Search
Search results
TomTom GO Mobile
Navigation and Travel
App
GET THERE FASTER with the all-new TomTom GO Mobile app >> Drive up to 50 FREE miles every month The...
Welltory: wellness tracker HRV
Health & Fitness and Lifestyle
App
Want to boost your productivity and feel great every day? Track your wellness, stress & energy...
Bob Mann (459 KP) rated Free Fire (2017) in Movies
Sep 29, 2021
A movie with more than a whiff of cordite about it
As I write this, I’m really struggling to evaluate whether the latest film of Ben Wheatley (“High Rise”) is a masterpiece or just pulp trash. It’s certainly a brave and highly distinctive venture, with that you can’t argue.
Set in Boston in 1978, an arms deal is going down in a deserted warehouse. Brokered by Justine (Brie Larson, “Room”) an IRA team headed by Frank (Michael Smiley, “The World’s End“) with his business guy Chris (Cillian Murphy, “Inception”, “Batman Begins”) are on the buying side. As ‘roadies’ they’ve brought with them a couple of crack-head friends Stevo (Sam Riley, “Brighton Rock”, “Maleficent“) and Bernie (Enzo Cilenti, “The Martian“) who are far from stable.
On the selling side is South African dealer and “international asshole” Vern (Sharlto Copley, “Elysium“), his suave and wisecracking protector Ord (Armie Hammer, “The Man From Uncle”) and Vern’s right hand man Martin (Babou Ceesay, “Eye in the Sky“). What connects all of these individuals is that no-one likes or trusts anyone else.
Unfortunately, one of Vern’s van drivers is John Denver-lover Harry (the excellent Jack Treynor, “Sing Street”) who has very recent personal history with Stevo. The fuse is lit, and when the two meet chaos ensues: in the words of Anchorman’s Ron Burgundy, “That escalated quickly”!
And, for a 90 minute film, that’s basically it. If you think after viewing the trailer “there must be more to the film than this”…. you’re wrong!
However, what there is of it is enormously entertaining. Played ostensibly for laughs, with very very black humour and an F-word and a gunshot in every other sentence, some of the characters – notably those played by Sharlto Copley, Arnie Hammer and Brie Larson – have some hilarious dialogue. The star turn for me though was Jack Treynor who was just so impressive as the ‘lost at sea’ brother in the delightful “Sing Street” and here delivers a stand-out performance as another brother on a mission… this time a mission of vengeance. You are waiting throughout the film for the inevitable showdown between Harry and Stevo – – and when it comes it is both bloody and memorable.
A cracking 70’ soundtrack, put together by the Portishead duo of Geoff Barrow and Ben Salisbury, involves 70’s classics by Credence Clearwater Revival, John Denver and The Real Kids and it’s hammered out at top volume over the action. The downside of this effect is that – for my old ears at least – it sometimes make some of the dialogue hard to follow.
As a policing exercise, the film clearly has merit. In the same manner as Schwarzenegger’s “Running Man” put criminals in an arena to cull them, so this must have reduced the crime rates in both Boston and Belfast no end! While some may not approve of the levels of violence on show, it is all done in a highly cartoonish way: like a “Tom and Jerry” cartoon, or “Home Alone”, everyone seems to get shot multiple times and yet (in the main) is still active and mobile. All of this makes criticism of the performances something of a waste of time, but I would comment that some of the acting is of the “over the top” variety: surprisingly, I found some of Oscar winner Brie Larson’s scenes falling into this category and snapping me out of the narrative at times.
But overall, my evaluation is now done and I am rooting on the side of it being a brash and exhilarating minor masterpiece. Yes, it’s one-dimensional. Yes, it is virtually impossible to feel any empathy with any of the characters, as they are all universally loathsome. But it’s a movie whose flaws are forgivable based on the characterisation and the cracking good script by long-term collaborators Ben Wheatley and Amy Jump.
Tight as it is within its 90 minute running time, I very much doubt you will be bored.
Set in Boston in 1978, an arms deal is going down in a deserted warehouse. Brokered by Justine (Brie Larson, “Room”) an IRA team headed by Frank (Michael Smiley, “The World’s End“) with his business guy Chris (Cillian Murphy, “Inception”, “Batman Begins”) are on the buying side. As ‘roadies’ they’ve brought with them a couple of crack-head friends Stevo (Sam Riley, “Brighton Rock”, “Maleficent“) and Bernie (Enzo Cilenti, “The Martian“) who are far from stable.
On the selling side is South African dealer and “international asshole” Vern (Sharlto Copley, “Elysium“), his suave and wisecracking protector Ord (Armie Hammer, “The Man From Uncle”) and Vern’s right hand man Martin (Babou Ceesay, “Eye in the Sky“). What connects all of these individuals is that no-one likes or trusts anyone else.
Unfortunately, one of Vern’s van drivers is John Denver-lover Harry (the excellent Jack Treynor, “Sing Street”) who has very recent personal history with Stevo. The fuse is lit, and when the two meet chaos ensues: in the words of Anchorman’s Ron Burgundy, “That escalated quickly”!
And, for a 90 minute film, that’s basically it. If you think after viewing the trailer “there must be more to the film than this”…. you’re wrong!
However, what there is of it is enormously entertaining. Played ostensibly for laughs, with very very black humour and an F-word and a gunshot in every other sentence, some of the characters – notably those played by Sharlto Copley, Arnie Hammer and Brie Larson – have some hilarious dialogue. The star turn for me though was Jack Treynor who was just so impressive as the ‘lost at sea’ brother in the delightful “Sing Street” and here delivers a stand-out performance as another brother on a mission… this time a mission of vengeance. You are waiting throughout the film for the inevitable showdown between Harry and Stevo – – and when it comes it is both bloody and memorable.
A cracking 70’ soundtrack, put together by the Portishead duo of Geoff Barrow and Ben Salisbury, involves 70’s classics by Credence Clearwater Revival, John Denver and The Real Kids and it’s hammered out at top volume over the action. The downside of this effect is that – for my old ears at least – it sometimes make some of the dialogue hard to follow.
As a policing exercise, the film clearly has merit. In the same manner as Schwarzenegger’s “Running Man” put criminals in an arena to cull them, so this must have reduced the crime rates in both Boston and Belfast no end! While some may not approve of the levels of violence on show, it is all done in a highly cartoonish way: like a “Tom and Jerry” cartoon, or “Home Alone”, everyone seems to get shot multiple times and yet (in the main) is still active and mobile. All of this makes criticism of the performances something of a waste of time, but I would comment that some of the acting is of the “over the top” variety: surprisingly, I found some of Oscar winner Brie Larson’s scenes falling into this category and snapping me out of the narrative at times.
But overall, my evaluation is now done and I am rooting on the side of it being a brash and exhilarating minor masterpiece. Yes, it’s one-dimensional. Yes, it is virtually impossible to feel any empathy with any of the characters, as they are all universally loathsome. But it’s a movie whose flaws are forgivable based on the characterisation and the cracking good script by long-term collaborators Ben Wheatley and Amy Jump.
Tight as it is within its 90 minute running time, I very much doubt you will be bored.
Bob Mann (459 KP) rated Christine (2016) in Movies
Sep 29, 2021
If it bleeds, it leads.
Life is precious. Bad times always get good again eventually. Winter turns to spring and you feel the warmth of the sun on your face again. So what drives someone – anyone – to the point of despair sufficient for them to ignore all of the potential upturns and to take their own life?
Christine tells the tragic tale of Florida TV news reporter Christine Chubbuck who committed suicide live on air in 1974. Yes, this is a spoiler, but since most people have some sense of what a film is about before they go to see it, it’s not really a big one. And I think in this case, knowing the outcome is pretty essential since otherwise you will likely spend 2 hours getting increasingly irritated by the erratic behaviour of the lead character and may possibly turn it off. With this movie, the telling is in the journey – not the destination.
London-born Rebecca Hall (“The Town”) plays the 30 year old virgin Christine; a damaged article with past mental issues, she has been moved by her mother Peg (J Smith-Cameron) from Boston to Florida to make a fresh start. But the station is struggling and Christine’s insistence on pursuing dull but worthy stories, such as zoning disputes, isn’t helping: she is driving her boss (Tracy Letts) to distraction. Despite her spiky demeanour and unapproachable nature, her colleagues including Jean (Maria Dizzia), the show’s anchor (and potential deflowerer) George (Michael C Hall) and weatherman Steve (Timothy Simons from “Veep”) all do their best to support her. It is part of the true tragedy of the piece that her downward spiral continues despite their best efforts.
Hall is outstanding in the role. She portrays the crazily compulsive behaviour of Chubbuck extremely well: perfectionism gone wild as she attempts to edit out 3 seconds off a clip while the film is already in the machine. At times the other-worldliness and creepiness of her character become extremely unsettling; an excruciating scene with a married couple in a bar being a case in point. Overall it’s an extremely thoughtful portrayal that is as quiet and unassuming as Ruth Negga’s in “Loving” (but without the smiles or the charm). I would like to think that after the Oscars team picked the ‘obvious contenders’ of Portman, Stone and Huppert, and with a place ‘reserved’ for Streep, they were left with Negga and Hall and had a “dammit, we can only pick 1 out of 2 here” moment.
Letts as the crotchety station chief also delivers a fine performance, and it’s a shame that the script never gave us the chance to see his post-shooting reactions, since the ‘if only’ ramifications for him in particular must have been huge.
In retrospect, Chubbuck’s actions were bizarre: taking her life in such a public way (and insisting the show be recorded for her “reels”) strikes of narcissism and a bitter revenge. While the film is no doubt based on the true recollections of the real-life participants, the screenplay by Craig Shilowich, in an impressive writing debut, for me never quite closed that loop: why this way rather that a car and a hosepipe?
Directed by Antonio Campos, this is never an easy watch. It’s a bit like watching a car crash in ultra-slow motion, and pretty much mandates that you watch an episode of “Father Ted” afterwards to cheer yourself up! But it’s a fascinating study in mental decline, and it’s a useful reminder that it behoves all of us to pay more attention to others around us and reach out with real help if needed before the worst can happen.
Christine tells the tragic tale of Florida TV news reporter Christine Chubbuck who committed suicide live on air in 1974. Yes, this is a spoiler, but since most people have some sense of what a film is about before they go to see it, it’s not really a big one. And I think in this case, knowing the outcome is pretty essential since otherwise you will likely spend 2 hours getting increasingly irritated by the erratic behaviour of the lead character and may possibly turn it off. With this movie, the telling is in the journey – not the destination.
London-born Rebecca Hall (“The Town”) plays the 30 year old virgin Christine; a damaged article with past mental issues, she has been moved by her mother Peg (J Smith-Cameron) from Boston to Florida to make a fresh start. But the station is struggling and Christine’s insistence on pursuing dull but worthy stories, such as zoning disputes, isn’t helping: she is driving her boss (Tracy Letts) to distraction. Despite her spiky demeanour and unapproachable nature, her colleagues including Jean (Maria Dizzia), the show’s anchor (and potential deflowerer) George (Michael C Hall) and weatherman Steve (Timothy Simons from “Veep”) all do their best to support her. It is part of the true tragedy of the piece that her downward spiral continues despite their best efforts.
Hall is outstanding in the role. She portrays the crazily compulsive behaviour of Chubbuck extremely well: perfectionism gone wild as she attempts to edit out 3 seconds off a clip while the film is already in the machine. At times the other-worldliness and creepiness of her character become extremely unsettling; an excruciating scene with a married couple in a bar being a case in point. Overall it’s an extremely thoughtful portrayal that is as quiet and unassuming as Ruth Negga’s in “Loving” (but without the smiles or the charm). I would like to think that after the Oscars team picked the ‘obvious contenders’ of Portman, Stone and Huppert, and with a place ‘reserved’ for Streep, they were left with Negga and Hall and had a “dammit, we can only pick 1 out of 2 here” moment.
Letts as the crotchety station chief also delivers a fine performance, and it’s a shame that the script never gave us the chance to see his post-shooting reactions, since the ‘if only’ ramifications for him in particular must have been huge.
In retrospect, Chubbuck’s actions were bizarre: taking her life in such a public way (and insisting the show be recorded for her “reels”) strikes of narcissism and a bitter revenge. While the film is no doubt based on the true recollections of the real-life participants, the screenplay by Craig Shilowich, in an impressive writing debut, for me never quite closed that loop: why this way rather that a car and a hosepipe?
Directed by Antonio Campos, this is never an easy watch. It’s a bit like watching a car crash in ultra-slow motion, and pretty much mandates that you watch an episode of “Father Ted” afterwards to cheer yourself up! But it’s a fascinating study in mental decline, and it’s a useful reminder that it behoves all of us to pay more attention to others around us and reach out with real help if needed before the worst can happen.
Bob Mann (459 KP) rated The Last Duel (2021) in Movies
Oct 28, 2021
Three nuanced perspectives on a winter’s tale.
In Ridley Scott’s new movie “The Last Duel” we are in the late 14th century in France. And – apart from in one scene – it appears to be perpetual winter!
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Purple Phoenix Games (2266 KP) rated The GemShine Pylons in Tabletop Games
Mar 17, 2021
The empire needs power, and you’ve landed a job constructing gem-powered Pylons to harness and distribute that power. Different colored gems will provide power of varying levels, and the more power you can deliver will earn you rewards within the empire. Oh, also, we don’t want those Pylons to be eyesores, so if you can add some decorations to them to make them more attractive, that would be rewarded as well! Can you build the best, most powerful, and most attractive Pylons? Put yourself to the challenge!
Disclaimer: We were provided with a prototype copy of this game for the purposes of this preview. This is not a production copy of the game. The game also came with rules for solo play and cooperative play, but this preview will be covering the base rules of competitive play. I will be providing a general overview of the gameplay, and will not be rehashing the entire rulebook in this preview! -L
The GemShine Pylons is an economic game of hand management in which players are trying to build, power, and decorate Pylons in an effort to earn the most end-game points. To setup the game, shuffle the deck of Pylon cards, deal 1 face-down to each player as their starting Pylon, and deal 5 face-up next to the deck to serve as the market. Place the Timing Card at the bottom of the Pylon deck, with the appropriate player-count side face-up. Place the Setup card at the end of the market line, and place a random gem from the bag onto the empty gem slot. Above the market line, create 4 piles of Decoration cards, based on the number of Representatives on each card. Each player receives 4 random gems to their personal supply, a starting player is selected, and the game is ready to begin! The setup should look similar to the picture below.
The GemShine Pylons is played over a series of rounds in which players take turns performing actions. On your turn, you will perform one of three actions: Purchase a Card, Gather Gems, or Build a Pylon. To Purchase a Card, you will select a card from the market and pay its cost. There are 3 different costs for purchasing cards – leave 1 gem, leave 2 gems, or discard 1 Pylon. To leave 1 or 2 gems, you will select a gem (or 2) from your personal supply and place it in the spot emptied by the card you have purchased. When you discard a Pylon, you will take a Pylon from your tableau and discard it in order to purchase said card. Once a card has been purchased, you resolve the effect shown. These effects could be: gaining gems, placing gems onto Pylons/Decorations, gaining Pylons, or ‘purchasing’ Decorations. You may choose to not perform any/all effects on a card. Certain market cards have a number/color of Representatives on the bottom, and those are used to purchase Decorations. Every Decoration has a Representative cost, and you must discard cards from your hand with the matching color Representatives equal to the Representative cost. After performing the action on the card, it now goes into your hand.
To Gather Gems, you will take all the gems that are present in the market line, including the gem on the Setup card. These gems go directly into your personal supply. Any cards that were left in the market line are discarded, and the market is filled with 5 new cards from the Pylon deck. Select a random gem to be placed on the Setup card. To Build a Pylon, you will select a card from your hand and place it face-down in your tableau – it is now a Pylon. Play continues in this fashion, alternating turns, until the Pylon deck is depleted and the Timing Card is revealed. The game ends at the end of the current round. Points are now tallied – from Decorations and gems in slots. Players count up their points from any Decoration cards in their tableau. All players then reveal the cards in their hands, and the total number of Representatives for each color – blue, red, and white – are counted. The color that has the highest number of Representatives across all players combined is worth 4 points, the next highest is worth 2 points, and the lowest is worth 1 point. Players will then go through their gems in slots, counting up points based on the color majorities. Only gems in slots earn end-game points – any gems in your personal supply are not counted. Add up gem points and Decoration points, and the player with the highest score wins!
I know that may seem like a lot, but I do have to say that once you get going, the gameplay is pretty streamlined and straightforward. You only have 3 main action options each turn. If you purchase a card from the market, there are essentially 4 different effect options on each card. That being said, the small number of actions/effects do not stop the gameplay from being strategic. Most cards in the market require you to pay 1 or 2 gems, leaving them in the market line and available for your opponents to collect. How badly do you need that effect, and which color gem do you give up? Maybe the available cards only have blue Representatives but you only need 1 more red Representative to claim a Decoration – should you snag that blue in hopes of using it later in the game? Or do you go for a card that allows you to place gems, thus powering your Pylons and earning you points at the end of the game. But if you wait too long, your opponent may just buy the Decoration you were saving towards – seems to happen to me every time! It is also important to note that when you buy a Decoration, it can only be attached to a gem-powered Pylon. So you’ve got to balance having enough gems to power your Pylons, as well as having enough gems to purchase cards from the market. AND the different colored gems will earn varying amounts of points at the end of the game – do you want to risk going all in on red gems in hopes of scoring big, or should you try to collect gem colors evenly and spread those points around. There’s no single right way to play, and your strategy must be evolving constantly as the market line and available Decorations change throughout play.
Let me touch on components for a moment. Although we received a prototype copy of the game, the artwork is finalized and ready for production. The art style is relatively simple, yet nice to look at and thematically appropriate. I want to applaud the iconography on the cards as well, as it is very straight-forward and easy to understand. The cards have no text on them at all, but the consistency of the icons and simplicity of their explanations make them very easy to comprehend. The gems themselves are chunky and fun to play with, and make the game feel a little more immersive!
Overall, I really like The GemShine Pylons. The gameplay is straightforward, relatively simple, yet requires a decent amount of strategy. Every game feels exciting and unique, as everyone really is at the mercy of the deck shuffle. The artwork is thematic, the iconography is simple and clear, and the gameplay feels fresh. Even though this is only a prototype copy of the game, I am excited to have it in my collection, and am already thinking about my strategy for my next play. I am eager to try out the solo and cooperative modes as well, but the competitive rules themselves are engaging and entertaining. If you’re looking forward to a strategic, yet quick game, give The GemShine Pylons a try. I look forward to following this Kickstarter campaign and seeing what other goodies Game Elemental has in store!
Disclaimer: We were provided with a prototype copy of this game for the purposes of this preview. This is not a production copy of the game. The game also came with rules for solo play and cooperative play, but this preview will be covering the base rules of competitive play. I will be providing a general overview of the gameplay, and will not be rehashing the entire rulebook in this preview! -L
The GemShine Pylons is an economic game of hand management in which players are trying to build, power, and decorate Pylons in an effort to earn the most end-game points. To setup the game, shuffle the deck of Pylon cards, deal 1 face-down to each player as their starting Pylon, and deal 5 face-up next to the deck to serve as the market. Place the Timing Card at the bottom of the Pylon deck, with the appropriate player-count side face-up. Place the Setup card at the end of the market line, and place a random gem from the bag onto the empty gem slot. Above the market line, create 4 piles of Decoration cards, based on the number of Representatives on each card. Each player receives 4 random gems to their personal supply, a starting player is selected, and the game is ready to begin! The setup should look similar to the picture below.
The GemShine Pylons is played over a series of rounds in which players take turns performing actions. On your turn, you will perform one of three actions: Purchase a Card, Gather Gems, or Build a Pylon. To Purchase a Card, you will select a card from the market and pay its cost. There are 3 different costs for purchasing cards – leave 1 gem, leave 2 gems, or discard 1 Pylon. To leave 1 or 2 gems, you will select a gem (or 2) from your personal supply and place it in the spot emptied by the card you have purchased. When you discard a Pylon, you will take a Pylon from your tableau and discard it in order to purchase said card. Once a card has been purchased, you resolve the effect shown. These effects could be: gaining gems, placing gems onto Pylons/Decorations, gaining Pylons, or ‘purchasing’ Decorations. You may choose to not perform any/all effects on a card. Certain market cards have a number/color of Representatives on the bottom, and those are used to purchase Decorations. Every Decoration has a Representative cost, and you must discard cards from your hand with the matching color Representatives equal to the Representative cost. After performing the action on the card, it now goes into your hand.
To Gather Gems, you will take all the gems that are present in the market line, including the gem on the Setup card. These gems go directly into your personal supply. Any cards that were left in the market line are discarded, and the market is filled with 5 new cards from the Pylon deck. Select a random gem to be placed on the Setup card. To Build a Pylon, you will select a card from your hand and place it face-down in your tableau – it is now a Pylon. Play continues in this fashion, alternating turns, until the Pylon deck is depleted and the Timing Card is revealed. The game ends at the end of the current round. Points are now tallied – from Decorations and gems in slots. Players count up their points from any Decoration cards in their tableau. All players then reveal the cards in their hands, and the total number of Representatives for each color – blue, red, and white – are counted. The color that has the highest number of Representatives across all players combined is worth 4 points, the next highest is worth 2 points, and the lowest is worth 1 point. Players will then go through their gems in slots, counting up points based on the color majorities. Only gems in slots earn end-game points – any gems in your personal supply are not counted. Add up gem points and Decoration points, and the player with the highest score wins!
I know that may seem like a lot, but I do have to say that once you get going, the gameplay is pretty streamlined and straightforward. You only have 3 main action options each turn. If you purchase a card from the market, there are essentially 4 different effect options on each card. That being said, the small number of actions/effects do not stop the gameplay from being strategic. Most cards in the market require you to pay 1 or 2 gems, leaving them in the market line and available for your opponents to collect. How badly do you need that effect, and which color gem do you give up? Maybe the available cards only have blue Representatives but you only need 1 more red Representative to claim a Decoration – should you snag that blue in hopes of using it later in the game? Or do you go for a card that allows you to place gems, thus powering your Pylons and earning you points at the end of the game. But if you wait too long, your opponent may just buy the Decoration you were saving towards – seems to happen to me every time! It is also important to note that when you buy a Decoration, it can only be attached to a gem-powered Pylon. So you’ve got to balance having enough gems to power your Pylons, as well as having enough gems to purchase cards from the market. AND the different colored gems will earn varying amounts of points at the end of the game – do you want to risk going all in on red gems in hopes of scoring big, or should you try to collect gem colors evenly and spread those points around. There’s no single right way to play, and your strategy must be evolving constantly as the market line and available Decorations change throughout play.
Let me touch on components for a moment. Although we received a prototype copy of the game, the artwork is finalized and ready for production. The art style is relatively simple, yet nice to look at and thematically appropriate. I want to applaud the iconography on the cards as well, as it is very straight-forward and easy to understand. The cards have no text on them at all, but the consistency of the icons and simplicity of their explanations make them very easy to comprehend. The gems themselves are chunky and fun to play with, and make the game feel a little more immersive!
Overall, I really like The GemShine Pylons. The gameplay is straightforward, relatively simple, yet requires a decent amount of strategy. Every game feels exciting and unique, as everyone really is at the mercy of the deck shuffle. The artwork is thematic, the iconography is simple and clear, and the gameplay feels fresh. Even though this is only a prototype copy of the game, I am excited to have it in my collection, and am already thinking about my strategy for my next play. I am eager to try out the solo and cooperative modes as well, but the competitive rules themselves are engaging and entertaining. If you’re looking forward to a strategic, yet quick game, give The GemShine Pylons a try. I look forward to following this Kickstarter campaign and seeing what other goodies Game Elemental has in store!
Purple Phoenix Games (2266 KP) rated Dinos Not Assembled in Tabletop Games
Mar 15, 2021
I think it’s no secret that I would be super hyped to go on a dinosaur dig. My brother, Bryan, is certainly more of a dino dude than I am, but I still remember loving them as a child and wishing I could see a skeleton being unearthed. Now I am the one with children who wish the same thing, and now I can play games with just that theme and they enjoy themselves. This is just such a game.
Dinos Not Assembled is a competitive set collection board game with hints of take-that for two to four players that can be enjoyed by players as young as four years old (I know this because my son is four and he loves it). In it players are acting as assistant paleontologists vying for the prestigious opportunity to join a world-famous paleo on their next dig. The player who is first to display three complete dinosaur skeletons in their portion of the museum will win the chance to go on the dig and win the game.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup place the main Museum Board and Dig Site Board in the middle of the table. The Dino Cards are shuffled and each player receives two cards. In addition each player will choose their Character Boards and section of the museum. All Bone Tiles are shuffled into the Dirt Sack, four of these tiles are drawn and displayed on the Dig Site Board, and the Dino Meeples are placed on the table nearby. The first player receives the velociraptor talon (in my copy) and the game may begin!
On a turn a player may perform one action from a choice of five actions: Dig, Steal, Clear, Make, Plan. Since the players are attempting to build their dinosaur skeletons based on the necessary tile types from their Dino Cards, players may Dig by selecting two Bone Tiles from the Dig Site Board to add to their Character Board. Players may never have more than four tiles at any one time. Perhaps the Dig Site Board offers nothing of interest to the active player. The active player may choose to instead Steal one Bone Tile from another player onto their own Character Board. When this happens the player that was just stolen from alerts the Security Meeple and they take the meeple to their Character Board to signify they may not be stolen from again until another player has suffered a Steal action. The active player may choose to instead Clear the board by removing the tiles on offer and drawing four new tiles to the board.
Once a player has collected the necessary Bone Tiles to build a dino skeleton they may Make the skeleton. This requires the player to discard their Bone Tiles back to the Dirt Sack (which I mistakenly kept calling the Dirt Bag), place their completed Dino Card on their Character Board, and place the appropriate Dino Meeple on one of their museum spaces. This player is now one dino closer to winning the game.
If none of these options suit the active player they may always Plan a new dig by drawing a Dino Card from the pile on the Dig Site Board and adding it to their hand. Players may not hold more than three Dino Cards at any one time.
Play continues in this manner of players choosing one action to perform on their turn until one player has made their third dino skeleton. That player wins the game and then gloats to their father. I mean, that didn’t happen…
Components. This game is fabulously produced. The artwork is just perfect for this game. It is colorful, cartoony without being too wacky, and lovable all around. The components themselves are also very good quality. My favorite pieces are all the Dino Meeples and the fancy Security Meeple. Securiteeple?
For a game that states it is intended for players aged eight and above this is a great family game. Yes, my four year old plays it and loves it, and absolutely zero reading skills are necessary to play. The Dino Cards have some fun facts on them, but are not required to enjoy the game. Once players truly understand the five actions that can be taken (and it may take several turns to click) the game is a breeze and flows really well. I would caution gamers playing with younger kids that the Steal action may cause some tears, but it can be used as an essential teaching moment.
Even with strictly adults this game is excellent. Very light and gateway, but still very enjoyable. There is just something about collecting dinosaur bones and building your beasts, but having to also struggle with deciding which bones to keep and which to pass on, as your board can only hold four tiles at a time, but each dinosaur requires three bones to complete. It can be a tasty balancing act of resource collection that I truly love.
This all said Purple Phoenix Games gives this one a very enthusiastic 11 / 12, with a guest score from my son. If your collection lacks a great family game for younger gamers or you are completely invested in the dinosaur theme then this one is a no-brainer. If you enjoy family games with a little bit of take-that, then this is a little gem for you to consider. I am so glad to have this in my collection and my son is already asking to be its caretaker. He has only ever requested two games to ever become “his,” and this is one of them. High praise from the son of a game reviewer.
Dinos Not Assembled is a competitive set collection board game with hints of take-that for two to four players that can be enjoyed by players as young as four years old (I know this because my son is four and he loves it). In it players are acting as assistant paleontologists vying for the prestigious opportunity to join a world-famous paleo on their next dig. The player who is first to display three complete dinosaur skeletons in their portion of the museum will win the chance to go on the dig and win the game.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup place the main Museum Board and Dig Site Board in the middle of the table. The Dino Cards are shuffled and each player receives two cards. In addition each player will choose their Character Boards and section of the museum. All Bone Tiles are shuffled into the Dirt Sack, four of these tiles are drawn and displayed on the Dig Site Board, and the Dino Meeples are placed on the table nearby. The first player receives the velociraptor talon (in my copy) and the game may begin!
On a turn a player may perform one action from a choice of five actions: Dig, Steal, Clear, Make, Plan. Since the players are attempting to build their dinosaur skeletons based on the necessary tile types from their Dino Cards, players may Dig by selecting two Bone Tiles from the Dig Site Board to add to their Character Board. Players may never have more than four tiles at any one time. Perhaps the Dig Site Board offers nothing of interest to the active player. The active player may choose to instead Steal one Bone Tile from another player onto their own Character Board. When this happens the player that was just stolen from alerts the Security Meeple and they take the meeple to their Character Board to signify they may not be stolen from again until another player has suffered a Steal action. The active player may choose to instead Clear the board by removing the tiles on offer and drawing four new tiles to the board.
Once a player has collected the necessary Bone Tiles to build a dino skeleton they may Make the skeleton. This requires the player to discard their Bone Tiles back to the Dirt Sack (which I mistakenly kept calling the Dirt Bag), place their completed Dino Card on their Character Board, and place the appropriate Dino Meeple on one of their museum spaces. This player is now one dino closer to winning the game.
If none of these options suit the active player they may always Plan a new dig by drawing a Dino Card from the pile on the Dig Site Board and adding it to their hand. Players may not hold more than three Dino Cards at any one time.
Play continues in this manner of players choosing one action to perform on their turn until one player has made their third dino skeleton. That player wins the game and then gloats to their father. I mean, that didn’t happen…
Components. This game is fabulously produced. The artwork is just perfect for this game. It is colorful, cartoony without being too wacky, and lovable all around. The components themselves are also very good quality. My favorite pieces are all the Dino Meeples and the fancy Security Meeple. Securiteeple?
For a game that states it is intended for players aged eight and above this is a great family game. Yes, my four year old plays it and loves it, and absolutely zero reading skills are necessary to play. The Dino Cards have some fun facts on them, but are not required to enjoy the game. Once players truly understand the five actions that can be taken (and it may take several turns to click) the game is a breeze and flows really well. I would caution gamers playing with younger kids that the Steal action may cause some tears, but it can be used as an essential teaching moment.
Even with strictly adults this game is excellent. Very light and gateway, but still very enjoyable. There is just something about collecting dinosaur bones and building your beasts, but having to also struggle with deciding which bones to keep and which to pass on, as your board can only hold four tiles at a time, but each dinosaur requires three bones to complete. It can be a tasty balancing act of resource collection that I truly love.
This all said Purple Phoenix Games gives this one a very enthusiastic 11 / 12, with a guest score from my son. If your collection lacks a great family game for younger gamers or you are completely invested in the dinosaur theme then this one is a no-brainer. If you enjoy family games with a little bit of take-that, then this is a little gem for you to consider. I am so glad to have this in my collection and my son is already asking to be its caretaker. He has only ever requested two games to ever become “his,” and this is one of them. High praise from the son of a game reviewer.
Acanthea Grimscythe (300 KP) rated Strange Weather in Books
May 16, 2018
Strange Weather is the first bit of fiction I’ve managed to snare by Joe Hill. I heard some pretty great things about his work, but it’s possible I took those praises a little too much to heart. Rating this book doesn’t come easily. To quote what I told a friend on Twitter, reading Strange Weather felt like an attempt at chewing the gristle on steak. That is, wrong and uncomfortable, but not in a good way. I’ve decided to divvy my review up based on each storry.
SNAPSHOT
“Snapshot,” though a bit lacking in style, is one of two stories in this small collection that I found myself capable of tolerating. I figure it’s because this short tale embodies a sort of Twilight Zone and Night Gallery feel. It read the quickest out of the four stories and I found myself nearly in tears at its conclusion, so the best I can say about it is that I either felt something, or my emotions went bonkers again.
LOADED
The second shorty story in Hill’s collection, “Loaded,” is a bunch of driveling bullshit, for lack of a better word. I’m all about our Second Amendment Rights; I even have a cup that says “Don’t ban guns, ban idiots,” but this story encompasses the stereotypical idea that every gun owner or enthusiast is a batshit crazy blowhard that’s just looking for a reason to go off. I have friends and family that appreciate this machinery, that agree people should under go background and mental wellness checks prior to purchase of a fire arm, but this? This story just adds fuel to a fire that seeks kindling via blame on inanimate objects, rather than the person behind them. The main guy of “Loaded” shows us exactly how restricting gun ownership will fail so hey, better hurry and make it entirely illegal right? Oh, and let’s not get started with the over-saturation of Social Justice Warriorness in this piece. I’m all for equality, but this? This just reeks of extremism in a way that I almost abandoned the book as a whole.
ALOFT
“Aloft” is by far the best in this collection of short stories. An embodiment of the collections title, the main character encounters something unusual while fulfilling a dead friend’s promise and from there, things really take a turn for the bizarre. While I feel Hill gives us a bit too much exposition in this tale, there are many things about it that I feel should be appreciated. For instance, the next time anyone asks me what it’s like to have ulcerative colitis, I’ll probably ask them if they’ve read “Aloft”‘ by Joe Hill, because let’s face it: the torment Aubrey goes through gastrically (is that even a word?) in this story is a pretty damned accurate depiction of the suffering people with Crohn’s and Colitis endure.
RAIN
The final story in Hill’s collection seemed like it could have had a loft of potential. “Rain” further supports the title of the collection when a torrent of crystal nails fall from the sky to impale poor, unexpecting citizens. So what’s the problem then? “Rain” is so fundamentally flawed that it’s just… no. First, Hill is more obsessed with making fun of Trump in this story than the events that occur. This isn’t a bad thing – I absolutely loathe Trump, especially considering his policies may very well shorten my lifespan significantly. “Rain” is more a mockery than the story it could be. At least the twist at the end was fairly amusing, but by that point all I could do is roll my eyes in frustration.
CONCLUSION
Joe Hill’s Strange Weather is probably a poor choice for first time introduction to his work. In fact, it’s almost a deterrent considering it’s the first book by him that I read and I was ecstatic about receiving a review copy. It is with a bit of a heavy heart for the sake of disappointment that I am forced to conclude my review with a largely poor rating. Part of my compliance with FTC guidelines as a reviewer requires that I disclose when I read a free book in exchange for an honest, unbiased review. In this case, I’d like to thank Edelweiss and HarperCollins/William Morrow for this opportunity.
SNAPSHOT
“Snapshot,” though a bit lacking in style, is one of two stories in this small collection that I found myself capable of tolerating. I figure it’s because this short tale embodies a sort of Twilight Zone and Night Gallery feel. It read the quickest out of the four stories and I found myself nearly in tears at its conclusion, so the best I can say about it is that I either felt something, or my emotions went bonkers again.
LOADED
The second shorty story in Hill’s collection, “Loaded,” is a bunch of driveling bullshit, for lack of a better word. I’m all about our Second Amendment Rights; I even have a cup that says “Don’t ban guns, ban idiots,” but this story encompasses the stereotypical idea that every gun owner or enthusiast is a batshit crazy blowhard that’s just looking for a reason to go off. I have friends and family that appreciate this machinery, that agree people should under go background and mental wellness checks prior to purchase of a fire arm, but this? This story just adds fuel to a fire that seeks kindling via blame on inanimate objects, rather than the person behind them. The main guy of “Loaded” shows us exactly how restricting gun ownership will fail so hey, better hurry and make it entirely illegal right? Oh, and let’s not get started with the over-saturation of Social Justice Warriorness in this piece. I’m all for equality, but this? This just reeks of extremism in a way that I almost abandoned the book as a whole.
ALOFT
“Aloft” is by far the best in this collection of short stories. An embodiment of the collections title, the main character encounters something unusual while fulfilling a dead friend’s promise and from there, things really take a turn for the bizarre. While I feel Hill gives us a bit too much exposition in this tale, there are many things about it that I feel should be appreciated. For instance, the next time anyone asks me what it’s like to have ulcerative colitis, I’ll probably ask them if they’ve read “Aloft”‘ by Joe Hill, because let’s face it: the torment Aubrey goes through gastrically (is that even a word?) in this story is a pretty damned accurate depiction of the suffering people with Crohn’s and Colitis endure.
RAIN
The final story in Hill’s collection seemed like it could have had a loft of potential. “Rain” further supports the title of the collection when a torrent of crystal nails fall from the sky to impale poor, unexpecting citizens. So what’s the problem then? “Rain” is so fundamentally flawed that it’s just… no. First, Hill is more obsessed with making fun of Trump in this story than the events that occur. This isn’t a bad thing – I absolutely loathe Trump, especially considering his policies may very well shorten my lifespan significantly. “Rain” is more a mockery than the story it could be. At least the twist at the end was fairly amusing, but by that point all I could do is roll my eyes in frustration.
CONCLUSION
Joe Hill’s Strange Weather is probably a poor choice for first time introduction to his work. In fact, it’s almost a deterrent considering it’s the first book by him that I read and I was ecstatic about receiving a review copy. It is with a bit of a heavy heart for the sake of disappointment that I am forced to conclude my review with a largely poor rating. Part of my compliance with FTC guidelines as a reviewer requires that I disclose when I read a free book in exchange for an honest, unbiased review. In this case, I’d like to thank Edelweiss and HarperCollins/William Morrow for this opportunity.
Movie Metropolis (309 KP) rated Love, Simon (2018) in Movies
Jun 10, 2019
One of the most important films in a generation
I don’t think anyone will have any qualms in me saying that the LGBT community is one of the most vastly underrepresented parts of society when it comes to mainstream Hollywood movies.
Sure, we’ve had indie hits like Call Me by Your Name and Moonlight that have also performed well at the Oscars, but the closest we’ve ever gotten to a mass-market crowd pleaser has been Ang Lee’s 2005 flick Brokeback Mountain and if we’re being honest, that wasn’t marketed in a way that made it particularly mainstream.
Aiming to change all that is Love, Simon. Based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is the first truly mainstream rom-com that features a lead gay character. But is the film a beacon of hope for a massively underrepresented LGBT community or a movie that daren’t go too far?
Everyone deserves a great love story, but for 17-year-old Simon Spier (Nick Robinson), it’s a little more complicated. He hasn’t told his family or friends that he’s gay, and he doesn’t know the identity of the anonymous classmate that he’s fallen for online. Resolving both issues proves hilarious, terrifying and life-changing.
Love, Simon is one of the most important films in a generation. Aiming to please both everyday movie-goers and be sensitive to the issues that gay people face on a daily basis, it needs to tread a very careful line, and I’m pleased to say, it does so beautifully. From the exceptional performances of the entire cast, to the warming attempts at humour, it succeeds on almost every level.
Jurassic World’s Nick Robinson is outstanding as Simon. A 17-year-old who consistently struggles to accept who he truly is would be an incredibly difficult role for even the most seasoned actors to take on, but he really is wonderful to watch. As we journey across his troubled story, the audience feels fully immersed in his actions, even those that are, shall we say, questionable.
The supporting cast too, is excellent. Jennifer Garner and Josh Duhamel are a great, if slightly underused presence, as Simon’s parents and along with his sister Nora (played by Talitha Bateman), they make an entirely believable family unit and it’s lovely to see them rallying around him when the inevitable ‘outing’ occurs. One touching scene in particular featuring Garner speaking to her son is sure to turn on the waterworks for many.
Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson
Director Greg Berlanti is a relative newcomer to the world of romantic comedy, but he leads with a confidence that makes him appear seasoned at this game. Touching scenes of emotion are nicely interspersed with sequences of genuinely funny comedy – the sign of a great rom-com.
Special mention must go to Natasha Rothwell as drama teacher Ms. Albright, who manages to garner most of the laughs throughout. All of this culminates in a sweet finale that ties together everything that’s happened over the previous 110 minutes very well indeed.
If we’re to look at some of the flaws then it’s fair to say that the story outside of it featuring a gay lead is completely unoriginal. It’s been done before, but that’s kind of its charm. Flipping the classic rom-com story on its head by allowing audiences across the world to see that being gay really isn’t easy is a really nice thing to see.
In a nutshell, Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson. It’ll make you laugh and it’ll make you cry, but this is a touching romantic comedy that will absolutely go down in the history books of film. Like Brokeback Mountain did for the older gay man, Love, Simon can be a shining light for young men who are struggling to accept who they truly are.
Is this a turning point for Hollywood? Well, let’s hope so.
https://moviemetropolis.net/2018/04/07/love-simon-review-one-of-the-most-important-films-in-a-generation/
Sure, we’ve had indie hits like Call Me by Your Name and Moonlight that have also performed well at the Oscars, but the closest we’ve ever gotten to a mass-market crowd pleaser has been Ang Lee’s 2005 flick Brokeback Mountain and if we’re being honest, that wasn’t marketed in a way that made it particularly mainstream.
Aiming to change all that is Love, Simon. Based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli, Love, Simon is the first truly mainstream rom-com that features a lead gay character. But is the film a beacon of hope for a massively underrepresented LGBT community or a movie that daren’t go too far?
Everyone deserves a great love story, but for 17-year-old Simon Spier (Nick Robinson), it’s a little more complicated. He hasn’t told his family or friends that he’s gay, and he doesn’t know the identity of the anonymous classmate that he’s fallen for online. Resolving both issues proves hilarious, terrifying and life-changing.
Love, Simon is one of the most important films in a generation. Aiming to please both everyday movie-goers and be sensitive to the issues that gay people face on a daily basis, it needs to tread a very careful line, and I’m pleased to say, it does so beautifully. From the exceptional performances of the entire cast, to the warming attempts at humour, it succeeds on almost every level.
Jurassic World’s Nick Robinson is outstanding as Simon. A 17-year-old who consistently struggles to accept who he truly is would be an incredibly difficult role for even the most seasoned actors to take on, but he really is wonderful to watch. As we journey across his troubled story, the audience feels fully immersed in his actions, even those that are, shall we say, questionable.
The supporting cast too, is excellent. Jennifer Garner and Josh Duhamel are a great, if slightly underused presence, as Simon’s parents and along with his sister Nora (played by Talitha Bateman), they make an entirely believable family unit and it’s lovely to see them rallying around him when the inevitable ‘outing’ occurs. One touching scene in particular featuring Garner speaking to her son is sure to turn on the waterworks for many.
Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson
Director Greg Berlanti is a relative newcomer to the world of romantic comedy, but he leads with a confidence that makes him appear seasoned at this game. Touching scenes of emotion are nicely interspersed with sequences of genuinely funny comedy – the sign of a great rom-com.
Special mention must go to Natasha Rothwell as drama teacher Ms. Albright, who manages to garner most of the laughs throughout. All of this culminates in a sweet finale that ties together everything that’s happened over the previous 110 minutes very well indeed.
If we’re to look at some of the flaws then it’s fair to say that the story outside of it featuring a gay lead is completely unoriginal. It’s been done before, but that’s kind of its charm. Flipping the classic rom-com story on its head by allowing audiences across the world to see that being gay really isn’t easy is a really nice thing to see.
In a nutshell, Love, Simon is a film with a massive heart anchored by a beautifully raw performance by Nick Robinson. It’ll make you laugh and it’ll make you cry, but this is a touching romantic comedy that will absolutely go down in the history books of film. Like Brokeback Mountain did for the older gay man, Love, Simon can be a shining light for young men who are struggling to accept who they truly are.
Is this a turning point for Hollywood? Well, let’s hope so.
https://moviemetropolis.net/2018/04/07/love-simon-review-one-of-the-most-important-films-in-a-generation/
Adventure and Redemption
I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.