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Sophia (Bookwyrming Thoughts) (530 KP) rated Dare to Dream in Books
Jan 23, 2020
<i>Dare to Dream</i> isn't so much as horrifying as to a novel aimed at a younger audience rather than the upper teens running amok from book to book behind Bookwyrming Thoughts (and of course, their own blogs). Simply put: Ella will butcher this, Lupe will make this sprout unicorns, Rundus will dissect this in a manner as seriously as possible, and Sophia might do a combination of blandly blunt dissection while trying to sprout at least one unicorn so no one (hopefully) will get a headache in the process.
But of course, the very last reviewer might be exaggerating a little. She may also be hitting the truth button at the exact same time she decided to press the "write a review in the third person" button.
In this ever so "blandly blunt dissection" of a mini-review, <i>Dare to Dream</i> is essentially divided into two parts: the first part is before the apocalypse, and the second part is the aftermath. It is really just a book that has a main character with a broken family, cries often (well, she is fourteen), and finding her place in the world all while receiving dreams of the end of the world in the same way nightly and finding out it's in connection to the demise of Stonehenge. Oh, and it is also a day by day play of events that feels more proper in a sleeptastic documentary.
Basically, it's just tales of family drama from a fourteen-year-old British schoolgirl. The whole apocalypse thing? It might as well be a subplot until you get to the second part, where the primary purpose is surviving it day by day. But the point is, middle school Sophia might like this better than high school senior Sophia, who actually likes the whole Stonehenge aspect.
<a href="https://bookwyrmingthoughts.com/chibi-views-dare-to-dream-by-carys-jones-and-red-queen-by-victoria-aveyard/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
But of course, the very last reviewer might be exaggerating a little. She may also be hitting the truth button at the exact same time she decided to press the "write a review in the third person" button.
In this ever so "blandly blunt dissection" of a mini-review, <i>Dare to Dream</i> is essentially divided into two parts: the first part is before the apocalypse, and the second part is the aftermath. It is really just a book that has a main character with a broken family, cries often (well, she is fourteen), and finding her place in the world all while receiving dreams of the end of the world in the same way nightly and finding out it's in connection to the demise of Stonehenge. Oh, and it is also a day by day play of events that feels more proper in a sleeptastic documentary.
Basically, it's just tales of family drama from a fourteen-year-old British schoolgirl. The whole apocalypse thing? It might as well be a subplot until you get to the second part, where the primary purpose is surviving it day by day. But the point is, middle school Sophia might like this better than high school senior Sophia, who actually likes the whole Stonehenge aspect.
<a href="https://bookwyrmingthoughts.com/chibi-views-dare-to-dream-by-carys-jones-and-red-queen-by-victoria-aveyard/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Dale Lawson (13 KP) rated Missing Link (2019) in Movies
Feb 29, 2020
Animation Style (3 more)
Character development
Voice Acting
Hilarity
An adventurous, family-friendly animation.
After winning the BAFTA for best animated feature, my interest in seeing this film rose. As it is conveniently found on Netflix, we watched it as a family for a ‘movie night’. I was prepared for a mediocre adventure in search of a missing link between man and ape. What you actually get is a heartfelt, quintessentially British, global adventure in search of a home for a lonely Sasquatch. The journey each character goes through is wonderful as they learn about family, friendships and individuality before conquering the villain.
With a high calibre cast, this film is full of seasoned voice actors. So much so that it is actually difficult to identify the owner of each voice until the credits roll. This, for the most part, makes the film even more enjoyable as you aren’t left guessing actors or imagining them in the role.
Beginning with two characters on a quest for the Loch Ness Monster, the story is full of mystery and myth. It then becomes a predictable one, when it gets into its flow. For an adult, this can make the film a little expected. However, for a child this film is filled with hilarity. When watching with my three kids, there was non-stop laughter. From the naming of the Sasquatch to him forgetting swimwear, the room was full of joy.
Animation has always been a passion of mine, since I was young: from hand drawn to computer generated. My favourite had always been stop motion. Missing Link is primarily filmed in stop motion, using new techniques that allow for smoother facial transitions. The film’s adventurous nature encourages for exciting sets and explosive additional CGI that makes the film feel incredibly polished.
Captivating the attention of adults and children, alike, Missing Link provides an animated, family friendly adventure that teaches morals and respect. I can see why it won so many awards and challenges Toy Story 4 for the top place.
With a high calibre cast, this film is full of seasoned voice actors. So much so that it is actually difficult to identify the owner of each voice until the credits roll. This, for the most part, makes the film even more enjoyable as you aren’t left guessing actors or imagining them in the role.
Beginning with two characters on a quest for the Loch Ness Monster, the story is full of mystery and myth. It then becomes a predictable one, when it gets into its flow. For an adult, this can make the film a little expected. However, for a child this film is filled with hilarity. When watching with my three kids, there was non-stop laughter. From the naming of the Sasquatch to him forgetting swimwear, the room was full of joy.
Animation has always been a passion of mine, since I was young: from hand drawn to computer generated. My favourite had always been stop motion. Missing Link is primarily filmed in stop motion, using new techniques that allow for smoother facial transitions. The film’s adventurous nature encourages for exciting sets and explosive additional CGI that makes the film feel incredibly polished.
Captivating the attention of adults and children, alike, Missing Link provides an animated, family friendly adventure that teaches morals and respect. I can see why it won so many awards and challenges Toy Story 4 for the top place.
JT (287 KP) rated The Gentlemen (2020) in Movies
Mar 3, 2020
Guy Richie back to doing what he does best (1 more)
Excellent cast
Twists, turns and carnage
Since Snatch Guy Richie hasn’t covered himself in glory with some of his recent films. The likes of Swept Away, Revolver and King Arthur: Legend of the Sword did little to enhance his street cred.
While Sherlock Holmes and The Man From U.N.C.L.E were certainly enjoyable romps they didn’t have the cutting edge to what Richie does best, the gangster flick. Thankfully The Gentlemen provides everything you could want from that genre and Richie is back on familiar ground.
Mickey Pearson (Matthew McConaughey) is looking to retire from his current criminal life and plans to sell off his highly profitable marijuana empire in London. However, when rival gangs get wind of his plans there is blackmail, bribery and double-crossing aplenty.
One of the stars of the film is Hugh Grant, who for once is not playing a bumbling English gentry. Instead, he plays a slimy cockney called Fletcher with inside knowledge of what Mickey’s plans are and attempts to use them for his own financial gain.
Grant adds a subtle level of humour to the proceedings and spends most of the time in dialogue with Ray (Charlie Hunnam) Mickey’s right-hand man, who actually delivers a half-decent performance.
The Gentlemen has Richie’s aggressive dialogue which is bathed in neat action set pieces. It’s foul-mouthed and the characters all have their own unique and very distinct personalities. From Colin Farrell’s Coach to Henry Golding’s psychotic Dry Eye they can stand happily alongside some of the greats from Lock, Stock and Two Smoking Barrels and Snatch.
The film has a cool swagger about it where everything clicks nicely. There are a few twists and turns along the way which is expected from the British director and it is filled with his trademarks that hit the right notes at the right time. For me, this is by far and away his best film for quite some time.
While Sherlock Holmes and The Man From U.N.C.L.E were certainly enjoyable romps they didn’t have the cutting edge to what Richie does best, the gangster flick. Thankfully The Gentlemen provides everything you could want from that genre and Richie is back on familiar ground.
Mickey Pearson (Matthew McConaughey) is looking to retire from his current criminal life and plans to sell off his highly profitable marijuana empire in London. However, when rival gangs get wind of his plans there is blackmail, bribery and double-crossing aplenty.
One of the stars of the film is Hugh Grant, who for once is not playing a bumbling English gentry. Instead, he plays a slimy cockney called Fletcher with inside knowledge of what Mickey’s plans are and attempts to use them for his own financial gain.
Grant adds a subtle level of humour to the proceedings and spends most of the time in dialogue with Ray (Charlie Hunnam) Mickey’s right-hand man, who actually delivers a half-decent performance.
The Gentlemen has Richie’s aggressive dialogue which is bathed in neat action set pieces. It’s foul-mouthed and the characters all have their own unique and very distinct personalities. From Colin Farrell’s Coach to Henry Golding’s psychotic Dry Eye they can stand happily alongside some of the greats from Lock, Stock and Two Smoking Barrels and Snatch.
The film has a cool swagger about it where everything clicks nicely. There are a few twists and turns along the way which is expected from the British director and it is filled with his trademarks that hit the right notes at the right time. For me, this is by far and away his best film for quite some time.
JT (287 KP) rated Hereafter (2010) in Movies
Mar 10, 2020
It’s an interesting film that will leave you asking yourself one question, “did Clint Eastwood really direct it?” And the answer, yes, he did. It’s not that the film is particularly bad but then it’s not really that good either, and you wonder if while his latest film J. Edgar was in pre-production he got bored and decided to fill the void.
Having worked with Damon on Invictus Eastwood brought him in for this, as George Lonegan a man with the gift of being able to talk to people that have passed to the other side. The opening half an hour is an intense watch as we watch De France’s reporter get caught up in a terrible Tsunami while holidaying with her boyfriend. It’s a well shot natural disaster which Roland Emmerich himself would have been proud.
Damon himself battling not to use his ‘gift’ despite the ongoing pressures from his brother, chooses of all things a cooking class as a method of escapism. There he meets Melanie (Bryce Dallas Howard) and the two form a bond, to which George ruins by accepting to perfrom a reading which doesn’t go as well as hoped.
I wanted to see her come back at some point during the film, but alas she doesn’t which was a disappointment as Howard was one of the few shining lights. The third part of the story, all of which interlock into each other, follow British twins Marcus and Jason. Two of the worst child actors I think I have ever seen, one can imagine that is from lack of experience.
With one of the boys dying in a freak accident the lone brother goes on a journey of his own, of which brings him closer to eventual contact with George. The film tries to be deep and meaningful about what happens to people who suffer death experiences, but its way off Eastwood’s sharp and cool direction – a shame when it started so brightly.
Having worked with Damon on Invictus Eastwood brought him in for this, as George Lonegan a man with the gift of being able to talk to people that have passed to the other side. The opening half an hour is an intense watch as we watch De France’s reporter get caught up in a terrible Tsunami while holidaying with her boyfriend. It’s a well shot natural disaster which Roland Emmerich himself would have been proud.
Damon himself battling not to use his ‘gift’ despite the ongoing pressures from his brother, chooses of all things a cooking class as a method of escapism. There he meets Melanie (Bryce Dallas Howard) and the two form a bond, to which George ruins by accepting to perfrom a reading which doesn’t go as well as hoped.
I wanted to see her come back at some point during the film, but alas she doesn’t which was a disappointment as Howard was one of the few shining lights. The third part of the story, all of which interlock into each other, follow British twins Marcus and Jason. Two of the worst child actors I think I have ever seen, one can imagine that is from lack of experience.
With one of the boys dying in a freak accident the lone brother goes on a journey of his own, of which brings him closer to eventual contact with George. The film tries to be deep and meaningful about what happens to people who suffer death experiences, but its way off Eastwood’s sharp and cool direction – a shame when it started so brightly.
Gareth von Kallenbach (980 KP) rated Dom Hemingway (2014) in Movies
Aug 6, 2019
Dom Hemingway’ is a dark comedy-crime drama movie written and directed by Richard
Shepard (better known for directing the pilot episode of Ugly Betty) and stars
Jude Law, Emilia Clarke, Richard E. Grant, and Demian Bichir.
Dom (Jude Law) is a foul-mouthed, short-tempered, and reckless master safe cracker who
is returning to the streets after 12 years in prison. Intent on collecting his reward for
keeping silent while in prison and fueled by massive amounts of alcohol, drugs, and his
massive ego, Dom and his best friend/partner in crime Dickie (Richard E. Grant) travel
though the British and French country sides to rendevous with Dom’s former employeer
Mr. Fontaine. Shortly thereafter though, Don arrives at the conclusion that no amount
of money can replace what hes’ lost and that his one and only priority is to
seek out his long-lost daughter Evelyn (Emilia Clarke).
Now, this movie is definitely a departure from Jude Law’s previous movies. Imagine him
if he were to gain 29 lbs., dress like an evil ‘Fonz’, and then join ‘Motorhead’.
THAT .. is the Jude Law you get to see in this movie. It’s dark, but fun at the same time.
Most definitely NOT something kids should see. It’s full-speed ahead with sex, drugs,
and rock & roll. When the movie does put on the brakes, it slams on the brakes hard!
Watching the character try to acclimate to the world after 12 years in prison and make
peace with his daughter and her family … it’s like watching a champion’s league
soccer match. One minute one team has it, the next minute the other team has it….
You honestly don’t know what’s going to happen next. Me? Personally? I got a kick out of
this one. My only beef is the way the movie ended … if I told you why though, i’d
be spoiling the movie. For that reason, I give the film 3 out of 5 stars.
Again, a great movie … Dark … but also funny. But the ending? It came just too soon.
Shepard (better known for directing the pilot episode of Ugly Betty) and stars
Jude Law, Emilia Clarke, Richard E. Grant, and Demian Bichir.
Dom (Jude Law) is a foul-mouthed, short-tempered, and reckless master safe cracker who
is returning to the streets after 12 years in prison. Intent on collecting his reward for
keeping silent while in prison and fueled by massive amounts of alcohol, drugs, and his
massive ego, Dom and his best friend/partner in crime Dickie (Richard E. Grant) travel
though the British and French country sides to rendevous with Dom’s former employeer
Mr. Fontaine. Shortly thereafter though, Don arrives at the conclusion that no amount
of money can replace what hes’ lost and that his one and only priority is to
seek out his long-lost daughter Evelyn (Emilia Clarke).
Now, this movie is definitely a departure from Jude Law’s previous movies. Imagine him
if he were to gain 29 lbs., dress like an evil ‘Fonz’, and then join ‘Motorhead’.
THAT .. is the Jude Law you get to see in this movie. It’s dark, but fun at the same time.
Most definitely NOT something kids should see. It’s full-speed ahead with sex, drugs,
and rock & roll. When the movie does put on the brakes, it slams on the brakes hard!
Watching the character try to acclimate to the world after 12 years in prison and make
peace with his daughter and her family … it’s like watching a champion’s league
soccer match. One minute one team has it, the next minute the other team has it….
You honestly don’t know what’s going to happen next. Me? Personally? I got a kick out of
this one. My only beef is the way the movie ended … if I told you why though, i’d
be spoiling the movie. For that reason, I give the film 3 out of 5 stars.
Again, a great movie … Dark … but also funny. But the ending? It came just too soon.
Gareth von Kallenbach (980 KP) rated Captain America: The First Avenger (2011) in Movies
Aug 7, 2019
Captain America: The First Avenger is a return to form for the Marvel comic-book film universe, and a solid final lead-up to the multi-hero film The Avengers, coming next year.
Chris Evans does a fantastic job of introducing us to the wiry little guy with guts who eventually becomes Captain America. Such unashamed, honest virtue is different from the typical superhero movie we’ve come to see over the last few years, and for good reason: internal conflicts often make for dramatic films. However, I don’t think such unwavering idealism would have worked with any other comic-book character than Captain America. Stanley Tucci and Tommy Lee Jones add heart to the movie, but the soul of this movie really is the Captain. Hugo Weaving as The Red Skull plays a satisfying villain here, but his motives aren’t clarified enough to warrant his fervor for evil. Hayley Atwell, playing love interest and British agent Peggy Carter does a more convincing job in her role than Hugo Weaving does in his.
The plot of the film was pretty standard fare. Hero battles villain. The ending was more climactic and earnest than I had expected walking into the theater, and it gracefully sets up the Avengers movie. Like many of the other Marvel movies of recent note, there is a decent amount of self-deprecating comic book humor that helps break up the slower parts between action scenes.
The effects of the film were solid. They were pulpy enough to feel like a Marvel universe, rather than our own, but they still carried the action to an exciting level. The art department and cinematographer did a good job recreating the 40’s asthetic throughout the film, though there was enough exotic comic book elements to bring you back into a world where superheroes really do exist.
Despite its own flaws, this is one of the better Marvel films to come out since Iron Man, and count me in to watch The Avengers next year.
Chris Evans does a fantastic job of introducing us to the wiry little guy with guts who eventually becomes Captain America. Such unashamed, honest virtue is different from the typical superhero movie we’ve come to see over the last few years, and for good reason: internal conflicts often make for dramatic films. However, I don’t think such unwavering idealism would have worked with any other comic-book character than Captain America. Stanley Tucci and Tommy Lee Jones add heart to the movie, but the soul of this movie really is the Captain. Hugo Weaving as The Red Skull plays a satisfying villain here, but his motives aren’t clarified enough to warrant his fervor for evil. Hayley Atwell, playing love interest and British agent Peggy Carter does a more convincing job in her role than Hugo Weaving does in his.
The plot of the film was pretty standard fare. Hero battles villain. The ending was more climactic and earnest than I had expected walking into the theater, and it gracefully sets up the Avengers movie. Like many of the other Marvel movies of recent note, there is a decent amount of self-deprecating comic book humor that helps break up the slower parts between action scenes.
The effects of the film were solid. They were pulpy enough to feel like a Marvel universe, rather than our own, but they still carried the action to an exciting level. The art department and cinematographer did a good job recreating the 40’s asthetic throughout the film, though there was enough exotic comic book elements to bring you back into a world where superheroes really do exist.
Despite its own flaws, this is one of the better Marvel films to come out since Iron Man, and count me in to watch The Avengers next year.
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