this book will make you feel uncomfortable. It's not a fun read, or really even a pleasant one. It's not a "feel good novel." It hurts--physically hurts--to read this book. Some of the novel is uneven, and it jumps around a bit. This is Whitaker's first novel, and I think she's only going to get more amazing as she goes, because you can look past this, and see so much power and force in this book. It's raw. It's the story of a friendship, and it's told so beautifully that you are completely drawn into Mel and Sharon's world. When you read this book, there is really nothing else going on in your life but this novel. Mel and Sharon are real, you love them, and you can see them in your mind. (I saw Mel as Kate McKinnon, despite the references to Lori Petty.) The storyline, for me, was unexpected, and, as I said, jumped a bit, but it worked. I had one issue with the end (a bit of a cliche about straight/lesbian friendship, but I won't go into it much, for spoiler reasons), but otherwise, found this novel to be energetic and forceful. It's dark, it's an ode to art and friendship and life, it's deep - I really have no words. It will take you to an exposed place inside of yourself, but you'll be glad it did.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review; it is available everywhere as of 1/31/2017.
This book is insane and amazing. I honestly had no idea what it was about when I started to read it; I surely had read the ARC blurb when I chose it, but had forgotten by the time I began, and the cover art seems to indicate a light-hearted tale about movies and animation. It is not. This is a powerful, gut-wrenching novel that will drag you into its story and characters and eventually spit you out, exhilarated and exhausted. There was so much about this novel I loved and related to: the fast friendship of two girls in college; an actual lead lesbian character (but whose lesbianism wasn't her only defining aspect - how refreshing); Sharon and her doubts and insecurities - the way she feels as if she's disappearing into herself in her thirties; the way Whitaker so easily captured growing up in a rural town (Sharon's Kentucky hometown)... I immediately identified with both characters, although Sharon is our protagonist, and the one telling us our story.
I won't lie to you: this book will make you feel uncomfortable. It's not a fun read, or really even a pleasant one. It's not a "feel good novel." It hurts--physically hurts--to read this book. Some of the novel is uneven, and it jumps around a bit. This is Whitaker's first novel, and I think she's only going to get more amazing as she goes, because you can look past this, and see so much power and force in this book. It's raw. It's the story of a friendship, and it's told so beautifully that you are completely drawn into Mel and Sharon's world. When you read this book, there is really nothing else going on in your life but this novel. Mel and Sharon are real, you love them, and you can see them in your mind. (I saw Mel as Kate McKinnon, despite the references to Lori Petty.) The storyline, for me, was unexpected, and, as I said, jumped a bit, but it worked. I had one issue with the end (a bit of a cliche about straight/lesbian friendship, but I won't go into it much, for spoiler reasons), but otherwise, found this novel to be energetic and forceful. It's dark, it's an ode to art and friendship and life, it's deep - I really have no words. It will take you to an exposed place inside of yourself, but you'll be glad it did.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review; it is available everywhere as of 1/31/2017.
Gareth von Kallenbach (980 KP) rated Killzone: Shadow Fall in Video Games
Jun 19, 2019
The signature launch title for the Playstation 4, Killzone: Shadow Fall has arrived. The game continues the popular Killzone franchise with next-generation graphics and features that are made possible by the new system. Although it picks up following the events of Killzone 3, it is not necessary to have played or completed any of the previous games thanks to an introduction sequence that establishes the plot and setting for the game. Following the defeat of the Helghast, the ISA allows them sanctuary on a colonized planet. The two sides are divided by a massive fortification known as “The Wall” which keeps the two former enemies divided. Shortly after the construction of the Wall, the Helghast begin a forced relocation of the local populace and use their usual brutal tactics to accomplish this. Playing as a young boy named Lucas, players must work with her father as they attempt to reach the safety of the Wall during the brutal relocation.
Shortly before reaching their objective, tragedy strikes in Lucas witnesses his father brutally murdered at the hands of the Helghast. Lucas is saved by a soldier who cares for Lucas as his own, and recruits him into the military.
The game flashes 30 years forward when relations between the two sides are very strained and Lucas has recently returned by a prisoner exchange after being caught and detained on the Helghast side of the Wall. Tasked with doing missions on the enemy side, Lucas must infiltrate enemy territory to prepare his side for what is to come. What follows is an adventure filled with treachery, action, and suspense and some amazingly fast and smooth gameplay.
The game also features solid multi-play experiences had a very good variety of weapons for players to select from. The matchmaking is very quick and the responsiveness of the Dualshock 4 controller complemented the game well.
My biggest issue with the game was getting used to the navigation system as the game employs a sonar type system to scan an area and I was used to a key point on a map indicating which direction I needed to go. There is an assistant known as an Owl which players can command which allows them to do everything from former protective shield, attack enemies, hack computers, and unleash a zip line to allow travel between distant points.
Early in the game I found myself struggling to locate and disarm an enemy alarm in order to prevent reinforcements from continuing to arrive. I was eventually able to accomplish this through trial and error but required a very large pile of enemy bodies littering the map before I was able to do so. The game does employee larger maps that allow for a less linear style of gameplay as I had options as to how and if I chose to encounter various enemies and locales or simply avoid them altogether.
While the game was certainly enjoyable, it was not as engaging as I had hoped as well graphically it was very impressive the gameplay and story didn’t grab me the way that some contemporary First Person Shooters do. Part of this is the fact that I tend to play games of this type with the mouse and keyboard and find a console controller a bit cumbersome and awkward at times. While I’m able to get the control systems down easily enough to play the game, the online portion tends to suffer from a as I struggle against flesh and blood opponents due to my comfort level with a PC configuration.
That being said, I did enjoy the game and look for to seeing what the future holds for the franchise as well as for the planned DLC that will be coming for the game.
http://sknr.net/2013/12/30/killzone-shadow-fall/
Shortly before reaching their objective, tragedy strikes in Lucas witnesses his father brutally murdered at the hands of the Helghast. Lucas is saved by a soldier who cares for Lucas as his own, and recruits him into the military.
The game flashes 30 years forward when relations between the two sides are very strained and Lucas has recently returned by a prisoner exchange after being caught and detained on the Helghast side of the Wall. Tasked with doing missions on the enemy side, Lucas must infiltrate enemy territory to prepare his side for what is to come. What follows is an adventure filled with treachery, action, and suspense and some amazingly fast and smooth gameplay.
The game also features solid multi-play experiences had a very good variety of weapons for players to select from. The matchmaking is very quick and the responsiveness of the Dualshock 4 controller complemented the game well.
My biggest issue with the game was getting used to the navigation system as the game employs a sonar type system to scan an area and I was used to a key point on a map indicating which direction I needed to go. There is an assistant known as an Owl which players can command which allows them to do everything from former protective shield, attack enemies, hack computers, and unleash a zip line to allow travel between distant points.
Early in the game I found myself struggling to locate and disarm an enemy alarm in order to prevent reinforcements from continuing to arrive. I was eventually able to accomplish this through trial and error but required a very large pile of enemy bodies littering the map before I was able to do so. The game does employee larger maps that allow for a less linear style of gameplay as I had options as to how and if I chose to encounter various enemies and locales or simply avoid them altogether.
While the game was certainly enjoyable, it was not as engaging as I had hoped as well graphically it was very impressive the gameplay and story didn’t grab me the way that some contemporary First Person Shooters do. Part of this is the fact that I tend to play games of this type with the mouse and keyboard and find a console controller a bit cumbersome and awkward at times. While I’m able to get the control systems down easily enough to play the game, the online portion tends to suffer from a as I struggle against flesh and blood opponents due to my comfort level with a PC configuration.
That being said, I did enjoy the game and look for to seeing what the future holds for the franchise as well as for the planned DLC that will be coming for the game.
http://sknr.net/2013/12/30/killzone-shadow-fall/
Lucy Buglass (45 KP) rated The Disaster Artist (2017) in Movies
Jun 20, 2019
“Ha ha ha! What a film, Mark!”
I was first introduced to The Room during a college Film Studies lecture as a perfect example of how not to make a film. Everything about it was atrocious, but I also found it weirdly compelling. Since then, I’ve made a real effort to follow everything relating to Tommy Wiseau and this bizarre film of his. It’s become a cult classic in recent years, drawing a crowd of dedicated fans to the Prince Charles Cinema in Leicester Square for monthly screenings, and Q&A’s with cast members. When I found out that James Franco was creating a film adaptation of Greg Sestero’s novel The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made, I was so excited!
I was lucky enough to see the film during its opening weekend at the Prince Charles Cinema, which actually made my experience even better. Being around a crowd of The Room fans who knew the film like the back of their hand was hilarious, because they recited familiar quotes along with James Franco, and it was clear the entire audience was having a blast from start to finish. I honestly can’t remember the last time I laughed this much at a film. Everyone involved made a real effort to recreate the scenes that we know and love, whilst giving us a glimpse into what life on that film set was really like. It’s possible to forget that you’re watching The Disaster Artist and not The Room at times, because the performances are so spot on.
Once again, James Franco’s ability to take a real life person and bring them to life on a screen shone through. I always refer to his performance as Aron Ralston in 127 Hours as one of his best, but his portrayal of Tommy Wiseau certainly comes a close second. He nails the mannerisms, the accent, and that weird laugh that Wiseau has become well known for. You can tell he has dedicated a lot of time and effort to the project, and it’s paid off. Praise must also be given to the rest of the cast for perfectly emulating the characters. Josh Hutcherson as Denny was amazing; even when he was just sitting there that ridiculous wig was enough to make the audience cry with laughter, and Seth Rogen’s script supervisor character delivers these amazing one liners that show his frustration at Tommy’s ridiculous ideas.
Whilst clearly hilarious, this film is not without its fair share of tragedy, mainly around Dave Franco’s character Greg Sestero. His friendship with Tommy required him to make huge, unimaginable sacrifices both professionally and personally, ultimately causing a rift between the two. Greg is a classic example of a man chasing the allure of fame, and failing miserably. You can’t help but sympathise with him as he tries his best to keep those around him happy whilst trying to attain life changing career goals. The film also shows a darker side to Tommy Wiseau, as he treats the cast and crew around him very badly. He’s so wrapped up in bringing The Room, his “real Hollywood movie”, to life that he neglects the needs of those around him. There are some highly charged emotional moments in this film, which are perfectly balanced with the comedic moments. Without these serious scenes, the film just wouldn’t have been the same.
The Disaster Artist is a must-watch for fans of The Room, and those who want to learn more about the utter chaos that happened on set. It’s funny, intense, emotional and a one of a kind experience from start to finish. Make sure you sit tight until after the credits too, as there’s an extra scene that you don’t want to miss!
https://lucygoestohollywood.com/2017/12/04/ha-ha-ha-what-a-film-mark-a-review-of-the-disaster-artist/
I was lucky enough to see the film during its opening weekend at the Prince Charles Cinema, which actually made my experience even better. Being around a crowd of The Room fans who knew the film like the back of their hand was hilarious, because they recited familiar quotes along with James Franco, and it was clear the entire audience was having a blast from start to finish. I honestly can’t remember the last time I laughed this much at a film. Everyone involved made a real effort to recreate the scenes that we know and love, whilst giving us a glimpse into what life on that film set was really like. It’s possible to forget that you’re watching The Disaster Artist and not The Room at times, because the performances are so spot on.
Once again, James Franco’s ability to take a real life person and bring them to life on a screen shone through. I always refer to his performance as Aron Ralston in 127 Hours as one of his best, but his portrayal of Tommy Wiseau certainly comes a close second. He nails the mannerisms, the accent, and that weird laugh that Wiseau has become well known for. You can tell he has dedicated a lot of time and effort to the project, and it’s paid off. Praise must also be given to the rest of the cast for perfectly emulating the characters. Josh Hutcherson as Denny was amazing; even when he was just sitting there that ridiculous wig was enough to make the audience cry with laughter, and Seth Rogen’s script supervisor character delivers these amazing one liners that show his frustration at Tommy’s ridiculous ideas.
Whilst clearly hilarious, this film is not without its fair share of tragedy, mainly around Dave Franco’s character Greg Sestero. His friendship with Tommy required him to make huge, unimaginable sacrifices both professionally and personally, ultimately causing a rift between the two. Greg is a classic example of a man chasing the allure of fame, and failing miserably. You can’t help but sympathise with him as he tries his best to keep those around him happy whilst trying to attain life changing career goals. The film also shows a darker side to Tommy Wiseau, as he treats the cast and crew around him very badly. He’s so wrapped up in bringing The Room, his “real Hollywood movie”, to life that he neglects the needs of those around him. There are some highly charged emotional moments in this film, which are perfectly balanced with the comedic moments. Without these serious scenes, the film just wouldn’t have been the same.
The Disaster Artist is a must-watch for fans of The Room, and those who want to learn more about the utter chaos that happened on set. It’s funny, intense, emotional and a one of a kind experience from start to finish. Make sure you sit tight until after the credits too, as there’s an extra scene that you don’t want to miss!
https://lucygoestohollywood.com/2017/12/04/ha-ha-ha-what-a-film-mark-a-review-of-the-disaster-artist/
Kayleigh (12 KP) rated The Fault in Our Stars in Books
Jan 2, 2019
If you don’t want to read a long review, here’s my summary: Read. This. Book. It is perfect.
In my last review (of <a href="http://awowords.wordpress.com/2013/02/02/beautiful-creatures/">Beautiful Creatures</a>), I was a little harsh about the portrayal of love stories in teenage/young adult fiction. The backbone of this book is that slowly but surely, the two main characters, Hazel and Augustus, fall in love. It’s not some pre-determined, intense force that sweeps the characters off their feet. It’s slow and steady, with a few set-backs, much like Hazel’s breathing at times, if you like. As Hazel puts it, perfectly:
<blockquote>“I fell in love the way you fall asleep: slowly, and then all at once.”</blockquote>
There’s nothing glamorous – life goes up and down, it’s sad and it’s funny, it’s not fair. It’s real.
In The Fault in Our Stars, John Green introduces us to two extremely philosophical teenagers that have been through a lot more than most people, with the knowledge that there is only more hardship to come. He humanises something I know I have never really thought about – the feelings, and more specifically, the sense of humour cancer sufferers/survivors have throughout it all. I talk about the humour later, but something that really got the message across was Hazel finally admitting her biggest fear to her parents. Hazel, the girl who decided to become a vegetarian so as to “minimise the number of deaths I’m responsible for.”
<blockquote>“‘I’m like. Like. I’m a grenade, Mom. I’m a grenade and at some point I’m going to blow up and I would like to minimise the casualties, okay?’”</blockquote>
It was the realness of the characters that got me so attached. For the last third of the story, I was unabashedly sobbing (luckily, alone. The first time I finished this, I was on a bus). To be blunt (and a little bit gross), the best way I can describe the end of this book is like this. When I was a child, I’d be crying my eyes out over something or other, and my mum would be comforting me. When the worst was over, she’d joke that I’d better not have got snot on her jumper, which would make me laugh through the tears. I’m trying not to put spoilers in here, but the next quote, for example, happens just after one of the most poignant parts of the book. It lightens the mood without altering the seriousness, and at the same time reminding us that they are, after all, only teenagers.
<blockquote>“He smiled. Gallows humour. ‘I’m on a roller coaster that only goes up,’ he said.
‘And it is my privilege and my responsibility to ride all the way up with you,’ I said.
‘Would it be absolutely ludicrous to try to make out?’
‘There is no try,’ I said. ‘There is only do.’”</blockquote>
John Green managed to blend humour and tragedy perfectly. If you’ve read the book already, he wrote a blog post answering questions about the book – I’d recommend a read. I don’t want to waffle, so I’ll leave it there, but I’d wholeheartedly recommend The Fault in Our Stars - it’s an instant favourite and already has a place in my heart. Don’t forget the tissues!
Oh, and about the film that’s apparently in the works – did anyone else picture Hazel as looking a little like Ellen Page in Juno? Maybe it’s a similar attitude to life, but I could only see her as this!
PS – Sorry for anglicising the quotes – habit!
This review is also on my <a href="http://awowords.wordpress.com">blog</a>; - if you liked it, please check it out!
In my last review (of <a href="http://awowords.wordpress.com/2013/02/02/beautiful-creatures/">Beautiful Creatures</a>), I was a little harsh about the portrayal of love stories in teenage/young adult fiction. The backbone of this book is that slowly but surely, the two main characters, Hazel and Augustus, fall in love. It’s not some pre-determined, intense force that sweeps the characters off their feet. It’s slow and steady, with a few set-backs, much like Hazel’s breathing at times, if you like. As Hazel puts it, perfectly:
<blockquote>“I fell in love the way you fall asleep: slowly, and then all at once.”</blockquote>
There’s nothing glamorous – life goes up and down, it’s sad and it’s funny, it’s not fair. It’s real.
In The Fault in Our Stars, John Green introduces us to two extremely philosophical teenagers that have been through a lot more than most people, with the knowledge that there is only more hardship to come. He humanises something I know I have never really thought about – the feelings, and more specifically, the sense of humour cancer sufferers/survivors have throughout it all. I talk about the humour later, but something that really got the message across was Hazel finally admitting her biggest fear to her parents. Hazel, the girl who decided to become a vegetarian so as to “minimise the number of deaths I’m responsible for.”
<blockquote>“‘I’m like. Like. I’m a grenade, Mom. I’m a grenade and at some point I’m going to blow up and I would like to minimise the casualties, okay?’”</blockquote>
It was the realness of the characters that got me so attached. For the last third of the story, I was unabashedly sobbing (luckily, alone. The first time I finished this, I was on a bus). To be blunt (and a little bit gross), the best way I can describe the end of this book is like this. When I was a child, I’d be crying my eyes out over something or other, and my mum would be comforting me. When the worst was over, she’d joke that I’d better not have got snot on her jumper, which would make me laugh through the tears. I’m trying not to put spoilers in here, but the next quote, for example, happens just after one of the most poignant parts of the book. It lightens the mood without altering the seriousness, and at the same time reminding us that they are, after all, only teenagers.
<blockquote>“He smiled. Gallows humour. ‘I’m on a roller coaster that only goes up,’ he said.
‘And it is my privilege and my responsibility to ride all the way up with you,’ I said.
‘Would it be absolutely ludicrous to try to make out?’
‘There is no try,’ I said. ‘There is only do.’”</blockquote>
John Green managed to blend humour and tragedy perfectly. If you’ve read the book already, he wrote a blog post answering questions about the book – I’d recommend a read. I don’t want to waffle, so I’ll leave it there, but I’d wholeheartedly recommend The Fault in Our Stars - it’s an instant favourite and already has a place in my heart. Don’t forget the tissues!
Oh, and about the film that’s apparently in the works – did anyone else picture Hazel as looking a little like Ellen Page in Juno? Maybe it’s a similar attitude to life, but I could only see her as this!
PS – Sorry for anglicising the quotes – habit!
This review is also on my <a href="http://awowords.wordpress.com">blog</a>; - if you liked it, please check it out!
Gareth von Kallenbach (980 KP) rated White Noise (2005) in Movies
Aug 14, 2019
Ever since the phenomenal success of “The Sixth Sense”, films dealing with the supernatural have been an ever increasing presence at theaters world wide as studios attempt to find the next break out film in the genre to ensure lucrative box office and video returns.
The latest foray into the Supernatural is the new Michael Keaton film White Noise, which is based on the actual study of E.V.P. or Electronic Voice Phenomena which is reputed some paranormal investigators to be the voices of dead people speaking to the living via static in electronic devices.
Although the factuality of this is still a topic of hot debate, as after decades of study, no conclusive finding either way as to the legitimacy of E.V.P. have been found as many people attribute the supposed voices as simply the mind hearing what it wants to hear. Despite this, there are a growing number of groups and organizations worldwide who are dedicated to the study of E.V.P.
The film centers on Jonathan Rivers’s (Michael Keaton), a successful architect who is married to a best selling author Anna (Chandra West). The couple is anxiously awaiting the arrival of their first child as Jonathan has a son from a previous marriage and is thrilled to see his family grow
Tragedy sets in when Anna goes missing and eventually is found dead after an apparent accident. Jonathan has his world collapse around him yet and is living in a state of despair. Shortly, a man named Raymond Price (Ian McNeice) comes to Jonathan claiming that he has been receiving messages from Anna from the afterlife. Jonathan is at first dismissive but when he gets calls on his cell that are originating from Anna’s cell number; he visits Raymond and learns about E.V.P.
Jonathan becomes drawn into the study of E.V.P. and soon becomes obsessed with recording voices and images from the afterlife as he is desperate to stay in contact with Anna. All is not well though as Raymond failed to tell Jonathan that there are evil and dangerous entities in the afterlife and they can also use E.V.P. as a way to access and influence the living.
Jonathan also meets a fellow E.V.P user named Sara (Deborah Kara Unger), who like Jonathan becomes involved in a deeper and darker mystery as Jonathan begins to decipher a pattern behind the messages as well as the intentions behind them.
White Noise starts well as a solid mystery and had a few moments where what you imagine is often more intense than what the reality really is. Early in the film there are some good chills and creepy moments as the story unfolds. Roughly ¾ of the way into the film, the tone of the film changes from supernatural thriller to that of a mystery and I suspect that the film will lose many people at this point. The film was working well as a thrill, yet the last ¼ of the film and the conclusion become confused and sporadic as the momentum and flow of the film is lost.
The conclusion was unsatisfying as I was able to see where it was going and based on the very promising first hour of the film, it was sad to see that the film took the easy way out and relied on tired premises instead of continuing to forge ahead with the new premise and take it to what should have been a much better and more logical conclusion.
Keaton does solid work and carries the film very well. It is great to see him back on the big screen as he is a gifted and versatile actor who is capable of handling a wide range of roles.
While not a bad film, White Noise is sunk by the issues with the finale that I mentioned above. That being said, it is an entertaining film that aside from the ending, does generally work and holds the attention of the viewer.
The latest foray into the Supernatural is the new Michael Keaton film White Noise, which is based on the actual study of E.V.P. or Electronic Voice Phenomena which is reputed some paranormal investigators to be the voices of dead people speaking to the living via static in electronic devices.
Although the factuality of this is still a topic of hot debate, as after decades of study, no conclusive finding either way as to the legitimacy of E.V.P. have been found as many people attribute the supposed voices as simply the mind hearing what it wants to hear. Despite this, there are a growing number of groups and organizations worldwide who are dedicated to the study of E.V.P.
The film centers on Jonathan Rivers’s (Michael Keaton), a successful architect who is married to a best selling author Anna (Chandra West). The couple is anxiously awaiting the arrival of their first child as Jonathan has a son from a previous marriage and is thrilled to see his family grow
Tragedy sets in when Anna goes missing and eventually is found dead after an apparent accident. Jonathan has his world collapse around him yet and is living in a state of despair. Shortly, a man named Raymond Price (Ian McNeice) comes to Jonathan claiming that he has been receiving messages from Anna from the afterlife. Jonathan is at first dismissive but when he gets calls on his cell that are originating from Anna’s cell number; he visits Raymond and learns about E.V.P.
Jonathan becomes drawn into the study of E.V.P. and soon becomes obsessed with recording voices and images from the afterlife as he is desperate to stay in contact with Anna. All is not well though as Raymond failed to tell Jonathan that there are evil and dangerous entities in the afterlife and they can also use E.V.P. as a way to access and influence the living.
Jonathan also meets a fellow E.V.P user named Sara (Deborah Kara Unger), who like Jonathan becomes involved in a deeper and darker mystery as Jonathan begins to decipher a pattern behind the messages as well as the intentions behind them.
White Noise starts well as a solid mystery and had a few moments where what you imagine is often more intense than what the reality really is. Early in the film there are some good chills and creepy moments as the story unfolds. Roughly ¾ of the way into the film, the tone of the film changes from supernatural thriller to that of a mystery and I suspect that the film will lose many people at this point. The film was working well as a thrill, yet the last ¼ of the film and the conclusion become confused and sporadic as the momentum and flow of the film is lost.
The conclusion was unsatisfying as I was able to see where it was going and based on the very promising first hour of the film, it was sad to see that the film took the easy way out and relied on tired premises instead of continuing to forge ahead with the new premise and take it to what should have been a much better and more logical conclusion.
Keaton does solid work and carries the film very well. It is great to see him back on the big screen as he is a gifted and versatile actor who is capable of handling a wide range of roles.
While not a bad film, White Noise is sunk by the issues with the finale that I mentioned above. That being said, it is an entertaining film that aside from the ending, does generally work and holds the attention of the viewer.
Darren (1599 KP) rated Scream 2 (1997) in Movies
Oct 31, 2019
Characters – Sidney is back studying a college and over the events of the first film, she has moved on with a new boyfriend and new friends, that is until the ‘Stab’ movie is released. Sidney becomes the primary target of the killer and must use the experience with surviving a massacre before to make it out alive. Dewey still suffering the effects of his injuries in the first film, he is no longer a cop and with the events occurring he arrives back in Sidney’s life to try and help before the killer can get near her. Gale wrote the book on the murders, the one that the movie is based on, she is still trying to get a story, but does start to learn the errors in her way when she deals with other reporters. Cotton Weary does have a bigger part this time, as he is trying to piece his life back together after the wrongful accusations. Randy returns to give us the rules needed to make a sequel which an important part of the original. Of our new characters we get the new boyfriend in Derek who seems to be the best part of Sidney’s new life. Cici is the best friend at the college that is the more popular one at the college. This movie does have a larger cast than the first film which doesn’t always give the characters enough screen time.
Performances – Neve Campbell is still good in her role, she does make us believe she is the everyday student that is being tormented by the killer. Courteney Cox and David Arquette continue their good work in the supporting roles, where this film struggles to get the best of the of the supporting cast is by introducing too many characters, with Sarah Michelle Gellar seemingly filling the Drew Barrymore type role, where we expect to see her more in the film.
Story – The story picks up in a universe following the events of the first film where Hollywood makes movies on massacres, with this release we get to see the darker side of Hollywood taking advantage of real-life murders and how the innocent victims and survivor can be painted differently to cinematic purposes, well that seems to be the message I picked up on in this one. when it comes to the slasher side of things we get to watch the victims getting picked off by the killer, this does feel the same as before, while the references through this film focus on the idea of the sequels that Hollywood makes, and how they always story to improve on the last, though we do step away from the horror discussion this time.
Horror/Mystery – The horror side of the film comes from the ideas that people can take advantage of tragic stories for a bigger story, reflecting the events of the film, the mystery can keep us guessing to just who could be behind it this time around with plenty of potential suspects.
Settings – This time the film is set in a college that show us just where Sidney is now in her life which is important as she has moved on, but the event will always be part of her life.
Special Effects – The effects in the film once again show us how blood and gore can be achieved without going over the top.
Scene of the Movie – The showdown.
That Moment That Annoyed Me – Too many supporting characters this time around.
Final Thoughts – This is a sequel that is well worth the watch, it shows progression in the horror genre with a sequel that does make sense to how an everyday person would be moving on with their life after the events in the first one, while still having the tragedy on their shoulder.
Overall: Good fun sequel.
Performances – Neve Campbell is still good in her role, she does make us believe she is the everyday student that is being tormented by the killer. Courteney Cox and David Arquette continue their good work in the supporting roles, where this film struggles to get the best of the of the supporting cast is by introducing too many characters, with Sarah Michelle Gellar seemingly filling the Drew Barrymore type role, where we expect to see her more in the film.
Story – The story picks up in a universe following the events of the first film where Hollywood makes movies on massacres, with this release we get to see the darker side of Hollywood taking advantage of real-life murders and how the innocent victims and survivor can be painted differently to cinematic purposes, well that seems to be the message I picked up on in this one. when it comes to the slasher side of things we get to watch the victims getting picked off by the killer, this does feel the same as before, while the references through this film focus on the idea of the sequels that Hollywood makes, and how they always story to improve on the last, though we do step away from the horror discussion this time.
Horror/Mystery – The horror side of the film comes from the ideas that people can take advantage of tragic stories for a bigger story, reflecting the events of the film, the mystery can keep us guessing to just who could be behind it this time around with plenty of potential suspects.
Settings – This time the film is set in a college that show us just where Sidney is now in her life which is important as she has moved on, but the event will always be part of her life.
Special Effects – The effects in the film once again show us how blood and gore can be achieved without going over the top.
Scene of the Movie – The showdown.
That Moment That Annoyed Me – Too many supporting characters this time around.
Final Thoughts – This is a sequel that is well worth the watch, it shows progression in the horror genre with a sequel that does make sense to how an everyday person would be moving on with their life after the events in the first one, while still having the tragedy on their shoulder.
Overall: Good fun sequel.
Gareth von Kallenbach (980 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
Sophia (Bookwyrming Thoughts) (530 KP) rated Shatter Me in Books
Jan 23, 2020
Lupe and I made a random, out of the blue deal where I read <i>Shatter Me</i> (the entire series), and she finally gets her act together to read the amazingness called <i>Harry Potter</i> (the entire series). <b>She's trekking her way merrily - I've made a fan out of her yet. #SophiaIsProud</b>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>