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Beatdown: Streets of Justice
5.0
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Tabletop Game
"Plan your combo. Save the city together. — A fun, cooperative, strategic crime-fighting card...
The Feral Detective
Book
Phoebe Siegler first meets Charles Heist in a shabby trailer in the desert outside of Los Angeles....
The Adults
7.0
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Book
A couple, now separated. Their daughter. Their new partners. One epic Christmas vacation. What could...
fiction
LeftSideCut (3778 KP) rated Werewolves Within (2021) in Movies
Sep 3, 2021
It took a good minute for Werewolves Within to click with me, but once it did, it was a whole bag of fun.
My initial issues with it is how frantically overwhelming the first act is. This movie is effectively Clue but with a horror twist, and as such, the introduction of a hefty cast of characters, or suspects if you will, feels a little rushed. It didn't help that every one of them felt like comic relief and that the editing style is clearly inspired by Shaun of the Dead, meaning it's choppy, and brisk. Thankfully, this doesn't last too long. Once everyone is introduced and things starts to happen, Werewolves Within slips into a genuinely funny whodunit, that's effective in keeping its secrets close to its chest, and at one point had this viewer questioning if werewolves were even part of it, or whether the unfolding events were just a big misunderstanding.
By the final act, everything has just descended into chaos, and it's hugely entertaining. This is all bolstered by it's two great and likable leads, played by Sam Richardson and Milana Vayntrub.
It's well paced and effective, funny, q little bloody, and ultimately, Werewolves Within is a blast, and well worth checking out.
My initial issues with it is how frantically overwhelming the first act is. This movie is effectively Clue but with a horror twist, and as such, the introduction of a hefty cast of characters, or suspects if you will, feels a little rushed. It didn't help that every one of them felt like comic relief and that the editing style is clearly inspired by Shaun of the Dead, meaning it's choppy, and brisk. Thankfully, this doesn't last too long. Once everyone is introduced and things starts to happen, Werewolves Within slips into a genuinely funny whodunit, that's effective in keeping its secrets close to its chest, and at one point had this viewer questioning if werewolves were even part of it, or whether the unfolding events were just a big misunderstanding.
By the final act, everything has just descended into chaos, and it's hugely entertaining. This is all bolstered by it's two great and likable leads, played by Sam Richardson and Milana Vayntrub.
It's well paced and effective, funny, q little bloody, and ultimately, Werewolves Within is a blast, and well worth checking out.
David McK (3372 KP) rated Les Misérables (2012) in Movies
Jan 19, 2022
I'm still waiting for Miserable Les to turn up ;-)
Les Miserables.
One of those musicals/films that, while I had head of it and did not the broad strokes of, I had never actually seen prior to the COVID-19 pandemic.
Set in post-(Napoleonic)war France, this spans about roughly 20 years or so (i think 17, to be precise) starting in 1815 when ex-con Jean Valjean (Jackman) is released from servitude, breaks parole and reinvents himself but is then endlessly hunted by his former jailor Javert (Crowe), taking it upon himself to raise the daughter of seamstress Fantine (an Oscar-winning Hathaway) - as he believes himself responsible for her demise (which he does play a large part in, as he fired her from her job) Cosette, with the final potion of the film set in the 1830s with Colette now all grown up and falling in love with revolutionary Marius (Redmayne) across the barricades.
So, yes, there's some big names in the cast, including also Helena Bonh-Carter and Dacha Baron-Cohen providing the comic relief (and, somehow, I wasn't in the least bit surprised to see her there).
I'm still waiting for that bloke Les to turn up, though.
One of those musicals/films that, while I had head of it and did not the broad strokes of, I had never actually seen prior to the COVID-19 pandemic.
Set in post-(Napoleonic)war France, this spans about roughly 20 years or so (i think 17, to be precise) starting in 1815 when ex-con Jean Valjean (Jackman) is released from servitude, breaks parole and reinvents himself but is then endlessly hunted by his former jailor Javert (Crowe), taking it upon himself to raise the daughter of seamstress Fantine (an Oscar-winning Hathaway) - as he believes himself responsible for her demise (which he does play a large part in, as he fired her from her job) Cosette, with the final potion of the film set in the 1830s with Colette now all grown up and falling in love with revolutionary Marius (Redmayne) across the barricades.
So, yes, there's some big names in the cast, including also Helena Bonh-Carter and Dacha Baron-Cohen providing the comic relief (and, somehow, I wasn't in the least bit surprised to see her there).
I'm still waiting for that bloke Les to turn up, though.
Love Orange
8.0
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Book
An extraordinary debut novel by Natasha Randall, exposing the seam of secrets within an American...
David McK (3372 KP) rated A Darkling Plain (Mortal Engines #4) in Books
Dec 20, 2021
Final part in Philip Reeve's steampunk Predator Cities/Mortal Engines quadrilogy, finally closing off the story of Tom Natsworthy and Hester Shaw alongside that of their daughter Wren.
This particular entry opens on the character of Theo Ngoni, who here and throughout plays a much larger role than he previously did in Infernal Devices. Theo Ngoni is not the only character to return from previous novels however: Fishcake (yes, that's the name he is given) also plays a large role and finally gets a decent end to his story, as does Professor Pennyroyal (still providing the comic relief), the Stalkers Fang and Shrike (with the latter also finally getting a decent pay-off in the last chapter), and both Oenone Zero and General Naga also returning.
I also have to say that I found this to be the longest of the four stories in the quadrilogy: I'm not sure whether that is because it actually is (I read it as part of an e-book compilation, which makes it hard to compare relevant lengths), because I'd read it back to back with the previous entry, or simply because I was beginning to get tired with the series as a whole!
This particular entry opens on the character of Theo Ngoni, who here and throughout plays a much larger role than he previously did in Infernal Devices. Theo Ngoni is not the only character to return from previous novels however: Fishcake (yes, that's the name he is given) also plays a large role and finally gets a decent end to his story, as does Professor Pennyroyal (still providing the comic relief), the Stalkers Fang and Shrike (with the latter also finally getting a decent pay-off in the last chapter), and both Oenone Zero and General Naga also returning.
I also have to say that I found this to be the longest of the four stories in the quadrilogy: I'm not sure whether that is because it actually is (I read it as part of an e-book compilation, which makes it hard to compare relevant lengths), because I'd read it back to back with the previous entry, or simply because I was beginning to get tired with the series as a whole!
Mark @ Carstairs Considers (2171 KP) rated The Dangers of Gingerbread Cookies in Books
Jan 4, 2024
Star Crash
Jaine is visiting her parents in Florida for the holiday. In between watching her cat being spoiled rotten and her dad try to get his horrid gold Christmas tree set up, Jaine attends the community's Christmas play. At the end, the leading man is supposed to float off the stage, but instead he falls to his death. Considering he was a horrid womanizer, the suspects are plentiful. But who actually wanted him dead?
Outside of e-mail exchanges in every book, this is the first time we've met Jaine's parents, and I got quite a hoot out of meeting them. The series is comic in nature, and that comedy continues here. The plot kept me guessing until the end. The story was mostly populated with people we haven't met before, but they all seemed real enough to make me care about the outcome.
Do note that this is a novella, originally about 100 pages. Keep that in mind when you sit down to read it.
Also note that this was originally published in the anthology Gingerbread Cookie Murder, so check that you haven’t read it already.
But if you haven’t picked up this story yet, you are in for a treat when you do.
Outside of e-mail exchanges in every book, this is the first time we've met Jaine's parents, and I got quite a hoot out of meeting them. The series is comic in nature, and that comedy continues here. The plot kept me guessing until the end. The story was mostly populated with people we haven't met before, but they all seemed real enough to make me care about the outcome.
Do note that this is a novella, originally about 100 pages. Keep that in mind when you sit down to read it.
Also note that this was originally published in the anthology Gingerbread Cookie Murder, so check that you haven’t read it already.
But if you haven’t picked up this story yet, you are in for a treat when you do.
RəX Regent (349 KP) rated Batman Begins (2005) in Movies
Feb 19, 2019
Batman has always seemed to make great viewing and with the darker takes on him of the past to decades, great movies. This was a real treat though. It’s almost a rational take on an irrational super hero. Christopher Nolan has managed to give Batman a human face and the world he inhabits a sense of scale and realism. But that’s not to say that it is lacking in the sense of the theatrical.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didn’t look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Ra’s al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970’s.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. It’s not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesn’t seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isn’t really that important though that’s not to sell it short. It’s a highly developed and conceived story, packed from the opening frame to the 140th minute, but it’s simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesn’t feel like that when you’re watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batman’s image was forged, how the Batcave was created and where the Batmobile came from, but no-one’s suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But it’s how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how we’d expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isn’t even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isn’t always, let’s face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then there’s Hans Zimmer‘s collaboration with James Newton Howard for the score which is one of Zimmer’s best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolan’s masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, that’s right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
Back in 2005, the hype for this film was building, with a new take on the old comic hero taking shape. Though I must admit that the design of the new Batmobile didn’t look cool to me, but I loved the concept of rooting him in a real world. The other questionable point was that lack of the big hitters in terms of the villains. The Joker, Penguin, Riddler and Catwomen were dumped in favour of The Scarecrow and Ra’s al Ghul, with only one that I, as the un-indoctrinated in comic book lore, that I had heard of being The Scarecrow.
But this was not to be a typical Batman film in any sense of the word. In June 2005, Batman was reborn and not only had the career of an independently styled filmmaker, Christopher Nolan blown into the big leagues but Blockbusters had just been redefined, an event not dis-similar in effect t those of Jaws and Star Wars in the 1970’s.
Batman, a Warner Bros. cash cow for decades, was about to cross all the main lines within the industry and a blockbuster with art house sensibilities and real intelligence was about to born. It’s not the first, but it opened the door for Nolan and his like to change the way we think about movies of this kind. It doesn’t seem to be that long ago that Marvel was dominating cinemas was some first-rate adaptations such as X-Men, Spider-man and the underrated Hulk, which in many ways may be classed as a prototype for this, with art house direction from Ang Lee.
The plot of Batman Begins isn’t really that important though that’s not to sell it short. It’s a highly developed and conceived story, packed from the opening frame to the 140th minute, but it’s simply the perfect blend of the evolution of Bruce Wayne into Batman, and the usual diabolical plans of the super-villain, only it doesn’t feel like that when you’re watching it. It feels like a well judged story about a traumatised young man, struggling to come terms with his parents murder, and his place in the world.
Luckily for him, his family are billionaires and his butler is Alfred, or more importantly, Michael Caine! There are of course a whole host of contrivances to explain how Batman’s image was forged, how the Batcave was created and where the Batmobile came from, but no-one’s suggesting that this a documentary. This is a more grounded and psychological approach to the story of a nutcase who dressed up like a bat and fights crime without a single superpower to his aid.
But it’s how Nolan brings all this together that works so well. He addresses things so subtly that you can end up missing them if you blink, or at least fail to see them coming. Wayne is turned into a flamboyant excentric to maintain a distance from his friends, if he even has any. The Batcave never ends up looking how we’d expect either, but it is full of bats if that helps and he does park his car there.
It is not until The Dark Knight that we see a Batcave of sorts and that isn’t even in the grounds of Wayne Manor. So, the direction, conception and writing are great, what about the casting? Christian Bale is Wayne/Batman for me, though the animatistic tone to his voice maybe a little overdone, but I do get it. Katie Holmes is the weakest link and am glad that she was recast for the sequel. The rest of the players are first-rate and this may well be on of the best casts ever assembled for a single film in my opinion.
Gary Oldman, so understated as Lt. Gordon, Caine as Alfred is perfect; Liam Neeson is on top form, which he isn’t always, let’s face it and Morgan Freeman, like Oldman and Caine can seemingly do no wrong. Then there’s Hans Zimmer‘s collaboration with James Newton Howard for the score which is one of Zimmer’s best. Howard is an able composer and he clearly provided many of the excellent emotional riffs, but it was Zimmer who brought this together with his dominant, strident style, colossal beats and pacing.
The look and sound of this film sets it apart from so many of its brethren. Batman Begins is a truly original, relentless and groundbreaking movie that is the best of the comic book movies by a mile, but not necessarily the best comic book adaptation. Spider-man or Watchmen for example, may qualify for the fact that they more literally reflect their respective sources but Nolan’s masterpiece is a blueprint as to how film should tackle such adaptations.
And yes, that’s right; Batman Begins is a masterpiece if ever there was one, though a slightly lesser one in comparison to its own sequel, The Dark Knight which may have completely rewritten the handbook.
Ryan Hill (152 KP) rated Captain America: The First Avenger (2011) in Movies
May 9, 2019
"i'm just a kid from brooklyn"
"I'm just a kid from Brooklyn"
A rip-roaring homage to old fashioned serials and comic books. Joe Johnston somehow pulls off the tone and look, firmly planting me into the 1940's time period. As fantastical as it is I still feel the real world within the picture.
Protagonist Steve Rogers makes for an easily likable guy who at the start is a smaller guy, who stands up to bullies even if it means getting his ass beat. His dream is to serve his country and although not meeting physical requirements for the army, he proves the heart and courage to become the specimen of a super soldier syrum. With this experiment, Steve's size, strength and conditioning is greatly enhanced and becomes the face of WW2 propaganda. His desire to fight however gets him involved with the battle against a division of the Nazi's known as Hydra, headed by Johann Schmidt, the "Red Skull".
Red Skull is one of the best villians of the Marvel cinematic universe. I couldn't imagine him played by anyone other than Hugo Weaving who brings such gravitas and personality to the role. Red Skull is an experiment of the soldier syrum himself which gives him a certain connection to Rogers, but chooses to use his power for the service of himself and his evil desires. The film includes the element of Nazi fascination with science and experimentation, taking it a step further. Red Skull discovers other worldly magic, the Tesseract of Asgard, which he utilizes for the use of weaponry. Thus, blending historical events with an exciting dose of imagination. A Nazi more powerful than Hitler? That's pretty scary.
The action comes swift and mighty, combining the fleshy violence of war with creative comic book thrills. It's some of the most entertaining action I've ever seen. I love that the presence of Hitler can be felt even though he is not on screen. It seamlessly connects the future with the past, makes the looming threat of the entire world felt, and contains elements of other Marvel films past and present that only adds to the movie and never detracts. Tony Stark's father has a direct influence on Captain America which adds a layer to the proceeding films. Thor and Loki's place in future events are tied in perfectly. Steve's friendship with Bucky and presumed death is one of the emotional cores to the film that also plays into the sequels. Unbelievable.
Can I just mention the charming romance between Peggy and Steve Rogers? It's so natural and plays out over the duration of the film without anything ridiculous. When Peggy tears up as Steve is speeding toward the unkown in a downed plane, I lose it. I lose it every time. They never got that last dance and my heart is broken.
When Red Skull calls Steve a "simpleton with a shield" I'm like YES!! that's why I love him. I could be Steve Rogers. I could be Captain America. Well, not really, but he's one of the most relatable on screen super heroes. I'd even say he's the one I can see myself in the most. Consider me #TeamCap.
I must make mention of the wonderful musical score and songs written for the film. Very important piece to the puzzle. I listen to "Star Spangled Man" just about every time I take a walk. The costumes and production design deserve all the love in the world as well. Tommy Lee Jones is great and makes me laugh as usual. All performances are great. Points for finding a use for Captain America's vintage comic book costume and re-enacting the punch to Hitler's face from Captain America issue #1.
Who taught Cap how to fight like that though? Guess that's one of the perks of the syrum too.
A rip-roaring homage to old fashioned serials and comic books. Joe Johnston somehow pulls off the tone and look, firmly planting me into the 1940's time period. As fantastical as it is I still feel the real world within the picture.
Protagonist Steve Rogers makes for an easily likable guy who at the start is a smaller guy, who stands up to bullies even if it means getting his ass beat. His dream is to serve his country and although not meeting physical requirements for the army, he proves the heart and courage to become the specimen of a super soldier syrum. With this experiment, Steve's size, strength and conditioning is greatly enhanced and becomes the face of WW2 propaganda. His desire to fight however gets him involved with the battle against a division of the Nazi's known as Hydra, headed by Johann Schmidt, the "Red Skull".
Red Skull is one of the best villians of the Marvel cinematic universe. I couldn't imagine him played by anyone other than Hugo Weaving who brings such gravitas and personality to the role. Red Skull is an experiment of the soldier syrum himself which gives him a certain connection to Rogers, but chooses to use his power for the service of himself and his evil desires. The film includes the element of Nazi fascination with science and experimentation, taking it a step further. Red Skull discovers other worldly magic, the Tesseract of Asgard, which he utilizes for the use of weaponry. Thus, blending historical events with an exciting dose of imagination. A Nazi more powerful than Hitler? That's pretty scary.
The action comes swift and mighty, combining the fleshy violence of war with creative comic book thrills. It's some of the most entertaining action I've ever seen. I love that the presence of Hitler can be felt even though he is not on screen. It seamlessly connects the future with the past, makes the looming threat of the entire world felt, and contains elements of other Marvel films past and present that only adds to the movie and never detracts. Tony Stark's father has a direct influence on Captain America which adds a layer to the proceeding films. Thor and Loki's place in future events are tied in perfectly. Steve's friendship with Bucky and presumed death is one of the emotional cores to the film that also plays into the sequels. Unbelievable.
Can I just mention the charming romance between Peggy and Steve Rogers? It's so natural and plays out over the duration of the film without anything ridiculous. When Peggy tears up as Steve is speeding toward the unkown in a downed plane, I lose it. I lose it every time. They never got that last dance and my heart is broken.
When Red Skull calls Steve a "simpleton with a shield" I'm like YES!! that's why I love him. I could be Steve Rogers. I could be Captain America. Well, not really, but he's one of the most relatable on screen super heroes. I'd even say he's the one I can see myself in the most. Consider me #TeamCap.
I must make mention of the wonderful musical score and songs written for the film. Very important piece to the puzzle. I listen to "Star Spangled Man" just about every time I take a walk. The costumes and production design deserve all the love in the world as well. Tommy Lee Jones is great and makes me laugh as usual. All performances are great. Points for finding a use for Captain America's vintage comic book costume and re-enacting the punch to Hitler's face from Captain America issue #1.
Who taught Cap how to fight like that though? Guess that's one of the perks of the syrum too.