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Kristy H (1252 KP) rated Between Me and You in Books
Dec 23, 2017
confusing (1 more)
repetitive
Repetitive but oddly compelling romance
When Ben Livingston and Tatum Connelly meet, they are both dreaming of success in Hollywood--Ben as a scriptwriter and Tatum as an actress. It's Ben who hits it big first, becoming Hollywood's It Guy and a Sundance favorite. But over time, his star slowly fades while Tatum rises to a stardom neither could have ever fully imagined. Along the way, the two wed, have a son, and experience a variety of ups and downs in their marriage. This includes several losses in their personal lives and slowly drifting apart. They once were incredibly close and deeply in love; can their love sustain everything that life throws at them?
This was a really interesting book, starting with the format. The story is told from both Tatum and Ben's perspectives. No big deal, you think, right? Except Tatum's portions start at the beginning of their journey and go in chronological order, while Ben tells his part of the story backward, starting with how they've fallen apart and going back in time. It's an odd device and definitely takes some getting used to. It was hard to keep some of the dates and timelines straight; it was one of the times where I wished I had a hardcopy of the book so I could flip back and forth more easily.
It also seemed to make the story more repetitive--when you have two people telling the same stories, you're bound to get some repetition. But what was really strange was that it sometimes felt like each chapter was a mini story that needed to reintroduce everything all over again. I don't know why the author felt this was necessary, because it's an oddly compelling book on its own even when neither main character is really that likeable. But we heard over and over about Tatum and Ben's daddy issues, career issues, that he never wrote anything for her. And oh yeah, did we mention that Tatum's an actress and doesn't eat, etc.?
At the core, this isn't really a happy book, despite it being romantic at times. Both Tatum and Ben have a lot of petty issues, but also really serious issues relating to their parents. This is fine, except we hear about it (a lot) due to the repetitive way the story is told. There's a lot of mourning and grieving and there's a dark side that deals with addiction, too. The focus on that fact that Ben has never written a script for Tatum--while this does have a point in the end--this gets to be a little much, too. The problem with all the focus on these things is that I felt like I never really learn a lot about Tatum and Ben in this format. I was always yearning for more. Is the story of two people growing apart interesting? Am I invested in them? (I was.)
It's sad, because despite everything I have said, I found this book weirdly compelling. Maybe it's because Tatum is a famous actress and there's a Hollywood setting, even if it's not really fleshed out. I wanted to know more about Tatum and Ben. I wanted them to work out. I wanted to read the book, even with the odd format and rehashing of things. It's a little hard to describe. It's like watching a romantic comedy where you desperately want the two leads to get together, despite all the odds.
So, I'm still glad I read this one. It was engaging and different. I do wish I knew more about Ben and Tatum and their motivations and what led them together (and apart).
This was a really interesting book, starting with the format. The story is told from both Tatum and Ben's perspectives. No big deal, you think, right? Except Tatum's portions start at the beginning of their journey and go in chronological order, while Ben tells his part of the story backward, starting with how they've fallen apart and going back in time. It's an odd device and definitely takes some getting used to. It was hard to keep some of the dates and timelines straight; it was one of the times where I wished I had a hardcopy of the book so I could flip back and forth more easily.
It also seemed to make the story more repetitive--when you have two people telling the same stories, you're bound to get some repetition. But what was really strange was that it sometimes felt like each chapter was a mini story that needed to reintroduce everything all over again. I don't know why the author felt this was necessary, because it's an oddly compelling book on its own even when neither main character is really that likeable. But we heard over and over about Tatum and Ben's daddy issues, career issues, that he never wrote anything for her. And oh yeah, did we mention that Tatum's an actress and doesn't eat, etc.?
At the core, this isn't really a happy book, despite it being romantic at times. Both Tatum and Ben have a lot of petty issues, but also really serious issues relating to their parents. This is fine, except we hear about it (a lot) due to the repetitive way the story is told. There's a lot of mourning and grieving and there's a dark side that deals with addiction, too. The focus on that fact that Ben has never written a script for Tatum--while this does have a point in the end--this gets to be a little much, too. The problem with all the focus on these things is that I felt like I never really learn a lot about Tatum and Ben in this format. I was always yearning for more. Is the story of two people growing apart interesting? Am I invested in them? (I was.)
It's sad, because despite everything I have said, I found this book weirdly compelling. Maybe it's because Tatum is a famous actress and there's a Hollywood setting, even if it's not really fleshed out. I wanted to know more about Tatum and Ben. I wanted them to work out. I wanted to read the book, even with the odd format and rehashing of things. It's a little hard to describe. It's like watching a romantic comedy where you desperately want the two leads to get together, despite all the odds.
So, I'm still glad I read this one. It was engaging and different. I do wish I knew more about Ben and Tatum and their motivations and what led them together (and apart).
Kristy H (1252 KP) rated A Season to Lie in Books
Jan 10, 2018
Realistic portrayal of female detective (2 more)
Strong main character
Keeps you guessing
Police officer Gemma Monroe returns from maternity leave and is immediately plunged back into the job when she finds a dead man at the local private academy. He's been left in the snow, stuck to a tree with a knife in his stomach. The man turns out to be a famous author hiding out in plain sight in Gemma's Colorado town. Even worse, that same private school is being plagued by a vicious bully who calls him or herself "Grimm." Reunited with her partner, Finn, Gemma finds herself dealing with the murder case, the bullying incidents, and a strange construction company--made up mainly of ex-convicts--that seems to have made itself at home in her town. So much for easing herself back into the job...
I very much enjoyed Emily Littlejohn's first Gemma Monroe novel, Inherit the Bones, and was really excited to see the second one come out. It's always exciting to see a realistic female detective portrayed in literature. Gemma is much the same in this second foray--practical and levelheaded. She's back to work after the birth of her daughter, Grace, with whom she was pregnant in BONES. The novel does a great job of portraying a working, breastfeeding mom and giving us a realistic look at the struggles a mom faces when juggling work and motherhood. As a mother who went back to work when her own daughters were young and faced a harried schedule, I really appreciated that about this novel.
Thankfully, I did not encounter a dead body on my first day back, just a lot of meetings! Gemma, of course, takes it all in stride, as she cannot help but enjoy the thrill of the hunt. The novel gives us a lot of reflection and thoughts from Gemma. I'd call this one a bit of a slow-burner. I read it while busy and it took me nearly a week. The storyline wasn't one that had me itching to pick it up and see what happens--there's several divergent plot lines and none feel particularly urgent or overly suspenseful.
A pervasive weariness almost overlays the pages--a reflection of the weather (think snow, all the time) and Gemma's general fatigue as she faces returning to work while juggling having a tiny baby at home. That's not to say the book isn't interesting, because it certainly is. Especially when the case starts to intersect with Gemma and Finn's personal lives--which isn't surprising, considering they are small town police officers/detectives. The Grimm storyline is a bit of a bizarre concept and the resolution, while a total surprise to me, was a bit anticlimactic. A few of the plot threads do tie up a little too easily, but the main case befuddled me throughout the entire novel, so kudos to Littlejohn for that. I had some suspicions, but she convinced me to cast them aside, so I'm always pleased when that happens.
What I enjoyed most about this book was Gemma herself. It's probably obvious that I identify with and like her--I enjoy her steadfast character, even though she also has bouts of anxiety and uncertain times. Seeing her as both a mom and working detective was great. This being a second novel, we're gaining enough recurring characters (Gemma, Finn, Gemma's partner/quasi-husband, Brody, Gemma's grandparents, a few other townspeople) that you recognize them and their quirks. Another plotline is left a bit unresolved, leading me to hope that a third Gemma novel is in the works. Even though this wasn't the most exciting of all mysteries, I found it solid and enjoyable, much like its protagonist. I'd certainly read any Gemma Monroe novel I could get my hands on. 3.5+ stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review.
I very much enjoyed Emily Littlejohn's first Gemma Monroe novel, Inherit the Bones, and was really excited to see the second one come out. It's always exciting to see a realistic female detective portrayed in literature. Gemma is much the same in this second foray--practical and levelheaded. She's back to work after the birth of her daughter, Grace, with whom she was pregnant in BONES. The novel does a great job of portraying a working, breastfeeding mom and giving us a realistic look at the struggles a mom faces when juggling work and motherhood. As a mother who went back to work when her own daughters were young and faced a harried schedule, I really appreciated that about this novel.
Thankfully, I did not encounter a dead body on my first day back, just a lot of meetings! Gemma, of course, takes it all in stride, as she cannot help but enjoy the thrill of the hunt. The novel gives us a lot of reflection and thoughts from Gemma. I'd call this one a bit of a slow-burner. I read it while busy and it took me nearly a week. The storyline wasn't one that had me itching to pick it up and see what happens--there's several divergent plot lines and none feel particularly urgent or overly suspenseful.
A pervasive weariness almost overlays the pages--a reflection of the weather (think snow, all the time) and Gemma's general fatigue as she faces returning to work while juggling having a tiny baby at home. That's not to say the book isn't interesting, because it certainly is. Especially when the case starts to intersect with Gemma and Finn's personal lives--which isn't surprising, considering they are small town police officers/detectives. The Grimm storyline is a bit of a bizarre concept and the resolution, while a total surprise to me, was a bit anticlimactic. A few of the plot threads do tie up a little too easily, but the main case befuddled me throughout the entire novel, so kudos to Littlejohn for that. I had some suspicions, but she convinced me to cast them aside, so I'm always pleased when that happens.
What I enjoyed most about this book was Gemma herself. It's probably obvious that I identify with and like her--I enjoy her steadfast character, even though she also has bouts of anxiety and uncertain times. Seeing her as both a mom and working detective was great. This being a second novel, we're gaining enough recurring characters (Gemma, Finn, Gemma's partner/quasi-husband, Brody, Gemma's grandparents, a few other townspeople) that you recognize them and their quirks. Another plotline is left a bit unresolved, leading me to hope that a third Gemma novel is in the works. Even though this wasn't the most exciting of all mysteries, I found it solid and enjoyable, much like its protagonist. I'd certainly read any Gemma Monroe novel I could get my hands on. 3.5+ stars.
I received a copy of this novel from the publisher and Netgalley (thank you!) in return for an unbiased review.
Goddess in the Stacks (553 KP) rated Little Bee in Books
Jun 20, 2018
Today, June 20, is World Refugee Day. First observed in 2001, it is dedicated to raising awareness of the plight of refugees all across the world. African Refugee Day had been observed in some countries prior to the UN declaring it World Refugee Day, but the Organization of African Unity agreed to have the two days coincide.
To honor World Refugee Day, today I'm going to talk about Little Bee. Little Bee is a Nigerian refugee in the United Kingdom. She and her sister witnessed the destruction of their village by an oil company's thugs, and were hunted down to eliminate the witnesses. In a chance encounter on a Nigerian beach, she met Sarah and Andrew, a couple from London trying to save their marriage by going on an exotic holiday. The encounter changes the lives of all three of them, and when Little Bee makes it to the United Kingdom, they are the only people she knows. She arrives at their home on the day of Andrew's funeral, and Sarah takes her in.
The book switches between the viewpoints of Sarah and Little Bee, and it does suffer from that, a bit. I couldn't wait for Sarah's chapters to be done so I could get back to Little Bee. Her viewpoint - her voice - was enthralling. Some first-person views are just the person thinking to themselves, while some first-person views are the person talking to the reader. Sarah was the first type, and Little Bee the second. Reading her explanations of the differences between her old life and her new life, and how the girls from her village wouldn't understand things, was amazing. I was hooked within the first ten pages of the book, specifically her note about scars:
"I ask you right here please to agree with me that a scar is never ugly. That is what the scar makers want us to think. But you and I, we must make an agreement to defy them. We must see all scars as beauty. Okay? This will be our secret. Because take it from me, a scar does not form on the dying. A scar means, I survived."
The events Little Bee talks about having witnessed are horrifying. And she recognizes that. She could be bitter, she could be depressed, she could be insane, but she is not. She manages to have hope, and even joy. She sees other refugees around her commit suicide, and in fact always has a plan for how to kill herself "if the men come." Because the stories of refugees always begin with "the men came and they..." and she'd rather kill herself than let herself be taken. Despite this, she has hope for a future. Or perhaps she simply takes joy in the present.
The book is not a happy one. Like Sing, Unburied, Sing, it's an important book but not exactly an enjoyable one. There are enjoyable parts. But there are very hard parts, too. (I should note, here, a TRIGGER WARNING for a graphic description of rape, when Little Bee tells Sarah what happened to Little Bee's older sister.) It did not end the way I wanted it to, though it ended in an unexpected way. I suppose it was too much to hope for a Happy Ever After when the vast majority of refugees don't get one.
For all that there were very tough scenes to get through in this book, I'm still putting it on my Best of 2018 list. Little Bee's voice and viewpoint is amazing, the story is well researched, and the plot absorbing. This is a book I'd like to have on my shelf.
You can find all my reviews at http://goddessinthestacks.wordpress.com
To honor World Refugee Day, today I'm going to talk about Little Bee. Little Bee is a Nigerian refugee in the United Kingdom. She and her sister witnessed the destruction of their village by an oil company's thugs, and were hunted down to eliminate the witnesses. In a chance encounter on a Nigerian beach, she met Sarah and Andrew, a couple from London trying to save their marriage by going on an exotic holiday. The encounter changes the lives of all three of them, and when Little Bee makes it to the United Kingdom, they are the only people she knows. She arrives at their home on the day of Andrew's funeral, and Sarah takes her in.
The book switches between the viewpoints of Sarah and Little Bee, and it does suffer from that, a bit. I couldn't wait for Sarah's chapters to be done so I could get back to Little Bee. Her viewpoint - her voice - was enthralling. Some first-person views are just the person thinking to themselves, while some first-person views are the person talking to the reader. Sarah was the first type, and Little Bee the second. Reading her explanations of the differences between her old life and her new life, and how the girls from her village wouldn't understand things, was amazing. I was hooked within the first ten pages of the book, specifically her note about scars:
"I ask you right here please to agree with me that a scar is never ugly. That is what the scar makers want us to think. But you and I, we must make an agreement to defy them. We must see all scars as beauty. Okay? This will be our secret. Because take it from me, a scar does not form on the dying. A scar means, I survived."
The events Little Bee talks about having witnessed are horrifying. And she recognizes that. She could be bitter, she could be depressed, she could be insane, but she is not. She manages to have hope, and even joy. She sees other refugees around her commit suicide, and in fact always has a plan for how to kill herself "if the men come." Because the stories of refugees always begin with "the men came and they..." and she'd rather kill herself than let herself be taken. Despite this, she has hope for a future. Or perhaps she simply takes joy in the present.
The book is not a happy one. Like Sing, Unburied, Sing, it's an important book but not exactly an enjoyable one. There are enjoyable parts. But there are very hard parts, too. (I should note, here, a TRIGGER WARNING for a graphic description of rape, when Little Bee tells Sarah what happened to Little Bee's older sister.) It did not end the way I wanted it to, though it ended in an unexpected way. I suppose it was too much to hope for a Happy Ever After when the vast majority of refugees don't get one.
For all that there were very tough scenes to get through in this book, I'm still putting it on my Best of 2018 list. Little Bee's voice and viewpoint is amazing, the story is well researched, and the plot absorbing. This is a book I'd like to have on my shelf.
You can find all my reviews at http://goddessinthestacks.wordpress.com
Shaun Quarterman (24 KP) rated The Transformers - The Movie (1986) in Movies
Mar 9, 2020
Robots in disguise
Contains spoilers, click to show
TRANSFORMERS THE MOVIE
This movie is what I like to call a cult classic the first big screen appearance of the Autobots and Decepticons, its appeared after the first two seasons and it shook everything up Transformers as we knew it was over. It starts with a massacre on an Autobot shuttle and many characters died at the hands of Decepticon leader Megatron it shocked me when I first saw this because we had seen two seasons and it was all a bit tame. But the worst was yet to come so let me explain the whole idea of killing off these characters was to make way for future characters and new toy lines we had grown up and loved Ironhide ,and Ratchet, Prowl it definitely threw me the brutality of it shot point blank in the back of the head.
The war continues on Earth and we meet the future of the franchise Ultra Magnus and Hotrod as well as others all made to look futuristic their vehicle modes were Cybertronian which was new and I loved the more space age look about it we meet Daniel Witwicky the son of Spike but there is no sign of sparkplug or an explanation of his whereabouts Carly is Daniels mother. Now comes the part that shocked the world the death of Optimus Prime now let me explain in all versions of Transformers Optimus Prime always dies and the devastating planet Unicron always appears its Transformers lore but this movie defined it I wanted Optimus to destroy Unicron but it wasn’t to be.
Megatron also makes his last appearance with several other Decepticons which evened out the earlier Autobot deaths except they didn’t die they were reanimated by Unicron a new leader was born Galvatron and Cyclonus and Scourge and his dreaded Sweeps then came the death of Starscream it showed the brutality of the new leader, in the first two seasons Starscream would try to overthrow Megatron but he would always get away with it. Galvatron showed no mercy and blasted him straight away.
We are introduced to several new races of Transformers Junkions, Sharkticons and Quintessons all of which have would future appearances in season three and four, we see the friendship blossom between the young Autobot Hotrod and the old warrior Kup and the Dinobots get there action in as well I have always been a big fan of the Dinobots and they save the day again,
The most brilliant thing I had ever seen at the time was the transformation of Unicron a planet to robot I loved the sheer size of it and this final battle brought forth a new leader of the Autobots Rodimus Prime and a new era in Transformers entertainment despite the violence and death it did all make sense plus there are some cameo voices as well Galvatron was voiced by Doctor Spock himself Leonard Nimoy and rodimus prime voiced by Judd Nelson and Unicron was Voiced by orson Wells war of the worlds.
So I must admit this film is a guilty pleasure of mine and I highly recommend it I would advise to watch seasons one and two first just so you can feel how much the movie changed the franchise and the deaths of the characters actually mean more to you so give it a try and see what you think and there is a massive spoiler alert at the end of the movie which is narrated and got the public excited about the next season so enjoy it savour it and soak up this cult classic
This movie is what I like to call a cult classic the first big screen appearance of the Autobots and Decepticons, its appeared after the first two seasons and it shook everything up Transformers as we knew it was over. It starts with a massacre on an Autobot shuttle and many characters died at the hands of Decepticon leader Megatron it shocked me when I first saw this because we had seen two seasons and it was all a bit tame. But the worst was yet to come so let me explain the whole idea of killing off these characters was to make way for future characters and new toy lines we had grown up and loved Ironhide ,and Ratchet, Prowl it definitely threw me the brutality of it shot point blank in the back of the head.
The war continues on Earth and we meet the future of the franchise Ultra Magnus and Hotrod as well as others all made to look futuristic their vehicle modes were Cybertronian which was new and I loved the more space age look about it we meet Daniel Witwicky the son of Spike but there is no sign of sparkplug or an explanation of his whereabouts Carly is Daniels mother. Now comes the part that shocked the world the death of Optimus Prime now let me explain in all versions of Transformers Optimus Prime always dies and the devastating planet Unicron always appears its Transformers lore but this movie defined it I wanted Optimus to destroy Unicron but it wasn’t to be.
Megatron also makes his last appearance with several other Decepticons which evened out the earlier Autobot deaths except they didn’t die they were reanimated by Unicron a new leader was born Galvatron and Cyclonus and Scourge and his dreaded Sweeps then came the death of Starscream it showed the brutality of the new leader, in the first two seasons Starscream would try to overthrow Megatron but he would always get away with it. Galvatron showed no mercy and blasted him straight away.
We are introduced to several new races of Transformers Junkions, Sharkticons and Quintessons all of which have would future appearances in season three and four, we see the friendship blossom between the young Autobot Hotrod and the old warrior Kup and the Dinobots get there action in as well I have always been a big fan of the Dinobots and they save the day again,
The most brilliant thing I had ever seen at the time was the transformation of Unicron a planet to robot I loved the sheer size of it and this final battle brought forth a new leader of the Autobots Rodimus Prime and a new era in Transformers entertainment despite the violence and death it did all make sense plus there are some cameo voices as well Galvatron was voiced by Doctor Spock himself Leonard Nimoy and rodimus prime voiced by Judd Nelson and Unicron was Voiced by orson Wells war of the worlds.
So I must admit this film is a guilty pleasure of mine and I highly recommend it I would advise to watch seasons one and two first just so you can feel how much the movie changed the franchise and the deaths of the characters actually mean more to you so give it a try and see what you think and there is a massive spoiler alert at the end of the movie which is narrated and got the public excited about the next season so enjoy it savour it and soak up this cult classic
Kirk Bage (1775 KP) rated The Boys - Season 2 in TV
Jan 22, 2021
As I have already stated in my review of season one of The Boys, it is a show that I have found compelling to watch without actually liking or thinking it is necessarily very good. The premise was intriguing, and threw up some pretty interesting dramatic conflicts in the first season. But it was obvious from very early on that this show wanted to make the most of its 18 certificate and use gore, violence and shock tactics to really make fans of those things gasp.
In season two they have taken that key point of difference and turned the volume up to ten! All I remember from it, some three months now since I finished it, is blood, exploding and crushed heads, severed limbs, gross out deaths and lots more blood. Which, you know, turns some people on, but after the first ten times I got pretty sick of it – almost literally – and was just riding it out to the finish mostly.
Performance wise, there isn’t really a stand out, and the writing doesn’t really offer the opportunity (yet) for true emotional depth. Antony Starr, as the deplorably egotistical maniac “hero” Homelander, is the one you love to hate though! Rarely have I found myself wanting a character to get his dues so much! He is utterly loathsome and repulsive, so much credit for that creation. Depending on where they take things in season 3 and beyond, he could emerge as one of the iconic characters of this era of streaming TV.
In terms of story progression, a decent job has been made by introducing Aya Cash as Stormfront, a depraved love interest for Homelander with a big secret and a great plot device. Most of the events have revolved around her introduction, development, backstory reveal and consequences of that on the show’s main man. Meanwhile the storyline around Karl Urban as Billy Butcher becomes more and more forgettable and sometimes irrelevant.
That is the problem with this show really; it has set itself up as being Superheros that are actually assholes vs renegade anti-heros that want to stop them… but, it knows that as soon as that conflict is resolved and satisfied the show is over. So, they drag the story along with very minimal contact as yet between the two. Plenty of inner turmoil within the two groups, but no action as such against one another.
And that is why the build up to this season’s climax felt mostly anti-climactic. Although it did land a half decent cliff-hanger right at the end. I don’t know… I just feel as if it’s a show to let wash over you without that much value in analysing it. And that wash always makes me feel slightly grubbier than I was before. If redemption, conflict and resolution are on the cards they need to get a dose of it into season three, or I will probably lose interest fast.
Amazon Prime has a lot of shows a lot better than this one, but probably none that appeal as much to boys and men under 30. It has its place on the vast entertainment schedule, but personally I am craving more meaning and less of the puerile dependence on gore. However, if that is what its audience talk about, then its gonna increase not decrease. They have set their own bloody bar now and my fear is this is what the future of the show holds: more and more original ways to gross us out. I’d like to be proved wrong, but I don’t feel in a huge rush about it either way.
In season two they have taken that key point of difference and turned the volume up to ten! All I remember from it, some three months now since I finished it, is blood, exploding and crushed heads, severed limbs, gross out deaths and lots more blood. Which, you know, turns some people on, but after the first ten times I got pretty sick of it – almost literally – and was just riding it out to the finish mostly.
Performance wise, there isn’t really a stand out, and the writing doesn’t really offer the opportunity (yet) for true emotional depth. Antony Starr, as the deplorably egotistical maniac “hero” Homelander, is the one you love to hate though! Rarely have I found myself wanting a character to get his dues so much! He is utterly loathsome and repulsive, so much credit for that creation. Depending on where they take things in season 3 and beyond, he could emerge as one of the iconic characters of this era of streaming TV.
In terms of story progression, a decent job has been made by introducing Aya Cash as Stormfront, a depraved love interest for Homelander with a big secret and a great plot device. Most of the events have revolved around her introduction, development, backstory reveal and consequences of that on the show’s main man. Meanwhile the storyline around Karl Urban as Billy Butcher becomes more and more forgettable and sometimes irrelevant.
That is the problem with this show really; it has set itself up as being Superheros that are actually assholes vs renegade anti-heros that want to stop them… but, it knows that as soon as that conflict is resolved and satisfied the show is over. So, they drag the story along with very minimal contact as yet between the two. Plenty of inner turmoil within the two groups, but no action as such against one another.
And that is why the build up to this season’s climax felt mostly anti-climactic. Although it did land a half decent cliff-hanger right at the end. I don’t know… I just feel as if it’s a show to let wash over you without that much value in analysing it. And that wash always makes me feel slightly grubbier than I was before. If redemption, conflict and resolution are on the cards they need to get a dose of it into season three, or I will probably lose interest fast.
Amazon Prime has a lot of shows a lot better than this one, but probably none that appeal as much to boys and men under 30. It has its place on the vast entertainment schedule, but personally I am craving more meaning and less of the puerile dependence on gore. However, if that is what its audience talk about, then its gonna increase not decrease. They have set their own bloody bar now and my fear is this is what the future of the show holds: more and more original ways to gross us out. I’d like to be proved wrong, but I don’t feel in a huge rush about it either way.
Kirk Bage (1775 KP) rated Unsolved Mysteries in TV
Jan 22, 2021 (Updated Jan 22, 2021)
It is a guilty secret of mine that when in the right mood I love to get a small fix of the unexplained or the macabre true crime documentary type thing. They tend to range from truly ridiculous to the mildly convincing, but tend not to have especially high production value. Netflix seem to know there is demand for it however, and every now and again there is a mini-series that can live in the same box as the more serious docs.
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Hazel (1853 KP) rated The Hazel Wood in Books
Nov 12, 2017
MARVEL-ous, apparently
I received this ARC for free from the Penguin Platform Team.
“Imagine Marvel did fairy tales …” Well, I cannot because I have never seen a Marvel film but I understand the sentiment. The Hazel Wood by Melissa Albert is a book where fairy tales and reality collide. However, these are not stories full of glamour and grandeur, they are the sort originally told by the Jacob and Wilhelm Grimm during the 19th Century. What begins as a fairly realistic tale rapidly spirals into chaos when characters from a book start appearing in New York, something that should be impossible.
For seventeen years, Alice and her mother, Ella, have been travelling on the roads, barely stopping in places for more than a few months. It would be nice to have a home and settle down, however, they are always chased by bad luck, causing them to flee at any moment. Alice is not sure of the cause of their misfortune but suspects it may have something to do with her reclusive grandmother who lives alone on her estate titled the Hazel Wood. Alice’s grandmother wrote Tales From the Hinterland, a book of pitch-dark fairy tales, many years ago and it has become a rare piece of literature – a collector’s item; not even Alice has read it. But when her mother goes missing under suspicious circumstances, Alice wishes she had.
Homeless without her mother, Alice seeks help from a school acquaintance, Ellery Finch, whom she knows is a fan of her grandmother’s work. Yet, before they can formulate a plan to locate her mother, the cause of her bad luck reveals itself in the form of impossible, murderous fairy-tale characters. As Alice learns more about the Hinterland, she discovers that she has been receiving glimpses of the characters all her life.
Alice is in danger, as is Ellery, but she will stop at nothing to retrieve her mother, even venturing into the Hazel Wood – a place she has been forbidden to enter. With Ellery using his father’s wealth and connections, the two make a long journey to the place they believe her mother is being held, but what Alice finds there is more dangerous and shocking than she could ever imagine.
Retellings of fairy tales have become a popular genre in recent years, particularly amongst young adult literature. The Hazel Wood, however, is only loosely based upon ideas featuring in ancient folktales; the stories themselves have been thought up by Melissa Albert with unique characters such as Twice-Killed-Catherine and Three-Times-Alice. Although it is often fun to analyse the comparisons and differences between old tales and new, it is refreshing to come across brand new fairy tales.
Initially, the book comes across as a thriller and mystery set in the real world, however, fantasy elements quickly creep in. Two-thirds of the way into the story, the setting and genre change direction, introducing a fictional world where rules of nature have gone out of the window. At this point, it becomes slightly confusing to fully visualize the situation, and the storyline begins to get darker and darker.
Children’s fairy tales always have a happy-ever-after, however, the traditional ones rarely did, therefore, it is impossible to guess how The Hazel Wood will end. This, along with humour and enchanting action, hooks the reader and, according to other reviewers, has resulted in many hours slipping away without notice.
The Hazel Wood is a unique story on the cusp of young adult and adult fiction. It is not only a good work of fiction; it is clever and well thought out, too. Melissa Albert is certainly an author to look out for, especially if you like dark mysteries and thrillers.
“Imagine Marvel did fairy tales …” Well, I cannot because I have never seen a Marvel film but I understand the sentiment. The Hazel Wood by Melissa Albert is a book where fairy tales and reality collide. However, these are not stories full of glamour and grandeur, they are the sort originally told by the Jacob and Wilhelm Grimm during the 19th Century. What begins as a fairly realistic tale rapidly spirals into chaos when characters from a book start appearing in New York, something that should be impossible.
For seventeen years, Alice and her mother, Ella, have been travelling on the roads, barely stopping in places for more than a few months. It would be nice to have a home and settle down, however, they are always chased by bad luck, causing them to flee at any moment. Alice is not sure of the cause of their misfortune but suspects it may have something to do with her reclusive grandmother who lives alone on her estate titled the Hazel Wood. Alice’s grandmother wrote Tales From the Hinterland, a book of pitch-dark fairy tales, many years ago and it has become a rare piece of literature – a collector’s item; not even Alice has read it. But when her mother goes missing under suspicious circumstances, Alice wishes she had.
Homeless without her mother, Alice seeks help from a school acquaintance, Ellery Finch, whom she knows is a fan of her grandmother’s work. Yet, before they can formulate a plan to locate her mother, the cause of her bad luck reveals itself in the form of impossible, murderous fairy-tale characters. As Alice learns more about the Hinterland, she discovers that she has been receiving glimpses of the characters all her life.
Alice is in danger, as is Ellery, but she will stop at nothing to retrieve her mother, even venturing into the Hazel Wood – a place she has been forbidden to enter. With Ellery using his father’s wealth and connections, the two make a long journey to the place they believe her mother is being held, but what Alice finds there is more dangerous and shocking than she could ever imagine.
Retellings of fairy tales have become a popular genre in recent years, particularly amongst young adult literature. The Hazel Wood, however, is only loosely based upon ideas featuring in ancient folktales; the stories themselves have been thought up by Melissa Albert with unique characters such as Twice-Killed-Catherine and Three-Times-Alice. Although it is often fun to analyse the comparisons and differences between old tales and new, it is refreshing to come across brand new fairy tales.
Initially, the book comes across as a thriller and mystery set in the real world, however, fantasy elements quickly creep in. Two-thirds of the way into the story, the setting and genre change direction, introducing a fictional world where rules of nature have gone out of the window. At this point, it becomes slightly confusing to fully visualize the situation, and the storyline begins to get darker and darker.
Children’s fairy tales always have a happy-ever-after, however, the traditional ones rarely did, therefore, it is impossible to guess how The Hazel Wood will end. This, along with humour and enchanting action, hooks the reader and, according to other reviewers, has resulted in many hours slipping away without notice.
The Hazel Wood is a unique story on the cusp of young adult and adult fiction. It is not only a good work of fiction; it is clever and well thought out, too. Melissa Albert is certainly an author to look out for, especially if you like dark mysteries and thrillers.
graveyardgremlin (7194 KP) rated Ashton's Bride in Books
Feb 15, 2019
I have mixed feelings about this book. It was well-written, Margaret and Ashton were sympathetic, but I hated the way she time-traveled. It started off well enough until that point and I had a hard time getting past it. (I'll talk more about that in a hidden spoiler) Other than the time-travel, which is a big part of the book obviously, I enjoyed it. The relationship between Margaret and Ashton was pretty realistic and loving. So as far as time-travel romances, it's not one of my favorites, but it is still a good love story. In some ways, I think it might have been better strictly as historical romance.
Be warned! Massive ranting ahead!
<spoiler>
1. Like I said before, I hated her time-travel method. I don't quite get even how she time-traveled and the part I hate the absolute most is that she's in someone else's body. I just recently read a short story that had the same time-travel method, except that it was explained. I just find it disturbing and creepy, not to mention the amount of times it is said in the book how beautiful and perfect her looks are. Pretty nauseating. I just don't know how you could get used to looking in the mirror and not seeing yourself. That'd just be weird to me, even if I did happen to enter into a drop-dead gorgeous body. And Margaret acted like she was some freak of nature when she was in 1993. Boo hoo. Be happy with yourself for goodness sake! It seemed somewhat like the author was saying that you're not good enough if you're not beautiful. At least, that's the impression it gave to me.
2. It seemed to me that Ashton was infatuated with Mag. He couldn't have possibly actually loved her the way she was before Margaret entered her body, but he said he had. He really had to have fallen in love with Margaret, not Mag, and the blurriness there bothered me.
3. They're cousins. Okay so Margaret actually isn't, but the body she's in is. So what about children? Not a major point since cousins marrying isn't all that odd back then, but because of my other problems, it creeped me out more here.
4. Margaret's whole "revelation." She says now her parents and siblings never went to Cape Cod and are alive after all since they only went because of her and now she's back in time, and her parents only had two kids and not three. Umm no. If her parents never had her, then it would be impossible (yes, so is time-travel, but that's beside the point) for her to have gone back in time at all! She would have disappeared; she couldn't just be there now! Am I the only one who can see that?! Remember the photo featuring disappearing McFly's in Back to the Future? What comes around goes around. There's a few instances of that, but this is the one that bothers me most.
5. How did the papers show up? Seemed really unnecessary just to have Ashton believe her.
Had the back cover described how exactly Margaret time-traveled (like a mention of waking up in a strange body, perhaps?), maybe I wouldn't have had such a hard time with the concept and the other stuff wouldn't have bothered me as much. Who's to know?</spoiler> I promise, I'm really not crazy, even if my rants point to the contrary. I really think it could have been a great story, and I'm sure others will enjoy it, I just was left very disappointed.
Be warned! Massive ranting ahead!
<spoiler>
1. Like I said before, I hated her time-travel method. I don't quite get even how she time-traveled and the part I hate the absolute most is that she's in someone else's body. I just recently read a short story that had the same time-travel method, except that it was explained. I just find it disturbing and creepy, not to mention the amount of times it is said in the book how beautiful and perfect her looks are. Pretty nauseating. I just don't know how you could get used to looking in the mirror and not seeing yourself. That'd just be weird to me, even if I did happen to enter into a drop-dead gorgeous body. And Margaret acted like she was some freak of nature when she was in 1993. Boo hoo. Be happy with yourself for goodness sake! It seemed somewhat like the author was saying that you're not good enough if you're not beautiful. At least, that's the impression it gave to me.
2. It seemed to me that Ashton was infatuated with Mag. He couldn't have possibly actually loved her the way she was before Margaret entered her body, but he said he had. He really had to have fallen in love with Margaret, not Mag, and the blurriness there bothered me.
3. They're cousins. Okay so Margaret actually isn't, but the body she's in is. So what about children? Not a major point since cousins marrying isn't all that odd back then, but because of my other problems, it creeped me out more here.
4. Margaret's whole "revelation." She says now her parents and siblings never went to Cape Cod and are alive after all since they only went because of her and now she's back in time, and her parents only had two kids and not three. Umm no. If her parents never had her, then it would be impossible (yes, so is time-travel, but that's beside the point) for her to have gone back in time at all! She would have disappeared; she couldn't just be there now! Am I the only one who can see that?! Remember the photo featuring disappearing McFly's in Back to the Future? What comes around goes around. There's a few instances of that, but this is the one that bothers me most.
5. How did the papers show up? Seemed really unnecessary just to have Ashton believe her.
Had the back cover described how exactly Margaret time-traveled (like a mention of waking up in a strange body, perhaps?), maybe I wouldn't have had such a hard time with the concept and the other stuff wouldn't have bothered me as much. Who's to know?</spoiler> I promise, I'm really not crazy, even if my rants point to the contrary. I really think it could have been a great story, and I'm sure others will enjoy it, I just was left very disappointed.
Hazel (1853 KP) rated The Hazel Wood in Books
Dec 7, 2018
<i>I received this ARC for free from the Penguin Platform Team.</i>
“Imagine <i>Marvel</i> did fairy tales …” Well, I cannot because I have never seen a <i>Marvel</i> film but I understand the sentiment. <i>The Hazel Wood</i> by Melissa Albert is a book where fairy tales and reality collide. However, these are not stories full of glamour and grandeur, they are the sort originally told by the Jacob and Wilhelm Grimm during the 19th Century. What begins as a fairly realistic tale rapidly spirals into chaos when characters from a book start appearing in New York, something that should be impossible.
For seventeen years, Alice and her mother, Ella, have been travelling on the roads, barely stopping in places for more than a few months. It would be nice to have a home and settle down, however, they are always chased by bad luck, causing them to flee at any moment. Alice is not sure of the cause of their misfortune but suspects it may have something to do with her reclusive grandmother who lives alone on her estate titled the Hazel Wood. Alice’s grandmother wrote <i>Tales From the Hinterland</i>, a book of pitch-dark fairy tales, many years ago and it has become a rare piece of literature – a collector’s item; not even Alice has read it. But when her mother goes missing under suspicious circumstances, Alice wishes she had.
Homeless without her mother, Alice seeks help from a school acquaintance, Ellery Finch, whom she knows is a fan of her grandmother’s work. Yet, before they can formulate a plan to locate her mother, the cause of her bad luck reveals itself in the form of impossible, murderous fairy-tale characters. As Alice learns more about the <i>Hinterland</i>, she discovers that she has been receiving glimpses of the characters all her life.
Alice is in danger, as is Ellery, but she will stop at nothing to retrieve her mother, even venturing into the Hazel Wood – a place she has been forbidden to enter. With Ellery using his father’s wealth and connections, the two make a long journey to the place they believe her mother is being held, but what Alice finds there is more dangerous and shocking than she could ever imagine.
Retellings of fairy tales have become a popular genre in recent years, particularly amongst young adult literature. <i>The Hazel Wood</i>, however, is only loosely based upon ideas featuring in ancient folktales; the stories themselves have been thought up by Melissa Albert with unique characters such as Twice-Killed-Catherine and Three-Times-Alice. Although it is often fun to analyse the comparisons and differences between old tales and new, it is refreshing to come across brand new fairy tales.
Initially, the book comes across as a thriller and mystery set in the real world, however, fantasy elements quickly creep in. Two-thirds of the way into the story, the setting and genre change direction, introducing a fictional world where rules of nature have gone out of the window. At this point, it becomes slightly confusing to fully visualize the situation, and the storyline begins to get darker and darker.
Children’s fairy tales always have a happy-ever-after, however, the traditional ones rarely did, therefore, it is impossible to guess how The Hazel Wood will end. This, along with humour and enchanting action, hooks the reader and, according to other reviewers, has resulted in many hours slipping away without notice.
<i>The Hazel Wood</i> is a unique story on the cusp of young adult and adult fiction. It is not only a good work of fiction; it is clever and well thought out, too. Melissa Albert is certainly an author to look out for, especially if you like dark mysteries and thrillers.
“Imagine <i>Marvel</i> did fairy tales …” Well, I cannot because I have never seen a <i>Marvel</i> film but I understand the sentiment. <i>The Hazel Wood</i> by Melissa Albert is a book where fairy tales and reality collide. However, these are not stories full of glamour and grandeur, they are the sort originally told by the Jacob and Wilhelm Grimm during the 19th Century. What begins as a fairly realistic tale rapidly spirals into chaos when characters from a book start appearing in New York, something that should be impossible.
For seventeen years, Alice and her mother, Ella, have been travelling on the roads, barely stopping in places for more than a few months. It would be nice to have a home and settle down, however, they are always chased by bad luck, causing them to flee at any moment. Alice is not sure of the cause of their misfortune but suspects it may have something to do with her reclusive grandmother who lives alone on her estate titled the Hazel Wood. Alice’s grandmother wrote <i>Tales From the Hinterland</i>, a book of pitch-dark fairy tales, many years ago and it has become a rare piece of literature – a collector’s item; not even Alice has read it. But when her mother goes missing under suspicious circumstances, Alice wishes she had.
Homeless without her mother, Alice seeks help from a school acquaintance, Ellery Finch, whom she knows is a fan of her grandmother’s work. Yet, before they can formulate a plan to locate her mother, the cause of her bad luck reveals itself in the form of impossible, murderous fairy-tale characters. As Alice learns more about the <i>Hinterland</i>, she discovers that she has been receiving glimpses of the characters all her life.
Alice is in danger, as is Ellery, but she will stop at nothing to retrieve her mother, even venturing into the Hazel Wood – a place she has been forbidden to enter. With Ellery using his father’s wealth and connections, the two make a long journey to the place they believe her mother is being held, but what Alice finds there is more dangerous and shocking than she could ever imagine.
Retellings of fairy tales have become a popular genre in recent years, particularly amongst young adult literature. <i>The Hazel Wood</i>, however, is only loosely based upon ideas featuring in ancient folktales; the stories themselves have been thought up by Melissa Albert with unique characters such as Twice-Killed-Catherine and Three-Times-Alice. Although it is often fun to analyse the comparisons and differences between old tales and new, it is refreshing to come across brand new fairy tales.
Initially, the book comes across as a thriller and mystery set in the real world, however, fantasy elements quickly creep in. Two-thirds of the way into the story, the setting and genre change direction, introducing a fictional world where rules of nature have gone out of the window. At this point, it becomes slightly confusing to fully visualize the situation, and the storyline begins to get darker and darker.
Children’s fairy tales always have a happy-ever-after, however, the traditional ones rarely did, therefore, it is impossible to guess how The Hazel Wood will end. This, along with humour and enchanting action, hooks the reader and, according to other reviewers, has resulted in many hours slipping away without notice.
<i>The Hazel Wood</i> is a unique story on the cusp of young adult and adult fiction. It is not only a good work of fiction; it is clever and well thought out, too. Melissa Albert is certainly an author to look out for, especially if you like dark mysteries and thrillers.
Gareth von Kallenbach (977 KP) rated 2012 (2009) in Movies
Aug 8, 2019
Disaster films and Hollywood have enjoyed a long and successful partnership over the years as box office gold has been found in fictional disasters. Irwin Allen had a string of hits such as “The Towering Inferno” and “The Poseidon Adventure” which in turn lead to the films such as “Dante’s Peak”, “Volcano”, “Deep Impact”, and “Armageddon” who kept the tried and true formula of relatable, regular people forced to cope with extraordinary situations where they must battle against all odds to survive.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.
In the new film “2012” director Roland Emmerich follows up his other end-of-the world epics “Independence Day” and “The Day After Tomorrow”, with a story about the total devastation of the earth and all life upon it due to an increase of neutrinos from the sun heating the earth’s core causing the displacement of the Earth’s crust.
Keeping to the established formula of the disaster films, 2012 centers around a struggling writer named Jackson Curtis (John Cusack), who learns of the pending catastrophic events while camping at Yellowstone National Park with his children. The presence of forbidden areas and swarms of soldiers and scientists leads Jackson to believe that the local conspiracy radio host Charlie Frost (Woody Harrelson), might be right in his predictions that we are all on borrowed time, and that the increase in earthquakes and fissures along the fault lines are a very bad omen.
Unbeknownst to Jackson, and the majority of the world’s population, U.S. President Wilson (Danny Glover), and his fellow heads of state, are preparing for the coming tragedy. Carl Anheuser (Oliver Platt) and a team of geologists lead by Adrian Helmsley (Chiwetal Ojiofore) are trying to determine exactly how much time they have to save what they can of humanity. Unaware that the fate of mankind is being decided by the politicians and those with money, Jackson and his children soon find themselves rushing to stay alive, with his ex-wife Kate (Amanda Peet), and her boyfriend in tow. Jackson learns of a plan to save select members of the population and pins their very survival on being able to arrive at what they hope is their salvation before time runs out.
Spectacular effects follow as Los Angeles and other cities are swallowed up by massive sinkholes and buried under collapsing bridges and buildings in some of the most amazing sequences of mayhem and destruction ever captured on film. The movie does an amazing job of showing the absolute calamity and chaos and does a passable job with the relationships between the characters. There are some nice supporting performances from Thandie Newton and George Segal. It is just a shame they were not given a bit more to work with. The cookie cutter scenarios that many characters faced seem to have been lifted from the book of disaster film plots.
I did not go into the film expecting realism, as I fully expect the world will go on as normal on December 22, 2012. However, I did have to note some of the absurd developments that strained any semblance of credibility the film may have had. One such scene had the characters being flooded and trapped for an extended period of time by water. Since their locale was near Mt Everest, I had to assume that it was not warm spring water they were submerged in, and had to wonder if hypothermia just went the way of most of the human populace.
Then again, we were dealing with a heated core that was essentially melting the earth’s crust. So maybe the water was warm.
As with all disaster movies, I do have to remember the audience is asked to suspend all disbelief, at least for 160 minutes. While the film does take some vast leaps of logic, there is enough good action, special effects, and strained levity to make this a good distraction, as long as you are willing to check your brain at the door and just enjoy the ride.