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Gareth von Kallenbach (971 KP) rated Prometheus (2012) in Movies
Aug 7, 2019
After nearly 2 years of waiting and rampant speculation, director Ridley Scott’s science-fiction epic Prometheus has finally arrived. The project initially started as a prequel to Alien, and in doing so got the attention of the Alien fan community. After the last two sequels and two disastrous Alien Versus Predator spinoffs, this fan community was eager for the director who started the series to bring the series back to prominence. However, hopes were dashed when it was announced that Prometheus would not be a prequel but instead a standalone film that “shared” DNA with Alien. As production of the film developed under very tight conditions, fans could only speculate as to the nature of the film even when leaked photos and eventually trailers seem to indicate more than a passing connection to the Alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
The film follows the story of Dr. Elizabeth Shaw (Noomi Rapace), who in the late 21st century makes a startling discovery with her boyfriend Charlie Halloway (Logan Marshall-Green). Their discovery leads to an extremely expensive expedition to an unknown area of space aboard the state-of-the-art research vessel Prometheus. The eclectic but talented crew of experts along for the ride are under the stern watch of Meredith Vickers (Charlize Theron), who has been appointed by the Weyland Corporation to oversee the expedition even though she is highly skeptical about the expected goals that set the crew on the journey.
Holloway and Shaw believe that a series of paintings they discovered at several archaeological sites throughout the world indicated that ancient man had been visited and guided by beings from beyond the stars and that said beings may very well be responsible for engineering humanity as well.
After a journey of nearly 2.5 years the crew arrives at the star system depicted in the paintings and soon find themselves exploring a temple-like structure on an otherwise desolate and apparently lifeless moon. Despite the misgivings of the crew, when the true nature of their expedition is revealed upon their arrival, Shaw and Holloway are vindicated when remains of alien life forms and other technology are discovered by the crew.
Their initial exploration cut short due to a violent storm, the crew returns the safety of the ship to wait out the storm, save for two members of the team who remained at the temple after becoming lost. A series of events follow which soon indicate that not only are there hidden agendas at play but that the crew has stumbled upon a discovery that they are ill-prepared for.
Bizarre and horrific revelations and events follow which cause the crew members to question their motivations and the expedition’s purpose as well as examine their place in a much more complex and dangerous universe, where their petty human concerns and conflicts now seem much more insignificant.
It would be very difficult to go into further detail with spoiling key elements to the film. Suffice it to say that there are some real twist and turns along the way as well as some thrills and action that keep things moving along nicely as the film makes its way towards the conclusion. But, yes, Prometheus does have a very clear connection to the Alien films.
Scott had said that he wanted to do something epic in scale and in that he has, for the most part, succeeded. Shot using the latest 3-D technology, the film is amazing to watch. The opening sequence, as well as some footage of the ship in-flight, are truly gorgeous to look at and the amazing attention to detail not only on the alien world but on the ship itself is truly spectacular.
Early in the film, the android David (Michael Fassbender) is seen going through his various routines on the ship as the crew sleeps in suspended animation. His various activities range from monitoring the crew and their dreams, to watching old movies and studying ancient languages and keeping an eye on the ship systems. All that seems fairly routine, but it is his skill with a basketball that was fascinating and establishes the complex and dynamic character that he portrays.
This introduction underscores the diversity of the crew. We are given bits and pieces about all of them to help them stand out from the usual stock characters in this type of film. While we are not given as complete a background set up as I would’ve liked, little touches such as Capt. Janik (Idris Elba), insisting upon celebrating Christmas as well as the crew running side bets, help to underscore that these are people we can easily relate to, just doing their job in extraordinary situations. This was something that Scott mastered in the original Alien, giving you average Joe’s who had to deal with extraterrestrial horror.
I mention this because Prometheus is not an action film, nor is it a horror film. I wonder if perhaps this film had not had the production costs that it does, if it would be better suited for fall release. I say this not as a criticism of the movie, simply to emphasize the fact this is a movie that requires thought, something your typical summer blockbuster doesn’t. Scott does not lay it out on a plate for the audience and say “Here it is, take it.” He presents a story filled with questions, and instead of giving you answers, gives you even more questions as the film goes along.
At first, this was more than a bit frustrating as I wanted answers to questions I’ve had since seeing the original Alien back in 1979. I wanted to know more about some of the plot lines and characters as well as certain situations that were in the film. At one point the captain shares some very important information. I asked myself how this piece of news was arrived at, as certainly a discovery of this magnitude would have been a very interesting scene. However much like the film’s premise, faith is an underlying and key component. Just as the characters discuss and act based on faith, or lack thereof, audience members asked to have faith in the storyline and the sequence of events that lead up to the finale. There will be those who will be unwilling to do so and will be quick to find fault with the film, cast, and plot. But I hope there will be more who accept that they are seeing the first part of a larger journey and understand that there are things that they are meant to know, as well as things hey are not meant to know and in time more may be revealed.
Scott has indicated that he would like to do another film in the series and scuttlebutt indicates the studio would very much like to entertain thoughts of a trilogy. I would certainly like to see this, as would a few of my fellow critics. Following our screening, three of us stood around discussing aspects of the film, trying to figure out what it really meant and how it connected to the Alien series as well as potential future films in the series. If nothing else, this movie will spark interesting conversation.
As the days have passed since seeing the film I’ve appreciated it more and more with each passing day. Scott could have taken the easy way out and given a straight up prequel to Alien complete with all manner of monsters and CGI creatures on the loose wrecking havoc upon a crew of unfortunate victims. Instead he opted to take a much larger look at life, the universe, and our place in it and wove a complex and open-ended framework that not only provided fantastic entertainment but also provided an opportunity for intelligent conversation and introspection.
From the incredible visuals to the engaging and enjoyable cast, Prometheus is a refreshing and enjoyable film and an extremely welcome and much-needed addition to the alien franchise.
Purple Phoenix Games (2266 KP) rated Fantasy Ranch in Tabletop Games
Jun 12, 2019 (Updated Jun 12, 2019)
Little known fact: my family used to be involved with local harness racing and horse training. Not much actually rubbed off on me, personally, but I do remember going to the stables to visit with the horses, and I was even allowed to ride the stable goat since I wasn’t yet big enough to get on the horses. Ahh, memories. So when I heard that a game existed with a horse ranching theme, I just HAD to get it to the table. Is it a good game though? Let’s find out! (spoilers: IT’S EXCELLENT!)
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
DISCLAIMER: The game comes with three modes of difficulty AND an included children’s game that also can be played on three modes of difficulty. For this review we are concentrating only on adult mode two. We felt mode one was too introductory, but we did not want to go all in right away on mode three. -T
As with most board games, you are trying to amass trophies (VP) and the winner at the end of five rounds is the rancher with the most trophies. On your turn you can take one Limited (standard) Action and as many Free Actions as you would like. Limited Actions include: buy a horse, buy a location on your ranch board, or farm your ranch for goods. Free Actions include: sell a horse, move horses to/from your home area to/from a different area on your ranch board, or trade goods at a 2:1 ratio. Once every player has taken their turn, you enter a show using the horses you have collected.
Buying a horse requires different amounts of food (in carrots) that you gain from different actions (farming your ranch, selling a horse). Luckily, spending food is a one-time action and you don’t have to feed your horses every turn. A great improvement over other “feed your villagers” games, in my opinion – yeah, I said it. Buying a location on your ranch board/playmat requires “tack,” which is symbolized by boot tokens (as seen below). You can always get more food and tack by farming your ranch, and you receive six goods of any combination, but that’s a Limited Action and prevents you from doing the other actions.
Selling a horse is easy, yet the separation anxiety is real, as you simply discard the horse for the amount of food it costs to purchase. Moving horses is easy too – your Home area of your ranch/playmat can only hold so many horses, so you will need to move horses of certain types to unlocked (purchased) matching areas on your ranch. This is important, as you cannot keep buying red horses or you will certainly run out of room for them, even if you unlock the red area on your ranch board. Plus unlocking sections of your ranch provides you with trophies at game end. The last free action is trading goods, which you do at a 2:1 ratio. So trade in two food for a tack or vice versa.
At shows you use horses for their specific specialty skills plus a die roll. Each horse has specialty in one area, and some skill in other areas. The number associated with a skill icon indicates the starting skill “strength” that you will add to your die roll. You roll all three dice of your color, take the highest result from the roll, and add the skill strength of the horse skill. That’s your score for the show. The highest number is awarded 1st place and the rewards printed, and so on and so forth for the other placing horses. This could result in more food or tack, or even your choice of horses for free from the sales barn.
On the very last turn of the game you will compete in three shows (instead of the normal two shows at the end of each turn) and can only use World Class horses, or buy your way into the show with food. The show process is the same, but it is the final push to earn as many trophies as possible before game end. And that’s it!
Components: This game is FULL of components. It’s a pretty stocked and heavy box, but still only the size of a Ticket to Ride box. The playmats, game boards, and cardboard chits are all of really great quality. The cards are great quality as well with photos of real existing horses (as well as the photos of real existing ranches on the giant ranch cards that are essentially beautiful player reference cards and resource holders). The best components of the game are the super cute little horeeples (oh no, that can’t possibly be correct). Horse-meeples. They come in different colors to match the areas on your ranch that you need to unlock and move them into so you don’t overcrowd your Home area. Even though my copy came with a green horse who lost his front legs, we know that he competes hard and lives his best life. The art is really really great and, though busy on the board at times, the game looks really good on the table. No qualms with the components on this one at all.
Here’s what I really like about this one. It’s a euro through and through, but it’s a euro that is actually exciting, with a unique theme, and one that I genuinely cannot wait to play again. I want to try mode three as soon as I can, and I really want to introduce my son to the game as soon as he is able to handle it. I am finding it really really hard to think of a game that comes ready to play three ways for adults, has components included to play the game three ways with children, and is actually super fun. I can’t think of any. This game is truly in a class by itself.
I love that no matter how tactical you play or how strategic you want to make it, sometimes the dice love/hate you and it could make all the difference. As you can see in the scores, we all love it (with the exception of my cousin Tony who rated it a three because of the dice – WHICH is odd because it is his father that was the harness racing jockey of the family). This review would have been live a week ago, but immediately after playing last weekend Josh said he would like to bring it home to play with his family. His wife is from Kentucky, and they kinda like horses and horse racing there. Well, his wife and son also rated this game out of 6. His wife gave Fantasy Ranch a 15 and his son rated it a 16. As that completely throws off my rating scale I did not add them, but as you can see we at Purple Phoenix Games give this one a very boot-kickin’ 19 / 24. If only we hadn’t invited Tony over to destroy the scores… We highly recommend you check this winner out. Seriously, it’s great.
https://purplephoenixgames.wordpress.com/2019/06/04/fantasy-ranch-review/
Andy Meakin (5 KP) rated Thor: Ragnarok (2017) in Movies
Jul 11, 2018
Thor-oughly entertaining.
Thor has always come across as the weaker of the Marvel film series’. The first film was well made, but never really demanded a repeat watch. The second, whilst not as bad as some people will attest, still felt more like a stop gap filler. You can’t blame the casting for the feeling of nonchalance that the films, so far, have delivered. Hemsworth is great in the role, and the support cast have always given their all, from Hiddleston as Loki, to Anthony Hopkins as Odin. But the stories have just felt superfluous, generic, and lacking in anything fantastical or mystical. In addition they have made the same error that DC made when they adapted Green Lantern – they spent too much time on Earth! You see, there are enough super-hero films that focus on a threat to Earth, so even though you could argue that it is faithful to the comics to have Thor defending Midgard against some mythical enemy, it has the unfortunate effect of making it seem just a little too…familiar. Wisely the decision was made for this third film to break away from Midgard, and go ‘cosmic’ with the story – and the end result is a damn sight better as a result.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
The film spends the first act tying up some loose ends from the previous film, and returning Thor to Asgard. There he finds things are not as he left, and pretty soon Hela (Cate Blanchett) arrives to take control of Asgard, and threaten all the kingdoms with her army. Thor himself finds himself stranded on a remote junk-planet called Sakaar, where he finds himself thrown into gladiatorial combat against…well…an old friend. Can Thor unite an army to return to Asgard and save his people?
To say the film is immense fun would be an understatement! Director Taika Waititi, known for comedy dramas such as Hunt for the Wilderpeople and What We Do In The Shadows, definitely had an aim to explore the somewhat sillier side of the character, and the film is funny from the outset. Thor, who has always been a little naïve and shown some more awkward moments, is really given a lot of great lines, jibes, and clumsy aspects to round him out as more than just a ‘dumb, cocky Asgardian’. Throughout the film, characters quip and riff on ideas, creating genuine laughs and quotable moments, with even the newer characters getting their moments to impress on the audience. Amongst those newer additions, Karl Urban as Skurge, Jeff Goldblum as Grandmaster, and Tessa Thompson as Valkyrie steal any moments they appear on screen (Goldblum in particular just needs to have a wry grin and a raised eyebrow and all focus is on him). But Waititi himself gets to play with the best new addition to the cast, and one we will apparently see more of in the future, as Korg, a Kronan warrior.
So far, so entertaining, but is it all comedy and no substance? Far from it! The comedy serves well to balance against the dark drama of the story. This is titled Ragnarok, and Hela’s assault on Asgard is chilling indeed. In addition, the weaving in of elements from the Planet Hulk storyline, to give the mid-point journey part of the film some meat, ensures that there is never any dip in the tale, and there is plenty going on. The delicate balance of drama, emotion, and comedy is very reminiscent of the Guardians of the Galaxy films, and the franchise is so much better for it. After all, Asgardians are an alien race, so why not explore the cosmos a little with them? Even the soundtrack feels a little ‘Guardians-esque’ in style, with Led Zeppelin’s fabulous Immigrant Song being utilised perfectly for battle moments, but a somewhat electro-pop-synth score resonating throughout the film.
This is a film that flies by in run time (130 minutes, but never dragging), and finally gives Thor an identity in the Marvel Cinematic Universe. As the end credits finish rolling, the immediate desire is to watch it all again – which is not a feeling that the other two films left in me at all. Jostling for position in the top three Marvel films to date (Avengers and Guardians for those who are curious – yes, I know Winter Soldier and Civil War are damned good too, but these films are just fun). Thor: Ragnarok looks amazing, and entertains thoroughly. Ragnarok may mean the end of Asgard according to myth and legend, but it signals the true start of Thor as a character in his own right. All of that positive without even mentioning Ruffalo as Hulk (which you just knew was going to be great anyway)! Just watch the film for yourself, and enjoy.
Bob Mann (459 KP) rated The Assistant (2020) in Movies
May 24, 2020
Julia Garner's performance (1 more)
The tension that manages to be created through a portrayal of the mundane
The movie seems to have a lot of haters on IMDB (a rating at the time of writing of 5.9)... but I refuse to follow "the pack" on this one... I thought it was great. It manages to make the mundane incredibly tense. This is this first (semi-)fictional feature from documentary-maker Kitty Green.... and in my book she does a knock-out job.
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
We first meet Jane (Julia Garner) at 'God-knows-what-o-clock' in the morning as she arrives at her workplace - a New York film-production company. First to arrive every morning, she turns on the lights, turns on the screens, makes the pot of coffee and cleans off stains from her boss's couch. The stain isn't coffee. A lost gold bracelet is recovered.
For we are in a truly toxic working environment here. 'The boss' - clearly modelled on Harvey Weinstein - is a bullying tyrant who can reduce Jane and her two male assistants (Jon Orsini and Noah Robbins) to quivering wrecks. "WHAT THE F*** DID YOU SAY TO HER" barks the boss down the phone at Jane, after she has had a perfectly reasonable phone conversation with the estranged Mrs Boss.
The toxicity is pervasive though throughout Miram..., sorry...., 'the company'. Jane is almost invisible to her other co-workers who don't give her eye-contact even when she's talking to them and barely register her presence when sharing a lift.
But bullying and workplace toxicity is just part of this story. A steady stream of starlets arrive in the office, like meat deliveries to a butcher. In a chilling sequence, the photocopier churns out photos of beautiful actresses.... a paper-based equivalent of swiping-left or -right in the selection process. None of the "if you... I will" discussions are shown, but they don't need to be: the inference is clear.
Jane is smart, slim and pretty... but not in an obvious 'Hollywood way'. "You'll be OK..." says a co-worker "you're not his type".
But someone who distinctly is "his type" is Sienna (Kristine Froseth), a "very very young" aspiring waitress-come-actress from Boise, who suddenly and unexpectedly arrives as a "new assistant"... to be promptly put up in a swanky hotel room. It's time to act... and Jane approaches the company HR manager (Matthew Macfadyen)....
An old Spielberg trick is to increase tension by keeping the "monster" hidden from view: cue the tanker driver from "Duel" and (for most of the film) the shark from "Jaws". Here, the boss is felt only as a malevolent force and never seen on screen. It's an approach that works brilliantly, focusing the emotion on the effect he has on those flamed.
There is also recognition that these powerful people are also hugely intelligent and manipulative. Seeing that Jane is a valuable asset, the public berating is sometimes followed up with a private email apology.... dripping a few words of encouragement and praise like a few drops of Methadone to a drug-addict.
This is an excellent movie and thoughtfully and elegantly directed. Following a normal day in Jane's work life.... albeit a day where perhaps the penny finally drops... is immersive and engaging. And at only 88 minutes long, the movie never outstays its welcome.
The performances are first rate. Julia Garner is magnificent, and in a year where the Oscars will be "interesting", here's a good candidate for Best Actress I would suggest if not Best Picture. Garner's an actress I'm unfamiliar with: the only one of her previous flicks I've seen was Sin City 2.
Also oily and impressive is Matthew Macfadyen as the HR manager. There's also a sparse but well-used score by Tamar-kali.
The one area I found poor was in the sound design. It's clearly filmed in an office environment, rather than on a sound stage, and unfortunately the combination of the acoustics and the New York accents makes some of the dialogue really difficult to hear. An example is a discussion between two co-workers in an office kitchen, which was completely indecipherable for me.
Should I watch this? In my view, definitely, yes. It's chilling and an insight into the terrible ordeal that many professional women in the film industry, and other industries, have had to put up with before the "Me Too" lid was blown off (and many probably still do). The most telling line in the film? At the end of the "Thanks" in the end-titles: "All those who shared their experiences".
(See the full graphical review at One Mann's Movies here https://bob-the-movie-man.com/2020/05/24/one-manns-movies-film-review-the-assistant-2020/ . Thanks).
Acanthea Grimscythe (300 KP) rated Highwayman in Books
May 16, 2018
It's a bit hard for me to really talk about how I felt while reading Highwayman by Craig Saunders. To some extent, I feel that I may not know as much about old lore and mythology as I thought I did - and that's definitely a possibility. The concept behind the book is intriguing, but there are many elements of Saunders story that failed to satisfy me.
In the wake of a plane crash, Karl Goodman finds himself in-between life and death - a sort of limbo that I felt was reminiscent of an episode of Supernatural where Castiel and Dean are fighting vampires in purgatory. I say this largely because of the whole Fog-World/forest atmosphere. In this surreal world, a murderer from centuries past is able to cross the lines between the worlds of the living and dead to continue visiting his reign of horror upon unsuspecting individuals. Guided by the Deans, who appear to be a set of reapers, for lack of a better term (or maybe ferrymen), and a young, comatose girl named Imke, Karl finds himself seeking out this murderous highwayman so that he can exact revenge for his daughter's death.
While I have a strong love for the supernatural and paranormal, I couldn't help but find myself confused more often than not by several aspects of the story. I am, admittedly, ignorant of the White Hart and the Green Man, but I like to think I'm a bit more versed in the many varieties of spooks. In fact, Saunders portrayal of a barrow-wight did not stray unreasonably far from its native draugr. What does baffle me though is how Saunders introduces these supernatural elements into his book. When I received Highwayman, I was expecting something dark and macabre that dealt with... well, with highwaymen. The main villain of the tale is precisely that, but the book itself is largely a ghost story. That isn't necessarily a problem, but it simply did not sit very well with me.
To further complicate the telling of the story, there are far too many differing points of view - five or six, total. (I can't remember if there was a part told from Mr. Dean's perspective.) This makes it hard to keep track of the passage of time, and whether or not that is intentional, I found it bothersome. For instance, at one point Bethany, Karl's wife, does something. Then, for several chapters, the story does not return to her. In fact, the disparity between returning to her point of view was so great that I actually thought that Saunders had forgotten about her.
One of the other issues that bothered me was the circumstances of Karl and Bethany's daughter's death. At first it is explained as a drowning, but then later we learn it was not. Apparently her murder was so horrid that Karl conveniently blocked the tragedy from his mind with a far more "rational" explanation, and to me this felt more like slapping a bandaid on a forgotten plot element than something that was done naturally.
At no point during my reading of this book did I feel any sort of emotion or attachment to any of the characters, and I found that to be extremely disappointing. The cast of Highwayman are not, in any way, extraordinary (well, not depth wise), and that made it harder for me to get into the book.
Overall, I didn't care much for Highwayman; however I will not let that discourage me from reading more of Saunders' work in the future. As part of the DarkFuse Reader's Group, I received an advance copy of this book in exchange for an honest review. I would like to thank DarkFuse, Craig Saunders, and NetGalley for this opportunity.
In the wake of a plane crash, Karl Goodman finds himself in-between life and death - a sort of limbo that I felt was reminiscent of an episode of Supernatural where Castiel and Dean are fighting vampires in purgatory. I say this largely because of the whole Fog-World/forest atmosphere. In this surreal world, a murderer from centuries past is able to cross the lines between the worlds of the living and dead to continue visiting his reign of horror upon unsuspecting individuals. Guided by the Deans, who appear to be a set of reapers, for lack of a better term (or maybe ferrymen), and a young, comatose girl named Imke, Karl finds himself seeking out this murderous highwayman so that he can exact revenge for his daughter's death.
While I have a strong love for the supernatural and paranormal, I couldn't help but find myself confused more often than not by several aspects of the story. I am, admittedly, ignorant of the White Hart and the Green Man, but I like to think I'm a bit more versed in the many varieties of spooks. In fact, Saunders portrayal of a barrow-wight did not stray unreasonably far from its native draugr. What does baffle me though is how Saunders introduces these supernatural elements into his book. When I received Highwayman, I was expecting something dark and macabre that dealt with... well, with highwaymen. The main villain of the tale is precisely that, but the book itself is largely a ghost story. That isn't necessarily a problem, but it simply did not sit very well with me.
To further complicate the telling of the story, there are far too many differing points of view - five or six, total. (I can't remember if there was a part told from Mr. Dean's perspective.) This makes it hard to keep track of the passage of time, and whether or not that is intentional, I found it bothersome. For instance, at one point Bethany, Karl's wife, does something. Then, for several chapters, the story does not return to her. In fact, the disparity between returning to her point of view was so great that I actually thought that Saunders had forgotten about her.
One of the other issues that bothered me was the circumstances of Karl and Bethany's daughter's death. At first it is explained as a drowning, but then later we learn it was not. Apparently her murder was so horrid that Karl conveniently blocked the tragedy from his mind with a far more "rational" explanation, and to me this felt more like slapping a bandaid on a forgotten plot element than something that was done naturally.
At no point during my reading of this book did I feel any sort of emotion or attachment to any of the characters, and I found that to be extremely disappointing. The cast of Highwayman are not, in any way, extraordinary (well, not depth wise), and that made it harder for me to get into the book.
Overall, I didn't care much for Highwayman; however I will not let that discourage me from reading more of Saunders' work in the future. As part of the DarkFuse Reader's Group, I received an advance copy of this book in exchange for an honest review. I would like to thank DarkFuse, Craig Saunders, and NetGalley for this opportunity.
Becs (244 KP) rated Garden of Ashes in Books
Apr 11, 2019
Overall - an amazing story (1 more)
Background was added
There were a few plot holes (1 more)
Something was lacking but I'm not sure what
Thrilling!
You can also find this review on my blog: bookingwayreads.wordpress.com
I received a copy of Garden of Ashes (book 2 of the Snow Spark series) to read and review for my honest opinion from The Parliament Press.
TRIGGER WARNINGS: Gore, Oppression, Violence, Discrimination
This little novel carried a good left hook. It picks up right where The Bone Roses left off and really delves into the background of a few characters. The story still is geared toward a mature audience, especially with Garden of Ashes so beware of more graphic scenes when reading.
Starting where we left off, Rags has been caught and is now on a train with Colton and Nigel to the Kingdom. More specifically, the Threshing Floor. This is not any place for a rustler, or really anybody for that matter. Just think cattle herding but with humans and loads of death. That's what you get when dealing with the Threshing Floor. The major problem with the non-bowing criminals who go in, they never come out and are never seen again.
Rags is given only two options - either bow to the Kingdom and Hyperion or face death. Using everything she has to survive, she is forced to play the twisted rigged game that the Kingdom has laid out. Luckily, she has the help of Henny and Colton, who both stand by her side helping shape her into the Kingdom's standards and also giving her opportunities to remain a rustler at heart.
The overall story had me reeled, but I also felt like something was lacking a tad bit. I have no idea what that bit that is missing is but you could just tell that the story was lacking in places. There was plot, as it continued on from book 1, and new characters were introduced with a small bit of background on them that eventually came to light later on down the road. Drama upon drama was interlaced into the story-line and really kept the reader engaged with the story as a whole.
Characters:
Rags - stubborn and yet sympathetic, able to get in and out of trouble, and very realistic.
Henny - the smol angry cinnamonroll we all thought was going to be the person to cause Rags' death has turned to be an ally. Maybe even a possible love interest to Rags?
Colton - still a sarcastic green-eyed red head as he was in book 1. He was there to help Rags stay out of trouble and seemed to become more friends with Rags then a possible love interest.
Hyperion - the complete a** of a king that wants everyone to worship him.
Sahrobi - Hyperion's sadistic murder loving daughter that honestly needs to be in a psych ward cause she got some problems!
Margo - Sahrobi's husband, as cruel and sadistic as Sahrobi also got some problems. Thank goodness he got his a** handed to him in the end.
Ethan and Ali - two slaves that Rags helps saves and cares for while in the Threshing Floor.
Rosemary - a slave that is in debt to the Kingdom, possible relation to Rags?
Reasons why I rated it 4 stars:
1. It was lacking something and I can't put my finger on it.
2. Grammar and spelling seemed to be great!
3. There were a few plot holes while reading, but that could be because I feel asleep during reading and lost where I was at.
4. There was background added to some of the characters, but there wasn't as much that really needed to be added.
5. The overall story was amazing and really added to the story that took place in The Bone Roses. I will defiantly be rereading!
"False hope is worse than no hope on a good day."
I received a copy of Garden of Ashes (book 2 of the Snow Spark series) to read and review for my honest opinion from The Parliament Press.
TRIGGER WARNINGS: Gore, Oppression, Violence, Discrimination
This little novel carried a good left hook. It picks up right where The Bone Roses left off and really delves into the background of a few characters. The story still is geared toward a mature audience, especially with Garden of Ashes so beware of more graphic scenes when reading.
Starting where we left off, Rags has been caught and is now on a train with Colton and Nigel to the Kingdom. More specifically, the Threshing Floor. This is not any place for a rustler, or really anybody for that matter. Just think cattle herding but with humans and loads of death. That's what you get when dealing with the Threshing Floor. The major problem with the non-bowing criminals who go in, they never come out and are never seen again.
Rags is given only two options - either bow to the Kingdom and Hyperion or face death. Using everything she has to survive, she is forced to play the twisted rigged game that the Kingdom has laid out. Luckily, she has the help of Henny and Colton, who both stand by her side helping shape her into the Kingdom's standards and also giving her opportunities to remain a rustler at heart.
The overall story had me reeled, but I also felt like something was lacking a tad bit. I have no idea what that bit that is missing is but you could just tell that the story was lacking in places. There was plot, as it continued on from book 1, and new characters were introduced with a small bit of background on them that eventually came to light later on down the road. Drama upon drama was interlaced into the story-line and really kept the reader engaged with the story as a whole.
Characters:
Rags - stubborn and yet sympathetic, able to get in and out of trouble, and very realistic.
Henny - the smol angry cinnamonroll we all thought was going to be the person to cause Rags' death has turned to be an ally. Maybe even a possible love interest to Rags?
Colton - still a sarcastic green-eyed red head as he was in book 1. He was there to help Rags stay out of trouble and seemed to become more friends with Rags then a possible love interest.
Hyperion - the complete a** of a king that wants everyone to worship him.
Sahrobi - Hyperion's sadistic murder loving daughter that honestly needs to be in a psych ward cause she got some problems!
Margo - Sahrobi's husband, as cruel and sadistic as Sahrobi also got some problems. Thank goodness he got his a** handed to him in the end.
Ethan and Ali - two slaves that Rags helps saves and cares for while in the Threshing Floor.
Rosemary - a slave that is in debt to the Kingdom, possible relation to Rags?
Reasons why I rated it 4 stars:
1. It was lacking something and I can't put my finger on it.
2. Grammar and spelling seemed to be great!
3. There were a few plot holes while reading, but that could be because I feel asleep during reading and lost where I was at.
4. There was background added to some of the characters, but there wasn't as much that really needed to be added.
5. The overall story was amazing and really added to the story that took place in The Bone Roses. I will defiantly be rereading!
"False hope is worse than no hope on a good day."
Heather Cranmer (2721 KP) rated Miss Peregrine's Home for Peculiar Children in Books
Jun 7, 2018
This review can also be found on my blog <a href="themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>.
I feel the synopsis of what the book is about makes it sound a lot better than what it is. I wanted to like this book, I really did. I had high hopes for it. Unfortunately, it didn't do much for me. I was expecting more of a ghost story. Instead I got more of a sci-fi story, and one that wasn't very good.
Jacob's grandfather tells him of a magical island of which he spent his childhood. He shows him photos and tells him stories about the peculiar children he grew up with. As Jacob becomes a teenager, he stops believing in his grandfather's ridiculous stories until something awful happens. Jacob travels to the mysterious island to find out about his grandfather. Little does he know that by going to that island he's put himself and many others in danger.
First off, I thought the word building/setting were fantastic. The author made me feel as if I was on the island. I'll give him props there. The description of the world was beautifully described.
I couldn't relate very much to the characters. I can't really place why that is. I just couldn't connect. I found myself not caring what happened to any of them. Perhaps the author should've spent a bit more time character building to make me relate to at least one the characters. The characters just felt a bit one dimensional. There wasn't even one that I could remotely say that I favourited. Okay, that's a lie. I liked Fiona, the Irish girl, but I only liked her because she was Irish, and I love all things Irish. That's it.
I found the pacing to be a bit slow. I'd read a chapter, then I'd get bored with it and go off to do something else. I really struggled with this book. There are a couple of chapters that the pacing is great in, but it's not until the last two chapters that the pacing definitely picks up.
The dialogue was easy to understand although some Americans may not get all the slang British terms. There was one scene where a character says "I was taking a piss" where he meant that he was joking around. The phrase he meant was "taking the piss" which is a British slang phrase for joking. "Taking a piss" isn't a typo either as it's mentioned a few more times. This annoyed me because taking a piss, is just that, it means urinating. "Taking the piss" means to be joking around. Other than that, the dialogue was good.
The best part of the book was the photographs found within the book. I loved that little touch! I found myself studying the photos and enjoying them a million times better than the actual book.
The cover is also something I loved about the book. How freaky does that little girl look??? The German cover looks even better. It's the same photo, just with a green hue. If I was marking the book based on the cover alone, it'd get 5 out of 5 for me.
The title of the book doesn't really leave anything to make you wonder what the books about. It says exactly what the book is about - a home for peculiar children.
All in all, this book left me feeling empty. I didn't really feel much of anything reading it until I got to the last two chapters where it got exciting. However, I will not put myself through the torture of reading the second book in the series especially as I don't care about the characters or what happens to them. I'm just glad I won this book in a competition and didn't buy it.
I was going to give this book a 2 - 2.5 star rating but the ending saved it a bit.
I feel the synopsis of what the book is about makes it sound a lot better than what it is. I wanted to like this book, I really did. I had high hopes for it. Unfortunately, it didn't do much for me. I was expecting more of a ghost story. Instead I got more of a sci-fi story, and one that wasn't very good.
Jacob's grandfather tells him of a magical island of which he spent his childhood. He shows him photos and tells him stories about the peculiar children he grew up with. As Jacob becomes a teenager, he stops believing in his grandfather's ridiculous stories until something awful happens. Jacob travels to the mysterious island to find out about his grandfather. Little does he know that by going to that island he's put himself and many others in danger.
First off, I thought the word building/setting were fantastic. The author made me feel as if I was on the island. I'll give him props there. The description of the world was beautifully described.
I couldn't relate very much to the characters. I can't really place why that is. I just couldn't connect. I found myself not caring what happened to any of them. Perhaps the author should've spent a bit more time character building to make me relate to at least one the characters. The characters just felt a bit one dimensional. There wasn't even one that I could remotely say that I favourited. Okay, that's a lie. I liked Fiona, the Irish girl, but I only liked her because she was Irish, and I love all things Irish. That's it.
I found the pacing to be a bit slow. I'd read a chapter, then I'd get bored with it and go off to do something else. I really struggled with this book. There are a couple of chapters that the pacing is great in, but it's not until the last two chapters that the pacing definitely picks up.
The dialogue was easy to understand although some Americans may not get all the slang British terms. There was one scene where a character says "I was taking a piss" where he meant that he was joking around. The phrase he meant was "taking the piss" which is a British slang phrase for joking. "Taking a piss" isn't a typo either as it's mentioned a few more times. This annoyed me because taking a piss, is just that, it means urinating. "Taking the piss" means to be joking around. Other than that, the dialogue was good.
The best part of the book was the photographs found within the book. I loved that little touch! I found myself studying the photos and enjoying them a million times better than the actual book.
The cover is also something I loved about the book. How freaky does that little girl look??? The German cover looks even better. It's the same photo, just with a green hue. If I was marking the book based on the cover alone, it'd get 5 out of 5 for me.
The title of the book doesn't really leave anything to make you wonder what the books about. It says exactly what the book is about - a home for peculiar children.
All in all, this book left me feeling empty. I didn't really feel much of anything reading it until I got to the last two chapters where it got exciting. However, I will not put myself through the torture of reading the second book in the series especially as I don't care about the characters or what happens to them. I'm just glad I won this book in a competition and didn't buy it.
I was going to give this book a 2 - 2.5 star rating but the ending saved it a bit.
Daniel Boyd (1066 KP) rated Robin Hood (2018) in Movies
Jan 28, 2019 (Updated Jan 28, 2019)
A Middling Reboot
This is another movie from late 2018 that I am only just getting a chance to see. After my girlfriend and I sat through this one, she turned to me and asked what I thought of it. In response, I just shrugged my shoulders and went, "It was alright." That is genuinely the best way that I can think of to sum up my feeling on this film.
It's a mediocre action movie based around the basic concept of the old tale of Robin Hood. It is extremely cheesy and has bags of whatever the opposite of subtle is. It tries to tell a gritty, 'Year One,' type of story for the character and treats the Robin Hood moniker as a dual identity for Robin Loxley, which draws heavy comparisons to the Batman/Bruce Wayne dynamic. Unfortunately, not much of it lands due to the lack of risk-taking involved.
The movie also feels weirdly dated, especially considering that it's only a few months old. There are an abundance of overindulgent slow motion shots in the style of 300; a movie that was 12 years old at the time of this movie's release. The use of green-screen in this film is actually pretty atrocious judging by today's standards and actually might be some of the worst out of any 2018 movie I saw. This is noticeable throughout the whole movie, but is especially rough-looking during a carriage chase that happens around two thirds into the film.
The cast are all phoning it in as well. Taron Egerton does nothing special with the lead role and Ben Mendlesohn hams it up as the Sheriff Of Nottingham, doing pretty much the same villainous shlock that he did in Ready Player One and Star Wars: Rogue One, way to not get typecast Mendo!
That's the other weird thing about this movie, is that it's not sure what era it wants to be set in. Some of the accents, language and costumes are suitable for the period that the movie is set in, but other elements and other lines and costumes etc feel like they are from 2018, the year that this movie was made. The end result that they were aiming for may have been a sort of rolling timeline that transcends the days of the Crusades that the movie is set in but what we get is just a scattered mess.
There were a few positives in this thing. Some cool shots, Some of the stunt archery is, (while super unrealistic,) pretty cool to watch. I know that 'Real Life Legolas,' Lars Andersen was hired to teach the cast some archery and I believe he helped out with the action choreography as well, which is pretty cool. There are also some glimpses of creativity in some of the shots. One in particular that stood out to me was a shot that gradually panned out from behind a solitary soldiers shield to show the intensity and scale of the battle that was taking place. It's just unfortunate that in so many other places in the movie, all we get is lazy, generic camera angles that add nothing to the scene taking place.
Overall, this is an okay action romp. Don't go in expecting anything of substance or you will most definitely come away disappointed. Though, if all that you are looking for is something to stick on in the background while you do other things or if you are just after an easy, straightforward action adventure popcorn flick, then you could probably do worse than this.
It's a mediocre action movie based around the basic concept of the old tale of Robin Hood. It is extremely cheesy and has bags of whatever the opposite of subtle is. It tries to tell a gritty, 'Year One,' type of story for the character and treats the Robin Hood moniker as a dual identity for Robin Loxley, which draws heavy comparisons to the Batman/Bruce Wayne dynamic. Unfortunately, not much of it lands due to the lack of risk-taking involved.
The movie also feels weirdly dated, especially considering that it's only a few months old. There are an abundance of overindulgent slow motion shots in the style of 300; a movie that was 12 years old at the time of this movie's release. The use of green-screen in this film is actually pretty atrocious judging by today's standards and actually might be some of the worst out of any 2018 movie I saw. This is noticeable throughout the whole movie, but is especially rough-looking during a carriage chase that happens around two thirds into the film.
The cast are all phoning it in as well. Taron Egerton does nothing special with the lead role and Ben Mendlesohn hams it up as the Sheriff Of Nottingham, doing pretty much the same villainous shlock that he did in Ready Player One and Star Wars: Rogue One, way to not get typecast Mendo!
That's the other weird thing about this movie, is that it's not sure what era it wants to be set in. Some of the accents, language and costumes are suitable for the period that the movie is set in, but other elements and other lines and costumes etc feel like they are from 2018, the year that this movie was made. The end result that they were aiming for may have been a sort of rolling timeline that transcends the days of the Crusades that the movie is set in but what we get is just a scattered mess.
There were a few positives in this thing. Some cool shots, Some of the stunt archery is, (while super unrealistic,) pretty cool to watch. I know that 'Real Life Legolas,' Lars Andersen was hired to teach the cast some archery and I believe he helped out with the action choreography as well, which is pretty cool. There are also some glimpses of creativity in some of the shots. One in particular that stood out to me was a shot that gradually panned out from behind a solitary soldiers shield to show the intensity and scale of the battle that was taking place. It's just unfortunate that in so many other places in the movie, all we get is lazy, generic camera angles that add nothing to the scene taking place.
Overall, this is an okay action romp. Don't go in expecting anything of substance or you will most definitely come away disappointed. Though, if all that you are looking for is something to stick on in the background while you do other things or if you are just after an easy, straightforward action adventure popcorn flick, then you could probably do worse than this.
Chris Sawin (602 KP) rated After.Life (2010) in Movies
Jun 23, 2019
Anna (Christina Ricci) and Paul (Justin Long) have been together for quite some time. Although Anna seems to be pulling away, Paul is still madly in love with her. When his job offers him a promotion that would require him to move, Paul intends to ask Anna to come with him and be his wife. Anna, however, takes his lead-in as a break-up proposal before he can finish and leaves. After getting into a car accident, Anna wakes up in a funeral home where the director Eliot Deacon (Liam Neeson) tries to convince her that she's dead. Anna struggles with whether or not she has passed on and is merely in transition to the afterlife in the hands of a man with an incredible gift or is still alive and being held captive by a a lunatic.
When a film like After.Life is released theatrically, the part of me that loves horror films gets the best of me. It's true that most horror films turn out to be more terrible than you could ever imagine, but are pretty fantastic every once in a while. Fans of the genre live for the times a horror film not only lives up to expectations, but surpasses them. After.Life certainly looked to have potential, but wound up being another mediocre and predictable horror film.
The story is the film's biggest flaw. Although that is probably what will interest people and is what reeled you in (or pushed you away) judging by the trailer. The most interesting aspect of the film can really only go one of two ways. There's a 50/50 chance you already know how it ends. The film attempts to swerve you in a different direction once or twice, but is disproved as soon as the thought crosses your mind that something may happen you weren't expecting. It's like the film didn't wait long enough to let the swerve(s) sink in. Its predictability is too obvious to ignore even if you're somebody who doesn't try to figure out the ending before it happens.
I've always been picky when it comes to the use of CGI in films. Most of the time special effects that are used turn out looking cheap and take you out of the film since it's obvious the actor(s) is standing in front of a green screen and/or reacting to something that isn't there. I see movies to escape reality and it's hard to do that when crummy CGI takes me out of the film. As spectacular as the effects were in Avatar, they set the new standard as far as special effects go. While the special effects in After.Life are minimal, the scene featuring them is probably the weakest in the film.
Justin Long was pretty surprising. Judging by the trailer, his role seemed nearly identical to his role as Clay Dalton in Drag Me To Hell. While his role as Paul is similar, he showed a lot more emotion this time around. Long proved that he has more skill and is more talented than a lot of people (including myself) have ever given him credit for in the past.
After.Life isn't a terrible film, but is disappointing in comparison to what it could have been. Justin Long manages to outshine both Liam Neeson and Christina Ricci while the film's low budget is noticeable in its cheap but minimal use of CGI. While its premise may seem promising, After.Life is just another run of the mill horror/thriller. You do, however, get to see Christina Ricci bare it all for a good portion of the film. So it's not all bad.
When a film like After.Life is released theatrically, the part of me that loves horror films gets the best of me. It's true that most horror films turn out to be more terrible than you could ever imagine, but are pretty fantastic every once in a while. Fans of the genre live for the times a horror film not only lives up to expectations, but surpasses them. After.Life certainly looked to have potential, but wound up being another mediocre and predictable horror film.
The story is the film's biggest flaw. Although that is probably what will interest people and is what reeled you in (or pushed you away) judging by the trailer. The most interesting aspect of the film can really only go one of two ways. There's a 50/50 chance you already know how it ends. The film attempts to swerve you in a different direction once or twice, but is disproved as soon as the thought crosses your mind that something may happen you weren't expecting. It's like the film didn't wait long enough to let the swerve(s) sink in. Its predictability is too obvious to ignore even if you're somebody who doesn't try to figure out the ending before it happens.
I've always been picky when it comes to the use of CGI in films. Most of the time special effects that are used turn out looking cheap and take you out of the film since it's obvious the actor(s) is standing in front of a green screen and/or reacting to something that isn't there. I see movies to escape reality and it's hard to do that when crummy CGI takes me out of the film. As spectacular as the effects were in Avatar, they set the new standard as far as special effects go. While the special effects in After.Life are minimal, the scene featuring them is probably the weakest in the film.
Justin Long was pretty surprising. Judging by the trailer, his role seemed nearly identical to his role as Clay Dalton in Drag Me To Hell. While his role as Paul is similar, he showed a lot more emotion this time around. Long proved that he has more skill and is more talented than a lot of people (including myself) have ever given him credit for in the past.
After.Life isn't a terrible film, but is disappointing in comparison to what it could have been. Justin Long manages to outshine both Liam Neeson and Christina Ricci while the film's low budget is noticeable in its cheap but minimal use of CGI. While its premise may seem promising, After.Life is just another run of the mill horror/thriller. You do, however, get to see Christina Ricci bare it all for a good portion of the film. So it's not all bad.
Matthew Krueger (10051 KP) rated Eternal Darkness: Sanity's Requiem in Video Games
Oct 28, 2019 (Updated Oct 28, 2019)
Psychological Warfare
Contains spoilers, click to show
Eternal Darkness- why does no one talk about this game. It is amazing, its horrorfying, terroryfying, spooky, creepy, thrilling, chilling and so much more. Plus it came out only for the gamecube, which is huge because nintendo doesnt put out or release alot of horror games. This, luigi's mansion and Resident Evil 4 were the big horror games for the gamecube. Maybe more came out, but those 3 were the big ones. Lets talk about this game, shall we....
The narrative of the game's story switches between two phases. The main phase focuses on a series of chapters in which players take control of a new character each time. The other phase acts as an intermission. The game boasts twelve playable characters, split between four distinct locations, and from different periods of time.
The story features multiple paths that can be taken. This choice not only determines which of the game's three other antagonists are aligned to the plot, but it also has subtle effects on the gameplay in chapters and intermission periods. Some changes include slight differences in puzzles and items, but most changes revolve around enemy placement, which will determine how the player engages them. This can even have an effect on the relative difficulty of the game in certain situations. Red tinted enemies, for example, are tougher than their counterparts.
The other distinctive gameplay aspect comes from "Sanity Effects", the game's standout concept that Nintendo patented. Upon beginning the game's second chapter, players must keep watch on a Sanity meter – a green bar which decreases when the player is spotted by an enemy. As the bar becomes low, subtle changes to the environment and random unusual events begin to occur, which reflect the character's slackening grip on reality.
While minor effects include a skewed camera angle, heads of statues following the character, and unsettling noises, stronger effects include bleeding on walls and ceilings, entering a room that is unrealistic before finding that the character never left the previous room, the character suddenly dying, and fourth wall breaking effect such as "To Be Continued" promotions for a "sequel", and simulated errors and anomalies of the TV or GameCube. While the latter does not affect gameplay, they can be misconstrued by the player as being actual technical malfunctions.
Lets talk about the plot/story....
The story of Eternal Darkness takes place over four principal locations which the game skips back and forth between. They include an underground temple complex called the Forbidden City, in Persia; a Khmer temple in Angkor Thom, Cambodia; Oublié Cathedral in Amiens, France (not to be confused with Amiens Cathedral); and the Roivas Family Estate in Rhode Island, which also leads to an ancient underground city named Ehn'gha beneath the mansion. Each time a location is visited, it is done so in a different time period. Spanning from 26 BC to 2000 AD. Almost half of which take place in the 20th century. Each different era and character offers a different periodic and personal perspective on the location.
The chapters found in the game are not discovered in chronological order. Instead, to make the narrative more dramatic, each chapter jumps around the timeline of the plot. However, despite the overall story skipping back and forth through time, the chapters do follow chronological order within their respective locations. This is because each setting also has its own contained story.
This game is so good, its epic, im surprised that not of people know about this game and heard about this game.
I highly reccordmend playing this game.
Lastly shout out to @LeftSideCut for getting the hints/clues for this review.
The narrative of the game's story switches between two phases. The main phase focuses on a series of chapters in which players take control of a new character each time. The other phase acts as an intermission. The game boasts twelve playable characters, split between four distinct locations, and from different periods of time.
The story features multiple paths that can be taken. This choice not only determines which of the game's three other antagonists are aligned to the plot, but it also has subtle effects on the gameplay in chapters and intermission periods. Some changes include slight differences in puzzles and items, but most changes revolve around enemy placement, which will determine how the player engages them. This can even have an effect on the relative difficulty of the game in certain situations. Red tinted enemies, for example, are tougher than their counterparts.
The other distinctive gameplay aspect comes from "Sanity Effects", the game's standout concept that Nintendo patented. Upon beginning the game's second chapter, players must keep watch on a Sanity meter – a green bar which decreases when the player is spotted by an enemy. As the bar becomes low, subtle changes to the environment and random unusual events begin to occur, which reflect the character's slackening grip on reality.
While minor effects include a skewed camera angle, heads of statues following the character, and unsettling noises, stronger effects include bleeding on walls and ceilings, entering a room that is unrealistic before finding that the character never left the previous room, the character suddenly dying, and fourth wall breaking effect such as "To Be Continued" promotions for a "sequel", and simulated errors and anomalies of the TV or GameCube. While the latter does not affect gameplay, they can be misconstrued by the player as being actual technical malfunctions.
Lets talk about the plot/story....
The story of Eternal Darkness takes place over four principal locations which the game skips back and forth between. They include an underground temple complex called the Forbidden City, in Persia; a Khmer temple in Angkor Thom, Cambodia; Oublié Cathedral in Amiens, France (not to be confused with Amiens Cathedral); and the Roivas Family Estate in Rhode Island, which also leads to an ancient underground city named Ehn'gha beneath the mansion. Each time a location is visited, it is done so in a different time period. Spanning from 26 BC to 2000 AD. Almost half of which take place in the 20th century. Each different era and character offers a different periodic and personal perspective on the location.
The chapters found in the game are not discovered in chronological order. Instead, to make the narrative more dramatic, each chapter jumps around the timeline of the plot. However, despite the overall story skipping back and forth through time, the chapters do follow chronological order within their respective locations. This is because each setting also has its own contained story.
This game is so good, its epic, im surprised that not of people know about this game and heard about this game.
I highly reccordmend playing this game.
Lastly shout out to @LeftSideCut for getting the hints/clues for this review.