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Kirk Bage (1775 KP) rated The Lighthouse (2019) in Movies
Jan 22, 2021
Robert Eggers made a striking introduction for himself in 2015 with the moody and disconcerting The Witch, bringing a future star to the world’s attention in Anya Taylor-Joy in the process. You could argue after seeing his sophomore effort, The Lighthouse, that in terms of creating deliberately nauseating landscapes his work is the third cog in the arthouse revival of intellectual “horror”, after Ari Aster (Hereditary / Midsommar) and Jordan Peele (Get Out / Us). The group actually sits quite well together, as there is an obvious social commentary by metaphor crossover going on here, as well as just a little bit of “crazy”.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
5 Minute Movie Guy (379 KP) rated Live Die Repeat: Edge of Tomorrow (2014) in Movies
Jun 26, 2019
One of the best action films of Tom Cruise's incredible career. (4 more)
Emily Blunt is a true force to be reckoned with.
The film's aliens and special effects are simply outstanding.
Unexpectedly hilarious. Who knew watching Tom Cruise die repeatedly could be so funny?
Edge of Tomorrow feels like a video game made into an unforgettably great movie.
Edge of Tomorrow is one of the best action movies of Tom Cruise’s illustrious career and might just be the most fun you'll have at the movies all year.
Amidst the yearly barrage of unimaginative action movies, Edge of Tomorrow is a breath of fresh air. It’s smart, funny, and full of action-packed excitement. It is a definitive summer blockbuster and is one of the best action movies of Tom Cruise’s illustrious career. Based on the graphic novel All You Need is Kill by Hiroshi Sakurazaka, Edge of Tomorrow stars Tom Cruise as Major William Cage, who has earned his rank without ever having served a day in combat. All of that quickly comes to a change when he’s put on the frontlines of a war that threatens humanity’s entire existence. Thrust into combat, Cage is cowardly, and also comically unprepared. He fearfully fights for his life, but is quickly killed in the conflict, only to reawaken at the start of the same day. Cage is given another chance at life, with the benefit of having lived the day before and fully remembering it. This is not a gift bestowed upon Tom Cruise by the power of Scientology, nor by Tom Cruise’s near-invincibility in his films, but instead his character Cage inadvertently has tapped into a divine alien power through which he is able to re-spawn from death over and over again. Trapped In this seemingly infinite loop, Cage is able to learn from his mistakes and thereby has the power to single-handedly change the outcome of this war and save the human race from complete annihilation.
The brilliance of Edge of Tomorrow is in its execution. This is a movie that could have easily been tiresome considering it replays the same day continuously on repeat, but it’s handled in a way that makes it entertaining and engaging. It is superbly edited to keep the story moving and the laughs coming. Even as a huge fan of Tom Cruise, I had a marvelous time watching him die off again and again while thoroughly laughing at his expense. What makes it so funny is that Tom is completely in on the joke and is able to generously poke fun at himself. He is perfectly cast in this role, as it allows him to act totally crazy and completely spineless, while gradually transitioning into his usual kick-ass, cool Cruise persona. Edge of Tomorrow feels both exhilarating and original, although it is clearly inspired in part by some other films, such as the comedy classic Groundhog Day, and even The Matrix trilogy. However, having these influences doesn’t take away from the film’s enormous accomplishments. To call it an action sci-fi version of Groundhog Day is only to sell it short. In fact, Edge of Tomorrow might just be the most fun you’ll have at the movies all year.
The conflict in Edge of Tomorrow is an alien invasion that is obliterating humanity. The aliens, known as Mimics, have taken over most of Europe, and with the exception of one keystone battle, have easily routed human military forces. Rita Vrataski, played by Emily Blunt, led that decisive victory at Verdun, earning herself the moniker the “Angel of Verdun” after single-handedly killing hundreds of Mimics in humanity’s first and only victory against the alien species. How was one woman able to massacre these aliens that can lay waste to an armed infantry in minutes? Well, as Cage finds out, she previously had his ability to reset in death, although she no longer possesses that power. Nevertheless, with her knowledge and skill set acquired from her nearly infinite practice, she can transform Cage into Earth’s greatest weapon.
Edge of Tomorrow is a thoroughly impressive package, complete with superb special effects, a heart-pounding musical score, and outstanding performances from its lead characters. Tom Cruise carries the film with veteran expertise, making the film fun and deeply entertaining. Emily Blunt is a powerhouse as Rita, showcasing a heroic toughness with a survivor mentality. I don’t think there are many actresses in Hollywood that could play such a role as convincingly as Blunt does here. Meanwhile, Bill Paxton is as enjoyable to watch as ever. He plays Master Sergeant Farrell, who is Cage’s cocky commanding officer that takes great pleasure in giving him a hard time. As for the aliens in the movie, they look absolutely incredible, not to mention highly original. I think they’re some of the coolest aliens I’ve ever seen, and they’re also far more threatening than your typical movie alien. They’re deathly fast and unpredictable, which makes the film’s action all the more intense. Edge of Tomorrow actually feels very much like a video game, and not just because of the respawning feature. The characters are memorable, the stakes are high, and the action is so engrossing that you feel like you’re an active participant in it. The creativity and combat at work in this film are worthy of belonging in a blockbuster game series. It rarely lets up and is an adrenaline-fueled ride from beginning to end.
I’ll admit that Edge of Tomorrow far-exceeded my expectations. It’s cool in every way imaginable, from the story and the action to the aliens and characters. It will immerse you in its desolate, doomed world that unknowingly rests on the brink of total destruction. Tom Cruise and Emily Blunt are both in top form and make this a movie you won’t want to miss. Edge of Tomorrow is certain to become an instant action classic. One that I wholly look forward to watching again and again and again.
(This review was originally posted at 5mmg.com on 6.30.14.)
The brilliance of Edge of Tomorrow is in its execution. This is a movie that could have easily been tiresome considering it replays the same day continuously on repeat, but it’s handled in a way that makes it entertaining and engaging. It is superbly edited to keep the story moving and the laughs coming. Even as a huge fan of Tom Cruise, I had a marvelous time watching him die off again and again while thoroughly laughing at his expense. What makes it so funny is that Tom is completely in on the joke and is able to generously poke fun at himself. He is perfectly cast in this role, as it allows him to act totally crazy and completely spineless, while gradually transitioning into his usual kick-ass, cool Cruise persona. Edge of Tomorrow feels both exhilarating and original, although it is clearly inspired in part by some other films, such as the comedy classic Groundhog Day, and even The Matrix trilogy. However, having these influences doesn’t take away from the film’s enormous accomplishments. To call it an action sci-fi version of Groundhog Day is only to sell it short. In fact, Edge of Tomorrow might just be the most fun you’ll have at the movies all year.
The conflict in Edge of Tomorrow is an alien invasion that is obliterating humanity. The aliens, known as Mimics, have taken over most of Europe, and with the exception of one keystone battle, have easily routed human military forces. Rita Vrataski, played by Emily Blunt, led that decisive victory at Verdun, earning herself the moniker the “Angel of Verdun” after single-handedly killing hundreds of Mimics in humanity’s first and only victory against the alien species. How was one woman able to massacre these aliens that can lay waste to an armed infantry in minutes? Well, as Cage finds out, she previously had his ability to reset in death, although she no longer possesses that power. Nevertheless, with her knowledge and skill set acquired from her nearly infinite practice, she can transform Cage into Earth’s greatest weapon.
Edge of Tomorrow is a thoroughly impressive package, complete with superb special effects, a heart-pounding musical score, and outstanding performances from its lead characters. Tom Cruise carries the film with veteran expertise, making the film fun and deeply entertaining. Emily Blunt is a powerhouse as Rita, showcasing a heroic toughness with a survivor mentality. I don’t think there are many actresses in Hollywood that could play such a role as convincingly as Blunt does here. Meanwhile, Bill Paxton is as enjoyable to watch as ever. He plays Master Sergeant Farrell, who is Cage’s cocky commanding officer that takes great pleasure in giving him a hard time. As for the aliens in the movie, they look absolutely incredible, not to mention highly original. I think they’re some of the coolest aliens I’ve ever seen, and they’re also far more threatening than your typical movie alien. They’re deathly fast and unpredictable, which makes the film’s action all the more intense. Edge of Tomorrow actually feels very much like a video game, and not just because of the respawning feature. The characters are memorable, the stakes are high, and the action is so engrossing that you feel like you’re an active participant in it. The creativity and combat at work in this film are worthy of belonging in a blockbuster game series. It rarely lets up and is an adrenaline-fueled ride from beginning to end.
I’ll admit that Edge of Tomorrow far-exceeded my expectations. It’s cool in every way imaginable, from the story and the action to the aliens and characters. It will immerse you in its desolate, doomed world that unknowingly rests on the brink of total destruction. Tom Cruise and Emily Blunt are both in top form and make this a movie you won’t want to miss. Edge of Tomorrow is certain to become an instant action classic. One that I wholly look forward to watching again and again and again.
(This review was originally posted at 5mmg.com on 6.30.14.)
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!
Purple Phoenix Games (2266 KP) rated Terror in Meeple City in Tabletop Games
Aug 6, 2019 (Updated Sep 23, 2021)
I don’t know about you, but one of my guilty pleasures is monster movies. Godzilla, King Kong, even the Jurassic Park franchise – if there are giant creatures terrorizing the world, chances are I’m going to love it. So when I heard of Terror in Meeple City (formerly known as Rampage, RIP), I knew I had to give it a try. Is the chance to embody one of these great monsters and wreak havoc on an innocent city as exciting as it seems? Or will your lack of dexterous ability result in a rampage? (See what I did there?)
Terror in Meeple City is a dexterity game of area movement and set collection in which players are trying to amass the most end-game Victory Points by devouring meeples, collecting building tiles, teeth, and by successfully completing their Character cards. To begin, setup the board as described in the rulebook, constructing buildings and placing meeples and vehicles accordingly. Each player receives a screen, Body (monster), and Paws (disc) in their chosen color, placing the Paws on the starting area closest to them. Players receive 4 Teeth tokens and are dealt a Character card, Power card, and Secret Superpower card. The Character and Power cards are visible to all players, and are permanent throughout the game – providing special abilities or scoring conditions for the end of the game. The Secret Superpower card is secret (duh) and revealed only when you are ready to use it – it is a one-time use in the game, and then discarded. Select a starting player, and the game is ready to begin!
On your turn, you will perform 2 of the following actions: Move, Demolish, Toss a Vehicle, or Breathe. You can perform the same action twice on your turn if you want! To Move, you will first take the Body of your monster off of the Paws disc. Using your finger, you will flick the Paws disc on the board, hopefully to end up where you wanted it! After a successful flick, put your Body back on the Paws. To Demolish, your Paws must be touching the sidewalk surrounding one of the buildings in the city. If that is the case, you can try to demolish that building – by picking up your Body, holding it over the appropriate building, and dropping it! In order to Toss a Vehicle, your monster must be located in the same neighborhood (area of the board) as a vehicle. Pick up the chosen vehicle, place it on top of your monster, and flick it! And finally, you can Breathe – place your chin on top of your monster, inhale, and then blow as hard as you can. While performing these actions, there may be some collateral damage, that could be beneficial or detrimental to you! If you knock down another monster on your turn, collect one of their Teeth and put it behind your screen. If after your action, there is a building tile with nothing on it (meeples, monsters, etc.) then you collect that tile behind your screen as well.
Once you have taken your 2 actions, it is time to Chow Down – eat as many accessible meeples in your same neighborhood as you have Teeth tokens left. Devoured meeples go into your stomach (behind the player screen). If at any point during your turn, any meeples end up fleeing the city (knocked off the board), they will be added, in order, to the Runaway Meeple board. Once a line on this board is filled, the active player suffers the negative consequence – so be careful not to scare off too many yummy meeple morsels! The game continues in this fashion until it ends in one of two ways. Either the last building tile is collected, everyone takes one last turn, and then VP are tallied. Or the final line of the Runaway Meeple board is filled, causing the player who filled it to lose, while everyone else counts up their VP. VP are earned for any Teeth collected, building tiles consumed, sets of meeples devoured, and any points earned from your Character card. The player with the most VP is the winner and is the greatest monster of the game!
So I know that sounds kind of chaotic – and at times it can be. But it is a light-hearted and silly game that engages all involved. The simplicity of the mechanics (flicking/blowing) are countered by the strategy required for success. Yes, by all means, go on a crazy rampage – but the goal is end-game VP, so how can you use all these moving components to your advantage? The strategy is there, with enough luck/randomness from a dexterity stand-point that it keeps the gameplay interesting. And it is just plain fun to play! Getting up to move around the board for a better angle, knocking over opponents accidentally (or on purpose!), and sending components flying across the board makes for an entertaining and engaging game. That being said, unless you are incredibly dextrous and can perfectly execute your desired actions, be prepared for some frustration when you whiff big on a flick.
Let’s talk components for a minute. They are pretty good in this game! The board and cardboard building tiles are all pretty sturdy, which is really necessary in a game where the components can take quite a beating. The wooden meeples and monster parts are thick and high quality as well! I take great pride in keeping my games in good condition, and even this one has withstood the test of time and plays. So, good production quality all around, if you ask me!
Is Terror in Meeple City my favorite game? No. But it’s one that I’m glad to have in my collection. It works well in so many situations – a gateway game, a light-hearted filler game, a game to get everyone up and moving, and a game that can be played with younger gamers as well. Although it’s not really a brain-burner or a game of high-level strategy, it’s one that still makes for a good time. Purple Phoenix Games gives it a 7 / 12. Give it a try if you’re itching to smash some stuff!
Terror in Meeple City is a dexterity game of area movement and set collection in which players are trying to amass the most end-game Victory Points by devouring meeples, collecting building tiles, teeth, and by successfully completing their Character cards. To begin, setup the board as described in the rulebook, constructing buildings and placing meeples and vehicles accordingly. Each player receives a screen, Body (monster), and Paws (disc) in their chosen color, placing the Paws on the starting area closest to them. Players receive 4 Teeth tokens and are dealt a Character card, Power card, and Secret Superpower card. The Character and Power cards are visible to all players, and are permanent throughout the game – providing special abilities or scoring conditions for the end of the game. The Secret Superpower card is secret (duh) and revealed only when you are ready to use it – it is a one-time use in the game, and then discarded. Select a starting player, and the game is ready to begin!
On your turn, you will perform 2 of the following actions: Move, Demolish, Toss a Vehicle, or Breathe. You can perform the same action twice on your turn if you want! To Move, you will first take the Body of your monster off of the Paws disc. Using your finger, you will flick the Paws disc on the board, hopefully to end up where you wanted it! After a successful flick, put your Body back on the Paws. To Demolish, your Paws must be touching the sidewalk surrounding one of the buildings in the city. If that is the case, you can try to demolish that building – by picking up your Body, holding it over the appropriate building, and dropping it! In order to Toss a Vehicle, your monster must be located in the same neighborhood (area of the board) as a vehicle. Pick up the chosen vehicle, place it on top of your monster, and flick it! And finally, you can Breathe – place your chin on top of your monster, inhale, and then blow as hard as you can. While performing these actions, there may be some collateral damage, that could be beneficial or detrimental to you! If you knock down another monster on your turn, collect one of their Teeth and put it behind your screen. If after your action, there is a building tile with nothing on it (meeples, monsters, etc.) then you collect that tile behind your screen as well.
Once you have taken your 2 actions, it is time to Chow Down – eat as many accessible meeples in your same neighborhood as you have Teeth tokens left. Devoured meeples go into your stomach (behind the player screen). If at any point during your turn, any meeples end up fleeing the city (knocked off the board), they will be added, in order, to the Runaway Meeple board. Once a line on this board is filled, the active player suffers the negative consequence – so be careful not to scare off too many yummy meeple morsels! The game continues in this fashion until it ends in one of two ways. Either the last building tile is collected, everyone takes one last turn, and then VP are tallied. Or the final line of the Runaway Meeple board is filled, causing the player who filled it to lose, while everyone else counts up their VP. VP are earned for any Teeth collected, building tiles consumed, sets of meeples devoured, and any points earned from your Character card. The player with the most VP is the winner and is the greatest monster of the game!
So I know that sounds kind of chaotic – and at times it can be. But it is a light-hearted and silly game that engages all involved. The simplicity of the mechanics (flicking/blowing) are countered by the strategy required for success. Yes, by all means, go on a crazy rampage – but the goal is end-game VP, so how can you use all these moving components to your advantage? The strategy is there, with enough luck/randomness from a dexterity stand-point that it keeps the gameplay interesting. And it is just plain fun to play! Getting up to move around the board for a better angle, knocking over opponents accidentally (or on purpose!), and sending components flying across the board makes for an entertaining and engaging game. That being said, unless you are incredibly dextrous and can perfectly execute your desired actions, be prepared for some frustration when you whiff big on a flick.
Let’s talk components for a minute. They are pretty good in this game! The board and cardboard building tiles are all pretty sturdy, which is really necessary in a game where the components can take quite a beating. The wooden meeples and monster parts are thick and high quality as well! I take great pride in keeping my games in good condition, and even this one has withstood the test of time and plays. So, good production quality all around, if you ask me!
Is Terror in Meeple City my favorite game? No. But it’s one that I’m glad to have in my collection. It works well in so many situations – a gateway game, a light-hearted filler game, a game to get everyone up and moving, and a game that can be played with younger gamers as well. Although it’s not really a brain-burner or a game of high-level strategy, it’s one that still makes for a good time. Purple Phoenix Games gives it a 7 / 12. Give it a try if you’re itching to smash some stuff!
Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
Chris Sawin (602 KP) rated Venom: Let There Be Carnage (2021) in Movies
Dec 14, 2021
Tom Hardy's performance. (2 more)
Better CGI than the first film.
The film is stupidly fun.
It is REALLY dumb. (2 more)
Shriek is a wasted character.
Woody Harrelson's "hair."
Idiotic Gold
Venom was an unlikely hit for Sony Pictures making over $850 million worldwide – despite being a sloppy mess of a film.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Dana (24 KP) rated Vanishing Girls in Books
Mar 23, 2018
I am not sure why I keep being surprised at how good books are, especially since I have read some of these authors before! This book is no different. I was thinking this book would be just okay, nothing too memorable, but I was so wrong! Oh, and I got to meet Lauren Oliver at Yallwest 2015! She was so sweet and signed my book!!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
This book is interesting in its set up. It is told in a "Before and After" story line by two characters: Dara and Nick. There are also some photographs and some blog post type pages which were really interesting.
So I am going to try to write whenever there is a large spoiler, but there may be some minor plot points written throughout. So look out for SPOILERS in the review if you want to skip those.
Okay, so I'm going to start off with talking about the three main characters: Dara, Nick, and Parker.
Nick is the main character of this book and, honestly, she was very interesting. She seems quite detached throughout a good part of the book, specifically the first half. I did not like either of the sisters at first, if I am being completely honest. But then I grew to partially understand both of them separately. Nick is emotionally distant because, as seen in the beginning of the book, she sees herself as needing to be the responsible one out of the two sisters. Where Dara is wildness and spontaneity, Nick is the reserved older sister who has to keep her sister in line. Nick, however, is not all she seems. It is known that there was a bad car accident that happened before the book started, but none of the details were really disclosed. Neither person involved really wanted to talk about it. SPOILERS ARE IN THE REST OF THIS PARAGRAPH!! I wasn't a fan of how Nick treated both Dara and Parker. For Dara, it can easily be understood why she wouldn't want to talk to Nick. I would be pretty upset if that was my situation as well, but Nick seemed like she was just being petty. With Parker, she was unfair. Yes, they had been best friends and then he started dating her sister, but they were still best friends. She could have at least tried to talk to him about her feelings, but no. She didn't.
Dara was a very complex character. It seemed as if she would rebel just to do it and to see if she could get a rise out of her sister and/or her parents. She is wild and reckless because she needs to try to distance herself from her sister's shadow. I totally understand that (even if I would not take that path myself). I think her story arc was very interesting, to say the least. I will go more into the plot points a bit later, though.
Parker was just a guy who was caught in a tough situation. Yes, he was dumb in putting himself in that situation, but he seemed like a pretty good guy all in all. I enjoyed his story line because he grounded the other characters in the real world.
Okay, now onto the plot. THERE WILL BE SPOILERS IN THE REST OF THE REVIEW EXCEPT FOR THE LAST PARAGRAPH. IF YOU DO NOT WANT TO BE SPOILED, SKIP DOWN FOR MY FINAL THOUGHTS ON THE BOOK.
Okay, so the plot. Oh my goodness, that was a good story. I really liked the complexity and all of the little connections throughout the two time lines.
Let's start with the "before." We get to see a lot of how Nick and Dara's relationship had disintegrated the closer to the accident we get. I loved getting it intermittent between the "after" sections because sometimes it made the previous chapter more clear, but a lot of the time, it convoluted it just enough to keep me intrigued. Each moment up to the accident felt like it had more tension because you, as the reader, knew what was coming, but not necessarily when or how. I do wish, however, we got more of the accident itself. That would have been pretty cool.
Now onto the "after." Wow. If you want a really complex story line that you won't see coming, read this book. That freaking plot twist was not something I called, and I am normally really good at calling them! I think I was too preoccupied trying to figure out what happened in the accident to see all of the signs (and there were a lot of them) of the truth of what happened. I loved how Lauren Oliver was able to explore mental health issues that we don't normally get to see in a young adult novel. The post-traumatic stress is usually shown as being withdrawn, not all of the other symptoms that may be possible in the human mind. I don't even necessarily want to touch on the FanLand plot line because it's pretty self explanatory. I did like how those were bright moments in the otherwise very dark story. I could go on and on about this section, but I'll keep it short. If you want to talk to me more about my thoughts on it, then feel free to message me about it!
Madeline Snow's story line was really cool. Not what happened to her, of course, that was super messed up, but the unraveling of what happened was crazy! Oh, and the disappearance actually happened on my birthday. Super random fact, but hey, at least it's interesting? Okay, lets start with the fact that there was a semi-sex trafficking ring going on and that wasn't even the highlight of the book. You know it is an intense book when that happens. I thought it was really interesting that Nick's mom was so enraptured with the case, because instead of noticing her daughter's struggles, she is focused on a stranger. I do like how it ended, us learning about the truth of the accident while learning about the truth of Madeline's disappearance because they were very interconnected! I am very thankful of how it truly ended happily rather than a very horrible possibility.
Overall, I was highly impressed by this book. As I said, this has become one of my favorite books of the year! If you enjoy thriller, suspense, or mystery books, definitely check this one out!
Fred (860 KP) rated the PlayStation 4 version of Red Dead Redemption 2 in Video Games
Dec 4, 2018
Beautiful humongous world (5 more)
Tons to do. Hours & hours of stuff.
Great acting and characters
Lots of Easter eggs
Wonderful music
Great story
That feckin robin (2 more)
Big world means lots of riding
New Austin is kind of dead
Rockstar let my mama's baby grow up to be a cowboy
Yes, I'm a little late to this party, but I wanted to play until I completed the game & today, I finally did. I've also played a few hours of the online beta, but I'll get to that later.
Let's start with what this game is about. It's an open world game, set in the old west. It's set before the events of Red Dead Redemption. In that game, you played as John Marston. In that game, John was a man trying to change his life. He was a criminal, a thief, a murderer, but he's gone straight In this game, you play as Arthur Morgan. A criminal in the same gang with John. He is a bad guy, no doubt. But throughout the game, he has many opportunities to do good. Of course, you can play him that way, or you can play him as a heartless bastard. This will effect some of the story, the dialogue & the ending of the game. I played the game as if Arthur was a good guy inside & the ending I got was very satisfying, very emotional.
For most of the story, you're on the run with your gang, setting up different camps throughout the map, evading rival gangs & the law. This is a great way to get to know the world, however, you're free to explore most of the map freely. It is enormous & gorgeous. Some of the best scenery I've seen in a game. Sometimes you will really feel you're living in a real world. And that's the greatest thing about this game. The immersion. You really feel like you're living the life of your character. And Rockstar did that by making you take care of your character. You shave, bathe, eat & take care of your horse. Yes, you name your horse, feed it, brush it, pet it. You get very attached to it, as it is your main way of getting around. If your horse dies, it's gone. And believe me, it hurts to lose your horse.
Rockstar fills the game with so many missions, side activities, random encounters & hidden Easter eggs that it will take you weeks to do them all. I've been playing since day one, an average of 6 to 7 hours a day, & today, 5 & a half weeks later, I finally got 100% in the game. To be honest, when I first started, I spent lots of time just riding around, finding activities & hidden goodies & enjoying the scenery. Like most of their games, there's a supernatural element to some things as well as supernatural encounters. Steampunk, monsters, etc... a little bit of everything. Some encounters are funny, some terrifying, all of them cool.
I think what makes this game different & better than it's predecessor is the characters themselves. I'm not talking about the main characters alone, I'm talking about the people who litter the world. In RDR, some of the characters were silly, off-the-wall & unnatural. They were cartoonish. In RDR2, the people are real. Some may be weird and a bit crazy, but they never feel fake. They never feel like a character. Because of this, the world lives. They breathe life into it with every interaction. From the
Civil War veterans to the blind beggar, to the racist jackass standing on the corner in Saint Denis handing out pro-white pamphlets. They really make you feel like you're there. Again, immersion.
Some of the things you can do besides the missions are rob people, trains, coaches, banks. Another thing is hunting. Hunting can be a great way to make money. During the game, there are many challenges that you can undertake as well. There's are 9 categories with 10 challenges to each that can be done at your leisure. I left a lot of these to do last. I honestly didn't think I'd be able to do some of them. They just seemed ridiculous. But funny enough, I did about 50 of the last challenges within 2 days. And when I finished, I expected my 100% trophy to pop up. But it didn't. I was at 99%. What the? Looking at my completion list, there was something under the collections section that said unknown collection. Searching the internet, I found that most sites didn't have it listed. But I finally found a site that did. The last collection was the hunting challenge. And this brings us to that feckin robin.
Okay, let me explain. The hunting challenge you are given is to kill 5 different lists of animals. Each animal must be a perfect carcass. Which means, they have to be of perfect quality before you kill them & you must not damage them while killing them. Well, all of these animals are small animals. And most of them are small birds. It was fairly easy to get most of these animals. But there was one that was a huge pain in the ass. Can you guess what it was? Yes, a robin. A small, fast bird that is so rare, there are pages & videos galore on finding one. Most of which as total bollocks. How do I know? I spent over 7 hours trying to find one. Going to all these spots, seeing 3 of them total, shooting one & ruining it's carcass, & missing the other 2 based on their disappearance through the trees. I was really going to give up. So close, but so far. Luckily, using some people's hints & coming up with my own, I finally figured out how to get him. And it then took me 15 minutes. Yes, 15 minutes with 7 hours of wasted time. I am putting this as a negative, because it was really ridiculous to try to hunt this thing. So aggrivating. I understand if they want to make something rare, but it's just not nice. I felt like Rockstar was pulling a joke on it's players.
But anyway, this still doesn't bring down my score of the game. It's one of the greatest games I've ever played. But Rockstar has many perfect 10 games under it's belt in my opinion, including RDR. Is this game better. Yes, I think so. But it's oh so close.
A quick word on RDR online. It's only in beta, so I can't give a true review yet. However, I'm finding it so much fun doing missions with other people. Of course, there are jackasses going around shooting people for no reason. It gives no benefit to do so. Not all of the features are in there yet, but I will be playing when it goes to full online & will giv an update.
Let's start with what this game is about. It's an open world game, set in the old west. It's set before the events of Red Dead Redemption. In that game, you played as John Marston. In that game, John was a man trying to change his life. He was a criminal, a thief, a murderer, but he's gone straight In this game, you play as Arthur Morgan. A criminal in the same gang with John. He is a bad guy, no doubt. But throughout the game, he has many opportunities to do good. Of course, you can play him that way, or you can play him as a heartless bastard. This will effect some of the story, the dialogue & the ending of the game. I played the game as if Arthur was a good guy inside & the ending I got was very satisfying, very emotional.
For most of the story, you're on the run with your gang, setting up different camps throughout the map, evading rival gangs & the law. This is a great way to get to know the world, however, you're free to explore most of the map freely. It is enormous & gorgeous. Some of the best scenery I've seen in a game. Sometimes you will really feel you're living in a real world. And that's the greatest thing about this game. The immersion. You really feel like you're living the life of your character. And Rockstar did that by making you take care of your character. You shave, bathe, eat & take care of your horse. Yes, you name your horse, feed it, brush it, pet it. You get very attached to it, as it is your main way of getting around. If your horse dies, it's gone. And believe me, it hurts to lose your horse.
Rockstar fills the game with so many missions, side activities, random encounters & hidden Easter eggs that it will take you weeks to do them all. I've been playing since day one, an average of 6 to 7 hours a day, & today, 5 & a half weeks later, I finally got 100% in the game. To be honest, when I first started, I spent lots of time just riding around, finding activities & hidden goodies & enjoying the scenery. Like most of their games, there's a supernatural element to some things as well as supernatural encounters. Steampunk, monsters, etc... a little bit of everything. Some encounters are funny, some terrifying, all of them cool.
I think what makes this game different & better than it's predecessor is the characters themselves. I'm not talking about the main characters alone, I'm talking about the people who litter the world. In RDR, some of the characters were silly, off-the-wall & unnatural. They were cartoonish. In RDR2, the people are real. Some may be weird and a bit crazy, but they never feel fake. They never feel like a character. Because of this, the world lives. They breathe life into it with every interaction. From the
Civil War veterans to the blind beggar, to the racist jackass standing on the corner in Saint Denis handing out pro-white pamphlets. They really make you feel like you're there. Again, immersion.
Some of the things you can do besides the missions are rob people, trains, coaches, banks. Another thing is hunting. Hunting can be a great way to make money. During the game, there are many challenges that you can undertake as well. There's are 9 categories with 10 challenges to each that can be done at your leisure. I left a lot of these to do last. I honestly didn't think I'd be able to do some of them. They just seemed ridiculous. But funny enough, I did about 50 of the last challenges within 2 days. And when I finished, I expected my 100% trophy to pop up. But it didn't. I was at 99%. What the? Looking at my completion list, there was something under the collections section that said unknown collection. Searching the internet, I found that most sites didn't have it listed. But I finally found a site that did. The last collection was the hunting challenge. And this brings us to that feckin robin.
Okay, let me explain. The hunting challenge you are given is to kill 5 different lists of animals. Each animal must be a perfect carcass. Which means, they have to be of perfect quality before you kill them & you must not damage them while killing them. Well, all of these animals are small animals. And most of them are small birds. It was fairly easy to get most of these animals. But there was one that was a huge pain in the ass. Can you guess what it was? Yes, a robin. A small, fast bird that is so rare, there are pages & videos galore on finding one. Most of which as total bollocks. How do I know? I spent over 7 hours trying to find one. Going to all these spots, seeing 3 of them total, shooting one & ruining it's carcass, & missing the other 2 based on their disappearance through the trees. I was really going to give up. So close, but so far. Luckily, using some people's hints & coming up with my own, I finally figured out how to get him. And it then took me 15 minutes. Yes, 15 minutes with 7 hours of wasted time. I am putting this as a negative, because it was really ridiculous to try to hunt this thing. So aggrivating. I understand if they want to make something rare, but it's just not nice. I felt like Rockstar was pulling a joke on it's players.
But anyway, this still doesn't bring down my score of the game. It's one of the greatest games I've ever played. But Rockstar has many perfect 10 games under it's belt in my opinion, including RDR. Is this game better. Yes, I think so. But it's oh so close.
A quick word on RDR online. It's only in beta, so I can't give a true review yet. However, I'm finding it so much fun doing missions with other people. Of course, there are jackasses going around shooting people for no reason. It gives no benefit to do so. Not all of the features are in there yet, but I will be playing when it goes to full online & will giv an update.
Jessica - Where the Book Ends (15 KP) rated Take My Hand (Take My Hand, #1) in Books
Jan 30, 2019
This is my first experience with a book by Nicola Haken. The synopsis sounded promising and I have been looking for a new series to read, so I thought I would give this one a go.
This story is of two people trying to start their lives over after terrible events that occurred in each of their lives. They get thrown together and together they learn how to love...again.
The story is primarily set in London, so that's amazing! I'm obsessed with London and all things British, so I was SOOOOO excited for this book. I wanted to fall in LOVE with this book, and these characters, but at best I only fell in LIKE with this book. Sigh.
Dexter and Emily are great characters. They have the tormented past, the rocky relationship, and undying love for one another. Okay so it sounds like this book has everything a book needs. But still... I just couldn't fall in love, and let me tell you why.
1) Dexter is from the U.S.A. so when he moves to London, he clearly doesn't understand all of the lingo and slang that the English use. Which is fine. Emily used a lot of these slang words, "ginger minger" being an example of one, and so the narrator would pause and explain what each one meant. This was very helpful throughout the story. However, this is the part that bothers me. Throughout the story when Dex would have a chapter and be talking sometimes I would get confused and he started to sound like Emily to me. I felt like the two were blending together.
2) There were several times throughout this book I wanted to literally reach into my kindle and slap Emily. I understand she's never really been in a relationship before, and I understand she's socially awkward, but my god! It's like this girl is from another planet and she doesn't understand human interactions, AT ALL! She blushes at everything - even when it's not sexual, she doesn't know how to talk to people, and she doesn't know how to be in a relationship. If the guy is a alcoholic and throws stuff at the wall, and runs out on you every time he's scared. You drop him and run. It just didn't seem realistic at all.
He drank and ran out on her when she was in a strange country with a strange woman she'd never met, and he was just like, peace out. Then she had the nerve to feel sorry. He kept secrets from her and she had the nerve to scold herself for feeling that way. It just didn't feel real to me. I felt like she gave in to him too easily. Now, before you all comment like crazy about how I don't understand alcoholics and how I don't know how they operate and how I don't understand addiction, let me just tell you this... You're wrong. I understand, and I understand better than some. I was a teenage alcoholic. It ruined my life and it took me YEARS to get it back together. SO I GET IT.
3) Now that all that's out of the way on to the next. I didn't like that Emily was so clearly afraid to say SEX or PENIS, or VAGINA. If you can't say it or talk about it, you shouldn't be doing it. She really needed to grow up. I understand that some people just don't feel comfortable talking about it, but at some point you need to draw a line. Emily was just a little too chaste for my preference and I think the description of the sex scenes from Emily's perspective were out of place for this very reason. The chapters where she was the narrator, she shouldn't have been comfortable describing what was going down. I feel like the scene should have been set up and then a fade to black would have been more appropriate.
4) Lastly, Rachel... UHHHH MOST ANNOYING CHARACTER EVER!! At first I thought she was badass! Here you have this girl who has lived her life in a wheelchair and has had to compensate for it by being independent, coloring her hair funky colors, and getting tattoos. Awesome! Right... WRONG. She then opened her mouth. OMG! She's not independent and trying to stand out, she's just down right offensive, and she didn't seem to fit at all in this story.
I know by now you're probably thinking "Why did you give this book three stars if you clearly hated it." Right? Well, I didn't hate it, at all. I liked it, it evoked emotion, it made me think and it made me feel. Those things are SOOO important when writing a book. This author has some definite promise, and I know there are a couple more books in this series. I will probably read them since this book ended on a cliffhanger (which was awesome, btw). I want to know what happens to these characters, and I'm hoping they both grow up a bit in the upcoming books.
My one last thing I'd like to point out is the editing. Now, I don't know if I got a pre-edited copy or if I got the final draft. So, I'm not considering the editing in my rating, because I can't be certain. I do feel that this book needs some serious proofreading, but again it may not be that way in a purchased copy so again don't hold that minor detail against the author, because no one is perfect.
I will definitely read other books by this author. She has a great writing style, her story flows very nicely, there aren't any dull moments, and her story is one that tears at the heartstrings. I in no way mean this review to sound as if I'm attacking her, when in fact its the complete opposite. I commend her for writing this book, and I think she did it well. Plus, the most important thing EVER, her writing made me think and feel which is what good writing should do. So, I implore you to give this book a chance don't let my feelings and observations deter you from reading a book with great potential that you may absolutely love!
This story is of two people trying to start their lives over after terrible events that occurred in each of their lives. They get thrown together and together they learn how to love...again.
The story is primarily set in London, so that's amazing! I'm obsessed with London and all things British, so I was SOOOOO excited for this book. I wanted to fall in LOVE with this book, and these characters, but at best I only fell in LIKE with this book. Sigh.
Dexter and Emily are great characters. They have the tormented past, the rocky relationship, and undying love for one another. Okay so it sounds like this book has everything a book needs. But still... I just couldn't fall in love, and let me tell you why.
1) Dexter is from the U.S.A. so when he moves to London, he clearly doesn't understand all of the lingo and slang that the English use. Which is fine. Emily used a lot of these slang words, "ginger minger" being an example of one, and so the narrator would pause and explain what each one meant. This was very helpful throughout the story. However, this is the part that bothers me. Throughout the story when Dex would have a chapter and be talking sometimes I would get confused and he started to sound like Emily to me. I felt like the two were blending together.
2) There were several times throughout this book I wanted to literally reach into my kindle and slap Emily. I understand she's never really been in a relationship before, and I understand she's socially awkward, but my god! It's like this girl is from another planet and she doesn't understand human interactions, AT ALL! She blushes at everything - even when it's not sexual, she doesn't know how to talk to people, and she doesn't know how to be in a relationship. If the guy is a alcoholic and throws stuff at the wall, and runs out on you every time he's scared. You drop him and run. It just didn't seem realistic at all.
He drank and ran out on her when she was in a strange country with a strange woman she'd never met, and he was just like, peace out. Then she had the nerve to feel sorry. He kept secrets from her and she had the nerve to scold herself for feeling that way. It just didn't feel real to me. I felt like she gave in to him too easily. Now, before you all comment like crazy about how I don't understand alcoholics and how I don't know how they operate and how I don't understand addiction, let me just tell you this... You're wrong. I understand, and I understand better than some. I was a teenage alcoholic. It ruined my life and it took me YEARS to get it back together. SO I GET IT.
3) Now that all that's out of the way on to the next. I didn't like that Emily was so clearly afraid to say SEX or PENIS, or VAGINA. If you can't say it or talk about it, you shouldn't be doing it. She really needed to grow up. I understand that some people just don't feel comfortable talking about it, but at some point you need to draw a line. Emily was just a little too chaste for my preference and I think the description of the sex scenes from Emily's perspective were out of place for this very reason. The chapters where she was the narrator, she shouldn't have been comfortable describing what was going down. I feel like the scene should have been set up and then a fade to black would have been more appropriate.
4) Lastly, Rachel... UHHHH MOST ANNOYING CHARACTER EVER!! At first I thought she was badass! Here you have this girl who has lived her life in a wheelchair and has had to compensate for it by being independent, coloring her hair funky colors, and getting tattoos. Awesome! Right... WRONG. She then opened her mouth. OMG! She's not independent and trying to stand out, she's just down right offensive, and she didn't seem to fit at all in this story.
I know by now you're probably thinking "Why did you give this book three stars if you clearly hated it." Right? Well, I didn't hate it, at all. I liked it, it evoked emotion, it made me think and it made me feel. Those things are SOOO important when writing a book. This author has some definite promise, and I know there are a couple more books in this series. I will probably read them since this book ended on a cliffhanger (which was awesome, btw). I want to know what happens to these characters, and I'm hoping they both grow up a bit in the upcoming books.
My one last thing I'd like to point out is the editing. Now, I don't know if I got a pre-edited copy or if I got the final draft. So, I'm not considering the editing in my rating, because I can't be certain. I do feel that this book needs some serious proofreading, but again it may not be that way in a purchased copy so again don't hold that minor detail against the author, because no one is perfect.
I will definitely read other books by this author. She has a great writing style, her story flows very nicely, there aren't any dull moments, and her story is one that tears at the heartstrings. I in no way mean this review to sound as if I'm attacking her, when in fact its the complete opposite. I commend her for writing this book, and I think she did it well. Plus, the most important thing EVER, her writing made me think and feel which is what good writing should do. So, I implore you to give this book a chance don't let my feelings and observations deter you from reading a book with great potential that you may absolutely love!
Chris Sawin (602 KP) rated Transformers Revenge of the Fallen (2009) in Movies
Jun 22, 2019
In 2009, I saw Transformers: Revenge of the Fallen in theaters during a midnight screening on its day of release. Somehow I managed to sit through a two and a half hour movie, drive home, write a review, post it, and promote it all before I went to bed that morning at 5am. Looking back, I still have no idea how something like that was accomplished while also juggling a full-time job. Needless to say, I've been eager to revisit Revenge of the Fallen ever since. Delirium begins to set in at that hour and midnight screenings are rarely ever not fun. Not to mention my skills as a movie critic have evolved greatly since then and my tastes have altered. The movie deserved a proper review with a sober state of mind. And yes, thankfully, the trip was worth taking because I'm not quite as enthusiastic about Revenge of the Fallen being such a great piece of cinema as its glaring flaws tend to overshadow what little good it had going for it.
The writing is obviously the sequel's biggest flaw and not just the storyline, but the dialogue as well. The Fallen touched down on earth all the way back in 17,000 B.C. and while we've been able to uncover the likes of cavemen existing thereabouts during that time period, there's no evidence of autobots or decepticons existing in that point in history. With the way they fight and their vast numbers, that seems pretty hard to believe. Oh, and look, Sam has held onto the shirt he wore when the world almost came to an end in the last movie and apparently hasn't ever washed it. A sliver of the allspark has just been sitting in that thing this entire time. Alice actually being a decepticon didn't feel right either. Probable maybe, but it just didn't seem to fit with all other transformers being vehicles of some kind. Meanwhile Soundwave is a satellite in this movie, but walks around on earth with some crazy worm thing in Dark of the Moon with no reason of him evolving between films.
The movie has a thing about humping, too. We see two male dogs humping on more than one occasion and Wheelie also humps the crap out of Megan Fox's leg, but that's not the only time male genitalia comes into play. We also get a good glimpse at the testicles of the Sun Harvester as John Turturro spits out a one-liner about its scrotum. Leo and his freaking out over absolutely everything is also really annoying and makes Shia LaBeouf's "BUM-BULL-BEE!!!" and "OP-TIM-US!!!" squawks feel like a breath of fresh air. Sam's parents are practically the kryptonite of the movie as they're featured way too much and in the worst of times. Sam's mom has the lamest dialogue while also overreacting to everything while his dad can't decide to let Sam go or protect him. Why they were ever even Egypt is a boggling question in itself. Why are there autobots in heaven? If Megatron's master was The Fallen and he took orders from Sentinel Prime in Dark of the Moon, just how many other Decepticons does he answer to? The questions and plot holes just seem endless.
The atrocious dialogue practically echoes through your bones. It starts with Ironhide saying, "Punk ass decepticon," and never really lets up. Between Sam's parents "smelling" a "$40,000 education," and Simmons telling everyone that what he was about to show them was "top secret" and "do not tell my mother," the bases are pretty much covered. Military sergeants listening to a kid in college seems outlandish anyway, but throwing their absolute blind faith in him seems really outrageous. I realize the cast of the movie had the writer's strike to deal with, but two of the three writers for Revenge of the Fallen also wrote Star Trek which showed none of the same problems that this movie had. The writing in a Michael Bay movie is already secondary. Throw in a writer's strike and you've got something as apocalyptic behind the camera as what's taking place on screen.
There is something entertaining deep within the loins of this cinematic abomination though. The special effects are more than satisfying and pretty much outshine the special effects in the first movie. Onscreen battles are more extraordinary, explosions are bigger, and the numbers are more massive. It feels more like an actual war this time around. Bumblebee also gets his time to shine in the sequel. His scene in the garage with Sam at the start of the movie is one of the better calm scenes in the entire thing and then there are his fight scenes. Several of the fight scenes seem inspired by Mortal Kombat; Bumblebee's spine-rip sequence and Optimus’ face ripping and hand bursting through the chest of The Fallen with its villainous heart. Optimus feels very scarcely used in the two Transformers sequels. He has a few scenes where he gets to be awesome and then spends a good portion of the movie being incapacitated. At least he was dead in this one, that's a liable excuse. In Dark of the Moon, he's basically just hanging out upside down for thirty to forty minutes while hundreds of people die. Even though The Fallen is dealt with in a matter of minutes, he is kind of cool. He teleports a lot like Nightcrawler and is voiced by Tony Todd. Unfortunately, he's only appealing on the surface, kind of sucks as a main villain, and is a total embarrassment to the decepticons.
Michael Bay needs to learn that more explosions and more destructive mayhem don't automatically make a film better than its predecessor. There are more battles between the autobots and decepticons, the stakes are higher, and the special effects are more impressive, but it's essentially just eye candy or like giving reconstructive facial surgery to a really hideous person; they're still ugly but their appearance is at least nice to look at now. With a storyline that jumps all over the place for no rhyme or reason, really terrible dialogue being spewed from just about every major character, and The Twins probably being more offensive than they are humorous, Revenge of the Fallen falls short of being half as good as Bay's original effort and is quite difficult to think of as anything more than a guilty pleasure.
The writing is obviously the sequel's biggest flaw and not just the storyline, but the dialogue as well. The Fallen touched down on earth all the way back in 17,000 B.C. and while we've been able to uncover the likes of cavemen existing thereabouts during that time period, there's no evidence of autobots or decepticons existing in that point in history. With the way they fight and their vast numbers, that seems pretty hard to believe. Oh, and look, Sam has held onto the shirt he wore when the world almost came to an end in the last movie and apparently hasn't ever washed it. A sliver of the allspark has just been sitting in that thing this entire time. Alice actually being a decepticon didn't feel right either. Probable maybe, but it just didn't seem to fit with all other transformers being vehicles of some kind. Meanwhile Soundwave is a satellite in this movie, but walks around on earth with some crazy worm thing in Dark of the Moon with no reason of him evolving between films.
The movie has a thing about humping, too. We see two male dogs humping on more than one occasion and Wheelie also humps the crap out of Megan Fox's leg, but that's not the only time male genitalia comes into play. We also get a good glimpse at the testicles of the Sun Harvester as John Turturro spits out a one-liner about its scrotum. Leo and his freaking out over absolutely everything is also really annoying and makes Shia LaBeouf's "BUM-BULL-BEE!!!" and "OP-TIM-US!!!" squawks feel like a breath of fresh air. Sam's parents are practically the kryptonite of the movie as they're featured way too much and in the worst of times. Sam's mom has the lamest dialogue while also overreacting to everything while his dad can't decide to let Sam go or protect him. Why they were ever even Egypt is a boggling question in itself. Why are there autobots in heaven? If Megatron's master was The Fallen and he took orders from Sentinel Prime in Dark of the Moon, just how many other Decepticons does he answer to? The questions and plot holes just seem endless.
The atrocious dialogue practically echoes through your bones. It starts with Ironhide saying, "Punk ass decepticon," and never really lets up. Between Sam's parents "smelling" a "$40,000 education," and Simmons telling everyone that what he was about to show them was "top secret" and "do not tell my mother," the bases are pretty much covered. Military sergeants listening to a kid in college seems outlandish anyway, but throwing their absolute blind faith in him seems really outrageous. I realize the cast of the movie had the writer's strike to deal with, but two of the three writers for Revenge of the Fallen also wrote Star Trek which showed none of the same problems that this movie had. The writing in a Michael Bay movie is already secondary. Throw in a writer's strike and you've got something as apocalyptic behind the camera as what's taking place on screen.
There is something entertaining deep within the loins of this cinematic abomination though. The special effects are more than satisfying and pretty much outshine the special effects in the first movie. Onscreen battles are more extraordinary, explosions are bigger, and the numbers are more massive. It feels more like an actual war this time around. Bumblebee also gets his time to shine in the sequel. His scene in the garage with Sam at the start of the movie is one of the better calm scenes in the entire thing and then there are his fight scenes. Several of the fight scenes seem inspired by Mortal Kombat; Bumblebee's spine-rip sequence and Optimus’ face ripping and hand bursting through the chest of The Fallen with its villainous heart. Optimus feels very scarcely used in the two Transformers sequels. He has a few scenes where he gets to be awesome and then spends a good portion of the movie being incapacitated. At least he was dead in this one, that's a liable excuse. In Dark of the Moon, he's basically just hanging out upside down for thirty to forty minutes while hundreds of people die. Even though The Fallen is dealt with in a matter of minutes, he is kind of cool. He teleports a lot like Nightcrawler and is voiced by Tony Todd. Unfortunately, he's only appealing on the surface, kind of sucks as a main villain, and is a total embarrassment to the decepticons.
Michael Bay needs to learn that more explosions and more destructive mayhem don't automatically make a film better than its predecessor. There are more battles between the autobots and decepticons, the stakes are higher, and the special effects are more impressive, but it's essentially just eye candy or like giving reconstructive facial surgery to a really hideous person; they're still ugly but their appearance is at least nice to look at now. With a storyline that jumps all over the place for no rhyme or reason, really terrible dialogue being spewed from just about every major character, and The Twins probably being more offensive than they are humorous, Revenge of the Fallen falls short of being half as good as Bay's original effort and is quite difficult to think of as anything more than a guilty pleasure.