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Emma Montague is an Englishwoman living in the U.S. She left behind her parents as soon as she could: feeling trapped by her mother's snobbery and outgoing personality, so different from Emma's quiet and introverted self. But life in the high-powered banking world in New York City isn't exactly for Emma either. She finds everyone so false: women who only care about clothes and finding a man, too many nights at bars, and pressure to use dating apps. Her one long-term relationship winds up nowhere, and so Emma finds herself on the move again: this time to the beach town of Westport, CT. She takes a break from banking and finds herself renting a house in this seaside town. Emma quickly finds herself falling for landlord, Dominic, a bartender in Westport. A father to six-year-old Jesse, Dominic seems to be the opposite of Emma in every way. Emma isn't sure that the two could ever really be together, but she can't seem to stop her heart from falling for Dominic. Are they meant to be?
Ugh, this book. Some of it was enjoyable, and yet so much of it was just so damn frustrating. First of all, the entire thing seemed like it was based on just a mountain of stereotypes and tropes. Emma has built-in stereotypes and preconceived notions about Dominic (a bartender can't be anything like a banker, apparently, or share any of the same interests). Every woman in the banking world is a vapid idiot except Emma. All New Yorkers just want to get married and move to the suburbs. And so on and so on. It gets really old after a while.
Then, the whole different worlds thing: Emma versus Dom style. As a moving forward plot device, it just seemed incredibly forced. I understand that the "we're from two different worlds" idea still exists today, but really? It's that hard to overcome that a woman considers just dropping the only guy who has ever made her happy, because he seems beneath her? It would be different if the book put forth some real reasons that their class differences threatened their relationship, but it really doesn't. It's all half developed and mostly based on Emma's speculation.
That brings me to Emma. I wanted to like Emma. I could see a lot of Emma in myself - a quiet introvert who doesn't take well to people, who needs time to warm up. I understand that. But oh my gosh, she drove me crazy. So wishy washy! So indecisive! So unable to just follow her *own* thoughts and feelings. She drove me insane. It's very hard to fully enjoy a novel where you often want to wring the neck of the main character.
All of that, truly, I could have probably forgiven if Green hadn't taken the plot off the deep end near the end of the novel. I was so irritated and so upset: I went through all of the above for THIS? I won't spoil it, but let's just say I didn't sign up for a Nicholas Sparks novel. Any of the novel's redeeming qualities (a cute cat, a somewhat cute kid, Emma's dad) went out the window.
Overall, I just didn't enjoy this one. Too much of the plot devices irritated me, and then-BOOM-the actual plot drove me over the edge.
Ugh, this book. Some of it was enjoyable, and yet so much of it was just so damn frustrating. First of all, the entire thing seemed like it was based on just a mountain of stereotypes and tropes. Emma has built-in stereotypes and preconceived notions about Dominic (a bartender can't be anything like a banker, apparently, or share any of the same interests). Every woman in the banking world is a vapid idiot except Emma. All New Yorkers just want to get married and move to the suburbs. And so on and so on. It gets really old after a while.
Then, the whole different worlds thing: Emma versus Dom style. As a moving forward plot device, it just seemed incredibly forced. I understand that the "we're from two different worlds" idea still exists today, but really? It's that hard to overcome that a woman considers just dropping the only guy who has ever made her happy, because he seems beneath her? It would be different if the book put forth some real reasons that their class differences threatened their relationship, but it really doesn't. It's all half developed and mostly based on Emma's speculation.
That brings me to Emma. I wanted to like Emma. I could see a lot of Emma in myself - a quiet introvert who doesn't take well to people, who needs time to warm up. I understand that. But oh my gosh, she drove me crazy. So wishy washy! So indecisive! So unable to just follow her *own* thoughts and feelings. She drove me insane. It's very hard to fully enjoy a novel where you often want to wring the neck of the main character.
All of that, truly, I could have probably forgiven if Green hadn't taken the plot off the deep end near the end of the novel. I was so irritated and so upset: I went through all of the above for THIS? I won't spoil it, but let's just say I didn't sign up for a Nicholas Sparks novel. Any of the novel's redeeming qualities (a cute cat, a somewhat cute kid, Emma's dad) went out the window.
Overall, I just didn't enjoy this one. Too much of the plot devices irritated me, and then-BOOM-the actual plot drove me over the edge.
Gareth von Kallenbach (971 KP) rated Glass (2019) in Movies
Jun 19, 2019
It is hard to believe it has been 19 years since “Unbreakable” arrived in cinemas as the film seemed to setup a sequel but it did not look like it would come to fruition. That all changed in 2016 when “Split” arrived and shocked audiences with a late reveal that showed a connection to the film. Writer/Director M. Night Shyamalan has wasted no time in bringing the new film to fans with the arrival of “GLASS”. The film picks up soon after the events of “Split” as The Horde embodied by 23 personalities in the form of Kevin Wendell Crumb (James McAvoy) continues to kidnap young girls to serve to his highly dangerous 24th personality The Beast.
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Security expert David Dunn (Bruce Willis) along with the help of his son attempts to locate the Horde as a new group of girls has gone missing. In time David locates The Beast and the two clash; but end up captured by authorities and sent to a facility for evaluation.
Their captive Dr. Ellie Staple (Sarah Paulson) believes their special abilities are in their minds and that they really do not have the special abilities they believe they do. Each of them have a special cell designed to restrain them as David is under threat of being doused with water while Kevin has a series of strobes which will halt him and trigger a new personality.
Added to the mix is Elijah Price (Samuel L. Jackson), who has been at the facility under heavy sedation after the events of “Unbreakable”.
As the therapy unfolds it becomes clear that an elaborate game of cat and mouse is underway between Price and her charges as each seems to have their own agenda. This all builds to a very unusual final act which left me pondering if I enjoyed the final result or was disappointed with it.
The film seems to slowly be building to a big finale but yet it is far more restrained than one would expect. The film has a constant theme of Super Heroes and their traditional stories and roles as well as that of their Super Villains.
One expects a massive Battle Royale complete with elaborate FX but the film takes a more restrained approach and in doing so may disappoint some fans while pleasing others. The film naturally has its twist moments and while I will not spoil it, I can say I predicted it before I even saw the film. When I saw “Split” I actually told my wife my theory and low and behold it was true. I also predicted the twists for many of Shyamalan’s previous films so I had hoped for a bit more in this regard. The film does offer up some interesting options for another sequel or Spin-Off and the cast was very good especially McAvoy who adds to his menagerie of characters by showing audiences a few more of the ones previously undisclosed.
The film is at times very enjoyable and at times a bit frustrating as it seems to deviate from themes and elements that were setup earlier. That being said it does very much appear that this could indeed be just the start of something much bigger in the series.
http://sknr.net/2019/01/16/glass/
Acanthea Grimscythe (300 KP) rated The Toy Thief in Books
Jan 31, 2019
There are few bonds closer than brother and sister, and we learn that first hand in D. W. Gillespie’s The Toy Thief. Best described by author Michael Patrick Hicks as a “coming-of-age story,” The Toy Thief encompasses the childhood of strong-headed, tomboyish Jack and her brother Andy. Together, the two must thwart a darkness that threatens their livelihood and that of other children around them.
In this creative piece, Gillespie takes a different approach to the ‘why’ behind things that go missing from our homes. We’ve all lost socks, batteries, Tupperware, toys, etc., only to have these items turn up later somewhere else or, in some cases, never to be seen again. But what if all those things were actually going somewhere, rather than simply being lost as a byproduct of human irresponsibility? In The Toy Thief, a dark entity swipes toys from children in order to feed off the happiness and positive energy that thrives within those items. Using these items as a way to sustain its own life force, the Toy Thief soon finds itself running out of options for staying alive, and that’s where things truly take a dark turn in this story.
I found the characters in The Toy Thief to be lacking, honestly. Though I am a fan of the non-traditional use of the name Jack for a female character, the characters in this story are a bit too flat for my taste–and this is perhaps where I made the decision to give this book three stars, rather than four. Jack, for all her tomboyish quirks and fiery attitude (at least in her older years), shows little of that in her child years. Andy, on the other hand, seems to lack personality altogether. The father, despite being the only parent in their lives, plays less of a role in the book than the cat, Memphis. Actually, Memphis seems to be the most fleshed out of all the characters, with what felt like the most genuine reactions to many of the ongoing events in the story.
On the other hand, Gillespie’s ability to generate sympathy for a villain–in this case, the Toy Thief itself–is phenomenal. I would be a liar if I said I didn’t feel so badly for the Toy Thief that I nearly cried on several occasions and, if you’re a sucker for bad guys like I am, that alone is a good reason to delve into this book. The emotional connection that Gillespie creates between the reader and the Toy Thief is heartrending and brilliant.
Gillespie’s novel does a wonderful job when it comes to the creep factor. There are times I felt my skin crawl while reading this book, if only because his ability to write of dread is on point. However, when it comes to descriptions of the Toy Thief, I felt like his arsenal ran a little dry. More often than not, the creature was described the same way, using the same words and to me, this was a bit of a put-off.
Overall, The Toy Thief is not a bad book. It’s not the best that I’ve read, but it was enjoyable and I was able to suck it down fairly quickly. I didn’t feel like I was force-feeding it to myself, either and for those that know me, that’s a good thing. I definitely look forward to more of Gillespie’s work in the future.
I received this book from the publisher in exchange for an honest review.
In this creative piece, Gillespie takes a different approach to the ‘why’ behind things that go missing from our homes. We’ve all lost socks, batteries, Tupperware, toys, etc., only to have these items turn up later somewhere else or, in some cases, never to be seen again. But what if all those things were actually going somewhere, rather than simply being lost as a byproduct of human irresponsibility? In The Toy Thief, a dark entity swipes toys from children in order to feed off the happiness and positive energy that thrives within those items. Using these items as a way to sustain its own life force, the Toy Thief soon finds itself running out of options for staying alive, and that’s where things truly take a dark turn in this story.
I found the characters in The Toy Thief to be lacking, honestly. Though I am a fan of the non-traditional use of the name Jack for a female character, the characters in this story are a bit too flat for my taste–and this is perhaps where I made the decision to give this book three stars, rather than four. Jack, for all her tomboyish quirks and fiery attitude (at least in her older years), shows little of that in her child years. Andy, on the other hand, seems to lack personality altogether. The father, despite being the only parent in their lives, plays less of a role in the book than the cat, Memphis. Actually, Memphis seems to be the most fleshed out of all the characters, with what felt like the most genuine reactions to many of the ongoing events in the story.
On the other hand, Gillespie’s ability to generate sympathy for a villain–in this case, the Toy Thief itself–is phenomenal. I would be a liar if I said I didn’t feel so badly for the Toy Thief that I nearly cried on several occasions and, if you’re a sucker for bad guys like I am, that alone is a good reason to delve into this book. The emotional connection that Gillespie creates between the reader and the Toy Thief is heartrending and brilliant.
Gillespie’s novel does a wonderful job when it comes to the creep factor. There are times I felt my skin crawl while reading this book, if only because his ability to write of dread is on point. However, when it comes to descriptions of the Toy Thief, I felt like his arsenal ran a little dry. More often than not, the creature was described the same way, using the same words and to me, this was a bit of a put-off.
Overall, The Toy Thief is not a bad book. It’s not the best that I’ve read, but it was enjoyable and I was able to suck it down fairly quickly. I didn’t feel like I was force-feeding it to myself, either and for those that know me, that’s a good thing. I definitely look forward to more of Gillespie’s work in the future.
I received this book from the publisher in exchange for an honest review.
Gareth von Kallenbach (971 KP) rated Underworld: Evolution (2006) in Movies
Aug 14, 2019
The battle between the Death Dealers (Vampires) and Lychans (Werewolves) continues in Underworld Evolution, the sequel to the smash “Underworld” that detailed the battles between the two horror mainstays. The sequel picks up shortly after the film and deals with Selene (Kate Beckinsale), and Michael (Scott Speedman), on the run after Selene was forced to turn on the Vampires following events at the conclusion of the previous film.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
MaryAnn (14 KP) rated A Very Austen Valentine in Books
Nov 4, 2019
ix beloved authors deliver romantic Valentine novellas set in Jane Austens Regency world. Robin Helm, Laura Hile, Wendi Sotis, and Barbara Cornthwaite, together with Susan Kaye and Mandy Cook, share variations of Pride and Prejudice, Persuasion, and Sense and Sensibility, featuring your favorite characters in sequels, adaptations, and spinoffs of Austens adored novels. Experience uplifting romance, laugh-out-loud humor, and poignant regret as these authors deftly tug on your heartstrings this Valentines Day.
I Dream of You by Robin Helm
Newly-married Elizabeth Darcy has a plan: to charm her too-busy husband into desiring her company as much as he did when he was courting her. A series of romantic dreams gives her just the push she needs to put that plan into action.
Sir Walter Takes a Wife by Laura Hile
Faced with a lonely future and finding himself strapped for cash, Persuasions Sir Walter Elliot manfully decides to marry again. But his careful plans go sadly awry! A lighthearted Valentine mash-up featuring two of Jane Austens worst snobs.
My Forever Valentine by Wendi Sotis
Jane and Charles Bingley have married, even though Miss Elizabeth Bennet remains certain Mr. Fitzwilliam Darcy gave his best effort to keep them apart. After Mr. Darcy refused to stand up with Bingley and did not attend the wedding, she despises the gentleman more than ever and finds his company intolerable. How will she endure her visit to Kent if Mr. Darcy turns up everywhere she goes?
Pretence and Prejudice by Barbara Cornthwaite
A chance encounter with a handsome stranger forces Elizabeth to resort to subterfuge in order to discover his true intentions.
My Valentine by Mandy H. Cook Mandy H. Cook
Little Charlotte was always determined and independent, traits which served her well as she battled a serious childhood illness and later as she took on Polite Society. Will those traits now deprive her of true love? Or would her lifelong Valentine win her heart?
The Lovers Ruse by Susan Kaye
In this Persuasion alteration, Anne is so altered by Wentworths love in the summer of 1806, she refuses to give him up when both her godmother and father try to persuade her. The Lovers Rusefollows Frederick and Anne through their whirlwind courtship and their secret engagement. When Wentworth returns for his Annie girl, the cat comes out of the bag.
My Thoughts: These six charming novellas centered around Valentines will entice all those who adore Jane Austen's writings. Based on characters from Jane Austen's novels; I enjoyed reading into the lives of the Darcy's; I was impressed that the writers Robin Helm, Wendi Sotis and Mandy H. Cook are all centered their novellas around the same family. Each storytelling its own unique view of their lives.
Each story is fun to read, and takes the reader back to a simpler time, of love, romance, and proper etiquette. Each story has it's own charm and brings the reader closer to the characters.
My favorites have to be the novellas containing the characters Elizabeth and Fitzwilliam Darcy, my absolute favorite being "I Dream of You". In this novella we learn how to give rather than to receive and the joys we can draw from each act of kindness.
If you love historical fiction, and Jane Austen novels, then this is certainly a book for you.
I Dream of You by Robin Helm
Newly-married Elizabeth Darcy has a plan: to charm her too-busy husband into desiring her company as much as he did when he was courting her. A series of romantic dreams gives her just the push she needs to put that plan into action.
Sir Walter Takes a Wife by Laura Hile
Faced with a lonely future and finding himself strapped for cash, Persuasions Sir Walter Elliot manfully decides to marry again. But his careful plans go sadly awry! A lighthearted Valentine mash-up featuring two of Jane Austens worst snobs.
My Forever Valentine by Wendi Sotis
Jane and Charles Bingley have married, even though Miss Elizabeth Bennet remains certain Mr. Fitzwilliam Darcy gave his best effort to keep them apart. After Mr. Darcy refused to stand up with Bingley and did not attend the wedding, she despises the gentleman more than ever and finds his company intolerable. How will she endure her visit to Kent if Mr. Darcy turns up everywhere she goes?
Pretence and Prejudice by Barbara Cornthwaite
A chance encounter with a handsome stranger forces Elizabeth to resort to subterfuge in order to discover his true intentions.
My Valentine by Mandy H. Cook Mandy H. Cook
Little Charlotte was always determined and independent, traits which served her well as she battled a serious childhood illness and later as she took on Polite Society. Will those traits now deprive her of true love? Or would her lifelong Valentine win her heart?
The Lovers Ruse by Susan Kaye
In this Persuasion alteration, Anne is so altered by Wentworths love in the summer of 1806, she refuses to give him up when both her godmother and father try to persuade her. The Lovers Rusefollows Frederick and Anne through their whirlwind courtship and their secret engagement. When Wentworth returns for his Annie girl, the cat comes out of the bag.
My Thoughts: These six charming novellas centered around Valentines will entice all those who adore Jane Austen's writings. Based on characters from Jane Austen's novels; I enjoyed reading into the lives of the Darcy's; I was impressed that the writers Robin Helm, Wendi Sotis and Mandy H. Cook are all centered their novellas around the same family. Each storytelling its own unique view of their lives.
Each story is fun to read, and takes the reader back to a simpler time, of love, romance, and proper etiquette. Each story has it's own charm and brings the reader closer to the characters.
My favorites have to be the novellas containing the characters Elizabeth and Fitzwilliam Darcy, my absolute favorite being "I Dream of You". In this novella we learn how to give rather than to receive and the joys we can draw from each act of kindness.
If you love historical fiction, and Jane Austen novels, then this is certainly a book for you.
Sarah (7798 KP) rated Amazon Echo Dot (3rd Generation) in Tech
Nov 4, 2019
Wonderfully useful and functional
I’m one of those people who often takes a while to get into and accept new technology. Not because I’m a technophobe, in fact I’m a massive techie and often the go to person for tech related issues within my family and friends. My issue is that I find a lot of technology is encouraging people to become lazier or become out of touch with basic home skills (like smart ovens or washers, I just don’t get it!). I’ve often lumped smart speakers like the Echo Dot in the same category in that I just didn’t see the point in them when most people still have functioning old school speaker systems. However I can honestly say my mind has definitely been changed for the better on the Echo.
Firstly it looks and feels great. I was expecting a rather flimsy feeling speaker but in fact it feels quite weighty and substantial, and the Sandstone version that I’ve bought looks rather sleek. It stands out and looks good but at the same time isn’t at any time the focal point in a room. The speaker aspect is rather good too and has a decent sound quality. I’ve placed this in my kitchen, as I have a fairly open downstairs and the sound easily reaches the entire floor - I can even speak to Alexa from my living room which is a good 7+ metres away with only a standard sized doorway for sound to reach through. Admittedly I had to mute the TV, but I’m still impressed she can hear me from there! The Echo Dot links up seamlessly with my Spotify account and I’m surprised it plays so well and doesn’t encourage you to try and sign up to Amazon Music instead.
The thing about the Echo Dot is that it isn’t just a glorified speaker and it’s only from owning one that I’ve truly appreciated this. As well as music, Alexa also helps out with so much more like reminders, timers and the weather as well as a whole host of fun features. There are so many fun things you can ask Alexa (google it if you haven’t already), too many to name although one of my favourites is “Alexa, find Chuck Norris”. There’s also the rather sad fact that as I live on my own, Alexa provides a rather welcome conversational partner and definitely less one sided than talking to the cat! I’m also a rather forgetful person, so having the ability to ask Alexa to set reminders when I can’t do something at the time (i.e. remembering to take the bins out when I’m in the middle of making dinner) is a god send. I’m surprised at how well the voice recognition works too. I’ve often experienced issues with voice recognition on mobile phones, because it doesn’t appear to like the northern accent, but Alexa so far has not had any issues. Maybe I need to speak “proper” Northern and see how she reacts...
I love this that much that I’m looking at buying a second Echo Dot for my upstairs so I have full coverage in my house, and can then take advantage of using Alexa as my morning wake up call amongst as well as being able to link both together to act as a multi room speaker system. Fingers crossed I’ll be able to get a bargain during Black Friday in a couple of weeks!
Firstly it looks and feels great. I was expecting a rather flimsy feeling speaker but in fact it feels quite weighty and substantial, and the Sandstone version that I’ve bought looks rather sleek. It stands out and looks good but at the same time isn’t at any time the focal point in a room. The speaker aspect is rather good too and has a decent sound quality. I’ve placed this in my kitchen, as I have a fairly open downstairs and the sound easily reaches the entire floor - I can even speak to Alexa from my living room which is a good 7+ metres away with only a standard sized doorway for sound to reach through. Admittedly I had to mute the TV, but I’m still impressed she can hear me from there! The Echo Dot links up seamlessly with my Spotify account and I’m surprised it plays so well and doesn’t encourage you to try and sign up to Amazon Music instead.
The thing about the Echo Dot is that it isn’t just a glorified speaker and it’s only from owning one that I’ve truly appreciated this. As well as music, Alexa also helps out with so much more like reminders, timers and the weather as well as a whole host of fun features. There are so many fun things you can ask Alexa (google it if you haven’t already), too many to name although one of my favourites is “Alexa, find Chuck Norris”. There’s also the rather sad fact that as I live on my own, Alexa provides a rather welcome conversational partner and definitely less one sided than talking to the cat! I’m also a rather forgetful person, so having the ability to ask Alexa to set reminders when I can’t do something at the time (i.e. remembering to take the bins out when I’m in the middle of making dinner) is a god send. I’m surprised at how well the voice recognition works too. I’ve often experienced issues with voice recognition on mobile phones, because it doesn’t appear to like the northern accent, but Alexa so far has not had any issues. Maybe I need to speak “proper” Northern and see how she reacts...
I love this that much that I’m looking at buying a second Echo Dot for my upstairs so I have full coverage in my house, and can then take advantage of using Alexa as my morning wake up call amongst as well as being able to link both together to act as a multi room speaker system. Fingers crossed I’ll be able to get a bargain during Black Friday in a couple of weeks!
365Flicks (235 KP) rated Talking Earth (2017) in Movies
Nov 20, 2019
There is definitely a lot to be said about the Independent market right now (its bloody exciting). Every now and then you will come across an absolute gem of a movie and other times you will come across an absolute turdfest. I have been pretty lucky as of late that most of my picks are falling into the former. Now, this could be my ex Video Store clerk elitist personality shining through or maybe that clover my daughter shoved in my face along with a handful of grass really did have four leafs.
However Taking Earth has left me wondering (Dumbfounded even). I’m really not sure which bracket to put this flick in because it has all the hallmarks and some of the effects of a big budget summer blockbuster but the execution of a SyFy Sharknado style movie. I guess what i’m trying to say is that while I give this flick more credit than I feel it deserves I cant quite get to grips with how I felt about it.
Taking Earth is a Alien invasion movie set in the beautiful land of South Africa (Awesome accents and all). That’s about it really, all you need to know is that Aliens have invaded earth and they are looking for one boy in particular. We spend the bulk of the movie with David and Cameron two lads brought together after the invasion but Cameron holds a dangerous secret (Could he be the key to all of this) The duo must make there way to a safe zone while avoiding there hunters.
One of the things I liked about this movie was that it jumps straight in on the action, the invasion has happened and the cat and mouse chase is already in progress, this I liked. However I also kind of hated this because by the end of the flick (No spoilers) it felt like they were strongly hinting at a whole extended universe Before, During and After this movie that my guess is… we may not get to see (although the ending Screams sequel). I loved the fact that the movie was reportedly made for 5 million and to be completely fair to this first time Writer/Director/Editor it looks like it cost so much more, in fact I would say this movie looks better than 90% of those B-Movies we all seem to love these days.
The cast are all doing there best with the dialogue they have and delivering the best of it with such passion that it kind of makes it hard for me to shit on the flick. So this time I wont, but cross me agian!!!.
For me Taking Earth is a soft recommend, mostly because it screams expanded universe, this movie needs a prequel and screams for a sequel just to scratch the surface of the story I believe they want to tell… Would I watch either of them??? Probably not. The shining light is the unknown Cast and the Director are all invested and as a movie lover such as I am, I can not only respect them for it but I can also love them for it. There is a definite audience for this low budget movie with great effects and aspirations so like I say I think you should check it out… At your own risk!!!
Not exactly what I would call a Hidden Gem but by no means a Turdfest
However Taking Earth has left me wondering (Dumbfounded even). I’m really not sure which bracket to put this flick in because it has all the hallmarks and some of the effects of a big budget summer blockbuster but the execution of a SyFy Sharknado style movie. I guess what i’m trying to say is that while I give this flick more credit than I feel it deserves I cant quite get to grips with how I felt about it.
Taking Earth is a Alien invasion movie set in the beautiful land of South Africa (Awesome accents and all). That’s about it really, all you need to know is that Aliens have invaded earth and they are looking for one boy in particular. We spend the bulk of the movie with David and Cameron two lads brought together after the invasion but Cameron holds a dangerous secret (Could he be the key to all of this) The duo must make there way to a safe zone while avoiding there hunters.
One of the things I liked about this movie was that it jumps straight in on the action, the invasion has happened and the cat and mouse chase is already in progress, this I liked. However I also kind of hated this because by the end of the flick (No spoilers) it felt like they were strongly hinting at a whole extended universe Before, During and After this movie that my guess is… we may not get to see (although the ending Screams sequel). I loved the fact that the movie was reportedly made for 5 million and to be completely fair to this first time Writer/Director/Editor it looks like it cost so much more, in fact I would say this movie looks better than 90% of those B-Movies we all seem to love these days.
The cast are all doing there best with the dialogue they have and delivering the best of it with such passion that it kind of makes it hard for me to shit on the flick. So this time I wont, but cross me agian!!!.
For me Taking Earth is a soft recommend, mostly because it screams expanded universe, this movie needs a prequel and screams for a sequel just to scratch the surface of the story I believe they want to tell… Would I watch either of them??? Probably not. The shining light is the unknown Cast and the Director are all invested and as a movie lover such as I am, I can not only respect them for it but I can also love them for it. There is a definite audience for this low budget movie with great effects and aspirations so like I say I think you should check it out… At your own risk!!!
Not exactly what I would call a Hidden Gem but by no means a Turdfest
Emma @ The Movies (1786 KP) rated The Turning (2020) in Movies
Mar 2, 2020
On reflection, I'm going to have to apologise to Like A Boss for saying it was the worst film I saw in January.
Another adaptation of another classic novel... I'll get this broken record fixed at some point, I promise. Though not until after Dolittle, oh and The Invisible Man, oh and The True History Of The Kelly Gang... you know what? Never mind!
Kate is looking for a different challenge and so she quits her teaching job to become governess to a young girl living on her uncle's estate with his housekeeper after her parent's tragic death. Life in the house is strange even before her brother arrives home suddenly from boarding school. There's something untoward going on but everything defies logic. Can she get out without it slowly eating away at her sanity?
But Emma, this is a horror and you don't like going to horrors at the cinema! No, you're right, but I'm still trying to be brave... but my god do I wish I'd picked a better film.
The first thing I would query is the time jump this film makes from its source material. I can understand wanting to modernise something to get a new audience, I really can, but its setting in 1994 didn't make a lot of sense and at the same time wasn't very noticeable. Within the house and grounds you'd be forgiven for thinking it was a period thriller because there was little to remind you it wasn't. Why not just go the whole hog and set it in the present day? The house could still have been off the grid, it would have allowed for extra backstory being inserted by her researching (I suspect the inclusion of Kate's friend was to allow for extra story details) and then in the climax of the film she could have been cut off from her access to the outside world. There's nothing quite like making an audience fear the technology they hold dear like that.
1 hour and 34 minutes, that was the entire runtime. Normally that's something to be applauded, but in this instance it was an agonising 94 minutes of programming. There was nothing in the film that gripped me, mild intrigue at times, but there was nothing to sustain that interest through any major sections of the film. Jump scares seemed to be the way it wanted to go but even I, the scardiest scaredy cat there ever was, could see them coming, meaning they made no impact.
Both Mackenzie Davis and Finn Wolfhard are good actors but there was no chemistry on screen. I felt no genuine tension between the two at all even though Miles was the certainly playing the creeper card a lot.
If you're talking about The Turning then you have to address the style of ending. A film that leaves you able to interpret what you want from certain events is something to be treasured and is a stroke of genius when done correctly. It's a great marketing tool because your audience are still thinking about the film and discussing it with people long after they've seen it. But for that discussion to be positive you need to have a film that hooks you in and The Turning just didn't do that for me.
Sometimes suspense works better as the written word.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/the-turning-movie-review.html
Another adaptation of another classic novel... I'll get this broken record fixed at some point, I promise. Though not until after Dolittle, oh and The Invisible Man, oh and The True History Of The Kelly Gang... you know what? Never mind!
Kate is looking for a different challenge and so she quits her teaching job to become governess to a young girl living on her uncle's estate with his housekeeper after her parent's tragic death. Life in the house is strange even before her brother arrives home suddenly from boarding school. There's something untoward going on but everything defies logic. Can she get out without it slowly eating away at her sanity?
But Emma, this is a horror and you don't like going to horrors at the cinema! No, you're right, but I'm still trying to be brave... but my god do I wish I'd picked a better film.
The first thing I would query is the time jump this film makes from its source material. I can understand wanting to modernise something to get a new audience, I really can, but its setting in 1994 didn't make a lot of sense and at the same time wasn't very noticeable. Within the house and grounds you'd be forgiven for thinking it was a period thriller because there was little to remind you it wasn't. Why not just go the whole hog and set it in the present day? The house could still have been off the grid, it would have allowed for extra backstory being inserted by her researching (I suspect the inclusion of Kate's friend was to allow for extra story details) and then in the climax of the film she could have been cut off from her access to the outside world. There's nothing quite like making an audience fear the technology they hold dear like that.
1 hour and 34 minutes, that was the entire runtime. Normally that's something to be applauded, but in this instance it was an agonising 94 minutes of programming. There was nothing in the film that gripped me, mild intrigue at times, but there was nothing to sustain that interest through any major sections of the film. Jump scares seemed to be the way it wanted to go but even I, the scardiest scaredy cat there ever was, could see them coming, meaning they made no impact.
Both Mackenzie Davis and Finn Wolfhard are good actors but there was no chemistry on screen. I felt no genuine tension between the two at all even though Miles was the certainly playing the creeper card a lot.
If you're talking about The Turning then you have to address the style of ending. A film that leaves you able to interpret what you want from certain events is something to be treasured and is a stroke of genius when done correctly. It's a great marketing tool because your audience are still thinking about the film and discussing it with people long after they've seen it. But for that discussion to be positive you need to have a film that hooks you in and The Turning just didn't do that for me.
Sometimes suspense works better as the written word.
Originally posted on: http://emmaatthemovies.blogspot.com/2020/03/the-turning-movie-review.html
Never meet your heroes is the succinct tag line of this Amazon original series, dealing with the notion that all superheroes are morally good… but what if they weren’t…?
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
KalJ95 (25 KP) rated Resident Evil 3 (Remake) in Video Games
Apr 10, 2020
Nemesis. Oh, Nemesis. (1 more)
An action focused plot works more for Jill's experience in Racoon City.
Unbelievably short campaign. (2 more)
Cut corners for both the narrative and Nemesis.
Feels like downloadable content for RE2.
Nemesis of their own making.
RE3 is an enigma. After last years remake for RE2, I think the bar was set very high for RE3 to be on par, if not even better due to the introduction of the ultimate weapon in Nemesis. And although the action is amped up significantly, the horror is still here in buckets. So, this is another Resident Evil classic, revamped from the ground up, a classic for the current generation, right?
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.