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Molly J (Cover To Cover Cafe) (106 KP) rated A Love Surrendered (Winds of Change, #3) in Books
Feb 27, 2019
*This review is from my blog and originally published in 2012*
This is going to be a hard review for me to write. No,no, it’s not a bad book. It’s one of my favorites. It’s bittersweet because this is the ending to one of my favorite Christian Fiction series. I fell in love with Ms. Lessman’s work when I read book 1 in this series, A Hope Undaunted. Ironically, it’s not the first in the O’Connor clans stories…there was a series previously written called The Daughters Of Boston. This particular series is so emotionally moving, so deeply intense that you get to become a part of the story. You can feel yourself being pulled deep into the heart of the story, becoming the characters, feeling every pain, every laugh, and every tear drop that falls. It’s absolutely an amazing feeling when reading a Julie Lessman novel.
I’ve been dying to read this book. This one is Steven O’Connor’s story. He’s the baby boy of the O’Connor family and, while I adored each of the others that I read about, I felt that Steven was the most deserving of having his story told. He was quietly awaiting his turn through out all the other books and it’s finally here! And oh what a turn it is! We get a bit of background on Steven in the other books, having a broken relationship with his ex fiance. Now, he’s a respectable man of the law and 25 years old. What he’s not expecting is for the arrival of Annie, a young impressionable girl of 17…..and his former fiance’s baby sister. Or the protectiveness he feels for her.
Susannah “Annie” Kennedy has left her home in Iowa to move on from her past and embrace a future in Boston. Her parents are dead now, her sister has raved about Boston and she’s ready to embrace a life out side of her straight and narrow past. When an circumstance arises and Annie finds herself face to face with Steven O’Connor, her sisters ex, she’s embarrassed…..and highly attracted to him! There’s just one little problem with that….he doesn’t realize that she’s Maggie’s baby sister.
Watching as these two came to terms with their past, and seeking forgiveness to over come it, and move on to a life filled with love and happiness was absolutely tear jerking! I loved every minute of this amazing 5 Book conclusion to my favorite series. Ms. Lessman kept the intensity woven through out as she did with the previous books. Her messages of forgiveness, letting go and seeking His love are just as strong and sweep through the reader instantly. If you love passion, if you love heartbreaking redemption and amazing historic detail, then look no further than the author who can create an unforgettable, un-put-downable novel that will spin the readers mind out of control. Well done Ms. Lessman and I am anxious to see what you have in story for your fans next…will we get glimpses of the O’Connor’s? Will we get to fall in love with another amazing family? Keep up the amazing writing, Ms. Lessman!
This is going to be a hard review for me to write. No,no, it’s not a bad book. It’s one of my favorites. It’s bittersweet because this is the ending to one of my favorite Christian Fiction series. I fell in love with Ms. Lessman’s work when I read book 1 in this series, A Hope Undaunted. Ironically, it’s not the first in the O’Connor clans stories…there was a series previously written called The Daughters Of Boston. This particular series is so emotionally moving, so deeply intense that you get to become a part of the story. You can feel yourself being pulled deep into the heart of the story, becoming the characters, feeling every pain, every laugh, and every tear drop that falls. It’s absolutely an amazing feeling when reading a Julie Lessman novel.
I’ve been dying to read this book. This one is Steven O’Connor’s story. He’s the baby boy of the O’Connor family and, while I adored each of the others that I read about, I felt that Steven was the most deserving of having his story told. He was quietly awaiting his turn through out all the other books and it’s finally here! And oh what a turn it is! We get a bit of background on Steven in the other books, having a broken relationship with his ex fiance. Now, he’s a respectable man of the law and 25 years old. What he’s not expecting is for the arrival of Annie, a young impressionable girl of 17…..and his former fiance’s baby sister. Or the protectiveness he feels for her.
Susannah “Annie” Kennedy has left her home in Iowa to move on from her past and embrace a future in Boston. Her parents are dead now, her sister has raved about Boston and she’s ready to embrace a life out side of her straight and narrow past. When an circumstance arises and Annie finds herself face to face with Steven O’Connor, her sisters ex, she’s embarrassed…..and highly attracted to him! There’s just one little problem with that….he doesn’t realize that she’s Maggie’s baby sister.
Watching as these two came to terms with their past, and seeking forgiveness to over come it, and move on to a life filled with love and happiness was absolutely tear jerking! I loved every minute of this amazing 5 Book conclusion to my favorite series. Ms. Lessman kept the intensity woven through out as she did with the previous books. Her messages of forgiveness, letting go and seeking His love are just as strong and sweep through the reader instantly. If you love passion, if you love heartbreaking redemption and amazing historic detail, then look no further than the author who can create an unforgettable, un-put-downable novel that will spin the readers mind out of control. Well done Ms. Lessman and I am anxious to see what you have in story for your fans next…will we get glimpses of the O’Connor’s? Will we get to fall in love with another amazing family? Keep up the amazing writing, Ms. Lessman!
Darren (1599 KP) rated Point Blank (2019) in Movies
Jul 25, 2019
Story: Point Blank starts when emergency room nurse Paul (Mackie) is preparing to have his first child with his wife Taryn (Parris), she is due within weeks, but she gets kidnapped by Mateo (Cooke) who wants Paul to help his injured brother Abe (Grillo) escape from the emergency room after being accused of murdering the DA.
Paul and Abe go on the run with LT Lewis (Harden) tracking them down as we see just who was really behind the murder of the DA.
Thoughts on Point Blank
Characters – Paul is an emergency room nurse, he is married and about to start his family, his life is exactly where he wants it. His life takes a big change one this day when he gets forced to help a murder suspect escape from the hospital to save his pregnant wife, meaning he will need to start breaking the law to save her. Abe is the gun for hire that has been injured in the incident, he is the prime suspect and is being set up, where his brother is trying to help him escape, he is street smart and has connections in the criminal world which will help him stay ahead of the law. LT Lewis is the one trying to track down the pair trying to put away the person that killed the DA. Mateo is the brother of Abe that has gone to the extremes to try and get his brother out of custody.
Performances – Anthony Mackie and Frank Grillo do everything they can with this film, Grillo is starting make a name for himself in the trashing action films now, where he can play the bad boy with ease, Mackie doesn’t do much that you wouldn’t expect from him here though. Marcia Gay Harden gives us the basic cop figure, while Christian Cooke completes the main cast with a basic enough performance.
Story – The story here follows an emergency nurse that must help a murder suspect to save his kidnapped wife. This is a basic story which I always say is all you need for action at times, this is a remake of a French film, but we are lacking that one thing a good action film needs a villain that feels like a threat, we do get many suspects to who the villain might be because it is clear that Abe never committed a crime. We get moments of the unlikely couple needing to work together only for them to not have enough conflict about what is happening. This is basic storytelling that just never gets intense enough to the level it could do.
Action – The action involved in the film is the highlight of the film, even if a lot is basic, it does bring the film to life with the car chases involved.
Settings – The film is set in a big city which does help us understand how many people can be getting crimes done with ease.
Scene of the Movie – Big D
That Moment That Annoyed Me – Not enough villain potential.
Final Thoughts – This is a mostly by the book action film that just doesn’t get going.
Overall: Forgettable Action Film.
Paul and Abe go on the run with LT Lewis (Harden) tracking them down as we see just who was really behind the murder of the DA.
Thoughts on Point Blank
Characters – Paul is an emergency room nurse, he is married and about to start his family, his life is exactly where he wants it. His life takes a big change one this day when he gets forced to help a murder suspect escape from the hospital to save his pregnant wife, meaning he will need to start breaking the law to save her. Abe is the gun for hire that has been injured in the incident, he is the prime suspect and is being set up, where his brother is trying to help him escape, he is street smart and has connections in the criminal world which will help him stay ahead of the law. LT Lewis is the one trying to track down the pair trying to put away the person that killed the DA. Mateo is the brother of Abe that has gone to the extremes to try and get his brother out of custody.
Performances – Anthony Mackie and Frank Grillo do everything they can with this film, Grillo is starting make a name for himself in the trashing action films now, where he can play the bad boy with ease, Mackie doesn’t do much that you wouldn’t expect from him here though. Marcia Gay Harden gives us the basic cop figure, while Christian Cooke completes the main cast with a basic enough performance.
Story – The story here follows an emergency nurse that must help a murder suspect to save his kidnapped wife. This is a basic story which I always say is all you need for action at times, this is a remake of a French film, but we are lacking that one thing a good action film needs a villain that feels like a threat, we do get many suspects to who the villain might be because it is clear that Abe never committed a crime. We get moments of the unlikely couple needing to work together only for them to not have enough conflict about what is happening. This is basic storytelling that just never gets intense enough to the level it could do.
Action – The action involved in the film is the highlight of the film, even if a lot is basic, it does bring the film to life with the car chases involved.
Settings – The film is set in a big city which does help us understand how many people can be getting crimes done with ease.
Scene of the Movie – Big D
That Moment That Annoyed Me – Not enough villain potential.
Final Thoughts – This is a mostly by the book action film that just doesn’t get going.
Overall: Forgettable Action Film.
Erika (17788 KP) rated Stillwater (2021) in Movies
Aug 3, 2021
The film Stillwater is based upon and exploits the Amanda Knox story. Swapping Italy for the town of Marseille, France, Allison (Abigail Breslin), an American university student is convicted of killing her girlfriend, Lina. Bill (Matt Damon), Allison’s estranged father, visits her regularly in prison, and is convinced of her innocence.
The majority of the film focuses on Bill’s quest to prove her innocence. Bill is a roughneck (oil driller), good ol’ boy Okie from Stillwater. After delivering a letter to Allison’s lawyer with new information, he takes it upon himself to find the main suspect, Akim, with the help of Virginie (Camille Cottin). This is completely against Allison’s wishes, because she sees him, and herself, as a ‘fuck-up’.
Bill develops a relationship with Virginie, and her daughter, Maya (Lilou Siauvaud). After Allison refuses to see him anymore, Bill stays with Virginie, as a friend, helps with Maya, and goes native. Honestly, the subplot of this relationship with Virginie that progresses to a romantic relationship, and the fatherly relationship to Maya, slow the film down to a snail’s pace. The story finally picks up again, when Bill takes Maya to a football game, and he captures Akim. Bill collects DNA from Akim, hands it to an ex-cop, then finally learns the truth of what happened with the murder of Lina. This situation ruins his relationship with his new French family, and he goes back to Stillwater, quickly followed by Allison, after she is released after the DNA matches what was left at the crime scene.
I was originally pretty excited to see the film, but then I read a Vanity Fair interview with the director, Tom McCarthy. McCarthy mentioned that he wanted to be in the shoes of Amanda Knox, or something like that. Knox, who was found not guilty for the murder of Meredith Kercher, was probably very available. Knox came out after the article was published and voiced that her story was being exploited. Reading her responses made me have really icky feelings, and I almost didn’t go see it, because they’re profiting off her story. To be fair, Knox is profiting off her own story as well, but it still isn’t right. This situation hurt the film, in my opinion, and I think the box office numbers in the US reflect that as well. I would have rated this film higher, and enjoyed it more, had I not seen the press surrounding it. I don’t know whether that’s a good or bad thing.
Damon did well in his portrayal of an Okie roughneck, and you could tell he really did study to nail the role. Breslin was neither here nor there, and I didn’t necessarily sympathize with her at all. So, I didn’t really care in the end if she got out of prison or not.
This film clocks in at 2 hours and 20 minutes, and it felt like a 2 hour and 20-minute film. I didn’t like the subplot, at all. It made the movie so bloated, and I kind of just wanted it to end. I don’t think this film is going to do well outside of the US, at all.
The majority of the film focuses on Bill’s quest to prove her innocence. Bill is a roughneck (oil driller), good ol’ boy Okie from Stillwater. After delivering a letter to Allison’s lawyer with new information, he takes it upon himself to find the main suspect, Akim, with the help of Virginie (Camille Cottin). This is completely against Allison’s wishes, because she sees him, and herself, as a ‘fuck-up’.
Bill develops a relationship with Virginie, and her daughter, Maya (Lilou Siauvaud). After Allison refuses to see him anymore, Bill stays with Virginie, as a friend, helps with Maya, and goes native. Honestly, the subplot of this relationship with Virginie that progresses to a romantic relationship, and the fatherly relationship to Maya, slow the film down to a snail’s pace. The story finally picks up again, when Bill takes Maya to a football game, and he captures Akim. Bill collects DNA from Akim, hands it to an ex-cop, then finally learns the truth of what happened with the murder of Lina. This situation ruins his relationship with his new French family, and he goes back to Stillwater, quickly followed by Allison, after she is released after the DNA matches what was left at the crime scene.
I was originally pretty excited to see the film, but then I read a Vanity Fair interview with the director, Tom McCarthy. McCarthy mentioned that he wanted to be in the shoes of Amanda Knox, or something like that. Knox, who was found not guilty for the murder of Meredith Kercher, was probably very available. Knox came out after the article was published and voiced that her story was being exploited. Reading her responses made me have really icky feelings, and I almost didn’t go see it, because they’re profiting off her story. To be fair, Knox is profiting off her own story as well, but it still isn’t right. This situation hurt the film, in my opinion, and I think the box office numbers in the US reflect that as well. I would have rated this film higher, and enjoyed it more, had I not seen the press surrounding it. I don’t know whether that’s a good or bad thing.
Damon did well in his portrayal of an Okie roughneck, and you could tell he really did study to nail the role. Breslin was neither here nor there, and I didn’t necessarily sympathize with her at all. So, I didn’t really care in the end if she got out of prison or not.
This film clocks in at 2 hours and 20 minutes, and it felt like a 2 hour and 20-minute film. I didn’t like the subplot, at all. It made the movie so bloated, and I kind of just wanted it to end. I don’t think this film is going to do well outside of the US, at all.
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Bob Mann (459 KP) rated You Were Never Really Here (2018) in Movies
Sep 28, 2021
Joachim Phoenix delivers a standout performance in a violent tale of crusading.
Joachim Phoenix (“Her”) is a very intense actor, and fits perfectly here into the role of Joe. For he is a hired thug, available to do over anyone you think deserves dispatching or giving a good telling off. His weapon of choice for this task is a ball-point hammer, bought each time from a local hardware shop. He is a ghost, who drifts in and out of his jobs, face concealed by a hoodie and emanating an air of menace that automatically deflects enquiring eyes.
When hired by a Senator (Alex Manette) to rescue his wayward daughter Nina (Ekaterina Samsonov) from the clutches of a paedophile gang, Joe delivers on the job with gusto, and – you sense – a degree of satisfaction. But then things go from bad to violent worse and Joe is drawn into a deadly high stakes game. As things get more and more personal, Joe embarks on a personal crusade for justice and retribution.
The real joy of this film is that Joe is such a nuanced character. Yes, he’s a brutal thug, but is still living with and loving his aged and demented mother (Judith Roberts), even though she drives him to distraction. He’s also clearly damaged himself, with a high degree of OCD behavior exhibited. Via clever flashbacks, we get hints to the route that led the boy to become this damaged man. As a sociopath, when things go wrong he could just say “F*** it” and walk away. But he doesn’t. Is this altruism? A sense of professional pride? Or is it the sight of a path to redemption? Although you could strongly argue that revenge kicks in to reinforce his decision, Lynne Ramsay‘s screenplay leaves things deliciously vague. Ramsey also directs expertly: she previously did 2011’s “We Need To Talk About Kevin”.
“I don’t like gory films” you might say “so this doesn’t sound like one for me”. Me neither, but actually, the trailer makes the film seem worse than it is. The violence is more alluded to than shown. Most of the “hammer action” is done either in long shot or seen on CCTV cameras, and you don’t get to see much of the outcome. There is only one really gory bit that I remember (shut your eyes where Phoenix answers the knock at the hotel door if you are squeamish!).
This doesn’t mean that it’s a comfortable watch though. It’s an insanely tense film since you’re not sure the direction it will go in next (think “Get Out”), and it has more than its fair share of “WTF” moments, especially in a dramatic closing scene. There are some memorable cinematic moments as well: a young girl in a nightie in the paedophile den blankly observing Joe’s handiwork being one that stays with you.
It’s a standout film, winning Best Actor (for Phoenix) and best screenplay (for Ramsey) at Cannes. It will be in a strong position to make my films of the year list. Highly recommended.
When hired by a Senator (Alex Manette) to rescue his wayward daughter Nina (Ekaterina Samsonov) from the clutches of a paedophile gang, Joe delivers on the job with gusto, and – you sense – a degree of satisfaction. But then things go from bad to violent worse and Joe is drawn into a deadly high stakes game. As things get more and more personal, Joe embarks on a personal crusade for justice and retribution.
The real joy of this film is that Joe is such a nuanced character. Yes, he’s a brutal thug, but is still living with and loving his aged and demented mother (Judith Roberts), even though she drives him to distraction. He’s also clearly damaged himself, with a high degree of OCD behavior exhibited. Via clever flashbacks, we get hints to the route that led the boy to become this damaged man. As a sociopath, when things go wrong he could just say “F*** it” and walk away. But he doesn’t. Is this altruism? A sense of professional pride? Or is it the sight of a path to redemption? Although you could strongly argue that revenge kicks in to reinforce his decision, Lynne Ramsay‘s screenplay leaves things deliciously vague. Ramsey also directs expertly: she previously did 2011’s “We Need To Talk About Kevin”.
“I don’t like gory films” you might say “so this doesn’t sound like one for me”. Me neither, but actually, the trailer makes the film seem worse than it is. The violence is more alluded to than shown. Most of the “hammer action” is done either in long shot or seen on CCTV cameras, and you don’t get to see much of the outcome. There is only one really gory bit that I remember (shut your eyes where Phoenix answers the knock at the hotel door if you are squeamish!).
This doesn’t mean that it’s a comfortable watch though. It’s an insanely tense film since you’re not sure the direction it will go in next (think “Get Out”), and it has more than its fair share of “WTF” moments, especially in a dramatic closing scene. There are some memorable cinematic moments as well: a young girl in a nightie in the paedophile den blankly observing Joe’s handiwork being one that stays with you.
It’s a standout film, winning Best Actor (for Phoenix) and best screenplay (for Ramsey) at Cannes. It will be in a strong position to make my films of the year list. Highly recommended.
Well written (1 more)
Great characters
If the world ended, could you keep your morals and values? Imagine that your a father, with a young child in a burned-out world, barely surviving out on the road, and there are cannibals and murderers out to get you. Over time, you would watch your child become thinner and thinner, and every now and then you're lucky enough to find some canned or jarred food here and there, but it's only a matter of time before you can't find anymore. Soon, you would both be too weak to move - - - would you murder someone if they had food? Yet, most people out on the road are just like you, with no food and searching for more - - - in that case, could you kill and eat a person to survive? Or would you let yourself and your child starve, keeping your morals and values intact?
This is a scenario people may have to face one day, especially with the shape the world is in today. Even now people are faced with sticking with their morals and values, from helping our fellow man to the decision of holding a door open for a stranger. The Road, Cormac McCarthy's Pulitzer Prize winning novel, brings the very question of humanity to the forefront, as well as how hard it is to hold onto it.
The father, The Road's main character, takes us on a journey through the mountains in a burned-out America, but the fires that took over are never explained and they didn't need to be. Apparently having been on the move for a couple of years, he wants to take his young son South to survive the winter months that are very close by. Readers get glimpses of what happened the night the grid went down from the father's point-of-view, but so many years have passed that the memories are few, the facts aren't completely straight, and any type of life before the fires seems to have been just a dream. So the two begin the story heading South, dragging everything they have scavenged in their travels inside of a metal shopping cart, and the father isn't sure they'll make it out of the mountains before winter. He only has tattered pieces of a map that they have carried for a long time, having numbered each piece with a broken crayon they had found, making it hard to estimate how far they need to travel.
While traveling, they very rarely run into other people, at one point, when they run into a very bad man, the father realizes he hasn't spoken to another person (other than his son) in at least a year. This is mostly because the majority of people that are still alive are the type of people that would rather kill you and take whatever you have than speak to you. Even most of the houses they come upon are burned and abandoned, but the father sees these buildings as a chance to find food and supplies: "The roadside hedges were gone to rows of black and twisted brambles. No sign of life. He left the boy standing in the road holding the pistol while he climbed an old set of limestone steps and walked down the porch of the farmhouse shading his eyes and peering in the windows. He let himself in through the kitchen. Trash in the floor, old newsprint. China in a breakfront, cups hanging from their hooks. He went down the hallway and stood in the door to the parlor. There was an antique pumporgan in the corner. A television set. Cheap stuffed furniture together with an old handmade cherrywood chifforobe. He climbed the stairs and walked through the bedrooms. Everything covered with ash. A child's room with a stuffed dog on the windowsill looking out at the garden. He went through the closets. He stripped back the beds and came away with two good woolen blankets and went back down the stairs. In the pantry were three jars of homecanned tomatoes. He blew the dust from the lids and studied them. Someone before him had not trusted them and in the end neither did he and he walked out with the blankets over his shoulder and they set off along the road again. " The young son is usually left close by outside because he seems scared that either there will be bad people or dead people inside.
Throughout this incredible, heart wrenching novel, the father slowly becomes more ill with what seems to be a case of pneumonia, possibly caused by all of the ash that is in the air from the fires; this makes him cough uncontrollably. Yet, he doesn't focus on that he may not live too much longer, instead he tries everything to get his son as far South as possible without too much of a plan of what to do when they get there.
The horror of this book is brought to light by the realism of what could happen if the world were to end, when people lose their humanity and begin to kill and eat their fellow humans. It leaves us wondering if we could hold onto what we are today when the basic need for shelter and food become more important than another person's life. But the father and son are examples of the few individuals who are able to hold onto their humanity during the end of the world: they share supplies if they can, they don't kill humans or animals to feed themselves, and they live by one rule: if a person is still alive, they take nothing from them.
The struggle these two go through is very real and believable, and McCarthy's writing is so well done that this book is hard to put down. Even while reading, most won't notice that there is only one character in the entire story that is given a name; our two main characters are never addressed by anything other than Papa or son/boy. The father's worry about keeping his son alive and unharmed is heartbreaking, for instance, one scene where he believes that he and his son are going to be found by cannibals, he quickly goes over with his son on how to shoot himself with the pistol, so neither of them will be taken alive. As a parent, I choked up in quite a few scenes, including this one - - - and as with the film adaptation, I cried heartily at the end.
This emotional, dark novel is an amazing book to read. The Road is bound to leave readers questioning what they would do in the same circumstances as the father. I highly recommend this book to people who love dystopian novels, but beware, this is a story you won't be able to forget.
This is a scenario people may have to face one day, especially with the shape the world is in today. Even now people are faced with sticking with their morals and values, from helping our fellow man to the decision of holding a door open for a stranger. The Road, Cormac McCarthy's Pulitzer Prize winning novel, brings the very question of humanity to the forefront, as well as how hard it is to hold onto it.
The father, The Road's main character, takes us on a journey through the mountains in a burned-out America, but the fires that took over are never explained and they didn't need to be. Apparently having been on the move for a couple of years, he wants to take his young son South to survive the winter months that are very close by. Readers get glimpses of what happened the night the grid went down from the father's point-of-view, but so many years have passed that the memories are few, the facts aren't completely straight, and any type of life before the fires seems to have been just a dream. So the two begin the story heading South, dragging everything they have scavenged in their travels inside of a metal shopping cart, and the father isn't sure they'll make it out of the mountains before winter. He only has tattered pieces of a map that they have carried for a long time, having numbered each piece with a broken crayon they had found, making it hard to estimate how far they need to travel.
While traveling, they very rarely run into other people, at one point, when they run into a very bad man, the father realizes he hasn't spoken to another person (other than his son) in at least a year. This is mostly because the majority of people that are still alive are the type of people that would rather kill you and take whatever you have than speak to you. Even most of the houses they come upon are burned and abandoned, but the father sees these buildings as a chance to find food and supplies: "The roadside hedges were gone to rows of black and twisted brambles. No sign of life. He left the boy standing in the road holding the pistol while he climbed an old set of limestone steps and walked down the porch of the farmhouse shading his eyes and peering in the windows. He let himself in through the kitchen. Trash in the floor, old newsprint. China in a breakfront, cups hanging from their hooks. He went down the hallway and stood in the door to the parlor. There was an antique pumporgan in the corner. A television set. Cheap stuffed furniture together with an old handmade cherrywood chifforobe. He climbed the stairs and walked through the bedrooms. Everything covered with ash. A child's room with a stuffed dog on the windowsill looking out at the garden. He went through the closets. He stripped back the beds and came away with two good woolen blankets and went back down the stairs. In the pantry were three jars of homecanned tomatoes. He blew the dust from the lids and studied them. Someone before him had not trusted them and in the end neither did he and he walked out with the blankets over his shoulder and they set off along the road again. " The young son is usually left close by outside because he seems scared that either there will be bad people or dead people inside.
Throughout this incredible, heart wrenching novel, the father slowly becomes more ill with what seems to be a case of pneumonia, possibly caused by all of the ash that is in the air from the fires; this makes him cough uncontrollably. Yet, he doesn't focus on that he may not live too much longer, instead he tries everything to get his son as far South as possible without too much of a plan of what to do when they get there.
The horror of this book is brought to light by the realism of what could happen if the world were to end, when people lose their humanity and begin to kill and eat their fellow humans. It leaves us wondering if we could hold onto what we are today when the basic need for shelter and food become more important than another person's life. But the father and son are examples of the few individuals who are able to hold onto their humanity during the end of the world: they share supplies if they can, they don't kill humans or animals to feed themselves, and they live by one rule: if a person is still alive, they take nothing from them.
The struggle these two go through is very real and believable, and McCarthy's writing is so well done that this book is hard to put down. Even while reading, most won't notice that there is only one character in the entire story that is given a name; our two main characters are never addressed by anything other than Papa or son/boy. The father's worry about keeping his son alive and unharmed is heartbreaking, for instance, one scene where he believes that he and his son are going to be found by cannibals, he quickly goes over with his son on how to shoot himself with the pistol, so neither of them will be taken alive. As a parent, I choked up in quite a few scenes, including this one - - - and as with the film adaptation, I cried heartily at the end.
This emotional, dark novel is an amazing book to read. The Road is bound to leave readers questioning what they would do in the same circumstances as the father. I highly recommend this book to people who love dystopian novels, but beware, this is a story you won't be able to forget.
Joe Julians (221 KP) rated A Quiet Place (2018) in Movies
Apr 9, 2018
Well, that was an experience. A Quiet Place is one heck of a ride that rarely eases up on the tension throughout. You know those moments in horror where you know that something bad isn’t just about to happen? The moments where you can breathe and relax for a minute? This really doesn’t have many of those- perhaps only about four of five. The rest of the time is spent fully in the middle of the horrors of this world and it’s an almost breathless experience.
We don’t really get much background to the characters or the situation that has unfolded on the planet when these creatures arrive. As such, it’s a disorientating experience to be dropped in almost in the middle of the story. That disorientation works to the movie’s effect though. We, the audience, are playing catch up and trying to piece together what is happening. That makes the first appearance of one of the creatures that much more frightening. As for the creatures, they’re a great design and whilst we don’t spend too much time with them, they’re wonderfully effective. These are the sort of creatures that I don’t want to be explained, I don’t want any backstory or sequels delving further into them; the mystery makes them far scarier.
And boy is this film scary. It’s not a typical horror movie that’s filled to the brim with jump scares (though it does have them). Instead, it’s a movie that uses its premise to make a terrible situation that much worse. Given that noise is what attracts these creatures (and they do attack within seconds of hearing something), it is to be expected that a lot of A Quiet Place would involve not making much noise. What I didn’t expect was for there to be almost none throughout the entire thing. Characters don’t really talk here and when they do it’s extremely rare. They all communicate via sign language that I assume they all learned due to having a deaf child in the family. If they do talk, it’s normally at such a whisper that subtitles are needed to let us know what they are saying. That makes the whole film so much more tense and suspenseful. When we do hear a noise, we know that something bad will most likely be descending on them in a matter of moments. I actually found myself scanning the rooms they were in, checking for things that could fall. One thing I noticed from having next to no dialogue was how much I was able to hear all the other sounds. Everything was heightened as a result and that only made the tension that much worse.
As great as all this is, it would be nothing if there wasn’t a great cast to anchor it. A Quiet Place definitely has that. All four leads are superb and they are pretty much the only human characters for the entire running time. Everyone needed to bring their A game and that they did. Krasinski and Blunt are both fantastic actors and this is some of their best work. The two obviously have a head start when it comes to having chemistry and the ease they have with one another makes the characters come across as real and genuine people. As for the kids, well there are two stars in the making here. Both of them are given some really serious material to work with and they absolutely pull it off. Nothing is oversold by anyone here. Every second of fear and terror is played perfectly and as such, I found myself sharing these emotions alongside each one of them.
A Quiet Place does have a few issues. It’s never clear what the ultimate plan is for the family, particularly with a baby on the way. What are they planning to do with it in the long term when it’s born? Babies are known for crying and not being quiet, so it was a little distracting to not have that addressed. There is also a moment to do with that pregnancy that felt extremely glossed over, but I’ll avoid specifying exactly what at the risk of spoilers. These are minor niggles though. This is a great movie that is a blast to watch. I do have a feeling that there are some that may find the ending to be a little frustrating, for me though, I thought it was perfect.
Oh, and as for John Krasinski who was on starring and directing duties, this is a great project for him that he comes out of brilliantly on both counts. This could be the film that throws him into A-list movie status and whether it’s in front or behind the camera, I’m eager to see what he does next.
We don’t really get much background to the characters or the situation that has unfolded on the planet when these creatures arrive. As such, it’s a disorientating experience to be dropped in almost in the middle of the story. That disorientation works to the movie’s effect though. We, the audience, are playing catch up and trying to piece together what is happening. That makes the first appearance of one of the creatures that much more frightening. As for the creatures, they’re a great design and whilst we don’t spend too much time with them, they’re wonderfully effective. These are the sort of creatures that I don’t want to be explained, I don’t want any backstory or sequels delving further into them; the mystery makes them far scarier.
And boy is this film scary. It’s not a typical horror movie that’s filled to the brim with jump scares (though it does have them). Instead, it’s a movie that uses its premise to make a terrible situation that much worse. Given that noise is what attracts these creatures (and they do attack within seconds of hearing something), it is to be expected that a lot of A Quiet Place would involve not making much noise. What I didn’t expect was for there to be almost none throughout the entire thing. Characters don’t really talk here and when they do it’s extremely rare. They all communicate via sign language that I assume they all learned due to having a deaf child in the family. If they do talk, it’s normally at such a whisper that subtitles are needed to let us know what they are saying. That makes the whole film so much more tense and suspenseful. When we do hear a noise, we know that something bad will most likely be descending on them in a matter of moments. I actually found myself scanning the rooms they were in, checking for things that could fall. One thing I noticed from having next to no dialogue was how much I was able to hear all the other sounds. Everything was heightened as a result and that only made the tension that much worse.
As great as all this is, it would be nothing if there wasn’t a great cast to anchor it. A Quiet Place definitely has that. All four leads are superb and they are pretty much the only human characters for the entire running time. Everyone needed to bring their A game and that they did. Krasinski and Blunt are both fantastic actors and this is some of their best work. The two obviously have a head start when it comes to having chemistry and the ease they have with one another makes the characters come across as real and genuine people. As for the kids, well there are two stars in the making here. Both of them are given some really serious material to work with and they absolutely pull it off. Nothing is oversold by anyone here. Every second of fear and terror is played perfectly and as such, I found myself sharing these emotions alongside each one of them.
A Quiet Place does have a few issues. It’s never clear what the ultimate plan is for the family, particularly with a baby on the way. What are they planning to do with it in the long term when it’s born? Babies are known for crying and not being quiet, so it was a little distracting to not have that addressed. There is also a moment to do with that pregnancy that felt extremely glossed over, but I’ll avoid specifying exactly what at the risk of spoilers. These are minor niggles though. This is a great movie that is a blast to watch. I do have a feeling that there are some that may find the ending to be a little frustrating, for me though, I thought it was perfect.
Oh, and as for John Krasinski who was on starring and directing duties, this is a great project for him that he comes out of brilliantly on both counts. This could be the film that throws him into A-list movie status and whether it’s in front or behind the camera, I’m eager to see what he does next.
Movie Metropolis (309 KP) rated Deadpool 2 (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
More of the same
Who would have thought we would get to this? I certainly didn’t. After the right royal mess 20th Century Fox made of everyone’s favourite anti-hero, Deadpool, in X-Men Origins: Wolverine all those years ago, it felt like a solo outing would never be possible, never mind a sequel.
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
Deadpool senior went on to gross nearly $800million worldwide, impressive for an R-rated (15 certification) flick, and was an undisputed king of comic-book hero movies. Like Guardians of the Galaxy was for Marvel Studios, Deadpool was a huge gamble that paid off massively thanks to Ryan Reynold’s brilliant comic-timing and an origins story that wasn’t done to death. Naturally, a sequel was always on the cards. But are we looking at a sequel of Empire quality or Speed 2: Cruise Control?
Wisecracking mercenary Deadpool (Reynolds) is back, and this time he decides to joins force with three mutants – Bedlam (Terry Crews), Shatterstar (Lewis Tan) and Domino (Zazie Beets) – to protect a boy from the all-powerful Cable (Josh Brolin).
One-half of John Wick’s directing team, David Leitch, is thrust into the directing chair for Deadpool 2 after Tim Miller was unceremoniously dumped from the project due to creative differences with Ryan Reynolds (read into that what you will). Thankfully, he brings that trademark style that we again saw in Atomic Blonde to this sequel and with that comes plenty of stylised action and a neon/grey colour palate plus a Celine Dion number that’s just begging for parody status.
Surprisingly, that all works rather well for this film. Propped by another cracking performance from Ryan Reynolds who has really found his calling after years of mediocrity. I’ve said it before and I’ll say it again, he was absolutely born to play this role and his dry wit is given much more room to breathe this time around.
The rest of the cast are fine, if a little underdeveloped. Zazie Beets probably makes the most impact as mutant, Domino, but even she is a little underpowered when compared to the brilliant work the MCU has done on its heroes over the years. Josh Brolin (who must be getting paid rather handsomely this year) is great as Cable, though it is difficult to hear his voice and not immediately think of Thanos. T.J. Miller returns in a heavily reduced role as does Reynolds’ on-screen girlfriend Morena Baccarin who is criminally underused.
Story wise, it’s pretty much more of the same and that’s no bad thing. The fourth-wall breaking is as fresh as it felt two years ago and is cleverly used to hide the necessary exposition to bring the audience up-to-speed with what’s been happening in Deadpool-ville over the last couple of years.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members
The comedy hits more than it misses, though the constant quipps can be exhausting, and the action is filmed as confidently as you’d expect from the man who brought Keanu Reeves screaming into the 21st Century, but there is some incredibly poor CGI that is at odds with a movie costing over $100million. By incredibly poor, I don’t mean just a bit naff, I’m talking laughably bad.
The finale is vibrant, action-packed and as Deadpool himself says, CGI-filled, but it’s a little unoriginal and very much like its predecessor, though the inclusion of one particular character that I won’t spoil here is great fun to see.
There are also plenty of X-Men Easter eggs for fans to enjoy too. From characters showing up where you’d least expect them to a blink-and-you’ll-miss-it Stan Lee cameo, the film is full to the brim of in-references that only the most hardened of comic-book fans will notice on the first watch.
Thankfully, there is plenty of repeat-watch value in Deadpool 2, thanks mainly to the returning cast members. Reynolds, T.J. Miller, Leslie Uggams (Wade Wilson’s blind roommate Al) and Karan Soni (taxi driver Dopinder) are welcome returnees and ensure the film has a little heart, though not too much. After all, that wouldn’t be the Deadpool way.
Overall, Deadpool 2 is a confident sequel to one of the best comic-book movies there is. What it does right, it does very well indeed. The comedy, performances and action are all spot on. Unfortunately, there are some very poor special effects over the course of the film and in an effort to make everything bigger and badder, it occasionally feels like a mass of scenes put together to make a film. A worthy sequel, but not an Empire or Spider-Man 2 in this instance.
https://moviemetropolis.net/2018/05/16/deadpool-2-review-more-of-the-same/#more-6342
graveyardgremlin (7194 KP) rated Slide (Slide, #1) in Books
Feb 15, 2019
<b>2.5 stars
Slide</b> features an intriguing idea though the results left me with mixed feelings. The concept is awesome, but the execution? Yeah, not so much. The writing is serviceable, neither bad nor great and it didn't draw me into the story straightaway. Both the way it is written and the storyline reminds me of some of the books I read as a pre-teen/teen way back during the Pleistocene epoch, otherwise known as the 1990s, with authors like Christopher Pike, R.L. Stine, Diane Hoh, Lois Duncan, Richie Tankersley Cusick, among others. It especially seems to fall right in between Pike and Stine. While the writing is more mature than Stine's, it's not quite as sophisticated as Pike's. The mystery is weak, and by the end, seems pointless as it's totally anti-climactic, over in a flash, like it was written just to finish the book up, and absurdly contrived. The whole ending is totally ludicrous and unbelievable. The clues leading up to it are obvious and not incorporated into the story well at all. These clues were so glaring they all but had a flashing sign pointing to them in cartoon-like fashion whenever they fell into the main character's path. Sylvia a.k.a. Vee wasn't written as a dummy, at first, but boy she was an absolute idiot about those clues and putting two and two together, or really much of anything until it slapped her in the face. While Vee is sympathetic, I can't say I felt much of anything for her, and even less for anyone else in book because of their lack of depth. No one is explained in any detail, either personality or looks, motivations, or whatever. Just a brief shallow summary if lucky. Speaking of.... What has happened in books today where there are no descriptions of how anybody looks, except "I have pink hair," "his blonde hair," or some other toss away adjective? I've seen it over and over again and all I'm left with is the visualization that these people have no faces, much like that episode of Doctor Who (The Idiot's Lantern). Frankly it's all rather creepy.
I feel like this could have been a great book if it was longer (the copy I read is only 250 pages of at least 1.5 spaced lines) and had much more depth. Add in a couple more suspects, motivations, etc., and maybe a little more information on Vee's "sliding" powers. Unfortunately it's only an "okay" read that's easy and moves at a rapid pace. I didn't hate the book by any means, it's just not one that'll stick in my head for more than a few days. On the plus side I love the cover composition and colors, so kudos to the artist(s). This works fine as a standalone, but is now part of a series, for some unfathomable reason. Frankly, I'm getting sick of every book that comes out, most usually in the YA genre, becoming a series. It's ridiculous how few standalone books there are anymore. Still, even with all my grumbling about the numerous series and everything else, I think I will check out [b:Impostor|13423265|Impostor (Slide, #2)|Jill Hathaway|http://d202m5krfqbpi5.cloudfront.net/books/1341084724s/13423265.jpg|18870053], the second book in the <i>Slide</i> series, as it sounds interesting. Who knows, this might have just been the stepping stone to bigger and better things. Although if Vee is as stupid as she was in this one, I'm outta there.
Originally Reviewed: October 16, 2012
Received: Amazon Vine
Slide</b> features an intriguing idea though the results left me with mixed feelings. The concept is awesome, but the execution? Yeah, not so much. The writing is serviceable, neither bad nor great and it didn't draw me into the story straightaway. Both the way it is written and the storyline reminds me of some of the books I read as a pre-teen/teen way back during the Pleistocene epoch, otherwise known as the 1990s, with authors like Christopher Pike, R.L. Stine, Diane Hoh, Lois Duncan, Richie Tankersley Cusick, among others. It especially seems to fall right in between Pike and Stine. While the writing is more mature than Stine's, it's not quite as sophisticated as Pike's. The mystery is weak, and by the end, seems pointless as it's totally anti-climactic, over in a flash, like it was written just to finish the book up, and absurdly contrived. The whole ending is totally ludicrous and unbelievable. The clues leading up to it are obvious and not incorporated into the story well at all. These clues were so glaring they all but had a flashing sign pointing to them in cartoon-like fashion whenever they fell into the main character's path. Sylvia a.k.a. Vee wasn't written as a dummy, at first, but boy she was an absolute idiot about those clues and putting two and two together, or really much of anything until it slapped her in the face. While Vee is sympathetic, I can't say I felt much of anything for her, and even less for anyone else in book because of their lack of depth. No one is explained in any detail, either personality or looks, motivations, or whatever. Just a brief shallow summary if lucky. Speaking of.... What has happened in books today where there are no descriptions of how anybody looks, except "I have pink hair," "his blonde hair," or some other toss away adjective? I've seen it over and over again and all I'm left with is the visualization that these people have no faces, much like that episode of Doctor Who (The Idiot's Lantern). Frankly it's all rather creepy.
I feel like this could have been a great book if it was longer (the copy I read is only 250 pages of at least 1.5 spaced lines) and had much more depth. Add in a couple more suspects, motivations, etc., and maybe a little more information on Vee's "sliding" powers. Unfortunately it's only an "okay" read that's easy and moves at a rapid pace. I didn't hate the book by any means, it's just not one that'll stick in my head for more than a few days. On the plus side I love the cover composition and colors, so kudos to the artist(s). This works fine as a standalone, but is now part of a series, for some unfathomable reason. Frankly, I'm getting sick of every book that comes out, most usually in the YA genre, becoming a series. It's ridiculous how few standalone books there are anymore. Still, even with all my grumbling about the numerous series and everything else, I think I will check out [b:Impostor|13423265|Impostor (Slide, #2)|Jill Hathaway|http://d202m5krfqbpi5.cloudfront.net/books/1341084724s/13423265.jpg|18870053], the second book in the <i>Slide</i> series, as it sounds interesting. Who knows, this might have just been the stepping stone to bigger and better things. Although if Vee is as stupid as she was in this one, I'm outta there.
Originally Reviewed: October 16, 2012
Received: Amazon Vine