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Debbie (52 KP) rated Zora and Me: The Cursed Ground in Books
Aug 24, 2018
Zora and Me: The Cursed Ground By: T.R. Simon
Children's Fiction Middle Grade 272 Pages Release Date September 11, 2018 Publisher: Candlewick Press
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#ZoraAndMe#NetGalley
Okay now that I got all the information that Net Galley wants me to put onto each of my reviews I can now review this book.
I enjoyed this book a lot. I gave it 4.5 stars.
This book is about two girls named Zora and Me(Carrie Brown). They learn a lot about their little towns history in this story. The town is called Eatonville, Florida. This town is a color town meaning only color people live here. The town was established in around 1887.
This story takes place in the summer of 1903
Carrie is staying with Zora and her family while her mom is off working with a sick baby. One night it is raining and the neighbors horses get loose. This is unusual so the girls go to check on the neighbor, Mr. Polk who is a mute. They find him beaten up and go to find the healer who people claim to be a witch. They soon discover that Mr. Polk is able to talk but in a foreign language and not very often. The healer is Old Lady Bronson.
Here is the reason why I only gave the book 4.5 stars it went into a flash back and I it took me almost half way through the book to figure out why.
The story turns to the year 1855 and talks about a little girl called Lucia. This little girl is friends with a white girl named Prisca. Prisca Dad brings them both to Florida to marry a lady Miss Caroline. Lucia is made into a slave and having to learn about a new of way life. The book keeps flashing back every now and then to keep you informed about what happened.
I could tell you about the book but then you want to read it and I highly recommend that you do. Ms. Simon does a wonderful job telling the way the country was back in that time that needs to be told.
You will enjoy the twist and turns this story tells. You will not want to put the book down.
Zora loves adventures and can get into a lot of scrapes. They see a ghost or two and that is unnerving to them. One quote that I liked is when Zora says "I know you go anyway, even though you're scared and you're right it doesn't make you a scaredy-cat. It makes you brave."
You must read this book to your children and help them learn about our history because the schools are slowly fading out this part of history.
Children's Fiction Middle Grade 272 Pages Release Date September 11, 2018 Publisher: Candlewick Press
<img src="https://www.netgalley.com/badge/9a41056d7201c045d3f9e5c161f9569494687ae1"; width="80" height="80" alt="Professional Reader" title="Professional Reader"/>
#ZoraAndMe#NetGalley
Okay now that I got all the information that Net Galley wants me to put onto each of my reviews I can now review this book.
I enjoyed this book a lot. I gave it 4.5 stars.
This book is about two girls named Zora and Me(Carrie Brown). They learn a lot about their little towns history in this story. The town is called Eatonville, Florida. This town is a color town meaning only color people live here. The town was established in around 1887.
This story takes place in the summer of 1903
Carrie is staying with Zora and her family while her mom is off working with a sick baby. One night it is raining and the neighbors horses get loose. This is unusual so the girls go to check on the neighbor, Mr. Polk who is a mute. They find him beaten up and go to find the healer who people claim to be a witch. They soon discover that Mr. Polk is able to talk but in a foreign language and not very often. The healer is Old Lady Bronson.
Here is the reason why I only gave the book 4.5 stars it went into a flash back and I it took me almost half way through the book to figure out why.
The story turns to the year 1855 and talks about a little girl called Lucia. This little girl is friends with a white girl named Prisca. Prisca Dad brings them both to Florida to marry a lady Miss Caroline. Lucia is made into a slave and having to learn about a new of way life. The book keeps flashing back every now and then to keep you informed about what happened.
I could tell you about the book but then you want to read it and I highly recommend that you do. Ms. Simon does a wonderful job telling the way the country was back in that time that needs to be told.
You will enjoy the twist and turns this story tells. You will not want to put the book down.
Zora loves adventures and can get into a lot of scrapes. They see a ghost or two and that is unnerving to them. One quote that I liked is when Zora says "I know you go anyway, even though you're scared and you're right it doesn't make you a scaredy-cat. It makes you brave."
You must read this book to your children and help them learn about our history because the schools are slowly fading out this part of history.
Caitlin Ann Cherniak (85 KP) rated Fantasyland: How America Went Haywire in Books
Oct 22, 2018
Why do I have a feeling that the guy who wrote this just went on a rant and decided to put that whole rant into one giant ass book?
Don't get me wrong. This book has a couple of points, especially when he discusses religion and the Salem witch trails. However, when he starts getting into the more modern points of fantasy, either I didn't see it at all, or he was basically really poking fun at what the whole point of fantasy really is.
The title of the book is Fantasyland: How America Went Haywire. If he's going to use the word "Haywire" in a title, he better show pretty clear examples of why America is being flushed down the toilet. Poking fun at people cosplaying, playing video games, and being able to have fun at Disneyland or Disney World is not a point to say why America seems to be failing as a society. In fact, I can make a counterargument by saying that flights of fantasy in those contexts are actually forming the culture, not destroying it. Because of the evolution of entertainment (such as film, video games, etc.), it's easier to envision fantasy stories come to life. Before that, we had books, and no one was poking fun at books throughout this entire giant essay. Not only is that missing the forest for the trees, but it makes the argument of people being shown too much fantasy through visual mass media is a very shallow take on the topic of fantasy.
Also, the premise of the book talks about how people are arguing that Trump is ruining America because of his bullshit (and they're not wrong). I expected the book to discuss politics more in depth as a way to add onto the fantasyland argument. The book doesn't even do that, not even at the end when it "comes full circle" back to the Trump argument. If anything, the book kinda let it slide that it was for Trump and his radical ideas rather than finding flaws in them as people would expect. Look, if the book ended up explaining why Trump was trying to escape the Fantasyland argument, I'm all for reading that to make my own points. However, by just simply saying that Trump is being more realistic without any real reason, that also makes this essay a shallow writing. People want to read on why Trump has realistic views or not. If the point of this essay is talking about how fantastic ideas are plaguing a great nation, why not add that into the mix?
This essay was a real hit and miss for me. For something that's as thick as War and Peace, I expected this essay to have as juicy material as War and Peace, but it doesn't. It's just a 500 year rant on how "stupid" society can be, and that lost me as I finished the book.
Don't get me wrong. This book has a couple of points, especially when he discusses religion and the Salem witch trails. However, when he starts getting into the more modern points of fantasy, either I didn't see it at all, or he was basically really poking fun at what the whole point of fantasy really is.
The title of the book is Fantasyland: How America Went Haywire. If he's going to use the word "Haywire" in a title, he better show pretty clear examples of why America is being flushed down the toilet. Poking fun at people cosplaying, playing video games, and being able to have fun at Disneyland or Disney World is not a point to say why America seems to be failing as a society. In fact, I can make a counterargument by saying that flights of fantasy in those contexts are actually forming the culture, not destroying it. Because of the evolution of entertainment (such as film, video games, etc.), it's easier to envision fantasy stories come to life. Before that, we had books, and no one was poking fun at books throughout this entire giant essay. Not only is that missing the forest for the trees, but it makes the argument of people being shown too much fantasy through visual mass media is a very shallow take on the topic of fantasy.
Also, the premise of the book talks about how people are arguing that Trump is ruining America because of his bullshit (and they're not wrong). I expected the book to discuss politics more in depth as a way to add onto the fantasyland argument. The book doesn't even do that, not even at the end when it "comes full circle" back to the Trump argument. If anything, the book kinda let it slide that it was for Trump and his radical ideas rather than finding flaws in them as people would expect. Look, if the book ended up explaining why Trump was trying to escape the Fantasyland argument, I'm all for reading that to make my own points. However, by just simply saying that Trump is being more realistic without any real reason, that also makes this essay a shallow writing. People want to read on why Trump has realistic views or not. If the point of this essay is talking about how fantastic ideas are plaguing a great nation, why not add that into the mix?
This essay was a real hit and miss for me. For something that's as thick as War and Peace, I expected this essay to have as juicy material as War and Peace, but it doesn't. It's just a 500 year rant on how "stupid" society can be, and that lost me as I finished the book.
EmersonRose (320 KP) rated Alfred: And The Underworld in Books
Nov 20, 2019
“Yes Alfred, that is it. I love you. I love you so much. And I am worried. I, we, your father and I, and even Tirnalth – we chose this life for you. We fled for you. A great magic was unleashed to help us, for you Alfred. It helped us escape a world fallen to darkness”
Alfred and the Underworld is the second volume of Alfred: The Boy King series by author Ron Smorynski. Published on November 2017, this book continues Alfred’s journey as the King of Westfold. After spending some time back with his mother in the human world researching and preparing, he goes back to his people. Things are not going well, and Alfred has a lot of work to do to help his people get back on their feet and defend themselves from the darkness that surrounds them.
In this book, Smorynski continues not only with this adventure-filled story but has continued to build up his fantasy world. Alfred encounters several new magical creatures, both good and bad around his kingdom. We also get a further building of the magical system and who has access to magic, which adds to the world and what is possible within it. Another interesting aspect was the history and politics that took a forefront position in this book. We are given a better grasp of the world outside of Alfred’s little kingdom. There are more players in the game now some that could be allies and some that have allied themselves with the evil in the land.
I really enjoyed that in this book we get to see different perspectives. While mostly told from Alfred’s point of view, we also get sneak peaks into both his mother’s mind and the enemies Alfred, and his people are fighting. This was interesting because these other characters are privy to information Alfred does not have access to and helps build the intrigue of the story. I particularly liked the chapters focused on Alfred’s mother. Through the excitement of Alfred building up his kingdom and the thrill of preparing for battle and defeating enemies, the mother is a reminder of a big picture and a deeper mystery. Throughout the first book we were given pieces of the life that she left behind when she brought Alfred to our world, and slowly those pieces are coming together.
I greatly enjoyed this book and am excited about the third book in the series Alfred and the Quest of the Knights. Alfred and the Underworld was an exciting, fun, and interesting story on its own, but it also set up nicely for the next installment. Between the big bad that is Gorbogal the witch and the truth bomb that was dropped on Alfred in the last sentence as a cliffhanger, this book as left me desperately waiting for more.
Alfred and the Underworld is the second volume of Alfred: The Boy King series by author Ron Smorynski. Published on November 2017, this book continues Alfred’s journey as the King of Westfold. After spending some time back with his mother in the human world researching and preparing, he goes back to his people. Things are not going well, and Alfred has a lot of work to do to help his people get back on their feet and defend themselves from the darkness that surrounds them.
In this book, Smorynski continues not only with this adventure-filled story but has continued to build up his fantasy world. Alfred encounters several new magical creatures, both good and bad around his kingdom. We also get a further building of the magical system and who has access to magic, which adds to the world and what is possible within it. Another interesting aspect was the history and politics that took a forefront position in this book. We are given a better grasp of the world outside of Alfred’s little kingdom. There are more players in the game now some that could be allies and some that have allied themselves with the evil in the land.
I really enjoyed that in this book we get to see different perspectives. While mostly told from Alfred’s point of view, we also get sneak peaks into both his mother’s mind and the enemies Alfred, and his people are fighting. This was interesting because these other characters are privy to information Alfred does not have access to and helps build the intrigue of the story. I particularly liked the chapters focused on Alfred’s mother. Through the excitement of Alfred building up his kingdom and the thrill of preparing for battle and defeating enemies, the mother is a reminder of a big picture and a deeper mystery. Throughout the first book we were given pieces of the life that she left behind when she brought Alfred to our world, and slowly those pieces are coming together.
I greatly enjoyed this book and am excited about the third book in the series Alfred and the Quest of the Knights. Alfred and the Underworld was an exciting, fun, and interesting story on its own, but it also set up nicely for the next installment. Between the big bad that is Gorbogal the witch and the truth bomb that was dropped on Alfred in the last sentence as a cliffhanger, this book as left me desperately waiting for more.
Phillip McSween (751 KP) rated Snow White and the Seven Dwarfs (1937) in Movies
Mar 5, 2020
Start-to-Finish Entertainment!
Princess Snow White finds herself on the run from her evil stepmother the Queen when the Queen finds out that Snow White is the prettiest girl in the land. First released in 1937, I’ve gotta say this movie still holds up today! Snow holds it down as the first Disney princess to grace the big screen.
Acting: 10
Beginning: 10
There’s some serious conflict going down in the castle and we come to learn that within the first ten minutes. The Queen is a real threat and we immediately come to worry about innocent Snow White who just wants to sing and be merry all day. I was immediately whisked away to this other place and time and I was excited for the journey.
Characters: 10
Still some of the best characters in film history. Having seven dwarfs with different personalities was genius! Sleepy was my dude! And there’s just something about Snow that really captivates me. She has a pure soul that inspires everyone around her, even the animals.
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 9
Between the dwarfs, the fun musical numbers, and that cackling Queen, Snow White and the Seven Dwarfs kept me entertained from start to finish. Disney is a victim of its own success, however, as there are other animated movies I felt entertained me a wee bit more. That being said, this is a movie that could still capture and hold a kid’s attention today.
Memorability: 8
Pace: 10
Gets off to a pretty quick start and holds your attention from there. Even the songs aren’t wasted as they segment into the next important plot piece. The movie is a perfect example of rising conflict, then bringing the audience down for just long enough before hitting them again.
Plot: 8
My gripe with the movie’s plot is pretty small, but just enough to annoy me. I felt like the Queen went through A LOT of trouble just to turn into that witch only to give Snow an apple. At that point, if you want to kill her so bad, just make it happen right then! Classic case of a movie overthinking things and trying to be creative for the sake of being creative. Again, it’s small but too noticeable not to bring up.
Resolution: 10
Overall: 93
It always impresses me when classic films hold up today. I can imagine some of the older crowd might be offended by that just as if I might be offended if some young punk in 2035 is watching Jurassic Park and says, “Wow, this film is still solid to this day!” I get it, but I can’t help but admire a movie that is (as of this writing) eighty-three years old! Bananas. Disney came out of the gates swinging and hasn’t looked back since.
Acting: 10
Beginning: 10
There’s some serious conflict going down in the castle and we come to learn that within the first ten minutes. The Queen is a real threat and we immediately come to worry about innocent Snow White who just wants to sing and be merry all day. I was immediately whisked away to this other place and time and I was excited for the journey.
Characters: 10
Still some of the best characters in film history. Having seven dwarfs with different personalities was genius! Sleepy was my dude! And there’s just something about Snow that really captivates me. She has a pure soul that inspires everyone around her, even the animals.
Cinematography/Visuals: 10
Conflict: 8
Entertainment Value: 9
Between the dwarfs, the fun musical numbers, and that cackling Queen, Snow White and the Seven Dwarfs kept me entertained from start to finish. Disney is a victim of its own success, however, as there are other animated movies I felt entertained me a wee bit more. That being said, this is a movie that could still capture and hold a kid’s attention today.
Memorability: 8
Pace: 10
Gets off to a pretty quick start and holds your attention from there. Even the songs aren’t wasted as they segment into the next important plot piece. The movie is a perfect example of rising conflict, then bringing the audience down for just long enough before hitting them again.
Plot: 8
My gripe with the movie’s plot is pretty small, but just enough to annoy me. I felt like the Queen went through A LOT of trouble just to turn into that witch only to give Snow an apple. At that point, if you want to kill her so bad, just make it happen right then! Classic case of a movie overthinking things and trying to be creative for the sake of being creative. Again, it’s small but too noticeable not to bring up.
Resolution: 10
Overall: 93
It always impresses me when classic films hold up today. I can imagine some of the older crowd might be offended by that just as if I might be offended if some young punk in 2035 is watching Jurassic Park and says, “Wow, this film is still solid to this day!” I get it, but I can’t help but admire a movie that is (as of this writing) eighty-three years old! Bananas. Disney came out of the gates swinging and hasn’t looked back since.
JT (287 KP) rated The Hunt (2012) in Movies
Mar 10, 2020
The Hunt is a gripping yet dramatic look at the persecution of one man in a small Danish town, after he is accused of sexually assaulting a young girl.
With such subject matter being so delicate it needed a careful approach as its something that is so true to life it can resonate with peoples moral views in quite a significant way. Lucas (Mikkelsen) is a nursery teacher, quiet and reclusive he lives alone trying to come to terms with the fact that he is not able to see his son as much as he would like to.
Lucas clearly has a fond affection for the children that he looks after, but his life is torn apart one day by a small white lie that sets the wheels in motion for a real life witch hunt.
The film is hard to watch at times and rightly so, it’s dealing with something that occurs in the real world and it can be stomach churning. But director Thomas Vinterberg gets to the heart of the matter quickly and in such a way that it creates compelling interest.
Former Bond villain and TV Hannibal star Mikkelsen is an exceptional centre piece as a loving father desperate for a way out, and in such a small environment it seems to be a hard task to accomplish. It’s at times like this that you know who your real friends are, and Lucas comes to realise that in the harshest of circumstances as he is slowly but surely chased down by a hunting pack of townsfolk.
How apt it is that Mikkelsen seen hunting deer in the forest at the start, now knows himself what that feeling is like as the hunter now becomes the hunted. It’s a film that genuinely makes you angry, your emotions are pulled one way and then the next as you try to put yourself in the shoes of a number of different people, but at the end of the day it comes down to one thing, guilty until proven innocent.
At the start we’re quite sure that Lucas is innocent, but there is enough in the narrative that at times we question ourselves in what is a slow burning story executed with the highest precision. The supporting cast are all brilliant, and do themselves credit to subject matter that must be hard to act against, especially when there are children involved.
People will do evil things when pushed to the limit by what they feel is right or wrong as the case maybe, and its a journey that Vinterberg takes us on in horrifying consequences.
The Hunt expels emotions such as paranoia, guilt and suspicion, all in a community bonded closely by long lasting friendships they have with each other. The closing scene proves that even after time has passed some things are gone but certainly not forgotten.
With such subject matter being so delicate it needed a careful approach as its something that is so true to life it can resonate with peoples moral views in quite a significant way. Lucas (Mikkelsen) is a nursery teacher, quiet and reclusive he lives alone trying to come to terms with the fact that he is not able to see his son as much as he would like to.
Lucas clearly has a fond affection for the children that he looks after, but his life is torn apart one day by a small white lie that sets the wheels in motion for a real life witch hunt.
The film is hard to watch at times and rightly so, it’s dealing with something that occurs in the real world and it can be stomach churning. But director Thomas Vinterberg gets to the heart of the matter quickly and in such a way that it creates compelling interest.
Former Bond villain and TV Hannibal star Mikkelsen is an exceptional centre piece as a loving father desperate for a way out, and in such a small environment it seems to be a hard task to accomplish. It’s at times like this that you know who your real friends are, and Lucas comes to realise that in the harshest of circumstances as he is slowly but surely chased down by a hunting pack of townsfolk.
How apt it is that Mikkelsen seen hunting deer in the forest at the start, now knows himself what that feeling is like as the hunter now becomes the hunted. It’s a film that genuinely makes you angry, your emotions are pulled one way and then the next as you try to put yourself in the shoes of a number of different people, but at the end of the day it comes down to one thing, guilty until proven innocent.
At the start we’re quite sure that Lucas is innocent, but there is enough in the narrative that at times we question ourselves in what is a slow burning story executed with the highest precision. The supporting cast are all brilliant, and do themselves credit to subject matter that must be hard to act against, especially when there are children involved.
People will do evil things when pushed to the limit by what they feel is right or wrong as the case maybe, and its a journey that Vinterberg takes us on in horrifying consequences.
The Hunt expels emotions such as paranoia, guilt and suspicion, all in a community bonded closely by long lasting friendships they have with each other. The closing scene proves that even after time has passed some things are gone but certainly not forgotten.
Kristy H (1252 KP) rated The Furies in Books
Sep 26, 2019
Violet joins Elm Hollow after the death of her little sister and father. It's a private girls school that has a history of magic and witchcraft thanks to an association with the 17th century witch trials. Violet finds herself drawn to three girls--Robin, Grace, and Alex. She becomes close with them, particularly Robin, and finds herself invited to an advanced study group led by their art teacher, Annabel, which goes into more depth about the witchcraft practiced at the school so long ago. The girls seem to think the magic is real, and that they can harness it. Always lurking in the background is Emily Frost--Robin's former best friend--who died before Violet came to Elm Hollow. She and Violet look very similar. As time passes, Violet starts to wonder if the witchcraft is real. And what really happened to Emily?
The girl is found dead on a swing on a playground on Elm Hollow Academy property--no known cause of death. That's how this novel opens, and then we have Violet, who tells us the story looking back, recounting her time at Elm Hollow. So the story opens dramatically and we know something has terrible happened. And that Violet makes it out okay.
"Inconclusive, they said, as though that changed the fact of it, which was this: a sixteen-year-old girl, dead on school property, without a single clue to suggest why or how."
This book should be been really good--I'm a sucker for private school tales (I thought it was a boarding school one, as well, but it wasn't)--but it just didn't work for me. I thought about putting it aside several times, but I just couldn't. I need to work on my DNF skills.
There is a lot here: two dead girls; witchcraft and the occult; mythology; friendship and coming of age--and none of it feels fully explored. A lot of the book focuses on mythology as Annabel teaches some of it to the girls (I felt myself skimming over that, and I like mythology). There's the focus on witchcraft, but it never seems fully embraced. There's a lot of violence (won't go too far for spoilers) but there are never really any consequences. It's very strange, and honestly, not the sort of YA book I'd encourage for teens.
And, then, I just didn't care for these characters. Robin is hateful, and I couldn't form a bond with Violet, our narrator. That would be all well and good if the action was enough to keep my interest, but it wasn't. The book just felt jumbled, and I wasn't interested in picking it up. Even a few late twists didn't really redeem things for me.
Lots of others have found the story powerful, however, so if you like mean girls with a side of possible witchcraft, you may enjoy this more. 2 stars.
The girl is found dead on a swing on a playground on Elm Hollow Academy property--no known cause of death. That's how this novel opens, and then we have Violet, who tells us the story looking back, recounting her time at Elm Hollow. So the story opens dramatically and we know something has terrible happened. And that Violet makes it out okay.
"Inconclusive, they said, as though that changed the fact of it, which was this: a sixteen-year-old girl, dead on school property, without a single clue to suggest why or how."
This book should be been really good--I'm a sucker for private school tales (I thought it was a boarding school one, as well, but it wasn't)--but it just didn't work for me. I thought about putting it aside several times, but I just couldn't. I need to work on my DNF skills.
There is a lot here: two dead girls; witchcraft and the occult; mythology; friendship and coming of age--and none of it feels fully explored. A lot of the book focuses on mythology as Annabel teaches some of it to the girls (I felt myself skimming over that, and I like mythology). There's the focus on witchcraft, but it never seems fully embraced. There's a lot of violence (won't go too far for spoilers) but there are never really any consequences. It's very strange, and honestly, not the sort of YA book I'd encourage for teens.
And, then, I just didn't care for these characters. Robin is hateful, and I couldn't form a bond with Violet, our narrator. That would be all well and good if the action was enough to keep my interest, but it wasn't. The book just felt jumbled, and I wasn't interested in picking it up. Even a few late twists didn't really redeem things for me.
Lots of others have found the story powerful, however, so if you like mean girls with a side of possible witchcraft, you may enjoy this more. 2 stars.
Mordheim: Warband Skirmish
Games
App
Explore the ruins of the City of Mordheim, clash with other scavenging warbands and collect...
Daniel Boyd (1066 KP) rated Hellboy (2019) in Movies
Apr 17, 2019 (Updated Apr 17, 2019)
The script (4 more)
The CGI
The editing
The performances
Everything else
Actual Hell
If the Hellboy 2019 movie has one thing going for it, it's that it's impressive. It is impressive in the sense that it actually made me question the futility of time and why I was wasting my short time on this earth watching this atrocious piece of trash. There were several times when I was watching the film that I actually couldn't bring myself to believe how bad what I was witnessing onscreen really was. This might be the worst film I have ever seen.
It has without a doubt taken the crown of the worst superhero movie ever made from Fan4stic and is downright insulting. I cannot believe that they chose to make this dogshit over another one with Ron Perlman and Del Toro. Almost every single aspect of this movie is garbage and there are hardly any redeeming features.
Let's talk about the main character, this movie's version of Hellboy. We all knew going in that David Harbour had some pretty big shoes to fill left by Perlman and in Harbour's defence, pretty much the only slightly positive aspect of this thing is the fact that you can tell that Harbour is doing the very best with the piss poor material he has been given to work with. Most of his lines are awful and the way that his character is written as a moaning, whiny bitch is actually insulting to the character. Also, the excessive makeup he is wearing means that he is hardly able to emote with his mouth. When he is talking, his mouth simply opens and closes like a puppet and it is painfully obvious that the dialogue has been dubbed in later and it's not even been done very well. The other slight positive in this movie is seeing Hellboy in his full demonic getup with long horns and donning the flaming crown and sword was pretty cool, unfortunately this is only a fleeting glimpse of coolness before we get right back to the crap.
The other memorable part of the Del Toro Hellboy movies was the endearing supporting cast, unfortunately they have been substituted with an insufferable lot of replacements. The actress playing Alice may give the worst performance that I have ever seen in a comic book movie, (and I saw Polar!) Every single line that she uttered was extremely cringe-worthy and poorly delivered. Daniel Dae Kim was almost as bad as Hellboy's other sidekick. Again, a lot of his lines were ADR'd in later and it is really shoddily done. Ian McShane plays Broom, the scientist that found Hellboy and adopted him and he is sleepwalking his way through this role for the sake of an easy paycheck. As is Milla Jovovich, she plays a stereotypical villainous witch and she does nothing here that we haven't seen her do before in other movies.
Over my years of watching almost every comic book movie that releases, I have seen my fair share of cheap, cartoony looking CGI, but this takes the cake. Almost every scene in the movie features some kind of CGI creature and they are all on a similar level of quality to an unfinished student project. One of the moments it really stood out was the giant fight, where we were subjected to not only one bad CGI giant, but three of them. The scene is also shot in broad daylight, which really does the bad CGI no favours. Not once, did anything in this movie look better than anything in the Del Toro movies which came out 10+ years ago.
I'm going to spoil something here, because seriously who gives a fuck at this point? The absolute worst part of CGI though in the entire movie, is undoubtedly during one of the final scenes in the movie where Ian McShane comes back to speak to Hellboy as a ghost. The CG in this scene is genuinely on par with the Rock's CG in in the Scorpion King. Yes, it really is that bad.
The soundtrack is so misused here also. The songs themselves that are featured are all half decent songs, but they do not work in the context of this film and they add absolutely nothing to the scenes that they are used in. The editing is also horrible, there were several times that I was reminded of the cheap editing in shows like Buffy The Vampire Slayer.
The last thing that I want to talk about is the tone and humour, (or lack of,) present throughout the film. The movie opens with a flashback scene showing King Arthur chopping up the witch. The scene is being narrated by Ian McShane and it is chock-full of diabolically awful dialogue and insufferably cheesy line delivery. Whilst watching it I thought, "Oh they are really hamming it up here and going for a really corny tone for these flashback scenes." I then swiftly came to the soul-crushing conclusion that no, this was how the next 2 hours of this movie was going to go. The awful sense of humour is actually comparable to that in a poor quality kids film, with gross out burp and kiss jokes to boot. What happened to the darker, more horror orientated tone that we were teased with when the movie was in pre-production? Any semblance of that is sorely lacking here and it is a shame because I would have quite liked to have seen that movie and there is a good chance that it would have been a lot better than this dumpster fire.
Overall, please don't see this unless you hate yourself. It is two hours of your life that would be better spent doing literally anything else. At the end it has the audacity to tease a sequel which, (if there is a God,) will never happen.
It has without a doubt taken the crown of the worst superhero movie ever made from Fan4stic and is downright insulting. I cannot believe that they chose to make this dogshit over another one with Ron Perlman and Del Toro. Almost every single aspect of this movie is garbage and there are hardly any redeeming features.
Let's talk about the main character, this movie's version of Hellboy. We all knew going in that David Harbour had some pretty big shoes to fill left by Perlman and in Harbour's defence, pretty much the only slightly positive aspect of this thing is the fact that you can tell that Harbour is doing the very best with the piss poor material he has been given to work with. Most of his lines are awful and the way that his character is written as a moaning, whiny bitch is actually insulting to the character. Also, the excessive makeup he is wearing means that he is hardly able to emote with his mouth. When he is talking, his mouth simply opens and closes like a puppet and it is painfully obvious that the dialogue has been dubbed in later and it's not even been done very well. The other slight positive in this movie is seeing Hellboy in his full demonic getup with long horns and donning the flaming crown and sword was pretty cool, unfortunately this is only a fleeting glimpse of coolness before we get right back to the crap.
The other memorable part of the Del Toro Hellboy movies was the endearing supporting cast, unfortunately they have been substituted with an insufferable lot of replacements. The actress playing Alice may give the worst performance that I have ever seen in a comic book movie, (and I saw Polar!) Every single line that she uttered was extremely cringe-worthy and poorly delivered. Daniel Dae Kim was almost as bad as Hellboy's other sidekick. Again, a lot of his lines were ADR'd in later and it is really shoddily done. Ian McShane plays Broom, the scientist that found Hellboy and adopted him and he is sleepwalking his way through this role for the sake of an easy paycheck. As is Milla Jovovich, she plays a stereotypical villainous witch and she does nothing here that we haven't seen her do before in other movies.
Over my years of watching almost every comic book movie that releases, I have seen my fair share of cheap, cartoony looking CGI, but this takes the cake. Almost every scene in the movie features some kind of CGI creature and they are all on a similar level of quality to an unfinished student project. One of the moments it really stood out was the giant fight, where we were subjected to not only one bad CGI giant, but three of them. The scene is also shot in broad daylight, which really does the bad CGI no favours. Not once, did anything in this movie look better than anything in the Del Toro movies which came out 10+ years ago.
I'm going to spoil something here, because seriously who gives a fuck at this point? The absolute worst part of CGI though in the entire movie, is undoubtedly during one of the final scenes in the movie where Ian McShane comes back to speak to Hellboy as a ghost. The CG in this scene is genuinely on par with the Rock's CG in in the Scorpion King. Yes, it really is that bad.
The soundtrack is so misused here also. The songs themselves that are featured are all half decent songs, but they do not work in the context of this film and they add absolutely nothing to the scenes that they are used in. The editing is also horrible, there were several times that I was reminded of the cheap editing in shows like Buffy The Vampire Slayer.
The last thing that I want to talk about is the tone and humour, (or lack of,) present throughout the film. The movie opens with a flashback scene showing King Arthur chopping up the witch. The scene is being narrated by Ian McShane and it is chock-full of diabolically awful dialogue and insufferably cheesy line delivery. Whilst watching it I thought, "Oh they are really hamming it up here and going for a really corny tone for these flashback scenes." I then swiftly came to the soul-crushing conclusion that no, this was how the next 2 hours of this movie was going to go. The awful sense of humour is actually comparable to that in a poor quality kids film, with gross out burp and kiss jokes to boot. What happened to the darker, more horror orientated tone that we were teased with when the movie was in pre-production? Any semblance of that is sorely lacking here and it is a shame because I would have quite liked to have seen that movie and there is a good chance that it would have been a lot better than this dumpster fire.
Overall, please don't see this unless you hate yourself. It is two hours of your life that would be better spent doing literally anything else. At the end it has the audacity to tease a sequel which, (if there is a God,) will never happen.
Kirk Bage (1775 KP) rated The Lighthouse (2019) in Movies
Jan 22, 2021
Robert Eggers made a striking introduction for himself in 2015 with the moody and disconcerting The Witch, bringing a future star to the world’s attention in Anya Taylor-Joy in the process. You could argue after seeing his sophomore effort, The Lighthouse, that in terms of creating deliberately nauseating landscapes his work is the third cog in the arthouse revival of intellectual “horror”, after Ari Aster (Hereditary / Midsommar) and Jordan Peele (Get Out / Us). The group actually sits quite well together, as there is an obvious social commentary by metaphor crossover going on here, as well as just a little bit of “crazy”.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
Lottie disney bookworm (1056 KP) rated The Beast Within: A Tale of Beauty's Prince (Villains #2) in Books
Aug 24, 2019
Beauty and the Beast is arguably one of my favourite Disney classics. I adored Tale as Old as Time and so the Beast’s version of the villain’s tale series had some pretty big boots to fill.
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
