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Bong Mines Entertainment (15 KP) rated Beerbongs & Bentleys by Post Malone in Music
Jun 7, 2019
Post Malone is a rapper from Syracuse, New York. Not too long ago, he released his sophomore album, entitled, “beerbongs & bentleys”, featuring Swae Lee, 21 Savage, Ty Dolla Sign, Nicki Minaj, G-Eazy, and YG.
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Kristy H (1252 KP) rated Truly Madly Guilty in Books
Feb 13, 2018
Erika has the whole event planned: an afternoon tea with her friend, Clementine, Clementine's husband, Sam, and the couple's two young daughters, Holly and Ruby. She even has a glittery art table set up for the youngsters. But the day is derailed when Erika runs into her next-door neighbor, Vid, who invites both couples over for a last minute barbecue. Erika and her husband, Oliver, aren't the last minute types; besides, they had something they needed to talk about with Clementine and Sam. But, Erika feels like obligated to say yes. Clementine and Sam are secretly relieved, as Vid and his beautiful wife Tiffany are far more personable than Erika and Oliver. The afternoon starts off well enough; Tiffany and Vid's daughter, Dakota, is even happy enough to hang out with Holly and Ruby. But by the time the night is over, lives will be changed, and all the adults--Sam and Clementine in particular--will find themselves wishing they never attended this impromptu event.
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
Gareth von Kallenbach (971 KP) rated Call of Duty: Ghosts - Devastation in Video Games
Jun 19, 2019
The second of four planned content packs for Call of Duty: Ghosts has arrived and offers more than a way to tide fans over until the release the next pack and highly anticipated release of Call of Duty: Advanced Warfare in November. Following the established formula of previous releases, the new collection offers four new maps, a new weapon, and a new episode for the alien themed Extinction gameplay mode.
The following maps are included in the collection.
Behemoth
This is set in a large excavation tool in Columbia where stairs, narrow corridors, and fast action are the order of business. Think of a cross between an oil rig and excavation machine and you have an idea what’s in store.
The upper levels of the map provide plenty of fast action and the interior locales get plenty of opportunity for close quarter combat. Running on the main deck may make you a favorite of snipers, but there are plenty of opportunities for players to duck out of harms way if they’re willing to jump over a ledge.
I have to say that this is my favorite of the new maps because I just really enjoyed the run and gun style of playing and this one suits me perfectly.
COD Ghosts Devastation_Behemoth Environment
Ruins
Set in Mexico, this map combines a jungle locale with plenty of temples. At first it was very frustrating as due to the excessive amounts of foliage and varying terrain levels, it was a campers paradise. I lost count of how many times I was spawn camped at the beginning of my play sessions but I soon developed instincts as to where opponents preferred to set up and hide. There is plenty of opportunity for fast and intense combat here as long as you’re willing to put up with the numerous snipers and campers that will letter the map.
When a player reaches a certain level of kill streak, they will become The Predator from the film series and this allows them to hunt opposing players using the heat vision of character as well as his wrist blades and plasma cannon. Should a player be lucky enough to take down this creature, he often gets the final laugh courtesy of his self-destruct mechanism which complete with sound effects from the film has devastating results.
COD Ghosts Devastation_Predator vs the Volcano
Unearthed
Set in a classified location this is often the most frustrating of the new maps for me. It is like a combination of Dome and a couple of other maps from previous games which forces combat to flow along and excavation site. There are some impressive things such as automatic doors and underground areas to fight within. However the central hub and elevated catwalk also lead to lots of sniping and camping. I had been spawn camped on this map more than any of the other maps combined but if you’re willing to lob a few grenades into the central hub, you can often be rewarded with some very impressive kill streaks.
COD Ghosts Devastation_Unearthed Environment
Collision
This New York based map is cluttered and dangerous as it is set aboard a crashed freighter that is mingled with the bridge and has all manner of vehicles and cargo containers aboard. Sniping is common here but the multilevel map and numerous interiors allow for a nice mix of gameplay styles. I remember recent session where I completed the final kills for our team by jumping down upon three passing enemies firing as I jumped. I have also racked up some very enjoyable kill streaks on this map that resulted in rocket strikes being called in. The detail level is good from the standing water in the lower sections of the ship to the cargo netting and containers that letter the upper levels. Seeing the wrecked New York City taxis was a nice touch as well as some of the more personal details in the crew quarter areas of the ship.
COD Ghosts Devastation_Collision Environment
The new weapon is called the Ripper and I found it to be a very interesting mix of submachine gun an assault rifle as it escaped will changing between the two on-the-fly. It is very high rates of fire which will rip opponent to shreds in short order hence how the weapon got its name. The high rate of fire though does go through your ammunition quickly so short bursts or plenty of time to reload is always recommend.
The final part of the collection is the Mayday episode of the alien themed Extinction. For players work with one another to infiltrate and clear a locale that is been overrun by the alien menace. Players purchase weapons upgrades based on the amount of enemies they dispatch and will also earn skill points based on their performance. Said skill points will let them do things such is offer ammunition upgrades to teammates and bring in electronics ranging from Sentry guns and other advanced weaponry. My first time through we made excellent progress as we seem to be well synced to take out the aliens and guard our drill that was required for advancement into the game.
This was short-lived as after several successful encounters we came across a group that had our number and dispatch us in quick succession which left no one to revive the fallen members. While it is a bit frustrating batch when this happens you must replay the entire session over the graphics and gameplay are definitely a very nice touch and I’m very happy to see that they have moved this to an episodic format because the narrative and back story bring a whole new level of enjoyment.
While not perfect, the collection is to me more enjoyable than many that maps the game shipped with at launch and therefore one that I can easily recommend. Those looking for the best value will want to purchase a season pass is that will get you all for the map packs at the discounted price which is certainly a is better than paying the going rate to get them à la carte.
http://sknr.net/2014/05/20/call-duty-ghosts-devastation-dlc/
The following maps are included in the collection.
Behemoth
This is set in a large excavation tool in Columbia where stairs, narrow corridors, and fast action are the order of business. Think of a cross between an oil rig and excavation machine and you have an idea what’s in store.
The upper levels of the map provide plenty of fast action and the interior locales get plenty of opportunity for close quarter combat. Running on the main deck may make you a favorite of snipers, but there are plenty of opportunities for players to duck out of harms way if they’re willing to jump over a ledge.
I have to say that this is my favorite of the new maps because I just really enjoyed the run and gun style of playing and this one suits me perfectly.
COD Ghosts Devastation_Behemoth Environment
Ruins
Set in Mexico, this map combines a jungle locale with plenty of temples. At first it was very frustrating as due to the excessive amounts of foliage and varying terrain levels, it was a campers paradise. I lost count of how many times I was spawn camped at the beginning of my play sessions but I soon developed instincts as to where opponents preferred to set up and hide. There is plenty of opportunity for fast and intense combat here as long as you’re willing to put up with the numerous snipers and campers that will letter the map.
When a player reaches a certain level of kill streak, they will become The Predator from the film series and this allows them to hunt opposing players using the heat vision of character as well as his wrist blades and plasma cannon. Should a player be lucky enough to take down this creature, he often gets the final laugh courtesy of his self-destruct mechanism which complete with sound effects from the film has devastating results.
COD Ghosts Devastation_Predator vs the Volcano
Unearthed
Set in a classified location this is often the most frustrating of the new maps for me. It is like a combination of Dome and a couple of other maps from previous games which forces combat to flow along and excavation site. There are some impressive things such as automatic doors and underground areas to fight within. However the central hub and elevated catwalk also lead to lots of sniping and camping. I had been spawn camped on this map more than any of the other maps combined but if you’re willing to lob a few grenades into the central hub, you can often be rewarded with some very impressive kill streaks.
COD Ghosts Devastation_Unearthed Environment
Collision
This New York based map is cluttered and dangerous as it is set aboard a crashed freighter that is mingled with the bridge and has all manner of vehicles and cargo containers aboard. Sniping is common here but the multilevel map and numerous interiors allow for a nice mix of gameplay styles. I remember recent session where I completed the final kills for our team by jumping down upon three passing enemies firing as I jumped. I have also racked up some very enjoyable kill streaks on this map that resulted in rocket strikes being called in. The detail level is good from the standing water in the lower sections of the ship to the cargo netting and containers that letter the upper levels. Seeing the wrecked New York City taxis was a nice touch as well as some of the more personal details in the crew quarter areas of the ship.
COD Ghosts Devastation_Collision Environment
The new weapon is called the Ripper and I found it to be a very interesting mix of submachine gun an assault rifle as it escaped will changing between the two on-the-fly. It is very high rates of fire which will rip opponent to shreds in short order hence how the weapon got its name. The high rate of fire though does go through your ammunition quickly so short bursts or plenty of time to reload is always recommend.
The final part of the collection is the Mayday episode of the alien themed Extinction. For players work with one another to infiltrate and clear a locale that is been overrun by the alien menace. Players purchase weapons upgrades based on the amount of enemies they dispatch and will also earn skill points based on their performance. Said skill points will let them do things such is offer ammunition upgrades to teammates and bring in electronics ranging from Sentry guns and other advanced weaponry. My first time through we made excellent progress as we seem to be well synced to take out the aliens and guard our drill that was required for advancement into the game.
This was short-lived as after several successful encounters we came across a group that had our number and dispatch us in quick succession which left no one to revive the fallen members. While it is a bit frustrating batch when this happens you must replay the entire session over the graphics and gameplay are definitely a very nice touch and I’m very happy to see that they have moved this to an episodic format because the narrative and back story bring a whole new level of enjoyment.
While not perfect, the collection is to me more enjoyable than many that maps the game shipped with at launch and therefore one that I can easily recommend. Those looking for the best value will want to purchase a season pass is that will get you all for the map packs at the discounted price which is certainly a is better than paying the going rate to get them à la carte.
http://sknr.net/2014/05/20/call-duty-ghosts-devastation-dlc/
Darren (1599 KP) rated American Heist (2015) in Movies
Jun 20, 2019
Story: American Heist starts with James (Christensen) waiting before starting to look for someone then an explosion surprises him bring us back a day in time where we follow James going about his everyday life. James has a brother Frankie (Brody) fresh out of prison being picked up by his criminal connection Sugar (Akon) who keeps him happy with drinks, drugs and girls on his first night out before meeting the boss Ray (Kittles).
James has turned his life around where he now works on the straight life working as a mechanic, he sees an old flame Emily (Brewster) back in town where James sees his life moving in the right direction. Frankie turns up to see his brother’s life after ten years locked away. Frankie arranges to meet for drinks with James which leads to him discussion a new job opportunity which leads us back to the opening scene where James gets tricked into a job as Frankie is trying to repay his debts.
Ray has assembled a team to pull off an elaborate bank robbery which will finally see Frankie pay back the debts he owes because James has the skills to get part of the plan done.
American Heist is a story that does seem to follow the traditional idea of a recently released from prison criminal goes straight back into the criminal world even if it isn’t fully his desire. We also see how the man thinking he has escaped from the criminal world gets dragged back in for one more job. This side of the story has been done before but is does really push the two brothers on an emotional level. When it comes to the actual heist it does become the secondary story behind the brothers relationship with the preparation being a quick flash scene and like most heist films go completely wrong. The story will have to go down as a solid entry into the genre but won’t be a film climbing into anyone’s best. (7/10)
Actor Review
Hayden Christensen: James is the former criminal who has turned his life around with a clean cut job where he is trying to get his own business, his life may not be perfect but he is happy that everything is all legal now. When his brothers released from prison he ends up caught up trying to pay off Frankie’s debts forced into working for criminal Ray. Hayden continues to try and recover from the criticism he got for Star Wars with another anti pretty boy film where he tries to play tough but doesn’t quite pull it off. (6/10)
james
Adrien Brody: Frankie is James’ brother who fresh out of prisoner does straight back into his criminal underworld where criminal boss Ray wants both Frankie and James to work for him. Frankie went through a lot in prison and always stood up for his brothers, as well as helping him become the man he is now. Adrien gives a performance you would expect from an Oscar winner, he does show his skills but sometimes feels like he is overacting to the situations. (7/10)
frankie
Jordana Brewster: Emily is the old flame who comes back into James’ life. Emily just so happens to be a dispatch caller for the police which could make the bank job all that much harder as Emily and James start rekindling their romance. Jordana does a good job but really doesn’t get enough screen time for the romantic angle in the story. (6/10)
Akon: Sugar is the second in command to Ray who gets the dirty jobs done when other people won’t get involved. Akon does make a good supporting actor never trying to over act like many musicians do when they enter the acting world. (7/10)
Tory Kittles: Ray is the criminal who helped Frankie in prison leaving him being owed a favour from Frankie when he finally gets out. Ray makes Frankie bring James back into the criminal world to take part in an elaborate heist. Tory makes for a good emotionless tough criminal who believes in every word he is saying. (7/10)
Support Cast: American Heist doesn’t really have many more characters involved in the story, we have the generic characters trying to chase down the criminals and the members of the group trying to pull off the heist.
Director Review: Sarik Andreasyan – Sarik gives us a solid heist film that really does focus on the relationship between the two brothers who have gone down different paths but must work together one last time. (7/10)
Action: American Heist keeps the action in a realistic level apart from one moment, making each feel like it could be a real heist and aftermath. (7/10)
Drama: American Heist creates a dysfunctional relationship between the two brothers which helps show just how far they would go for each other. (7/10)
Settings: American Heist keeps the settings in location where you would imagine the characters would want to turn to crime to end all the suffering they are going through. (8/10)
Suggestion: American Heist is one to try, I do think if you are a fan of the genre you will enjoy but there is only so much you can do with a heist film without fully copying anything else. (Try It)
Best Part: I really liked how the film ended, but can’t give it away.
Worst Part: How James gets pulled into the criminal world again.
Action Scene Of The Film: Ray’s escape attempt.
Believability: The heist feels like it could be how a real one would end, but the relationship side mixed with the heist not so. (4/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Kill Point (TV Show)
Oscar Chances: None
Budget: $10 Million
Runtime: 1 Hour 34 Minutes
Overall: American Heist will go down as an emotionally gritty heist film about two brothers.
https://moviesreview101.com/2015/05/26/american-heist-2015/
James has turned his life around where he now works on the straight life working as a mechanic, he sees an old flame Emily (Brewster) back in town where James sees his life moving in the right direction. Frankie turns up to see his brother’s life after ten years locked away. Frankie arranges to meet for drinks with James which leads to him discussion a new job opportunity which leads us back to the opening scene where James gets tricked into a job as Frankie is trying to repay his debts.
Ray has assembled a team to pull off an elaborate bank robbery which will finally see Frankie pay back the debts he owes because James has the skills to get part of the plan done.
American Heist is a story that does seem to follow the traditional idea of a recently released from prison criminal goes straight back into the criminal world even if it isn’t fully his desire. We also see how the man thinking he has escaped from the criminal world gets dragged back in for one more job. This side of the story has been done before but is does really push the two brothers on an emotional level. When it comes to the actual heist it does become the secondary story behind the brothers relationship with the preparation being a quick flash scene and like most heist films go completely wrong. The story will have to go down as a solid entry into the genre but won’t be a film climbing into anyone’s best. (7/10)
Actor Review
Hayden Christensen: James is the former criminal who has turned his life around with a clean cut job where he is trying to get his own business, his life may not be perfect but he is happy that everything is all legal now. When his brothers released from prison he ends up caught up trying to pay off Frankie’s debts forced into working for criminal Ray. Hayden continues to try and recover from the criticism he got for Star Wars with another anti pretty boy film where he tries to play tough but doesn’t quite pull it off. (6/10)
james
Adrien Brody: Frankie is James’ brother who fresh out of prisoner does straight back into his criminal underworld where criminal boss Ray wants both Frankie and James to work for him. Frankie went through a lot in prison and always stood up for his brothers, as well as helping him become the man he is now. Adrien gives a performance you would expect from an Oscar winner, he does show his skills but sometimes feels like he is overacting to the situations. (7/10)
frankie
Jordana Brewster: Emily is the old flame who comes back into James’ life. Emily just so happens to be a dispatch caller for the police which could make the bank job all that much harder as Emily and James start rekindling their romance. Jordana does a good job but really doesn’t get enough screen time for the romantic angle in the story. (6/10)
Akon: Sugar is the second in command to Ray who gets the dirty jobs done when other people won’t get involved. Akon does make a good supporting actor never trying to over act like many musicians do when they enter the acting world. (7/10)
Tory Kittles: Ray is the criminal who helped Frankie in prison leaving him being owed a favour from Frankie when he finally gets out. Ray makes Frankie bring James back into the criminal world to take part in an elaborate heist. Tory makes for a good emotionless tough criminal who believes in every word he is saying. (7/10)
Support Cast: American Heist doesn’t really have many more characters involved in the story, we have the generic characters trying to chase down the criminals and the members of the group trying to pull off the heist.
Director Review: Sarik Andreasyan – Sarik gives us a solid heist film that really does focus on the relationship between the two brothers who have gone down different paths but must work together one last time. (7/10)
Action: American Heist keeps the action in a realistic level apart from one moment, making each feel like it could be a real heist and aftermath. (7/10)
Drama: American Heist creates a dysfunctional relationship between the two brothers which helps show just how far they would go for each other. (7/10)
Settings: American Heist keeps the settings in location where you would imagine the characters would want to turn to crime to end all the suffering they are going through. (8/10)
Suggestion: American Heist is one to try, I do think if you are a fan of the genre you will enjoy but there is only so much you can do with a heist film without fully copying anything else. (Try It)
Best Part: I really liked how the film ended, but can’t give it away.
Worst Part: How James gets pulled into the criminal world again.
Action Scene Of The Film: Ray’s escape attempt.
Believability: The heist feels like it could be how a real one would end, but the relationship side mixed with the heist not so. (4/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Kill Point (TV Show)
Oscar Chances: None
Budget: $10 Million
Runtime: 1 Hour 34 Minutes
Overall: American Heist will go down as an emotionally gritty heist film about two brothers.
https://moviesreview101.com/2015/05/26/american-heist-2015/
Kirk Bage (1775 KP) rated Star Wars: Episode IX - The Rise of Skywalker (2019) in Movies
Mar 3, 2020
It took me over a month to get around to seeing this last night at the cinema. Not because I didn’t want to see the end of the new trilogy and say goodbye to it in style, but because I feared it just wouldn’t be very good. Put simply, it isn’t very good. Some parts, in fact, are downright awful. But it isn’t terrible either. I can’t say I hated it – I had fun; I enjoyed it for what it was, and some small moments in isolation were very well done indeed. However…
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
The first thing that struck me was the pace and editing style, which seemed at last to fully embrace a Disney theme park ethos of let’s get to it and keep it moving. No notion of setting mood and re-establishing character, but rather a sense of we have a lot to fit in here so let’s get it out of the way as quickly as possible. It didn’t feel to me like it was allowed to sit at any point and just be brooding, or meaningful in any way. Which may work for the short attention spans of your average 9 year old, but for older fans who have literally waited 42 years to see an ending, it felt rushed, trivial and far too flippant.
The spectacle was very much there still. The landscape of alien worlds, creatures, droids and other necessary weirdness is all there in spades! It just feels like you would need to go back and press the pause button to see it all. And before we know what is happening (or why), Palpatine is back in business and everyone is looking for some lame GPS green triangle thingy. Forget almost everything in the story that has led to this point, this is an adventure that exists in a vacuum of space, and you either shrug and go with it, or get very annoyed. I chose the shrug.
Before we really settle into what is going on, we start to see the power of The Force flowing through Rey in ways it has never done before… she can heal, she virtually flies, and she can even teleport objects to a different physical place at will. She has become more like Neo from The Matrix than anything Skywalker. More like a Marvel superhero than anything grounded in an ancient mysticism that acts subtly at moments of great need. What that does is immediately lower the stakes, because if anything is possible, and therefore probable, there is no threat of failure. And if this movie lacks anything essential it is threat.
That said, the reanimation of Emperor Palpatine was nicely creepy, at least in a visual and vocal sense. And the journey of the excellent Adam Driver as Ben Solo / Kylo Ren remained the most interesting and satisfying thing about the whole reboot. I found myself just wanting to focus on him more and more, and felt frustrated when, typically, his key progression moments were over too soon or given away too cheaply from a dramatic context.
I have mixed feelings also about the level of mirroring and call-backs to moments from previous films. Some really worked, but many fell flat. It began to feel like a greatest hits checklist, which, of course, was a criticism of JJ Abrams’ directing style in The Force Awakens, too. He has been so much more concerned with giving fans sugary little treats, as opposed to cooking up a satisfying meal that nourishes in it’s own right – indicative of a 21st century audience that often demands its pudding before it has finished its greens.
Look, I enjoy a nostalgia trip as much as the next uber-geek, but I do also like my fantasy sci-fi to be based on an idea of weight and gravitas. Eschew that aspect and the climax is going to fall a little flat… which, I think it did. Our empathy for Rey, and in fact all of the new gang, is simply not as strong as it should have been. Daisy Ridley does a decent job, and I don’t blame her at all – I have no problem with any of the supporting cast either, but what a shame too many of them almost fade away into mere scene dressing by the end.
Very telling then, that my favourite bit by far was a 15 minute giggling fit brought on by that one, already infamous detail, when tiny weirdo Babu Frik completely misses the mood of the room and screeches his “Hey Heeeeeey!” Only to pop up again later with an equally hilarious repeat. Probably the funniest moment in any Star Wars film, bar none. Worth the ticket price alone, and I am still having regular flashbacks that leave me in fits of laughter!
So, that’s it is it? Over and done with? Well, they certainly wrapped it up in a bow, coming full circle in fairly satisfying style. With just a cheeky hint that the roots of a continuation at some point are buried within shallow reach. No doubt, amateur writers everywhere have already had a pop at what happens next. The Force is balanced, the prophecy fulfilled, but it wouldn’t take much to tip the galaxy back into turmoil, as soon as Disney fancies another few billion in ticket sales.
Personally, I don’t want to be cynical about a franchise that has been a part of me since I was 3 years old, and been such a good friend. However, I am perfectly fine with having it remain as a source for backstories and origin tales. The main saga is over, so let’s leave it alone. Episodes IV – VI will always remain the best; they won’t go anywhere. So any shortcomings can be easily solved… just watch The Empire Strikes Back again, not worrying about anything else, but revelling in just how perfect it is, and how lucky we are that it is there for us.
Gareth von Kallenbach (971 KP) rated Annabelle Comes Home (2019) in Movies
Jun 28, 2019
Not The Best In The Series But Entertains
One of the most intriguing yet often exaggerated lines in movie history is “based on actual events”. I’ve always had a fascination with supernatural thrillers that came with this tag line, whether it’s a movie like Amityville Horror or The Exorcism of Emily Rose. None of these are more popular than The Conjuring series, based on two real life demonologists Ed and Lorraine Warren. Whether you believe in ghosts and haunted houses or not, these films always played on the notion that the events “could” possibly happen…even if they were exaggerated for Hollywood audiences. Annabelle Comes Home breaks the trend of previous Conjuring movies by not bothering to pretend that it’s based on any of the “actual” events from the previous films. So how does it stack up to its predecessors?
The movie begins with Ed and Lorraine Warren retrieving Annabelle and taking the scary doll home to lock her away in the now infamous artifact room. The dolls presence is so evil, that it takes not only blessings by a priest but being locked away in a case made up of glass from an old church to keep it’s evil at bay. Not only is the display case locked, but a sign is placed upon it, warning any who may enter not to release the doll within. Several pad locks later the Warrens feel comfortable that the evil within is contained.
A year passes and both Ed and Lorraine are called away on business, entrusting the care of their young daughter Judy (McKenna Grace) to her responsible babysitter Mary Ellen (Madison Iseman). Mary Ellen’s friend Daniela (Katie Sarife) blackmails Mary Ellen into allowing her to come over and stay with her and Judy in the Warren’s household. Using an opportunity when both Judy and Mary Ellen are out of the house, Daniela finds the artifact room (and the keys necessary to open it), and what at first appears to be idle curiosity, quickly turns into an attempt to utilize the artifacts in the room to reach out to her recently deceased father. It is in this attempt that Daniela unknowingly releases the evil in the room when she opens the case that Annabelle is in (it’s not like there was a BIG sign warning her not to do so).
Annabelle in her search for a soul, releases the full power and evil of all the artifacts in the room. Everything from an empty suit of Samurai armor to a wedding dress the drives the wearer insane is on display. Even a werewolf is released upon the world hunting an unwary suitor of Mary Ellen’s who happens to be at the wrong place at the wrong time. It’s up to this band of babysitters and children to restore order to the house and find a way to contain the evil that has been brought upon the world.
Annabelle Comes Home starts out fairly slow and takes awhile to build the tension. The first hour of the movie is mainly the interaction between the family and friends, and introductions to the various artifacts that are in the room. It’s not until the second half of the film when things really begin to take off. When the movie finally hits its creepy stride, it has plenty of genuine scares and intense moments, but focuses on several of the iconic artifacts and their affect on the individuals in the house.
While each of the artifacts has its own unique and interesting characteristics, we are hit with a barrage of items that are each going after one of the guests in the house. Whether it’s the television that can predict the future, or the locket that allows communication with the dead, it’s a lot to keep track of and tends to lose focus on the main plot. The movie attempts to cram every noticeable item from its previous films and give it some main purpose in the plot. In fact, the creepiest of all the artifacts Annabelle, takes on the role of evil puppet master controlling the artifacts which means less screen time and scares for her. Personally, Annabelle is scary enough to carry her own film (she has in previous installments), but in this film she is relegated to a side character, where the haunted artifacts take center stage.
The area I feel the movie loses the most is in the “believability” state. Remember that the Conjuring universe is based on real people, and on their actual encounters. Unfortunately, at no point in this film does one believe that any of these supernatural events could be mistaken for reality. It’s what I feel is the difference between a supernatural thriller and simply a monster movie. Much like other supernatural films, it’s about what you don’t see, rather than what you do, and Annabelle Comes Home unfortunately relies too much on its visuals leaving little to the viewers imagination. Imagining what a demon could look like is scarier than what Hollywood can dream up and show on the screen.
Ultimately Annabelle Comes home is a good movie which should have been great. It forgoes much of what made the series popular and replaces it with some goofy scenes and special effects. The artifacts are interesting, which makes the movie enjoyable, but not scary. I went in with hopes that I’d leave at least a little unnerved, looking under my covers, or turning the numerous dolls around that adorn my wife’s doll room. Unfortunately, I left feeling as though I’d simply been given a tour of the artifact room, with one night of scares that would disappear the next morning, as if from a bad dream. If you are looking to be scared, this movie likely won’t do that. If you are looking for an interesting movie with deeper background into the artifacts that have adorned the Warrens room for the past films, then this is the film for you.
3 out of 5 stars
http://sknr.net/2019/06/20/annabelle-comes-home/
The movie begins with Ed and Lorraine Warren retrieving Annabelle and taking the scary doll home to lock her away in the now infamous artifact room. The dolls presence is so evil, that it takes not only blessings by a priest but being locked away in a case made up of glass from an old church to keep it’s evil at bay. Not only is the display case locked, but a sign is placed upon it, warning any who may enter not to release the doll within. Several pad locks later the Warrens feel comfortable that the evil within is contained.
A year passes and both Ed and Lorraine are called away on business, entrusting the care of their young daughter Judy (McKenna Grace) to her responsible babysitter Mary Ellen (Madison Iseman). Mary Ellen’s friend Daniela (Katie Sarife) blackmails Mary Ellen into allowing her to come over and stay with her and Judy in the Warren’s household. Using an opportunity when both Judy and Mary Ellen are out of the house, Daniela finds the artifact room (and the keys necessary to open it), and what at first appears to be idle curiosity, quickly turns into an attempt to utilize the artifacts in the room to reach out to her recently deceased father. It is in this attempt that Daniela unknowingly releases the evil in the room when she opens the case that Annabelle is in (it’s not like there was a BIG sign warning her not to do so).
Annabelle in her search for a soul, releases the full power and evil of all the artifacts in the room. Everything from an empty suit of Samurai armor to a wedding dress the drives the wearer insane is on display. Even a werewolf is released upon the world hunting an unwary suitor of Mary Ellen’s who happens to be at the wrong place at the wrong time. It’s up to this band of babysitters and children to restore order to the house and find a way to contain the evil that has been brought upon the world.
Annabelle Comes Home starts out fairly slow and takes awhile to build the tension. The first hour of the movie is mainly the interaction between the family and friends, and introductions to the various artifacts that are in the room. It’s not until the second half of the film when things really begin to take off. When the movie finally hits its creepy stride, it has plenty of genuine scares and intense moments, but focuses on several of the iconic artifacts and their affect on the individuals in the house.
While each of the artifacts has its own unique and interesting characteristics, we are hit with a barrage of items that are each going after one of the guests in the house. Whether it’s the television that can predict the future, or the locket that allows communication with the dead, it’s a lot to keep track of and tends to lose focus on the main plot. The movie attempts to cram every noticeable item from its previous films and give it some main purpose in the plot. In fact, the creepiest of all the artifacts Annabelle, takes on the role of evil puppet master controlling the artifacts which means less screen time and scares for her. Personally, Annabelle is scary enough to carry her own film (she has in previous installments), but in this film she is relegated to a side character, where the haunted artifacts take center stage.
The area I feel the movie loses the most is in the “believability” state. Remember that the Conjuring universe is based on real people, and on their actual encounters. Unfortunately, at no point in this film does one believe that any of these supernatural events could be mistaken for reality. It’s what I feel is the difference between a supernatural thriller and simply a monster movie. Much like other supernatural films, it’s about what you don’t see, rather than what you do, and Annabelle Comes Home unfortunately relies too much on its visuals leaving little to the viewers imagination. Imagining what a demon could look like is scarier than what Hollywood can dream up and show on the screen.
Ultimately Annabelle Comes home is a good movie which should have been great. It forgoes much of what made the series popular and replaces it with some goofy scenes and special effects. The artifacts are interesting, which makes the movie enjoyable, but not scary. I went in with hopes that I’d leave at least a little unnerved, looking under my covers, or turning the numerous dolls around that adorn my wife’s doll room. Unfortunately, I left feeling as though I’d simply been given a tour of the artifact room, with one night of scares that would disappear the next morning, as if from a bad dream. If you are looking to be scared, this movie likely won’t do that. If you are looking for an interesting movie with deeper background into the artifacts that have adorned the Warrens room for the past films, then this is the film for you.
3 out of 5 stars
http://sknr.net/2019/06/20/annabelle-comes-home/
Lottie disney bookworm (1056 KP) rated The Beast Within: A Tale of Beauty's Prince (Villains #2) in Books
Aug 24, 2019
Beauty and the Beast is arguably one of my favourite Disney classics. I adored Tale as Old as Time and so the Beast’s version of the villain’s tale series had some pretty big boots to fill.
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
Bob Mann (459 KP) rated Instant Family (2019) in Movies
Sep 28, 2021
Enjoyable and harmless comedy laced with a degree of sentimentality.
The Plot
Pete (Mark Wahlberg) and Ellie (Rose Byrne) are focused and business-oriented home designers. They’ve talked about having kids “sometime in the future” but the years – as years are want to do – are motoring away from them. Pete is concerned that if they have their own kids now then he will end up being an “old dad” (cue very funny, black-comedy, flashback). This leads them into contact with the State’s fostering service – led by Karen (Octavia Spencer) and Sharon (Tig Notaro) – and they progress into foster training. This introduces into their ‘perfect adult lives’ 15-year old Lizzy (Isabela Moner) and her younger siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz). As these guys come from a troubled background Pete and Ellie find they have their work cut out. Who will crack first?
The turns
You’ve got to admire Mark Wahlberg as an actor. In the same vein as Steve Carell, he seems to be able to flex from dramatic (in his case, tough-guy action roles) to comedy without a blink. He’s nowhere near the calibre of actor as Carell, but he brings to all his roles a sense of menace – derived no doubt from his torrid criminal background in younger days. (His wiki page makes your eyes water: there’s a great biopic screenplay waiting to be written there! ) It must have made the kid actor who plays Charlie (Carson Holmes) actually soil himself at a key point in the film!
Wahlberg and the excellent Rose Byrne make a believable driven-couple, and Byrne has such a range of expressive faces that she can’t help but make you laugh.
Of the child actors, Nickelodeon star Isabella Moner shines with genuine brilliance, both in terms of her acting as the fiercely loyal Lizzy but also in terms of her musical ability (she sings the impressive end-title song). With Hollywood in ‘post-La-La-Showman: Here we go again’ mode, this is a talented young lady I predict might be in big demand over the next few years.
Top of my list of the most stupid “where the hell have I seen her before bang-my-head-against-the-cinema-wall” moments is the actress playing Ellie’s mother Jan. She is OF COURSE Julie Hagerty, air-hostess supreme from “Airplane!”.
Also good value, and topping my list of “I know her from lots of films but don’t know her name” is Margo Martindale* as Pete’s exuberant and easily bought mother Sandy. (*Must write this out 100 times before her picture appears in the Picturehouse Harbour Lights film quiz!).
A well-crafty script with some wayward characters
The script by director Sean (“Daddy’s Home”) Anders and John Morris zips along at a fine pace, albeit in a wholly predictable direction. It helps that I struggle the think of many films about the adoption process itself. Sure there have been lots of movies about children that have been adopted – Manchester By The Sea and Lion being two recent examples – but the only film I can immediately think of (and not in a good way) with foster care at its heart was the Katherine Heigl comedy from a few years ago “Life as we know it”. So this is good movie territory to mine.
There are some fine running jokes, notably young Juan’s penchant for constantly getting injured. However, the script also lapses as did Anders’ “Daddy’s Home 2” from last year – into moments of slushy sentimentality. (My dear departed Dad always used to affect an exaggerated snore at such points, and I could hear him in my head at regular intervals during the film!). I would have preferred a harder and blacker edge to the comedy: something that last year’s excellent “Game Night” pulled off so well.
There are also a couple of characters in the film that were poorly scripted and which just didn’t work. While Octavia Spencer was fine (channelling an almost identical version of her wisecracking and sardonic character from “The Shape of Water“), I just had no idea what her colleague Sharon (Tig Notaro) was supposed to be. The tone was all over the place. Similarly, who should pop up on a balcony in an unexpected cameo but the great Joan Cusack. And very funny she is too for the 10 second interruption. But the writers having got her there just couldn’t leave alone and we get a plain embarrassing extended interruption that strikes a duff note in the flow of the film.
Summary
The film is amusing and harmless without taxing many brain cells. Most notably unlike many so-called American ‘comedies’ it did actually make me laugh at multiple points. I should also point out that my wife absolutely loved it, rating it a strong 4* going on 5*.
But the really cute thing is that…
…the film is “inspired by a true family”: namely Anders’ own. He and his wife fostered three kids out of the US foster service, so the script is undoubtedly loosely based on their own experiences, which give it an extra impact for some of Peter and Ellie’s lines. In an essay for TIME (source: bustle.com) Anders wrote:
My wife Beth and I had been talking for years about whether we should have kids,” he wrote. “For the longest time we just felt like we couldn’t afford it. Then I sold a couple of scripts and was feeling like I might have a career, but we were in our 40s and worried we had left it too long. We knew kids would make our life bigger, so one day I joked, ‘Why don’t we just adopt a five-year-old and it will be like we got started five years ago?'”
It gives you a completely different perspective on the film knowing this. My wife after the film was saying “I’m not sure how accurately it portrays the fostering process”. But it clearly does.
Pete (Mark Wahlberg) and Ellie (Rose Byrne) are focused and business-oriented home designers. They’ve talked about having kids “sometime in the future” but the years – as years are want to do – are motoring away from them. Pete is concerned that if they have their own kids now then he will end up being an “old dad” (cue very funny, black-comedy, flashback). This leads them into contact with the State’s fostering service – led by Karen (Octavia Spencer) and Sharon (Tig Notaro) – and they progress into foster training. This introduces into their ‘perfect adult lives’ 15-year old Lizzy (Isabela Moner) and her younger siblings Juan (Gustavo Quiroz) and Lita (Julianna Gamiz). As these guys come from a troubled background Pete and Ellie find they have their work cut out. Who will crack first?
The turns
You’ve got to admire Mark Wahlberg as an actor. In the same vein as Steve Carell, he seems to be able to flex from dramatic (in his case, tough-guy action roles) to comedy without a blink. He’s nowhere near the calibre of actor as Carell, but he brings to all his roles a sense of menace – derived no doubt from his torrid criminal background in younger days. (His wiki page makes your eyes water: there’s a great biopic screenplay waiting to be written there! ) It must have made the kid actor who plays Charlie (Carson Holmes) actually soil himself at a key point in the film!
Wahlberg and the excellent Rose Byrne make a believable driven-couple, and Byrne has such a range of expressive faces that she can’t help but make you laugh.
Of the child actors, Nickelodeon star Isabella Moner shines with genuine brilliance, both in terms of her acting as the fiercely loyal Lizzy but also in terms of her musical ability (she sings the impressive end-title song). With Hollywood in ‘post-La-La-Showman: Here we go again’ mode, this is a talented young lady I predict might be in big demand over the next few years.
Top of my list of the most stupid “where the hell have I seen her before bang-my-head-against-the-cinema-wall” moments is the actress playing Ellie’s mother Jan. She is OF COURSE Julie Hagerty, air-hostess supreme from “Airplane!”.
Also good value, and topping my list of “I know her from lots of films but don’t know her name” is Margo Martindale* as Pete’s exuberant and easily bought mother Sandy. (*Must write this out 100 times before her picture appears in the Picturehouse Harbour Lights film quiz!).
A well-crafty script with some wayward characters
The script by director Sean (“Daddy’s Home”) Anders and John Morris zips along at a fine pace, albeit in a wholly predictable direction. It helps that I struggle the think of many films about the adoption process itself. Sure there have been lots of movies about children that have been adopted – Manchester By The Sea and Lion being two recent examples – but the only film I can immediately think of (and not in a good way) with foster care at its heart was the Katherine Heigl comedy from a few years ago “Life as we know it”. So this is good movie territory to mine.
There are some fine running jokes, notably young Juan’s penchant for constantly getting injured. However, the script also lapses as did Anders’ “Daddy’s Home 2” from last year – into moments of slushy sentimentality. (My dear departed Dad always used to affect an exaggerated snore at such points, and I could hear him in my head at regular intervals during the film!). I would have preferred a harder and blacker edge to the comedy: something that last year’s excellent “Game Night” pulled off so well.
There are also a couple of characters in the film that were poorly scripted and which just didn’t work. While Octavia Spencer was fine (channelling an almost identical version of her wisecracking and sardonic character from “The Shape of Water“), I just had no idea what her colleague Sharon (Tig Notaro) was supposed to be. The tone was all over the place. Similarly, who should pop up on a balcony in an unexpected cameo but the great Joan Cusack. And very funny she is too for the 10 second interruption. But the writers having got her there just couldn’t leave alone and we get a plain embarrassing extended interruption that strikes a duff note in the flow of the film.
Summary
The film is amusing and harmless without taxing many brain cells. Most notably unlike many so-called American ‘comedies’ it did actually make me laugh at multiple points. I should also point out that my wife absolutely loved it, rating it a strong 4* going on 5*.
But the really cute thing is that…
…the film is “inspired by a true family”: namely Anders’ own. He and his wife fostered three kids out of the US foster service, so the script is undoubtedly loosely based on their own experiences, which give it an extra impact for some of Peter and Ellie’s lines. In an essay for TIME (source: bustle.com) Anders wrote:
My wife Beth and I had been talking for years about whether we should have kids,” he wrote. “For the longest time we just felt like we couldn’t afford it. Then I sold a couple of scripts and was feeling like I might have a career, but we were in our 40s and worried we had left it too long. We knew kids would make our life bigger, so one day I joked, ‘Why don’t we just adopt a five-year-old and it will be like we got started five years ago?'”
It gives you a completely different perspective on the film knowing this. My wife after the film was saying “I’m not sure how accurately it portrays the fostering process”. But it clearly does.
Bob Mann (459 KP) rated La La Land (2016) in Movies
Sep 29, 2021
“It’s very nostalgic – will people like it?”
A little film. Not sure whether you might have heard of it yet? Damien Chazelle has followed up his astonishingly proficient “Whiplash” – my top film of 2015 – with a sure-fire theatre-filler in “La La Land”. The old-fashioned musical extravaganza is back, and back with style!
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
“La La Land” tells the bittersweet love story of Sebastian (Ryan Gosling) and Mia (Emma Stone) who first meet in an LA traffic jam but then get thrown together by chance (LA is such a small place after all!). Over the course of the next four seasons romance blossoms. Mia is a struggling actress bouncing from audition to audition in a hopeless attempt to break through in LA’s tough movie business. She makes ends meet as a Barista on the Warner Brother’s lot. Meanwhile Sebastian is on a mission of his own: a talented musician, he is trying to restore jazz to the main stage (something the film’s soundtrack will undoubtedly help do!) by opening his own classic jazz bar. As both strive for success on their own terms can love survive to deliver us the classic ‘Hollywood ending’?
The film is technically astonishing, with clever continuous shots of the “Birdman” variety and masterly cinematography (by Linus Sandgren of “Joy” and “American Hustle”). The lighting team in particular is superb: a case in point is Mia’s ‘in-Seine’ (sic) song, with breathtaking fades of the background to darkness, a camera whizz-around the actress for effect and then a brilliant fade back to reality. Loved it. Overall, there are enough similar moments in the film to make cinema-lovers like me gasp with delight.
There’s a curious timelessness about the piece which is surely deliberate. While there are obvious and non-apologetic throwbacks to the classic musicals of the 50’s like “West Side Story” and “Singin’ in the Rain” and references to both “Casablanca” and “Rebel without a Cause”, there is also a 60’s vibe to the ‘girls getting ready’ sequence; an 80’s A-ha cover thrown in at a pool party; and a Californian Prius obsession that is surely more ‘noughties’ than current. Most curiously, while everyone has smartphones noone seems to text anyone to announce changes to plans: the film is almost distancing itself from much of modern life.
In the acting stakes Emma Stone again shines like a beacon. She is just magnetic on the screen: the biggest plot hole in the film (tiny spoiler) is why on earth she wasn’t given the part for her first audition! I was disappointed she didn’t win the Best Supporting Actress Oscar for “Birdman” in the “87th Awards” (she lost out to Patricia Arquette for “Boyhood”): but she just keeps getting better and Better and BETTER.
Ryan Gosling’s confident and cocky turn also radiates charisma: in particular, it is astonishing that Gosling could play “only a few chords” on the piano before training for the film. A confidence boost for struggling piano learners everywhere.
It is actually difficult to imagine two better actors for the roles. (Emma Watson allegedly turned it down for “Beauty and the Beast”: something she might be kicking herself for!) Are they both the best singers and dancers when compared to Gene Kelly, Fred Astaire, Debbie Reynolds (R.I.P.) or Cyd Charisse? No, undoubtedly not, but they have an undeniable charm all of their own. (Perhaps we will see the ilk of the great hoofers and crooners rise again with a resurgence in the classic musical. Can Hollywood take a hint?)
The big question: now that both Stone and Gosling have won Golden Globes for acting in the “Comedy or Musical” category, can they convert that to Oscar glory where there is a single category in play? I’d like to think so.
It’s also great to see proper movie-making taking place in the Hollywood studios again: during my recent visits to LA there seemed to be little other than TV work going on in the main studio complexes there (although its worth pointing out that for this film not all of the filming was actually done on the Warner Brothers lot). (As an aside, the Warner Brothers tour – which you need to book well in advance – is a GREAT day out for movie lovers, with a Sunday visit giving you the best access to live sets. #insideknowledgetrivia: that small grassy triangle with the gravestones on it is where they filmed many of the “Friends” outdoor scenes such as the baseball match!).
Musicals are clearly measured by the quality of the music, and Justin Hurwitz (“Whiplash”) has produced a gem with – notwithstanding the jazz numbers and a catchy little pop number from John Legend – merely a handful of simple but unforgettable melodies that recur in different variations throughout the film. The soundtrack is already in my Amazon library and uplifting my mood on what is a damp and dreary Monday here in the UK.
Damien Chazelle has delivered a triumph in both direction and original script. There is really very little I can fault the film on. In what was the somewhat patchy Coen brothers offering from last year – “Hail Caesar” – there was a standout moment of a throwback song and dance number with Channing Tatum that I raved about (you can catch it here). If I was being picky, then this tantalising snippet would be a better representation of the style and vim of the original genre – – with the exception of the opening number, few of the song and dance numbers in “La La Land” quite get to that “Broadway Melody” level of scale and energy. This, together with a few concerns about the pacing in some places, led me to rate this as a 4.5 on first viewing.
However on now seeing it twice within 36 hours, it’s got me well and truly under its spell! I normally emotionally resist films that arrive with excessive hype… but, in this case… I give in.
Mothergamer (1514 KP) rated the PC version of Assassin's Creed Revelations in Video Games
Apr 3, 2019
Assassin's Creed Revelations ties up the story of Ezio Auditore, Altair Ibn-La'Ahad, and Desmond Miles. The story in Revelations not only includes Ezio's quest to uncover the secrets of his order, but a romantic interest, and a complex political situation as well. You also get flashbacks of Altair's life and some brief optional excursions in Desmond's mind in the Animus, making for an intricate story.
Somehow, it all fits together perfectly. Ezio's story seems to be the catalyst because his quest to find out more information about Altair ties itself to the social and political unrest in Constantinople. The romance between Sophia and Ezio is subtle and it is impressive how convincing they are and you find yourself believing that these two are falling in love with all the chaos around them. Overall, the story telling in Revelations is remarkable and the cinematic scenes are done right with fully developed characters in strongly written scenes.
A New City To Explore.....
On a basic level, Revelations plays the same as the Assassin Creed games that came before. You're still accepting various missions that have you stalking, meeting, or killing targets. Some of the quests in Revelations do add to parts of the story, but more than a handful are time wasters or poorly constructed. However, the most exciting moments are Ezio exploring Constantinople and his discovery of clues about Altair's library. It's here where the "dungeon" sequences come into play. Similar to the Lairs of Romulus and the Assassin's Tombs, these excavations can take you on some fantastic adventures and these are some of the great highlights of the game.
Adventuring Is A Dangerous Business
Even better are the chapters that feature Altair himself. Each major portion of the game includes a segment with the original assassin and players relive specific moments from his life from young to very old. Some of these missions feel slightly similar to some of Ezio's, but others are completely different. The variety keeps things from getting dull as well as the fact that they're very story driven. Some of Altair's memories even carry a certain weight and understanding of what Ezio is doing. As the game progresses, you begin to see similarities and differences between the two men, which makes the story an even more emotional and thought provoking experience.
When it comes to gameplay, it's clear Ubisoft made a number of additions in terms of controls, weaponry, and the menu layout. The most noticeable change was a button layout change. Players can now directly access a secondary weapon (throwing knives, bombs,) in addition to a primary weapon (hidden blade, sword). This gives players more options, allowing for quick reactions during stealth missions as well as challenging combat scenes. Bombs become an extension of your combat options, offering three different categories. Choices of bombs range from standard smoke bombs to a bomb that shoots out coins luring dozens of peasants.
Climbing higher and higher....
The hook blade was also introduced, a feature playing on Ezio's hidden blade, that is perfect for zip lines and climbing to heights that seem almost unreachable. It becomes a universal tool in Revelations, for exploring the city and other locations as well as proving useful in close combat and assassination missions.
Hook blade, don't leave home without it.
The only two parts of the game I found issue with were Den Defense and some of the game play as Desmond Miles. First of all, Den Defense really didn't add a lot to the experience of Revelations. In fact, it detracted from it. The menu is very clunky. Ezio stands on a rooftop near his headquarters as enemy troops march down the street attempting to damage the building so they can take it over. Players must install through a point and click cursor menu various barricades and a variety of assassins along the rooftops to fend off the attack. Controlling the deployment is really clunky and this mode does not mesh well with the game. Assassin's Creed's strength and focus is direct combat, not real time strategy. Frequently, I found myself fighting against overwhelming odds, which made the whole thing an irritating mess. If they bring Den Defense back, they definitely need to make a few changes and modifications to it.
Now we come to Desmond. Desmond's sequences are completely optional in Revelations, most likely Ubisoft anticipating a divided reaction to the departure in game design. Desmond is in a coma, attempting to reclaim his mind within the Animus architecture and must navigate through Tron like worlds in first person perspective. He moves through these oddities by using two shapes of blocks he can create and place in the world. While I did like getting to hear some of Desmond's memories and his back story, I did not like the first person perspective. It's jarring at first, and it takes a lot of getting used to. I also suffer incredibly bad vertigo in first person game settings which is why I rarely play first person games. I found that while it was a bit unsettling at first, I did get used to Desmond's first person view sequences because thankfully, the camera did not bob up and down at weird angles. I could only play in brief bits however, because after a few minutes I found myself feeling quite nauseated. I truly wish his sequences had not been done in first person, but the scenes are well thought out and the puzzles actually play well. I also found myself a bit frustrated towards the end when once again, I got more questions than answers. I came to understand that they left it this way on purpose to make room for the forthcoming Assassin's Creed game in 2012, so I'll just have to wait.
Multiplayer is augmented again in Revelations with various new modes, a variety of customization options, and a better interface along with a story mode that allows players to learn more about the Templars as they progress in the Abstergo facility. There are several modes that create unique gameplay with different match types. All of these build towards an ultimate goal which certainly rewards those who are used to focusing on a core storyline.
Overall, Assassin's Creed Revelations gives a brilliant presentation of an intricate story line filled with gorgeous graphics, great voice acting, subtle yet powerful music, and great core gameplay. For me, this was the best Assassin's Creed yet and I know I will be playing through it again. If you've been following the stories of Altair and Ezio this far, you definitely need to see their last adventure. It's worth it.
Somehow, it all fits together perfectly. Ezio's story seems to be the catalyst because his quest to find out more information about Altair ties itself to the social and political unrest in Constantinople. The romance between Sophia and Ezio is subtle and it is impressive how convincing they are and you find yourself believing that these two are falling in love with all the chaos around them. Overall, the story telling in Revelations is remarkable and the cinematic scenes are done right with fully developed characters in strongly written scenes.
A New City To Explore.....
On a basic level, Revelations plays the same as the Assassin Creed games that came before. You're still accepting various missions that have you stalking, meeting, or killing targets. Some of the quests in Revelations do add to parts of the story, but more than a handful are time wasters or poorly constructed. However, the most exciting moments are Ezio exploring Constantinople and his discovery of clues about Altair's library. It's here where the "dungeon" sequences come into play. Similar to the Lairs of Romulus and the Assassin's Tombs, these excavations can take you on some fantastic adventures and these are some of the great highlights of the game.
Adventuring Is A Dangerous Business
Even better are the chapters that feature Altair himself. Each major portion of the game includes a segment with the original assassin and players relive specific moments from his life from young to very old. Some of these missions feel slightly similar to some of Ezio's, but others are completely different. The variety keeps things from getting dull as well as the fact that they're very story driven. Some of Altair's memories even carry a certain weight and understanding of what Ezio is doing. As the game progresses, you begin to see similarities and differences between the two men, which makes the story an even more emotional and thought provoking experience.
When it comes to gameplay, it's clear Ubisoft made a number of additions in terms of controls, weaponry, and the menu layout. The most noticeable change was a button layout change. Players can now directly access a secondary weapon (throwing knives, bombs,) in addition to a primary weapon (hidden blade, sword). This gives players more options, allowing for quick reactions during stealth missions as well as challenging combat scenes. Bombs become an extension of your combat options, offering three different categories. Choices of bombs range from standard smoke bombs to a bomb that shoots out coins luring dozens of peasants.
Climbing higher and higher....
The hook blade was also introduced, a feature playing on Ezio's hidden blade, that is perfect for zip lines and climbing to heights that seem almost unreachable. It becomes a universal tool in Revelations, for exploring the city and other locations as well as proving useful in close combat and assassination missions.
Hook blade, don't leave home without it.
The only two parts of the game I found issue with were Den Defense and some of the game play as Desmond Miles. First of all, Den Defense really didn't add a lot to the experience of Revelations. In fact, it detracted from it. The menu is very clunky. Ezio stands on a rooftop near his headquarters as enemy troops march down the street attempting to damage the building so they can take it over. Players must install through a point and click cursor menu various barricades and a variety of assassins along the rooftops to fend off the attack. Controlling the deployment is really clunky and this mode does not mesh well with the game. Assassin's Creed's strength and focus is direct combat, not real time strategy. Frequently, I found myself fighting against overwhelming odds, which made the whole thing an irritating mess. If they bring Den Defense back, they definitely need to make a few changes and modifications to it.
Now we come to Desmond. Desmond's sequences are completely optional in Revelations, most likely Ubisoft anticipating a divided reaction to the departure in game design. Desmond is in a coma, attempting to reclaim his mind within the Animus architecture and must navigate through Tron like worlds in first person perspective. He moves through these oddities by using two shapes of blocks he can create and place in the world. While I did like getting to hear some of Desmond's memories and his back story, I did not like the first person perspective. It's jarring at first, and it takes a lot of getting used to. I also suffer incredibly bad vertigo in first person game settings which is why I rarely play first person games. I found that while it was a bit unsettling at first, I did get used to Desmond's first person view sequences because thankfully, the camera did not bob up and down at weird angles. I could only play in brief bits however, because after a few minutes I found myself feeling quite nauseated. I truly wish his sequences had not been done in first person, but the scenes are well thought out and the puzzles actually play well. I also found myself a bit frustrated towards the end when once again, I got more questions than answers. I came to understand that they left it this way on purpose to make room for the forthcoming Assassin's Creed game in 2012, so I'll just have to wait.
Multiplayer is augmented again in Revelations with various new modes, a variety of customization options, and a better interface along with a story mode that allows players to learn more about the Templars as they progress in the Abstergo facility. There are several modes that create unique gameplay with different match types. All of these build towards an ultimate goal which certainly rewards those who are used to focusing on a core storyline.
Overall, Assassin's Creed Revelations gives a brilliant presentation of an intricate story line filled with gorgeous graphics, great voice acting, subtle yet powerful music, and great core gameplay. For me, this was the best Assassin's Creed yet and I know I will be playing through it again. If you've been following the stories of Altair and Ezio this far, you definitely need to see their last adventure. It's worth it.