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Ross (3284 KP) rated Season of Storms in Books
Apr 23, 2018 (Updated Apr 25, 2018)
2-d characters (2 more)
fantasy-by-numbers
Frequent incongruent Latin/French phrases
More a set of short stories than a novel in its own right
* I received an advance copy of this book from NetGalley in return for an honest review. Formatting issues (many) have not been factored into the review *
To my knowledge, the books of The Witcher are split into the short story collection prequels (one of which I have read) and the full books (which I have not read). This book is somewhere in between being neither strictly a collection of short stories nor a focussed standalone novel in its own right. Chronologically, this book falls in between the stories contained in The Last Wish) though it is impossible to say quite where it falls (as mention of the stryga is made near the end, which begins the Last Wish I have to assume it comes after the flashback stories from that tome but before the overarching story linking them all).
It may be because I haven't read the full novels, but I find the Witcher to be a thoroughly bland and unexciting character and I have no connection with him. He has next to no personality and contributes nothing to the dialogue of the book. Similarly, all other characters are very disposable - they are either supposedly strong-willed sorceresses (who smell of flowers and throw themselves at the Witcher and are bedded instantly) or they are otherwise instantly forgettable.
I think Sapkwoski was trying to give the sorcerers a sense of academic snobbery but they frequently use Latin phrases, which just gets irritating very quickly. Similarly French words and phrases are thrown in willy-nilly without translation which gets annoying as well. This seems even more unusual when you realise the story was written in Polish and translated into English, with some parts kept in French or Latin. And then further when it is meant to be in a different world where French wouldn't be a thing.
The story essentially follows Geralt of Rivia (The Witcher) who loses his swords and goes on a quest to get them back, and just happens along the way to meet people who need his skills (like on Neighbours where one character leaves and another comes in through the door at exactly the same moment). This aspect makes me think this was meant to be a series of short stories stitched together. But unfortunately here those short stories are not finished up within themselves and you have a number of unsatisfying loose ends in the back of your head throughout.
As with The Last Wish, I found the ending very confusing and had no idea what had happened. It may be that other works fill in the gap and I will have that filled in time, but if so that makes this not a satisfying read in its own right.
Overall, I don't mind Sapkowski's writing in general, other than a few irritating bad habits and I like the overriding idea of the stories but find the execution, character development and overall world-building somewhat clumsy and throw-away. But as I say, this may be because (I think) I have read these in chronological order, rather than published order. I will fill in the gaps and work out if that is the case.
To my knowledge, the books of The Witcher are split into the short story collection prequels (one of which I have read) and the full books (which I have not read). This book is somewhere in between being neither strictly a collection of short stories nor a focussed standalone novel in its own right. Chronologically, this book falls in between the stories contained in The Last Wish) though it is impossible to say quite where it falls (as mention of the stryga is made near the end, which begins the Last Wish I have to assume it comes after the flashback stories from that tome but before the overarching story linking them all).
It may be because I haven't read the full novels, but I find the Witcher to be a thoroughly bland and unexciting character and I have no connection with him. He has next to no personality and contributes nothing to the dialogue of the book. Similarly, all other characters are very disposable - they are either supposedly strong-willed sorceresses (who smell of flowers and throw themselves at the Witcher and are bedded instantly) or they are otherwise instantly forgettable.
I think Sapkwoski was trying to give the sorcerers a sense of academic snobbery but they frequently use Latin phrases, which just gets irritating very quickly. Similarly French words and phrases are thrown in willy-nilly without translation which gets annoying as well. This seems even more unusual when you realise the story was written in Polish and translated into English, with some parts kept in French or Latin. And then further when it is meant to be in a different world where French wouldn't be a thing.
The story essentially follows Geralt of Rivia (The Witcher) who loses his swords and goes on a quest to get them back, and just happens along the way to meet people who need his skills (like on Neighbours where one character leaves and another comes in through the door at exactly the same moment). This aspect makes me think this was meant to be a series of short stories stitched together. But unfortunately here those short stories are not finished up within themselves and you have a number of unsatisfying loose ends in the back of your head throughout.
As with The Last Wish, I found the ending very confusing and had no idea what had happened. It may be that other works fill in the gap and I will have that filled in time, but if so that makes this not a satisfying read in its own right.
Overall, I don't mind Sapkowski's writing in general, other than a few irritating bad habits and I like the overriding idea of the stories but find the execution, character development and overall world-building somewhat clumsy and throw-away. But as I say, this may be because (I think) I have read these in chronological order, rather than published order. I will fill in the gaps and work out if that is the case.
Rachel King (13 KP) rated Eternal Rider (Lords of Deliverance, #1, Demonica, #6) in Books
Feb 11, 2019
I loved that this book took a concept that I am very familiar with, the Four Horsemen from Revelation, and turned it on its head. For all of the repetitiveness of fantasy fiction using the same species over and over again - from mermaids to vampires - the horsemen are definitely new vehicles for enticing literature.
The background of the story is that all of the horsemen once lead human lives, but were cursed to become the horsemen after reacting very badly to the news that Lilith is their mother. Another interesting quirk on the common tale is that one of them is actually female, Limos. The four are destined to either fulfill the Biblical prophecy or the demonic equivalent - which none of them want to do. In addition, each of them have a unique method by which they fall into the demonic prophecy's designated role and must fight to keep said method from playing out.
Ares, whom the story says the Greek god of war is named for, is destined to become War should the being bearing his seal, or agimortus, dies. Thanks to Cara, a human, inadvertently crossing paths with a hellhound, she becomes the bearer of the agimortus. Luckily, she has a few tricks of her own to aid her in her new role. I liked Cara and the way she seemed to blossom despite her captivity and impending death, as well as how easily she could stand up to Ares. I would have liked a little more character development, as it did not feel like her character arc was complete.
Ares is also an interesting character. Even though he is drawn to wars and violence, with his very presence inciting violence and rage among humans, Cara is immune to this ability. Because of how her presence weakens him, Ares shows a vulnerability characteristic of the humanity he left behind thousands of years ago. Around Cara, he is simply a normal guy falling in love, and the way he attempts to "macho-up" to deal with it is positively adorable.
The violence in the book is both believable and quite gritty. Of course, the horsemen's supernatural abilities of strength and healing allow it to be especially intense and dramatic. The sexual scenes in the book are also quite graphic and detailed, without feeling cheesy or awkward.
The laws built into Ione's world of horsemen, angels, and demons is complex without being confusing. The reader is introduced to its structure piece by piece throughout the novel without being bombarded by the details, and all of the pieces fit together nicely. In addition, Ione even includes a glossary at the beginning of the book to help the reader become more accustomed to the world.
The other siblings are all unique and show lots of promise for future books in the series. Thanatos, destined to become Death, has a seductive air of mystery that had me wondering several times throughout the book if something would occur between him and Cara. The sister, Limos, destined to be Famine, also shows many interesting characteristics, such as a certain hidden madness that she struggles to keep leashed, and the chemistry she shares with Arik is palpable. Even though Reseph becomes Pestilence early in the book, I have a feeling he may prove to be the most interesting of the siblings under a theme of redemption. I only have to wait till December for Immortal Rider (Lords of Deliverance), which centers on Limos, to find out what happens next!
The background of the story is that all of the horsemen once lead human lives, but were cursed to become the horsemen after reacting very badly to the news that Lilith is their mother. Another interesting quirk on the common tale is that one of them is actually female, Limos. The four are destined to either fulfill the Biblical prophecy or the demonic equivalent - which none of them want to do. In addition, each of them have a unique method by which they fall into the demonic prophecy's designated role and must fight to keep said method from playing out.
Ares, whom the story says the Greek god of war is named for, is destined to become War should the being bearing his seal, or agimortus, dies. Thanks to Cara, a human, inadvertently crossing paths with a hellhound, she becomes the bearer of the agimortus. Luckily, she has a few tricks of her own to aid her in her new role. I liked Cara and the way she seemed to blossom despite her captivity and impending death, as well as how easily she could stand up to Ares. I would have liked a little more character development, as it did not feel like her character arc was complete.
Ares is also an interesting character. Even though he is drawn to wars and violence, with his very presence inciting violence and rage among humans, Cara is immune to this ability. Because of how her presence weakens him, Ares shows a vulnerability characteristic of the humanity he left behind thousands of years ago. Around Cara, he is simply a normal guy falling in love, and the way he attempts to "macho-up" to deal with it is positively adorable.
The violence in the book is both believable and quite gritty. Of course, the horsemen's supernatural abilities of strength and healing allow it to be especially intense and dramatic. The sexual scenes in the book are also quite graphic and detailed, without feeling cheesy or awkward.
The laws built into Ione's world of horsemen, angels, and demons is complex without being confusing. The reader is introduced to its structure piece by piece throughout the novel without being bombarded by the details, and all of the pieces fit together nicely. In addition, Ione even includes a glossary at the beginning of the book to help the reader become more accustomed to the world.
The other siblings are all unique and show lots of promise for future books in the series. Thanatos, destined to become Death, has a seductive air of mystery that had me wondering several times throughout the book if something would occur between him and Cara. The sister, Limos, destined to be Famine, also shows many interesting characteristics, such as a certain hidden madness that she struggles to keep leashed, and the chemistry she shares with Arik is palpable. Even though Reseph becomes Pestilence early in the book, I have a feeling he may prove to be the most interesting of the siblings under a theme of redemption. I only have to wait till December for Immortal Rider (Lords of Deliverance), which centers on Limos, to find out what happens next!
Kristy H (1252 KP) rated An Unwanted Guest in Books
Mar 11, 2019
Eerie read with a rather tidy ending
Mitchell's Inn is a lovely lodge far away from the hustle and bustle of it all--there's no wifi, just a relaxing setting, good food, and comfortable rooms. But this particular weekend, things go awry when a bad storm hits, covering the Inn in ice and knocking out the power: there's no phone service or the ability for anyone to leave the premises. Then, by morning, one of the guests is dead. It could be an accident, but no one can say for sure. And when the second guest dies, it's certain: they are trapped with a murderer. There's no power, no contact with the world, and someone is slowly killing them off. Is someone else next and how do the remaining guests stay safe?
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
"It feels like they're playing at something, some sort of parlor game, or murder mystery evening, with the lights out. Only no one's having fun."
Believe it or not, I've never read a book by Shari Lapena, but I was drawn to this one due to the Agatha Christie comparisons, as I'm a sucker for anything similar to Christie. And this one definitely had some likenesses, with the guests trapped in the Inn, limiting our pool of suspects (and victims). Weirdly enough, my brain kept occasionally going to the movie Clue too - silly, I know, but something about the setting!
This book draws you in from the beginning; the first death happens fairly quickly. There are a lot of characters to keep track of: most are in pairs, and I found myself flipping back a page or two trying to remember who was attached to whom for a while. The narration style is in very short paragraphs, each from the perspective of a different guest. This gives you a bit of whiplash feel at times, as you never really get to fully immerse yourself in anyone's point of view. Still, while I did feel things slowed slightly after the first death, for the most part it keeps things moving fairly quickly and lets you see things from a variety of sides.
Lapena is also very descriptive and sets the scene well. It's easy to picture this lovely Inn--which quickly turns dark and disastrous. The book is actually creepy and eerie at times; I won't go into detail as to why, to avoid spoilers, but I definitely found myself a little spooked. In fact, I was surprised the guests were so calm in the beginning, what with a dead woman and no power! (Don't worry, it won't last.) The novel allows you to think how you'd feel in that particular situation. It certainly doesn't encourage you to go vacation at a remote Inn anytime soon.
I was certainly completely perplexed at whodunnit, so kudos to Lapena for that. With such a limited cast of characters (and getting slimmer every moment), that's quite a feat. I thought the ending was a bit tidy and I was left feeling oddly letdown; I'm not sure I can even explain why.
Overall, I enjoyed this one even I didn't wildly love it. It does have a bit of a Christie feel to it, and it kept me guessing. The scene setting is excellent, and I liked the eerie, trapped sense I felt while reading. It wraps up a tad neatly, but I'd still recommend it.
Movie Metropolis (309 KP) rated Into the Woods (2014) in Movies
Jun 11, 2019
A charming adaptation
Wolves, witches and giants all appear in the film adaptation of Stephen Sondheim’s popular musical which takes all the best bits of our favourite fairytales and mashes them together in one engaging, song-filled rollercoaster.
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
However, musical movie adaptations are notoriously difficult to get right, from casting restraints to the inclusion of all the songs, transferring them to the silver screen is not something to be entered into lightly. So does director Rob Marhsall’s effort elevate itself above its peers?
Into the Woods has numerous plot threads that all end up coming together in one way or another, but the main storyline follows a baker (James Corden) and his wife, played gloriously by Emily Blunt, as they come to realise they cannot have a child.
Alas, a witch – who just so happens to live next door – has a way to provide them with what they want as long as they get a few items for her in the meantime.
An all-star cast including the likes of Chris Pine, Anna Kendrick, Christine Baranski, Lucy Punch, Johnny Depp and of course Meryl Streep all give their all in a film that is brimming with tantalising cinematography and stunning songs.
meryl-streep-into-the-woodsGenerally speaking, the female cast fares better in the singing portions of the film, although Chris Pine and Billy Magnussen had the audience in intentional fits of laughter in one particular sequence as two handsome Princes.
Unfortunately, Into the Wood’s greatest asset, its cast, is also its biggest undoing. Having so many story threads means that there isn’t any emotional attachment to the characters – despite the film’s numerous attempts to tug at the heartstrings.
Despite a deeply heartfelt performance of ‘Stay with Me’ from Meryl Streep, the film just steadily rolls itself from admittedly thrilling set piece to set piece without getting bogged down in nitty gritty character development.
Thankfully, the glorious cinematography that featured in the trailer continues throughout. An enclosed feeling makes you feel like you’re actually watching a stage show rather than a film, albeit one with a much higher budget, and this is one of its most captivating features.
Director Rob Marshall has managed to keep the pantomime feel despite the fact the audience is watching in a cinema – the locations are never overdone and everything feels nicely claustrophobic, adding to the eerie atmosphere.
However, the final act is unnecessarily long and its foray into deeper territory means the magic and sparkle is well and truly lost. This is a real shame as there are numerous moments where the film could end on a high, rather than delving into a murky and at times, incomprehensible final third.
Overall, Into the Woods is a charming adaptation of the popular musical and despite its slightly overlong running time and a disappointing final act, it manages to stay on course for a perfectly adequate, if underwhelming finale.
The entire cast have a ball with their characters with Meryl Streep and Emily Blunt being particular highlights throughout.
Parents beware however, its PG certification may be slightly too lenient for smaller children, who will no doubt be intrigued by the premise of combining our most-loved fairytales.
https://moviemetropolis.net/2015/01/17/a-charming-adaptation-into-the-woods-review/
postapocalypticplayground (27 KP) rated The Cruel Prince in Books
Mar 12, 2018
Underwhelming sadly
I’m feeling a little underwhelmed if I’m honest, I have never read a Holly Black book before and with the hype surrounding this I fully felt I would be blown away, I was left with a gentle simmer. I have to say I really didn’t enjoy the characters and I’m finding it hard to think of one that was particularly likeable. Jude and her sister Tarryn are now living as wards of the man who brutally murdered their parents when they were very young, yet they seem to embrace him and throughout it doesn’t appear to be any thirst for revenge against him that fuels her, instead it seems to be focused on the torment and bullying she receives from the “cruel” prince Carden and getting back at him and his posse. I say “cruel” because it’s actually quite ambiguous, there are plenty of princes who are truly cruel in this story, more so than Carden who is just a by product of his experiences. I certainly wouldn’t agree with the blurb that he is the “wickedest of the Kings sons.” All the male characters are written without much in the way of redeeming features and most of the girls are scheming. Sadly, I didn’t really care about Jude and I found the situations she found herself in slowly more and more ludicrous almost as if it was ultimately forgotten that she was human playing fae.
However, after the first 8 chapters the story moves from High School drama to something more fantasy based, Jude finds herself tasked with an unusual role which she hopes will find her favour within the court (Tarryn gets reduced to wanting to be a good little wife to a high lord – urgh) and ultimately secure her a role in which she will win respect. Jude must learn to become tough, to learn secrets and to ultimately become a pawn in a much larger game for power. Despite my reservations Holly Black worked some magic on me that led me to not want to put the book down, there were twists and turns, truths and lies, and a plot that left me reeling, if not a little confused sometimes. It’s a book that feels like it is trying to be many things, there is one scene that feels particularly Game of Thrones esq, but it does for the most part mange to keep it’s own identity.
I have struggled to write this review and I did hover between 2 and 3 stars for a long time, I have decided on 3 as for about 2/3 I did actually enjoy the underlying story, if not the characters themselves. I found it richly woven with plenty to keep me thinking ahead and an intriguing back story. There are a number of games in play and lots of clues of being dotted around, unfortunately Jude is too caught up to put the pieces together properly which isn’t surprising as even I was struggling to keep up with all the things going on! Despite myself, I will probably read book 2 as for some reason that I can’t entirely fathom I really want to know what happens next, perhaps it’s a glamour from the pages themselves…….
However, after the first 8 chapters the story moves from High School drama to something more fantasy based, Jude finds herself tasked with an unusual role which she hopes will find her favour within the court (Tarryn gets reduced to wanting to be a good little wife to a high lord – urgh) and ultimately secure her a role in which she will win respect. Jude must learn to become tough, to learn secrets and to ultimately become a pawn in a much larger game for power. Despite my reservations Holly Black worked some magic on me that led me to not want to put the book down, there were twists and turns, truths and lies, and a plot that left me reeling, if not a little confused sometimes. It’s a book that feels like it is trying to be many things, there is one scene that feels particularly Game of Thrones esq, but it does for the most part mange to keep it’s own identity.
I have struggled to write this review and I did hover between 2 and 3 stars for a long time, I have decided on 3 as for about 2/3 I did actually enjoy the underlying story, if not the characters themselves. I found it richly woven with plenty to keep me thinking ahead and an intriguing back story. There are a number of games in play and lots of clues of being dotted around, unfortunately Jude is too caught up to put the pieces together properly which isn’t surprising as even I was struggling to keep up with all the things going on! Despite myself, I will probably read book 2 as for some reason that I can’t entirely fathom I really want to know what happens next, perhaps it’s a glamour from the pages themselves…….
Darren (1599 KP) rated All The Devil's Men (2018) in Movies
Jun 20, 2019
Story: All the Devil’s Men starts as we meet the bounty hunter team working for CIA agent Leigh (Hoeks), we have Collins (Gibson), Brennan (Fichtner) and new member Samuelson (Akinnagbe), whose latest job was a success, now in London they start to investigate the latest mission.
When the team gets set up Collins must lead the remaining members of the team in an operation around London which puts him against an old military brother Deighton (Millson).
Thoughts on All the Devil’s Men
Characters – Collins is the seal that has been working as a bounty hunter for the CIA, he has a dark past with missions he has completed and knows to trust the team around him, he won’t give up till the mission is complete. Leigh is the one that runs the operations, she puts the team together and tends to be their eyes in the sky, though she is willing to do anything to close the deal for the good of the country. Brennan is the older member of the team and the member that Collins has worked with the longest, he knows how the system operates and who to bring in when needing extra hands. Samuelson is the newest member of the team, he doesn’t want to be known as a bounty hunter more of a shadow warrior, he does following instructions well, but talks more than Collins wants him too.
Performances – Milo Gibson as the leading action man is solid, he doesn’t have too much to do that is overly difficult, few driving, shooting and ducking scenes, no real emotional moment required. Sylvia Hoeks was fantastic in Blade Runner 2049, which is a disappointment here because we know how great she can be, it feels like this wasted her talent. William Fichtner is solid enough which is here to give the biggest name for the film and Gbenga Akinnagbe gets laughs for the film when needed.
Story – The story follows CIA bounty hunters that are tracking down suspects in London over one night before a major deal goes down, which could see weapons being giving to the wrong hands. The story gives us a chance to see how the unit uses their skills to track and try to stay ahead while also showing the villains planning for what happens next. For an action film the story is very simple, it doesn’t have anything overly complicated when it comes to twists and can be watched without needing to give the full attention. This is a late-night action film story which is all we want at times.
Action – The action gives us set-up location for confrontations with bullets flying around, the fights are simple, though not shot the best with too many cuts. With the bang, bang and bodies falling it is easy to watch.
Settings – We are mostly set in and around London at night, which is fine, we know London can be busy and full of deals going on, we do seem to stay on the outside of everything going on though.
Scene of the Movie – Plane chase.
That Moment That Annoyed Me – It does waste Sylvia Hoeks full talents.
Final Thoughts – This is good for a late-night action fans, it keeps everything very simple and could easily be put in the lists of any straight to DVD Seagal or Van Damme movies.
Overall: Simple actions film.
https://moviesreview101.com/2018/11/23/all-the-devils-men-2018/
When the team gets set up Collins must lead the remaining members of the team in an operation around London which puts him against an old military brother Deighton (Millson).
Thoughts on All the Devil’s Men
Characters – Collins is the seal that has been working as a bounty hunter for the CIA, he has a dark past with missions he has completed and knows to trust the team around him, he won’t give up till the mission is complete. Leigh is the one that runs the operations, she puts the team together and tends to be their eyes in the sky, though she is willing to do anything to close the deal for the good of the country. Brennan is the older member of the team and the member that Collins has worked with the longest, he knows how the system operates and who to bring in when needing extra hands. Samuelson is the newest member of the team, he doesn’t want to be known as a bounty hunter more of a shadow warrior, he does following instructions well, but talks more than Collins wants him too.
Performances – Milo Gibson as the leading action man is solid, he doesn’t have too much to do that is overly difficult, few driving, shooting and ducking scenes, no real emotional moment required. Sylvia Hoeks was fantastic in Blade Runner 2049, which is a disappointment here because we know how great she can be, it feels like this wasted her talent. William Fichtner is solid enough which is here to give the biggest name for the film and Gbenga Akinnagbe gets laughs for the film when needed.
Story – The story follows CIA bounty hunters that are tracking down suspects in London over one night before a major deal goes down, which could see weapons being giving to the wrong hands. The story gives us a chance to see how the unit uses their skills to track and try to stay ahead while also showing the villains planning for what happens next. For an action film the story is very simple, it doesn’t have anything overly complicated when it comes to twists and can be watched without needing to give the full attention. This is a late-night action film story which is all we want at times.
Action – The action gives us set-up location for confrontations with bullets flying around, the fights are simple, though not shot the best with too many cuts. With the bang, bang and bodies falling it is easy to watch.
Settings – We are mostly set in and around London at night, which is fine, we know London can be busy and full of deals going on, we do seem to stay on the outside of everything going on though.
Scene of the Movie – Plane chase.
That Moment That Annoyed Me – It does waste Sylvia Hoeks full talents.
Final Thoughts – This is good for a late-night action fans, it keeps everything very simple and could easily be put in the lists of any straight to DVD Seagal or Van Damme movies.
Overall: Simple actions film.
https://moviesreview101.com/2018/11/23/all-the-devils-men-2018/
Gareth von Kallenbach (980 KP) rated Deepwater Horizon (2016) in Movies
Jul 15, 2019
On April 20th 2010, approximately 40 miles off of the Louisiana coast, the Deepwater Horizon drilling rig exploded and sank spilling over 3 million barrels of oil into the Gulf of Mexico. The Deepwater Horizon oil spill, also known as the Gulf oil spill and BP oil spill, is the worst oil spill in U.S. history, and cost 11 crew members their lives. It’s also one of the largest environmental disasters in history, who’s total cost to the marine life, fishing community, and entire Gulf coast is still unknown. The film Deepwater Horizon is based on the true story of the men and women who were working on the rig the day of the disaster.
As a new team arrives for a 21-day shift they can already tell something is not exactly right, when the contracted testing crew is leaving without conducting critical tests. The man in charge of the vessel, Jimmy Harrell (Kurt Russell), sets out to find out why the contractors have been dismissed and who let them go. Chief electronics technician Mike Williams (Mark Wahlberg) also goes to question the crew as to what has happened while he was off ship and how long the list is of things he needs to fix. Through a quick investigation by Mike and Jimmy find that BP officials, headed by Vidrine (John Malkovich), are the ones who made the decision. The BP officials chose to assume that everything was fine, and since the Deepwater Horizon was 43 days past their deadline and the rising costs were mounting. Their decision was that it was time to cap the well and move to the next site. That didn’t sit well with Mr. Jimmy, as most of the crew call him, so he demands that one more test is to be run before anything else happens.
The BP officials remind him of the cost and loss of money but eventually agree to the test. The initial test fails but before additional test can be run Jimmy is called away to another part of the vessel. With the addition test being inconclusive, and Mike and Jimmy not around, Vidrine pressures the crew to push forward and move on. Reluctantly the crew and Jimmy agree to move forward. A frustrated Jimmy retires to his crew quarters to get ready for a long night. Mike heads to his shop to video chat with his wife and start the monumental task of fixing all that is wrong aboard the Deepwater Horizon. At about 10 PM the entire vessel was rocked by an explosion. With that the crew rushes frantically to try and stop an even greater disaster and make their way safely off the Deepwater Horizon.
Director Peter Berg (Lone Survivor, Hancock, The Kingdom) does a great job of holding a steady pace throughout this film. The story moves well and once the action begins the intensity and suspense left me on the edge of my seat. The casting is great with Dylan O’Brien, Kate Hudson, Gina Rodriguez and others joining the previously mentioned Wahlberg, Russell and Malkovich. In focusing on the men and women who were on the Deepwater Horizon and their families it makes it a very creative an emotional tribute to the 11 men who perished that night. It does paint the large oil company (BP) as a villain, driven by profit to a point of recklessness, in a way that may be a little too political for some. I found it an informative story, showing a different side to a very well-known disaster.
As a new team arrives for a 21-day shift they can already tell something is not exactly right, when the contracted testing crew is leaving without conducting critical tests. The man in charge of the vessel, Jimmy Harrell (Kurt Russell), sets out to find out why the contractors have been dismissed and who let them go. Chief electronics technician Mike Williams (Mark Wahlberg) also goes to question the crew as to what has happened while he was off ship and how long the list is of things he needs to fix. Through a quick investigation by Mike and Jimmy find that BP officials, headed by Vidrine (John Malkovich), are the ones who made the decision. The BP officials chose to assume that everything was fine, and since the Deepwater Horizon was 43 days past their deadline and the rising costs were mounting. Their decision was that it was time to cap the well and move to the next site. That didn’t sit well with Mr. Jimmy, as most of the crew call him, so he demands that one more test is to be run before anything else happens.
The BP officials remind him of the cost and loss of money but eventually agree to the test. The initial test fails but before additional test can be run Jimmy is called away to another part of the vessel. With the addition test being inconclusive, and Mike and Jimmy not around, Vidrine pressures the crew to push forward and move on. Reluctantly the crew and Jimmy agree to move forward. A frustrated Jimmy retires to his crew quarters to get ready for a long night. Mike heads to his shop to video chat with his wife and start the monumental task of fixing all that is wrong aboard the Deepwater Horizon. At about 10 PM the entire vessel was rocked by an explosion. With that the crew rushes frantically to try and stop an even greater disaster and make their way safely off the Deepwater Horizon.
Director Peter Berg (Lone Survivor, Hancock, The Kingdom) does a great job of holding a steady pace throughout this film. The story moves well and once the action begins the intensity and suspense left me on the edge of my seat. The casting is great with Dylan O’Brien, Kate Hudson, Gina Rodriguez and others joining the previously mentioned Wahlberg, Russell and Malkovich. In focusing on the men and women who were on the Deepwater Horizon and their families it makes it a very creative an emotional tribute to the 11 men who perished that night. It does paint the large oil company (BP) as a villain, driven by profit to a point of recklessness, in a way that may be a little too political for some. I found it an informative story, showing a different side to a very well-known disaster.
JT (287 KP) rated Sinister (2012) in Movies
Mar 10, 2020
Has the found footage genre been done to death? Some would very much say it has, yet they keep on churning the films out. One thing to note with many of these is the budget, films like Paranormal Activity and Insidious were made for a pittance yet generated millions at the box office.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.
This is the same for Sinister, made for $3m it grossed almost $80m and was one of the surprise hits of last year, of course films like this are not going to be everyone’s cup of tea, but I love a good scare now and again and here I wasn’t disappointed.
Ethan Hawke is the clear standout in this one, here he plays true crime writer Ellison Oswalt who is looking for his next big thing to thrust him into the limelight. He and his family move into a house which he tells them is only a few doors down from a gruesome murder of a family who were all hung from a tree in their back garden.
When he finds a box in his attic containing reels of super 8 film and a camera he soon discovers more grisly murders and that somehow they are all linked to each other. Add to that a mysterious figure who appears in all the films and you have a character who goes a little stir crazy in trying to uncover the truth.
His family are desperate to leave, not happy with the current surroundings they are thrown into even more turmoil when its revealed that the house Oswalt said was two doors down is actually the house they are living in at the moment, don’t you just hate when that happens?
Director Scott Derrickson builds solid amounts of tension throughout, most disturbing are the super 8 films that show a number of families being killed off (you’ll never look at a lawn mower in the same light again). But then you have the same old horror cliché’s slipping back into it, things going bump in the night which leave you waiting for that revealing moment which comes with a consistent bang.
You’d be forgiven for thinking that this might not actually be classed as found footage, certainly not in the same vein as maybe Paranormal Activity or The Blair Witch Project. We’re not viewing anything from the point of view that the characters in this are dead….yet, and the resulting film is their story. But it is ‘found footage’, in that Oswalt has uncovered these films in his attic.
What makes Sinister that bit more unnerving is the somber mood, lighting and camera angles. Not quite giving us the full picture we have to let our imagination stay a few steps ahead of us. The musical score then connects everything together to give us a real horror treat.
Hawke gives a solid performance, he’s a man very much on the edge and that fame is the answer to his future. He’ll succeed at whatever the cost, and the cost is ultimately a big one. The end reveal some might have seen coming a mile off, personally I wasn’t expecting it so it was a good finish to a film that had rattled the nerves a few times.
Produced by the same team that brought us Paranormal Activity and Insidious, it’s a low budget success that shows big budget horrors how it should be done.
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