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ClareR (5779 KP) rated The Wolves of Winter in Books
Mar 11, 2022
I keep doing this. Reading books about pandemics during a pandemic, and then scaring the living daylights out of myself. Thank goodness I’d read Justin Cronin’s The Passage trilogy pre-Covid, because that would really have had me battening down the hatches!
This is about a different flu-like virus, but the mortality rate is far higher than Covid. And then nuclear bombs are also involved, so it’s a pretty full-on start to this remarkable book.
The sensible people move north. In this case, they move to the Yukon, where the virus is less virulent and people can hunt and trap their food. Lynn McBride lives here with what’s left of her family. They’ve carved out a life for themselves and live in relative safety in the barren, white landscape. But they can’t keep everyone away, and soothe outside world starts to encroach in the form of a loner called Jax, and a frankly scary group of people who are intent on seeing the end of the virus, no matter the human cost.
I loved the descriptions of the landscape - I do tend to love a book set in frozen landscapes (Arctic, Antarctic, just somewhere plain cold!), which is odd really, because I can’t think of a worse place to live. It’s a morbid fascination, I suppose. And the descriptions in this book of the cold, the landscape and the difficulties of living there are so evocative. People surviving against the odds always a winning theme.
It wasn’t until I sat down to write this, that I found out that the book was YA. Honestly, it hadn’t even crossed my mind. Ok, there’s no sex, but in my opinion it just seemed too cold anyway 🤷🏼♀️. The main protagonist is in her late teens, and there is a sexual assault and some shooting/ bloodshed. There’s a very cute dog though (also a winning formula for me).
So if you’re feeling brave and like a post-apocalyptic story, you may well fancy reading this. I do wonder if there will be a follow up, because I’d love to know what happens after the final page (it does seem open to that). I’d definitely read it!
This is about a different flu-like virus, but the mortality rate is far higher than Covid. And then nuclear bombs are also involved, so it’s a pretty full-on start to this remarkable book.
The sensible people move north. In this case, they move to the Yukon, where the virus is less virulent and people can hunt and trap their food. Lynn McBride lives here with what’s left of her family. They’ve carved out a life for themselves and live in relative safety in the barren, white landscape. But they can’t keep everyone away, and soothe outside world starts to encroach in the form of a loner called Jax, and a frankly scary group of people who are intent on seeing the end of the virus, no matter the human cost.
I loved the descriptions of the landscape - I do tend to love a book set in frozen landscapes (Arctic, Antarctic, just somewhere plain cold!), which is odd really, because I can’t think of a worse place to live. It’s a morbid fascination, I suppose. And the descriptions in this book of the cold, the landscape and the difficulties of living there are so evocative. People surviving against the odds always a winning theme.
It wasn’t until I sat down to write this, that I found out that the book was YA. Honestly, it hadn’t even crossed my mind. Ok, there’s no sex, but in my opinion it just seemed too cold anyway 🤷🏼♀️. The main protagonist is in her late teens, and there is a sexual assault and some shooting/ bloodshed. There’s a very cute dog though (also a winning formula for me).
So if you’re feeling brave and like a post-apocalyptic story, you may well fancy reading this. I do wonder if there will be a follow up, because I’d love to know what happens after the final page (it does seem open to that). I’d definitely read it!
DaveySmithy (107 KP) rated Ghostbusters: Frozen Empire (2024) in Movies
Dec 4, 2024 (Updated Dec 4, 2024)
Fun moments
I went into Ghostbusters: Frozen Empire (2024) hoping it would build on the promise of Ghostbusters: Afterlife while carving out its own icy identity. Unfortunately, while the film has its moments of charm and spectacle, it left me feeling cold overall—pun intended.
The premise is intriguing: a mysterious, apocalyptic winter descending on New York City, with the Ghostbusters tasked to save the day. The visuals are striking—snow-covered cityscapes and frost-bitten ghosts make for some memorable scenes. The effects team clearly had a blast imagining what a frozen supernatural invasion would look like, and the frosty atmosphere feels like a fresh twist for the franchise.
The returning cast, especially Paul Rudd and Carrie Coon, are as likable as ever, but they’re not given much to do beyond reacting to the chaos. The younger characters, led by Mckenna Grace, are still charming, but the novelty of their “kid Ghostbusters” dynamic is starting to wear thin. The humor is hit-or-miss; while there are a few clever lines and fun moments, some of the jokes feel too forced, as though the film is trying too hard to mimic the original’s effortless wit.
One of the biggest disappointments for me was the pacing. The first half of the movie drags, spending too much time on exposition and setup without giving us the action or scares we came for. When the ghost-busting finally ramps up, it’s exciting, but it feels rushed and formulaic. The climactic battle is visually impressive but lacks emotional weight, relying more on spectacle than storytelling.
I also couldn’t help but feel that Frozen Empire leans too heavily on nostalgia. The callbacks to the original movies are fun at first, but they start to feel like a crutch, reminding us of the franchise’s glory days instead of moving it forward in a meaningful way.
Overall, Ghostbusters: Frozen Empire is a decent popcorn flick with some cool visuals and a few laughs, but it doesn’t live up to the potential of its concept or its legacy. It’s a 6/10 for me—fun in the moment, but not particularly memorable.
The premise is intriguing: a mysterious, apocalyptic winter descending on New York City, with the Ghostbusters tasked to save the day. The visuals are striking—snow-covered cityscapes and frost-bitten ghosts make for some memorable scenes. The effects team clearly had a blast imagining what a frozen supernatural invasion would look like, and the frosty atmosphere feels like a fresh twist for the franchise.
The returning cast, especially Paul Rudd and Carrie Coon, are as likable as ever, but they’re not given much to do beyond reacting to the chaos. The younger characters, led by Mckenna Grace, are still charming, but the novelty of their “kid Ghostbusters” dynamic is starting to wear thin. The humor is hit-or-miss; while there are a few clever lines and fun moments, some of the jokes feel too forced, as though the film is trying too hard to mimic the original’s effortless wit.
One of the biggest disappointments for me was the pacing. The first half of the movie drags, spending too much time on exposition and setup without giving us the action or scares we came for. When the ghost-busting finally ramps up, it’s exciting, but it feels rushed and formulaic. The climactic battle is visually impressive but lacks emotional weight, relying more on spectacle than storytelling.
I also couldn’t help but feel that Frozen Empire leans too heavily on nostalgia. The callbacks to the original movies are fun at first, but they start to feel like a crutch, reminding us of the franchise’s glory days instead of moving it forward in a meaningful way.
Overall, Ghostbusters: Frozen Empire is a decent popcorn flick with some cool visuals and a few laughs, but it doesn’t live up to the potential of its concept or its legacy. It’s a 6/10 for me—fun in the moment, but not particularly memorable.
Eilidh G Clark (177 KP) rated The Sunlight Pilgrims in Books
May 13, 2017
Smashing novel
‘What are you meant to do when a humongous cloud is coming toward you on a sheer mountain drop? He lifts his phone and there are no bars, he can’t even google it. Two eagles spiral out of the cloud, calling to each other, and one has something small gripped in it’s claws. They coast on the wind – each wingspan must be about three feet – and they appear almost still.’
Jenni Fagan’s The Sunlight Pilgrims was published by Windmill Books in 2015 and for me, was a much-anticipated novel. After reading her debut novel, The Panopticon, my expectations were high and I was not disappointed. This is a pre-apocalyptic novel set in a fictional Scottish town of Clachan Fells in the not too distant future of 2020. The novel explores the lives of a community of eccentric individuals living in close the proximity of a caravan park. As the temperatures plunge into extreme minuses, the residents are faced with a bleak and uncertain future, not only of their own survival, but also the survival of the human race.
The most interesting thing about this novel is that on the surface, nothing really happens, yet it would be wise to look deeper. Amongst the daily challenges of individual lives, there lurks a thought provoking tale of identity, community, and environment.
The novel is written from the perspective of two of its main characters Stella – a transgender teenager and Dylan a Londoner who recently moves to Clachan Fells. The most interesting thing about these two characters is the perspectives that each individual has about place. For Stella, her world is a difficult place full of prejudice and rejection, even from her own father. Whilst her own personal identity is unquestionable, the community rejects her choices. This point of view provokes the reader to question the nature of identity, a topic often argued when discussing Scotland. From Stella’s point of view, her own identity is progressive, changing, developing while the society around her static. Alistair’s point of view however, allows the reader a modern and open approach. Described in the prologue as the Incomer (notice the capitalization) directs the reader towards Margaret Elphinstone’s novel The Incomer published in 1987. Elphinstone’s novel is a post-apocalyptic tale and, like Fagan’s, novel examines the question of identity. Thomas Christie suggests in Notional Identities, that Elphinstone is ‘depicting the country’s ability to adapt to extreme change¬ ̶ carving a form of localism from the bones of globalisation ̶ she recognises its progressive aptitude to embrace forces of social transformation while retaining recognisable core cultural imperatives.’ It is no coincidence that Fagan has subtly steered the reader to this novel; identity is clearly a topic that the author is keen to explore. Dylan is a progressive character in Fagan’s novel. Discovering Stella identity very early in the novel, the character never questions her choices or that of Mother who has two partners. Likewise, this progressive thinking expands to the other residents of the caravan park, which houses a prostitute, an alien worshipper, and a disabled man with a crooked back who worships the sky. Not only does Dylan accept people for who they are; his deep connection to the environment makes him instinctive as opposed to the more rational thinkers of the world.
Unlike many modern writers, Fagan raises more questions about society and identity than she answers. This is an interesting technique as it leaves the reader to question the novel as opposed to question to authors own political and societal views. That said there is no doubt that this is a Scottish novel. The story is steeped in Scottish mythical symbolism such as the blackbird that lands on a fence post with his eyes reflecting a vast mountain range, to the eagles and stag’s on the mountains. In addition, the characters take on mythical persona’s including a giant, a girl with second sight, and a moon polisher. With oral tales of Sunlight Pilgrims highlighting the Scottish oral storytelling tradition, and a poetic sentence structure done in true Fagan style this novel feels truly Scottish.
I would highly recommend this postmodern novel, which urges the reader to look beyond society and address the problems of ego and the rational mind in order to create a progressive unified world where outsiders are welcomed as incomers – a prevalent issue in today’s society.
Jenni Fagan’s The Sunlight Pilgrims was published by Windmill Books in 2015 and for me, was a much-anticipated novel. After reading her debut novel, The Panopticon, my expectations were high and I was not disappointed. This is a pre-apocalyptic novel set in a fictional Scottish town of Clachan Fells in the not too distant future of 2020. The novel explores the lives of a community of eccentric individuals living in close the proximity of a caravan park. As the temperatures plunge into extreme minuses, the residents are faced with a bleak and uncertain future, not only of their own survival, but also the survival of the human race.
The most interesting thing about this novel is that on the surface, nothing really happens, yet it would be wise to look deeper. Amongst the daily challenges of individual lives, there lurks a thought provoking tale of identity, community, and environment.
The novel is written from the perspective of two of its main characters Stella – a transgender teenager and Dylan a Londoner who recently moves to Clachan Fells. The most interesting thing about these two characters is the perspectives that each individual has about place. For Stella, her world is a difficult place full of prejudice and rejection, even from her own father. Whilst her own personal identity is unquestionable, the community rejects her choices. This point of view provokes the reader to question the nature of identity, a topic often argued when discussing Scotland. From Stella’s point of view, her own identity is progressive, changing, developing while the society around her static. Alistair’s point of view however, allows the reader a modern and open approach. Described in the prologue as the Incomer (notice the capitalization) directs the reader towards Margaret Elphinstone’s novel The Incomer published in 1987. Elphinstone’s novel is a post-apocalyptic tale and, like Fagan’s, novel examines the question of identity. Thomas Christie suggests in Notional Identities, that Elphinstone is ‘depicting the country’s ability to adapt to extreme change¬ ̶ carving a form of localism from the bones of globalisation ̶ she recognises its progressive aptitude to embrace forces of social transformation while retaining recognisable core cultural imperatives.’ It is no coincidence that Fagan has subtly steered the reader to this novel; identity is clearly a topic that the author is keen to explore. Dylan is a progressive character in Fagan’s novel. Discovering Stella identity very early in the novel, the character never questions her choices or that of Mother who has two partners. Likewise, this progressive thinking expands to the other residents of the caravan park, which houses a prostitute, an alien worshipper, and a disabled man with a crooked back who worships the sky. Not only does Dylan accept people for who they are; his deep connection to the environment makes him instinctive as opposed to the more rational thinkers of the world.
Unlike many modern writers, Fagan raises more questions about society and identity than she answers. This is an interesting technique as it leaves the reader to question the novel as opposed to question to authors own political and societal views. That said there is no doubt that this is a Scottish novel. The story is steeped in Scottish mythical symbolism such as the blackbird that lands on a fence post with his eyes reflecting a vast mountain range, to the eagles and stag’s on the mountains. In addition, the characters take on mythical persona’s including a giant, a girl with second sight, and a moon polisher. With oral tales of Sunlight Pilgrims highlighting the Scottish oral storytelling tradition, and a poetic sentence structure done in true Fagan style this novel feels truly Scottish.
I would highly recommend this postmodern novel, which urges the reader to look beyond society and address the problems of ego and the rational mind in order to create a progressive unified world where outsiders are welcomed as incomers – a prevalent issue in today’s society.
Ross (3284 KP) rated Black Mirror - Season 2 in TV
Jan 15, 2018
Series 2 includes 4 more episodes (three plus a Christmas special) of the cult Charlie Brooker series exploring the use of technology and extrapolating it to show where society could be headed.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
Merissa (12330 KP) rated Rook (Bridge & Sword: Awakenings #1) in Books
Sep 18, 2017
Rook (Bridge & Sword: Awakenings #1) by J.C. Andrijeski
Rook has a very interesting premise, with a dystopian world setting. The main character in this is Alyson, or Allie. She is a normal human, and has the tests and the tattoo to prove it. However, this doesn't stop her from being kidnapped by someone, who turns out to be a seer. Not only that but other factions are after her too.
All of this is simple enough to follow, but the book itself becomes quite confusing. You see, Alyson is the Bridge... except, just what this is, is never fully explained. Apart from the fact that she may bring about a further apocalypse that is. The seers don't see the future (that I could tell), but are able to 'see' things differently. However, there are factions within factions within the seers.
Revik plays a major role in this book too. I think he is supposed to also be the love interest, but that didn't work at all for me. There was no communication from him to help Allie find her way in this crazy new world in which she finds herself. Not only that, but when something happens between the two of them, and Allie (and the reader) is left in the dark, not only does he NOT explain anything, but he forbids anyone else to speak of it too! And THEN he gets pissy when she does something 'wrong', but once again, won't tell her what. Not only that, but it is physically painful for these two to be near each other.
Throw in clones, pyramids, and Tibetan monks - sorry, I mean seers - and you get an idea of this book. The description in the book says it is "A psychic end of the world story with romance, a cyberpunk flair and apocalyptic, metaphysical leanings akin to the Matrix." Personally, I don't quite see that, but to each their own.
This book is a Marmite book for me - I can see some people loving it, some people hating it. As for me, I enjoyed it, but I'm not interested in this world or the characters to go any further with it.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
All of this is simple enough to follow, but the book itself becomes quite confusing. You see, Alyson is the Bridge... except, just what this is, is never fully explained. Apart from the fact that she may bring about a further apocalypse that is. The seers don't see the future (that I could tell), but are able to 'see' things differently. However, there are factions within factions within the seers.
Revik plays a major role in this book too. I think he is supposed to also be the love interest, but that didn't work at all for me. There was no communication from him to help Allie find her way in this crazy new world in which she finds herself. Not only that, but when something happens between the two of them, and Allie (and the reader) is left in the dark, not only does he NOT explain anything, but he forbids anyone else to speak of it too! And THEN he gets pissy when she does something 'wrong', but once again, won't tell her what. Not only that, but it is physically painful for these two to be near each other.
Throw in clones, pyramids, and Tibetan monks - sorry, I mean seers - and you get an idea of this book. The description in the book says it is "A psychic end of the world story with romance, a cyberpunk flair and apocalyptic, metaphysical leanings akin to the Matrix." Personally, I don't quite see that, but to each their own.
This book is a Marmite book for me - I can see some people loving it, some people hating it. As for me, I enjoyed it, but I'm not interested in this world or the characters to go any further with it.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Acanthea Grimscythe (300 KP) rated The Jesus Man in Books
May 16, 2018
The Jesus Man by Keith Anthony Baird is a tough book for me to rate, if I’m being honest. It’s part of why, despite completing it last week, I’ve taken so long to write up my review. The book isn’t an easy read by any means, especially with its vast amounts of purple prose. It does, however, have a uniquely intriguing plot.
One of the major deciding factors for me when I read a book is its ability to make me feel emotion. I want a connection with the characters, even if it’s a seething hatred that I feel in the depths of my heart. With The Jesus Man, I felt loathing and disdain, but nothing beyond that. I felt disconnected, for the most part. The characters seemed to me as if they were in limbo between fully and halfway developed.
In regards to plot, Baird does an excellent job. As a horror fan, I end up reading a lot of apocalyptic books. Most of the time, the cause is a viral outbreak of zombies. It’s a cliché we deal with far too often and it’s been beaten to death time and time again. Baird goes an entirely new route, with the dredges of Hell returning to claim what should be theirs. Described as the Fallen, we know these creatures as the angels cast from Heaven in the wake of God’s love for mankind stoking rebellion among them. It’s an interesting take on the world’s post-nuclear was end and I feel that Baird did a wonderful job in this area of his book.
I do have to take a moment to appreciate one beautiful perk to Baird’s ornate writing style: his depiction of gory acts is absolutely stunning. I’m a sucker for splatterpunk, so this served as a nice treat for me. While his characters felt lacking to me (which I discovered was the author’s intent post-read), his vivid descriptions (even if heavy-handed) are breathtaking and nightmare invoking.
I’ve danced between a two and four for this book several times, so ultimately I’m going to go with a three. While I loved the concept, the difficulty of reading this book made it hard for me to enjoy.
I would like to thank the author for providing me with a copy of this book in exchange for an honest review.
One of the major deciding factors for me when I read a book is its ability to make me feel emotion. I want a connection with the characters, even if it’s a seething hatred that I feel in the depths of my heart. With The Jesus Man, I felt loathing and disdain, but nothing beyond that. I felt disconnected, for the most part. The characters seemed to me as if they were in limbo between fully and halfway developed.
In regards to plot, Baird does an excellent job. As a horror fan, I end up reading a lot of apocalyptic books. Most of the time, the cause is a viral outbreak of zombies. It’s a cliché we deal with far too often and it’s been beaten to death time and time again. Baird goes an entirely new route, with the dredges of Hell returning to claim what should be theirs. Described as the Fallen, we know these creatures as the angels cast from Heaven in the wake of God’s love for mankind stoking rebellion among them. It’s an interesting take on the world’s post-nuclear was end and I feel that Baird did a wonderful job in this area of his book.
I do have to take a moment to appreciate one beautiful perk to Baird’s ornate writing style: his depiction of gory acts is absolutely stunning. I’m a sucker for splatterpunk, so this served as a nice treat for me. While his characters felt lacking to me (which I discovered was the author’s intent post-read), his vivid descriptions (even if heavy-handed) are breathtaking and nightmare invoking.
I’ve danced between a two and four for this book several times, so ultimately I’m going to go with a three. While I loved the concept, the difficulty of reading this book made it hard for me to enjoy.
I would like to thank the author for providing me with a copy of this book in exchange for an honest review.
Lee (2222 KP) rated A Quiet Place (2018) in Movies
Apr 3, 2018 (Updated Apr 3, 2018)
Superb tension, great monster movie
We're on day 79 of what we assume is some kind of apocalyptic event. A general store is deserted, without power, and in a complete mess. A man and his wife (John Krasinski and off screen wife Emily Blunt) along with their 3 children, are quietly scavenging for drugs for one of the sick children, along with general supplies. They move quietly, carefully moving objects so as to not make a sound. They communicate only by sign language, and the youngest of the children is refused a battery operated rocket toy, because it will make a noise. The family quietly walk back home, and you begin to wonder what exactly could be so dangerous that it's wiped out most of humanity and left this family in fear, desperately trying to remain silent. We soon find out though, in one quick, and shocking moment.
Then we skip forward a few hundred days, joining the family once more in their home in the forest. We discover that the creatures responsible for the apocalypse are blind, with armoured skin and a superb sense of hearing which attracts them to their prey, and also explains why everyone is now being so quiet. The family walk about barefoot, still communicating in sign language and taking care not to make a sound with everything they do. It's very quiet, and very tense, which consequently amplifies every sneeze and every noisy rustle in the cinema I'm sitting in. Some of these idiots wouldn't last 5 minutes if they were in this movie!!
And then we discover that Emily Blunts character is pregnant! We see the family preparing a sound proof cot, in an underground room where the other children are also trying to make the walls soundproof. How on earth are they going to keep a baby from being heard?
Occasionally the creatures make an appearance. All teeth and claws, and genuinely scary as the family try and contain their terror to avoid making a sound. The first half of the movie follows this formula - prolonged periods of silent tension, followed by the odd burst of terror. It's extremely effective. So when the final third of the movie shifts towards more lengthy moments of monster action, with the separated family all having their own problems to overcome, it's hugely enjoyable edge of seat stuff. This really is a refreshingly smart horror movie.
Then we skip forward a few hundred days, joining the family once more in their home in the forest. We discover that the creatures responsible for the apocalypse are blind, with armoured skin and a superb sense of hearing which attracts them to their prey, and also explains why everyone is now being so quiet. The family walk about barefoot, still communicating in sign language and taking care not to make a sound with everything they do. It's very quiet, and very tense, which consequently amplifies every sneeze and every noisy rustle in the cinema I'm sitting in. Some of these idiots wouldn't last 5 minutes if they were in this movie!!
And then we discover that Emily Blunts character is pregnant! We see the family preparing a sound proof cot, in an underground room where the other children are also trying to make the walls soundproof. How on earth are they going to keep a baby from being heard?
Occasionally the creatures make an appearance. All teeth and claws, and genuinely scary as the family try and contain their terror to avoid making a sound. The first half of the movie follows this formula - prolonged periods of silent tension, followed by the odd burst of terror. It's extremely effective. So when the final third of the movie shifts towards more lengthy moments of monster action, with the separated family all having their own problems to overcome, it's hugely enjoyable edge of seat stuff. This really is a refreshingly smart horror movie.
Hazel (1853 KP) rated Rotham Race in Books
Jul 4, 2018
This ARC was provided by the author in exchange for an honest review
Jordan Elizabeth has aced the dystopia genre in her first attempt at a post-apocalyptic story. Set in what remains of the United States in 2057, thirty-seven years after “The Happening”, the country is a broken place. Some states no longer exist and the ones that do are barely inhabitable. Civilian lives have been reduced to mere survival rather than living, however, there is one small hope. The US lost a microchip in the desert containing data that would help them restore the country to its better days. The only problem is finding it.
Orphan Troy, aged seventeen, is determined to be the one to locate the precious microchip. For ten years, bike riders have joined the “Rotham Race” into the desert in hopes of being the one to bring it back and return the US back to its former glory, however, within that decade, only one rider has ever returned. Undeterred, Troy sets off from Maryland to New York to sign up for the biggest race in history.
Along the way, Troy meets Barbie, a seventeen-year-old mechanic who helps him fix up his bike. Whilst staying with her, awaiting new cycle parts, the teenage pair falls in love, giving Troy a strong reason to make sure he wins and returns from the race.
Unbeknownst to the racers, the government has secrets that render the race a futile endeavour. Whilst hundreds hope for a victory, there is almost no chance of anyone returning.
Rotham Race is an exciting page-turner and original concept. Dystopian stories have been recycled again and again but Jordan Elizabeth brings something new to the table. The characters are likeable and strong, and the storyline is carefully thought out and gripping.
As a novella, Rotham Race is not very long and can be read in a matter of hours. Whilst some people prefer short stories, Jordan Elizabeth has the potential of turning it into a full-length novel or series. Since the story’s conclusion leaves matters unfinished, perhaps there will be a follow-up novella.
Previously, Jordan Elizabeth has concentrated on short fantasy stories but, as Rotham Race proves, her strengths lie in science fiction and dystopia. Rotham Race would not look out of place amongst popular novels such as Divergent and The Hunger Games.
Jordan Elizabeth has aced the dystopia genre in her first attempt at a post-apocalyptic story. Set in what remains of the United States in 2057, thirty-seven years after “The Happening”, the country is a broken place. Some states no longer exist and the ones that do are barely inhabitable. Civilian lives have been reduced to mere survival rather than living, however, there is one small hope. The US lost a microchip in the desert containing data that would help them restore the country to its better days. The only problem is finding it.
Orphan Troy, aged seventeen, is determined to be the one to locate the precious microchip. For ten years, bike riders have joined the “Rotham Race” into the desert in hopes of being the one to bring it back and return the US back to its former glory, however, within that decade, only one rider has ever returned. Undeterred, Troy sets off from Maryland to New York to sign up for the biggest race in history.
Along the way, Troy meets Barbie, a seventeen-year-old mechanic who helps him fix up his bike. Whilst staying with her, awaiting new cycle parts, the teenage pair falls in love, giving Troy a strong reason to make sure he wins and returns from the race.
Unbeknownst to the racers, the government has secrets that render the race a futile endeavour. Whilst hundreds hope for a victory, there is almost no chance of anyone returning.
Rotham Race is an exciting page-turner and original concept. Dystopian stories have been recycled again and again but Jordan Elizabeth brings something new to the table. The characters are likeable and strong, and the storyline is carefully thought out and gripping.
As a novella, Rotham Race is not very long and can be read in a matter of hours. Whilst some people prefer short stories, Jordan Elizabeth has the potential of turning it into a full-length novel or series. Since the story’s conclusion leaves matters unfinished, perhaps there will be a follow-up novella.
Previously, Jordan Elizabeth has concentrated on short fantasy stories but, as Rotham Race proves, her strengths lie in science fiction and dystopia. Rotham Race would not look out of place amongst popular novels such as Divergent and The Hunger Games.
Kelly (279 KP) rated Bird Box (2018) in Movies
Jan 7, 2019
Enjoyable
Contains spoilers, click to show
I had been eager to watch this for some time after reading reviews, and was not disappointed. Having never read the book in which the film is based, I did not know what to expect. I knew that the film was a horror, but am not easily shocked or scared, so was not expecting much from this point of view, however I did find the film enjoyable in terms of the storyline.
The story is based around a reluctant mother, played by Sandra Bullock, who finds she has to raise the child she never wanted as a result of an apocalyptic event. The general premise of the story is that there are creature, which if you see, result in impending insanity and suicidal thoughts. Malorie, the main character seeks refuge in a house with other survivors (who predictably don’t make it to the end of the story) in order to ride out the apocalypse. Realising that her position is not stable, the story also flashes to the future, showing Malories escape towards a safe haven with her son and the child of one of the other survivors. The path to the safe haven is taken blind folded (to avoid looking at the invisible threat), aided by a small box which contains birds, who can sense the presence of the evil. Having seen a fair few horrors, I am pretty desensitised to the use of fear in the movie - basically, I didn’t find it too scary, however I did feel that the story was intriguing.
One of the most interesting aspects of the film was the story of the relationship between Malorie and her children. The reluctant mother never named the children formally until the end, and we see the relationship and her feelings towards them both evolve over the course of the movie.
I felt that this was one of the better roles Sandra Bullock has played, and she acted well throughout the movie, her scenes that portrayed uncertainty and fear were believable and she evolved the character well as the story line develops.
Would I lose sleep after watching this, no- the film was not that scary, but ultimately I found it an enjoyable story with a sweet twist at the end. I look forward to reading the book next.
The story is based around a reluctant mother, played by Sandra Bullock, who finds she has to raise the child she never wanted as a result of an apocalyptic event. The general premise of the story is that there are creature, which if you see, result in impending insanity and suicidal thoughts. Malorie, the main character seeks refuge in a house with other survivors (who predictably don’t make it to the end of the story) in order to ride out the apocalypse. Realising that her position is not stable, the story also flashes to the future, showing Malories escape towards a safe haven with her son and the child of one of the other survivors. The path to the safe haven is taken blind folded (to avoid looking at the invisible threat), aided by a small box which contains birds, who can sense the presence of the evil. Having seen a fair few horrors, I am pretty desensitised to the use of fear in the movie - basically, I didn’t find it too scary, however I did feel that the story was intriguing.
One of the most interesting aspects of the film was the story of the relationship between Malorie and her children. The reluctant mother never named the children formally until the end, and we see the relationship and her feelings towards them both evolve over the course of the movie.
I felt that this was one of the better roles Sandra Bullock has played, and she acted well throughout the movie, her scenes that portrayed uncertainty and fear were believable and she evolved the character well as the story line develops.
Would I lose sleep after watching this, no- the film was not that scary, but ultimately I found it an enjoyable story with a sweet twist at the end. I look forward to reading the book next.
Marylegs (44 KP) rated Station Eleven in Books
Aug 14, 2019
Station Eleven follows a number of characters affected by the disintegration of modern civilisation and society caused by a mutated flu virus which wipes out around 99% of the world wide population. Flitting back over a series of timelines, including the start of the pandemic to focus on the lives these characters had before the virus, what happened to them after this virus became apparent and beginning the destruction of the lives they knew. The story also skips into the future to see how their lives changed and how they had to adapt to their changing world. There are a number of characters to follow and as the book progresses links form between some of them, but this is not the focus of the story.
I won’t go overly into details about the characters it is best to discover them yourselves. I was pleasantly surprised by how good this book was. Receiving it as an advanced review, I didn’t really know much about the story other than it being based in a post-apocalyptic world. Upon receiving the book I was slightly put off by the blurb stating it was following a group of traveling actors and musicians and that it was trying to show how art still had a place in this post civilisation world. But don’t let this put you off, I’m glad I didn’t. Whilst the story uses the actors and musicians in this ‘Traveling Symphony’ as a point to allow cross country movement and show that some people as trying to survive but also to enrich other people’s lives, that wasn’t really what gripped me. It was the relationships this characters had made, the stories about how they used to live and what they had been forced to do in this changing world that kept me turning pages.
I would recommend this book, and I would probably re-read again and possibly try some of the authors other works. The author wrote beautifully and it never felt pretentious or like they were trying to over moralise things. If like me, you like a good end of the world, dystopian story but want something different from the general, zombies, vampires and hunger games type read, give this ago. It may surprise you, like it did me.
I won’t go overly into details about the characters it is best to discover them yourselves. I was pleasantly surprised by how good this book was. Receiving it as an advanced review, I didn’t really know much about the story other than it being based in a post-apocalyptic world. Upon receiving the book I was slightly put off by the blurb stating it was following a group of traveling actors and musicians and that it was trying to show how art still had a place in this post civilisation world. But don’t let this put you off, I’m glad I didn’t. Whilst the story uses the actors and musicians in this ‘Traveling Symphony’ as a point to allow cross country movement and show that some people as trying to survive but also to enrich other people’s lives, that wasn’t really what gripped me. It was the relationships this characters had made, the stories about how they used to live and what they had been forced to do in this changing world that kept me turning pages.
I would recommend this book, and I would probably re-read again and possibly try some of the authors other works. The author wrote beautifully and it never felt pretentious or like they were trying to over moralise things. If like me, you like a good end of the world, dystopian story but want something different from the general, zombies, vampires and hunger games type read, give this ago. It may surprise you, like it did me.