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Kara Skinner (332 KP) rated Protector in Books
Jun 12, 2019
Girl Doesn’t Take Her Mate’s Crap in this YA Fantasy Romance Novel
Contains spoilers, click to show
Genre: Fantasy, YA
Word Count: 86,170
Average Goodreads Rating: 3.75 out of 5 stars
My rating: 3 out of 5 stars
Faith thought she was a normal human girl. Then she turned 18 and started developing abilities. Around the same time, a mysterious girl named Belle showed up and explained to Faith that she was really a Halfling, who belonged to an alien planet. Not only that, but she had the powerful ability of Forewarning, a skill that was highly coveted, especially by the Loverias and the Wincrests, two rival royal families on the brink of going to war with each other. Things get even more complicated when Faith forms a mated bond with Prince Davio Loveria– right before finding out her long-absent father is Prince Alexo Wincrest, Davio’s sworn enemy.
Caught in an impending war on a foreign planet, Faith must think and learn fast to keep herself from becoming a political pawn while also keeping her family safe.
Faith is a fucking badass and I love her. She acts like a teenaged girl, with all the angst and drama that comes with it, but at the same times she’s smart, and she won’t take shit, especially not from Davio. I love how resourceful she is and how quickly she’s able to adapt to a foreign planet with different cultures and abilities. But at the same time, she’s not a Mary Sue. She does have issues with learning the culture and controlling her abilities. She also doesn’t deal well with having her world turned upside down but her reactions aren’t unrealistic and they make me love her that much more.
Davio, however, is a piece of shit. I knocked off a star just because he exists. He’s a pompous brat with less maturity and poise than a two-year-old. When he finally accepts that he’s mated to Faith, he shows his “love” by controlling her and ordering her around. He doesn’t let her be alone because she needs to be protected. He demands that she either be with him or one of his bodyguards at all time, effectively keeping her a prisoner. This is supposedly because she has Forewarning, which makes her likely to get kidnapped or killed. I would have an easier time believing that if she had ever gotten attacked in the book. But the only people who attack her are Davio’s own bodyguards. No one else gives a shit.
He also loves ordering her around. He’ll order her to get showered and dressed in two minutes. He also orders her to betray her father. Davio is actually shocked when Faith won’t give him intimate secrets about how to take down her father. He accuses her of being a traitor when she refuses to be part of any plan that will get her father killed or kidnapped.
Davio hates Faith’s father for being from the wrong country, he always thinks he’s right, and he’s controlling to boot. He’s basically teenaged Trump.
Davio is the biggest problem in the book. Almost everything else I enjoyed. I loved the world building and how the mated bond was portrayed. Even though Faith and Davio were connected through the bond and couldn’t be apart very long without feeling anxious and depressed, they weren’t brainwashed by it. They still didn’t trust or even love each other for most of the book and they could identify what feelings were real and what was from the bond. It’s rare when a book can have soulmates without having insta-love, but Protector pulled it off.
I’m still confused by Faith’s parents, however. Faith’s mother raised her by herself on Earth after getting abandoned by Alexo. But when he shows up eighteen years later and has a brief conversation with her, she’s completely willing to travel to a foreign planet, be banned from going back to Earth. She also needs to pretend to be his wife despite hating him for abandoning her. I honestly have no idea why but that might get explained in later books.
Word Count: 86,170
Average Goodreads Rating: 3.75 out of 5 stars
My rating: 3 out of 5 stars
Faith thought she was a normal human girl. Then she turned 18 and started developing abilities. Around the same time, a mysterious girl named Belle showed up and explained to Faith that she was really a Halfling, who belonged to an alien planet. Not only that, but she had the powerful ability of Forewarning, a skill that was highly coveted, especially by the Loverias and the Wincrests, two rival royal families on the brink of going to war with each other. Things get even more complicated when Faith forms a mated bond with Prince Davio Loveria– right before finding out her long-absent father is Prince Alexo Wincrest, Davio’s sworn enemy.
Caught in an impending war on a foreign planet, Faith must think and learn fast to keep herself from becoming a political pawn while also keeping her family safe.
Faith is a fucking badass and I love her. She acts like a teenaged girl, with all the angst and drama that comes with it, but at the same times she’s smart, and she won’t take shit, especially not from Davio. I love how resourceful she is and how quickly she’s able to adapt to a foreign planet with different cultures and abilities. But at the same time, she’s not a Mary Sue. She does have issues with learning the culture and controlling her abilities. She also doesn’t deal well with having her world turned upside down but her reactions aren’t unrealistic and they make me love her that much more.
Davio, however, is a piece of shit. I knocked off a star just because he exists. He’s a pompous brat with less maturity and poise than a two-year-old. When he finally accepts that he’s mated to Faith, he shows his “love” by controlling her and ordering her around. He doesn’t let her be alone because she needs to be protected. He demands that she either be with him or one of his bodyguards at all time, effectively keeping her a prisoner. This is supposedly because she has Forewarning, which makes her likely to get kidnapped or killed. I would have an easier time believing that if she had ever gotten attacked in the book. But the only people who attack her are Davio’s own bodyguards. No one else gives a shit.
He also loves ordering her around. He’ll order her to get showered and dressed in two minutes. He also orders her to betray her father. Davio is actually shocked when Faith won’t give him intimate secrets about how to take down her father. He accuses her of being a traitor when she refuses to be part of any plan that will get her father killed or kidnapped.
Davio hates Faith’s father for being from the wrong country, he always thinks he’s right, and he’s controlling to boot. He’s basically teenaged Trump.
Davio is the biggest problem in the book. Almost everything else I enjoyed. I loved the world building and how the mated bond was portrayed. Even though Faith and Davio were connected through the bond and couldn’t be apart very long without feeling anxious and depressed, they weren’t brainwashed by it. They still didn’t trust or even love each other for most of the book and they could identify what feelings were real and what was from the bond. It’s rare when a book can have soulmates without having insta-love, but Protector pulled it off.
I’m still confused by Faith’s parents, however. Faith’s mother raised her by herself on Earth after getting abandoned by Alexo. But when he shows up eighteen years later and has a brief conversation with her, she’s completely willing to travel to a foreign planet, be banned from going back to Earth. She also needs to pretend to be his wife despite hating him for abandoning her. I honestly have no idea why but that might get explained in later books.
Kyera (8 KP) rated Flame in the Mist in Books
Jan 31, 2018
I received an ARC/e-galley of this book through Penguin's First to Read program - although that did not influence my opinion of the book or the review provided.
Although the story is vastly different from the Wrath and the Dawn, Renée Ahdieh's poetic style of writing comes across just as beautifully in this novel as her previous series. The gorgeous writing is my favourite aspect of the book, followed very closely by the plot, characters, and the world.
I have always been a huge admirer of the Japanese culture and love seeing the (fictional) historical representation of feudal Japan. There aren't a lot of examples of this that I have personally read and truly fallen in love with. This is by far my favorite iteration of that time and I adore the story that accompanies that world.
Mariko is to be wed to one of the Emperor's sons, an act that would bring her family honour and one that she does not wish to partake in. Alas, she is a girl and thus does not get a choice in her future. Halfway to her destination, her litter is attacked and the entire envoy is killed - except Mariko.
This attempt on her life changes everything and leads her on a journey to discover who put a price on her life, to find answers and ensure her family's honour. Mariko knows that a girl cannot accomplish this on her own and takes drastic measures. Her first act is to cut her hair and it gave me such Mulan vibes. It immediately made me so much more excited to read this book, especially if she channeled my favorite Disney heroine (and spoiler alert, she does).
Mariko is a great female character to look up to because no matter what situation she finds herself and she will persist, fight against the odds, learn whatever she can, and never let anyone keep her down. She is such a strong character and it is so empowering to see that in the novel, especially when you don't see that type of character generally in this world.
She masquerades as a peasant boy and is able to fool everyone. I almost immediately fall in love with Mariko as she is curious, intelligent doesn't always know when to stop talking. She is a feisty, strong female character who is not used to being on her own but is intelligent enough to always want to learn and succeed despite the hurdles. We get to know Mariko best and see her grow over the course of the novel.
Her twin brother Kenshin is the brawn to Mariko's brains. He is much more comfortable on a horse or with a weapon in his hand than in conversation with nobles. It is his actions that truly lead her down the path and make her question everything she's ever believed in. Which is so difficult to do because you want to believe in the best of your family until wonder if that's not true, can shake your entire foundation. It's a really authentic feeling in the book and you wonder just as Mariko wonders - could it be true?
Ranmaru and Okami are members of the Black Clan, a band of notorious thieves who may be more than they appear. The two men are like yin and yang, the counterbalances of one another. Ranmaru is an optimist, more talkative and humorous than Okami, who is more serious and hides himself behind a mask.
Renee Ahdieh's beautiful writing extends to the world at large, painting vibrant pictures of cities like Inaka and foreboding ones of the forest where the Black Clan make their home. You are transported into the world with the characters and don't want to leave, even if the situations you're faced with aren't always pleasant.
I fell in love with the story and the characters almost immediately. Flame in the Mist is a wonderful story and I cannot wait to read the next in the series. The book has a satisfying conclusion while also leading you to excitedly anticipate what will happen in the subsequent books. Highly recommended to young adult/teen readers who have enjoyed Renee Ahdieh's previous novels, strong female leads, and beautifully written stories.
Although the story is vastly different from the Wrath and the Dawn, Renée Ahdieh's poetic style of writing comes across just as beautifully in this novel as her previous series. The gorgeous writing is my favourite aspect of the book, followed very closely by the plot, characters, and the world.
I have always been a huge admirer of the Japanese culture and love seeing the (fictional) historical representation of feudal Japan. There aren't a lot of examples of this that I have personally read and truly fallen in love with. This is by far my favorite iteration of that time and I adore the story that accompanies that world.
Mariko is to be wed to one of the Emperor's sons, an act that would bring her family honour and one that she does not wish to partake in. Alas, she is a girl and thus does not get a choice in her future. Halfway to her destination, her litter is attacked and the entire envoy is killed - except Mariko.
This attempt on her life changes everything and leads her on a journey to discover who put a price on her life, to find answers and ensure her family's honour. Mariko knows that a girl cannot accomplish this on her own and takes drastic measures. Her first act is to cut her hair and it gave me such Mulan vibes. It immediately made me so much more excited to read this book, especially if she channeled my favorite Disney heroine (and spoiler alert, she does).
Mariko is a great female character to look up to because no matter what situation she finds herself and she will persist, fight against the odds, learn whatever she can, and never let anyone keep her down. She is such a strong character and it is so empowering to see that in the novel, especially when you don't see that type of character generally in this world.
She masquerades as a peasant boy and is able to fool everyone. I almost immediately fall in love with Mariko as she is curious, intelligent doesn't always know when to stop talking. She is a feisty, strong female character who is not used to being on her own but is intelligent enough to always want to learn and succeed despite the hurdles. We get to know Mariko best and see her grow over the course of the novel.
Her twin brother Kenshin is the brawn to Mariko's brains. He is much more comfortable on a horse or with a weapon in his hand than in conversation with nobles. It is his actions that truly lead her down the path and make her question everything she's ever believed in. Which is so difficult to do because you want to believe in the best of your family until wonder if that's not true, can shake your entire foundation. It's a really authentic feeling in the book and you wonder just as Mariko wonders - could it be true?
Ranmaru and Okami are members of the Black Clan, a band of notorious thieves who may be more than they appear. The two men are like yin and yang, the counterbalances of one another. Ranmaru is an optimist, more talkative and humorous than Okami, who is more serious and hides himself behind a mask.
Renee Ahdieh's beautiful writing extends to the world at large, painting vibrant pictures of cities like Inaka and foreboding ones of the forest where the Black Clan make their home. You are transported into the world with the characters and don't want to leave, even if the situations you're faced with aren't always pleasant.
I fell in love with the story and the characters almost immediately. Flame in the Mist is a wonderful story and I cannot wait to read the next in the series. The book has a satisfying conclusion while also leading you to excitedly anticipate what will happen in the subsequent books. Highly recommended to young adult/teen readers who have enjoyed Renee Ahdieh's previous novels, strong female leads, and beautifully written stories.
Adventure and Redemption
I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
The world is ruled by Silvers, with their shining blood and abilities. The Red have no special powers are seen as lesser. They are relegated to perpetual poverty, while the Silbers live lives of luxury. But what happens when a Red manifests abilities in an arena filled with noble Silvers? They make her a future princess of course, but it's not the fairy tale it sounds like.
Mare is thrust into a world she never wished for and doesn't fit into. She is given no choice but to accept. There is much to learn about her abilities and how to control them. The one demand she made was to ensure the safety and well-being of her family. Her brothers are called home from the war, but not soon enough to save all of them. <spoiler> One was a member of a rebel/revolutionary group and was executed for it. </spoiler> This pushes Mare over the edge and she joins the rebel group, the Scarlet Guard.
It's intriguing to learn what each person has the ability to do. The control over water, manipulation of light, healing, mind-reading and more. But it's very off-putting and juvenile when the author refers to them as greenies or telkies. It sounds more like a two-year-old naming their stuffed bear Brownie or Fluffy than an author giving life to special abilities.
The world is not our own, so it would be nice to learn more about it. Unfortunately, Mare is not very learned and we must view the world through her lens. It would be fascinating to be given a history, geography and culture lesson from Julian in novella form. What does their domain look like? What about the surrounding kingdoms, their rulers, ruling abilities and geography? How did these new borders come to be? (It is mentioned that the borders were not always the way they are currently.) Overall, the world building is pretty good but could be improved (which it does later in the book.) The physical descriptions of the towns the royals pass on their way to the palace late in the story are good and allow the reader to immese themselves in the world more fully.
The princes are, unsurprisingly good people despite the harshness of the King and Queen. <spoiler> Or at least appear to be that way in the beginning, but it does not last. </spoiler> The future love interest(s) must be liked by the reader. Mare herself is harsh and quick-tempered by likable nonetheless. Though she has no choice in her future, she assures her family's well-being and that shows she has a good heart.
Of course, our protagonist catches the attention of not just one but two princes. The older and future King, Cal, wants to be a good ruler so he secretly ventures out in public to learn and experience his people outside the reports of advisors. He even decides to send a group of Silver soldiers to the front line and chooses to lead them. It may win the war, but it could also kill him. The younger, forever shadowed brother Maven believes that Reds and Silvers are equals. He even joins the Scarlet Guard to help propel change and spark a revolution.
Anyone can betray anyone.
The Scarlet Guard secrets Maven and Mare out of a play and transports them to another town just to have a conversation. Clearly the travel and discussion would take a significant amount of time and yet no one wonders where they are. The return trip and the play ending are just completely skipped. It was abrupt and didn't seem well-thought out.
The book ends with betrayal and bloodshed. But it also ends with a promise and the hope that not all is lost. It makes me want to begin the next book immeiate. Highly recommended book to fans of YA novels with good world building and character development that deal with monarchical rule and upheavals as well as people with special abilities.
Mare is thrust into a world she never wished for and doesn't fit into. She is given no choice but to accept. There is much to learn about her abilities and how to control them. The one demand she made was to ensure the safety and well-being of her family. Her brothers are called home from the war, but not soon enough to save all of them. <spoiler> One was a member of a rebel/revolutionary group and was executed for it. </spoiler> This pushes Mare over the edge and she joins the rebel group, the Scarlet Guard.
It's intriguing to learn what each person has the ability to do. The control over water, manipulation of light, healing, mind-reading and more. But it's very off-putting and juvenile when the author refers to them as greenies or telkies. It sounds more like a two-year-old naming their stuffed bear Brownie or Fluffy than an author giving life to special abilities.
The world is not our own, so it would be nice to learn more about it. Unfortunately, Mare is not very learned and we must view the world through her lens. It would be fascinating to be given a history, geography and culture lesson from Julian in novella form. What does their domain look like? What about the surrounding kingdoms, their rulers, ruling abilities and geography? How did these new borders come to be? (It is mentioned that the borders were not always the way they are currently.) Overall, the world building is pretty good but could be improved (which it does later in the book.) The physical descriptions of the towns the royals pass on their way to the palace late in the story are good and allow the reader to immese themselves in the world more fully.
The princes are, unsurprisingly good people despite the harshness of the King and Queen. <spoiler> Or at least appear to be that way in the beginning, but it does not last. </spoiler> The future love interest(s) must be liked by the reader. Mare herself is harsh and quick-tempered by likable nonetheless. Though she has no choice in her future, she assures her family's well-being and that shows she has a good heart.
Of course, our protagonist catches the attention of not just one but two princes. The older and future King, Cal, wants to be a good ruler so he secretly ventures out in public to learn and experience his people outside the reports of advisors. He even decides to send a group of Silver soldiers to the front line and chooses to lead them. It may win the war, but it could also kill him. The younger, forever shadowed brother Maven believes that Reds and Silvers are equals. He even joins the Scarlet Guard to help propel change and spark a revolution.
Anyone can betray anyone.
The Scarlet Guard secrets Maven and Mare out of a play and transports them to another town just to have a conversation. Clearly the travel and discussion would take a significant amount of time and yet no one wonders where they are. The return trip and the play ending are just completely skipped. It was abrupt and didn't seem well-thought out.
The book ends with betrayal and bloodshed. But it also ends with a promise and the hope that not all is lost. It makes me want to begin the next book immeiate. Highly recommended book to fans of YA novels with good world building and character development that deal with monarchical rule and upheavals as well as people with special abilities.
Hazel (1853 KP) rated Red Rising in Books
Dec 7, 2018
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review</i>
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
<i>Red Rising</i> by debut author Pierce Brown is a very difficult book to review. It is clear that Brown is an excellent writer with amazing ideas, but at the same time it does not feel possible to rate the book any higher that two or three stars. This first book of three is somewhat alike <i>The Hunger Games Trilogy</i> by Suzanne Collins and has some very exciting themes. However at other times it provoked a range of emotions from disgust to almost verging on boredom.
Set thousands of years in the future, the world has become colour coded. Gold are the elite, the ruling colour, and at the bottom of the pile are the Reds. Darrow is a Red and lives below the surface of the planet Mars in the mines with the responsibility of helping to make the planet’s surface habitable for humans in the future. He soon discovers that the ruling societies have been lying to him all his life, and to the many generations before him. But there is an uprising brewing and Darrow has been chosen to play a vital role in it, even though that means pretending to be the enemy.
Although it was difficult to get into the novel it appeared to be clear what the plot would be about. Wrong! Once Darrow has been trained to behave like a Gold the storyline changes completely. It is almost as though it is a different book altogether. <i>Red Rising</i> suddenly becomes <i>Hunger Games-esque</i> and the situations with the Reds, while being referred to once or twice, was all but forgotten. Presumably those original themes will continue within the final books of the trilogy.
Living under the surface of Mars with no sunlight speeds up the aging process of the inhabitants. People in the thirties are considered old; therefore even though Darrow is a teenager in Earth years, he is portrayed as a man – an image that is difficult to shake off throughout the entire book. Once Darrow is living with the Golds and, supposedly, resembling his true age, it is still easy to forget that he is young. This may change the way the reader pictures the scenes compared with how the author intended them to be imagined. The characters are still only children but may be mistaken for adults due Darrow’s opening scenes.
It cannot be denied that Brown is a very knowledgeable writer. As well as writing in an exceptionally well-structured way, he incorporates a vast amount of high culture into his story. A lot of the novel is influenced by Greek and Roman mythology and he also quotes famous philosophers such as Cicero and Plato. So despite its science fiction genre it also has a slight educational nature.
Something interesting about <i>Red Rising</i> was the character development of Darrow. At the beginning he was rather naïve, believing everything he was told, following orders etc. But soon he becomes more confident, clever, Gold-like. However he then becomes like a wild beast, killing to survive, to win. Thankfully his cleverness takes control and he realizes that he needs to become a leader and not a tyrant. Towards the end he even becomes messiah-like. As Darrow progresses through these changes he becomes a more likable character.
I am not sure whether I want to read the next installment of <i>Red Rising</i>. For the beginning storyline to continue and become the main focus, the book would need to be completely different. This could be a good thing because, as mentioned, there were times when it was a little boring, however there’s the risk that it will not feel like a follow on from the first book. I do not want to put anyone off from reading it, but I will honestly say that it was not really what I was expecting.
<i>I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth?</i> This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, <i>Gospels</i>. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore <i>Gospels</i> is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled <i>Gospels</i>, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, <i>Gospels</i> is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth?</i> This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, <i>Gospels</i>. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore <i>Gospels</i> is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled <i>Gospels</i>, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, <i>Gospels</i> is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Gareth von Kallenbach (971 KP) rated Miami Vice (2006) in Movies
Aug 14, 2019
In 1984 a show arrived on NBC that instantly became a media sensation and set new standards for television dramas, as well as for music and fashion as it soon became a cultural icon.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
Gareth von Kallenbach (971 KP) rated Mid90s (2018) in Movies
Jul 2, 2019
It doesn’t take much to remember that Jonah Hill (writer and director) had already acted in one of the greatest coming-of-age movies at the age of 24. A cursory glance at Superbad shows it to be a hilarious and quotable movie. But a deeper look at the film reveals the true story. Two high school friends (Hill and Michael Cera) who realize they are drifting apart because of incoming adulthood and that they are powerless to stop it. Keeping that in mind, Hill was quoted during the production of Mid 90s as saying that coming-of-age films are cliché and what he really wanted was to make a skateboarding movie that avoided the 80s “cowabunga” tropes. The result of that focus is Mid 90s.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
Sunny Suljic plays 13-year-old Stevie, a quiet and often confused boy looking to escape his bleak and abusive home life by connecting with a group of local skater kids. While Suljic absolutely steals the show with his superb acting, his (mostly no name) costars deserve massive kudos for this endeavor as well. Lucas Hedges (Manchester by the Sea, Three Billboards outside of Ebbing Missouri) plays Stevie’s abusive older brother Ian. Though he is quickly established in the opening shot as the antagonist, his character arc throughout the film is one of the greatest and you find yourself soon empathetic to his plight nearly as much as Stevie’s. The skater gang is comprised of Ray (Na-kel Smith), Fuckshit (Olan Prenatt), 4th Grade (Ryder McLaughlin) and Ruben (Gio Galicia). These four seem apathetically content to take Stevie under their wing after he begins hanging out at their skate shop. During this time they expose Stevie to a world of drinking, smoking, drugs and sex as well as a complex set of personalities that Stevie struggles to understand but tries desperately to emulate. This reverence begins to lead him down a path that worry not only his mother and brother, but also occasionally members of his new social group. The actors playing his newfound friends all bring a beautiful authenticity to their roles. They certainly aren’t playing “themselves”, but their personalities don’t feel concocted or forced.
The original score for the film was done by Trent Reznor and Atticus Ross as well as a selection of 1990s Hip Hop. And while the original music by Reznor and Ross accents the film perfectly, the 90s throwback songs struggle to do more than remind the viewer of the period and provide the sporadic nostalgia kick. In fact, most of the 90s nostalgia does little to add to the film. Thus, while the opportunity was there to give us a solid examination and social commentary on 1990s culture, Hill seems to fall short of that concept and instead uses the references as a gimmick to tie in smaller plot points.
In addition to the music, there are a few other elements that add to the hipster vintage nature of the film. It was shot entirely on 16mm and is presented in square 1:1 ratio. While this is certainly an unusual choice as more movies are shifted to wide screen formats and square televisions are no longer produced, it pushes the film closer towards the verité genre that is necessary to keep it within the indie style guide.
Mid 90s, along with Eighth Grade have positioned A24 studios in a fantastic place. They’ve demonstrated their willingness to get behind first time writer/directors and the results have been impressive to say the least. If they can remain on this type of pace I could see how the Academy would take notice come awards season.
So despite his view that they are cliché, Jonah Hill has once again created a poignant and powerful coming-of-age movie and he’s managed to wrap it into just enough skateboarding reality to give us the love letter he was hoping to produce. The film is not without its faults, but it’s not one you should miss.
Darren (1599 KP) rated Hook (1991) in Movies
Jul 7, 2019
Director: Steven Spielberg
Writer: James V Hart, Nick Castle, Malia Scotch Marmo (Screenplay) J.M. Barrie (Books)
Starring: Dustin Hoffman, Robin Williams, Julia Roberts, Bob Hoskins, Maggie Smith, Caroline Goodall, Charlie Korsmo, Amber Scott
Plot: When Captain Hook kidnaps his children, an adult Peter Pan must return to Neverland and reclaim his youthful spirit in order to challenge his old enemy.
Tagline – What if Peter Pan grew up?
Runtime: 2 Hours 22 Minutes
There may be spoilers in the rest of the review
Verdict: Fun-Filled Fantasy
Story: Hook starts as we meet businessman Peter Banning (Williams) who has started over working leading to his children become distant, his wife Moira (Goodall) forces him to visit his Granny Wendy (Smith) in London for Christmas, where she sees how much Peter has changed since his childhood of never wanting to grow up.
Captain Hook (Hoffman) takes Peter’s children, which sees Peter needing to be pushed into returning to Neverland, a place he has long forgotten about, with Tinkerbell (Roberts) taking him there only for Hook to be left disappointed by the man Peter has become, Tinkerbell has three days to restore Peter’s faith in Neverland to save his children.
Thoughts on Hook
Characters – Peter Banning is a lawyer that has been neglecting his family, his Grandmother sees him losing his young heart that made her take him in, in the first place, Peter must confront his past to save his children from his old nemesis Captain Hook in Neverland, a place he has long since forgotten about. Peter has become everything he once hated as a child and shows how at times parents can get buried in their work. Captain Hook has been waiting for the day Peter Pan returns, he is left disappointed when he does return a shell of the boy that left, giving him three days to prepare for a battle, while having his own plan to get revenge on Peter. Tinkerbell comes to Peter to bring him back to Neverland, she helps transform him back to his original self, while showing him what he is still fighting for.
Performances – Robin Williams was a great choice for this role, he gets to manages the serious adult side of everything as well as the playful side of Peter Pan with ease being able to swap between the two whenever he needs to. Dustin Hoffman as the villainous Hook has great enjoyment in this role where he does get to play along with his character. Julia Roberts does all she needs to do without being as involved as the lead too.
Story – The story follows an older Peter Pan that must return to Neverland to save his own children after his old nemesis Captain Hook takes them there. This spin on the Peter Pan story is a wonderful on because see Peter grown up becoming everything he promised he wouldn’t shows us just how difficult being an adult can be, you will turn your back on parts of your childhood become what you once feared. This was always the meaning behind Peter Pan in the first place, finding an escape from the busy lives, now an adult must use this to save his own relationship with his children and family, which is what is important in life.
Adventure/Comedy/Fantasy – The adventure side of the film takes Peter to Neverland to relive moments of his childhood in a fantasy battle against pirates with fairies on their side. We do get elements of comedy, but even Robin Williams is held back from going into his full routine like we saw in Aladdin.
Settings – The film uses the same settings that we know from Peter Pan, the London setting might well be a more modern one, but Neverland hasn’t aged a day since Peter has left.
Scene of the Movie – The battle.
That Moment That Annoyed Me – Pop culture references.
Final Thoughts – This is a magical version of Peter Pan’s adventures showing how life can change for adults who never thought they would be when they were children.
Overall: Magical adventure.
Rating
Writer: James V Hart, Nick Castle, Malia Scotch Marmo (Screenplay) J.M. Barrie (Books)
Starring: Dustin Hoffman, Robin Williams, Julia Roberts, Bob Hoskins, Maggie Smith, Caroline Goodall, Charlie Korsmo, Amber Scott
Plot: When Captain Hook kidnaps his children, an adult Peter Pan must return to Neverland and reclaim his youthful spirit in order to challenge his old enemy.
Tagline – What if Peter Pan grew up?
Runtime: 2 Hours 22 Minutes
There may be spoilers in the rest of the review
Verdict: Fun-Filled Fantasy
Story: Hook starts as we meet businessman Peter Banning (Williams) who has started over working leading to his children become distant, his wife Moira (Goodall) forces him to visit his Granny Wendy (Smith) in London for Christmas, where she sees how much Peter has changed since his childhood of never wanting to grow up.
Captain Hook (Hoffman) takes Peter’s children, which sees Peter needing to be pushed into returning to Neverland, a place he has long forgotten about, with Tinkerbell (Roberts) taking him there only for Hook to be left disappointed by the man Peter has become, Tinkerbell has three days to restore Peter’s faith in Neverland to save his children.
Thoughts on Hook
Characters – Peter Banning is a lawyer that has been neglecting his family, his Grandmother sees him losing his young heart that made her take him in, in the first place, Peter must confront his past to save his children from his old nemesis Captain Hook in Neverland, a place he has long since forgotten about. Peter has become everything he once hated as a child and shows how at times parents can get buried in their work. Captain Hook has been waiting for the day Peter Pan returns, he is left disappointed when he does return a shell of the boy that left, giving him three days to prepare for a battle, while having his own plan to get revenge on Peter. Tinkerbell comes to Peter to bring him back to Neverland, she helps transform him back to his original self, while showing him what he is still fighting for.
Performances – Robin Williams was a great choice for this role, he gets to manages the serious adult side of everything as well as the playful side of Peter Pan with ease being able to swap between the two whenever he needs to. Dustin Hoffman as the villainous Hook has great enjoyment in this role where he does get to play along with his character. Julia Roberts does all she needs to do without being as involved as the lead too.
Story – The story follows an older Peter Pan that must return to Neverland to save his own children after his old nemesis Captain Hook takes them there. This spin on the Peter Pan story is a wonderful on because see Peter grown up becoming everything he promised he wouldn’t shows us just how difficult being an adult can be, you will turn your back on parts of your childhood become what you once feared. This was always the meaning behind Peter Pan in the first place, finding an escape from the busy lives, now an adult must use this to save his own relationship with his children and family, which is what is important in life.
Adventure/Comedy/Fantasy – The adventure side of the film takes Peter to Neverland to relive moments of his childhood in a fantasy battle against pirates with fairies on their side. We do get elements of comedy, but even Robin Williams is held back from going into his full routine like we saw in Aladdin.
Settings – The film uses the same settings that we know from Peter Pan, the London setting might well be a more modern one, but Neverland hasn’t aged a day since Peter has left.
Scene of the Movie – The battle.
That Moment That Annoyed Me – Pop culture references.
Final Thoughts – This is a magical version of Peter Pan’s adventures showing how life can change for adults who never thought they would be when they were children.
Overall: Magical adventure.
Rating
Bob Mann (459 KP) rated Bombshell (2019) in Movies
Jan 26, 2020
Power-house female lead roles, times 3. (1 more)
John Lithgow (who should have got a supporting actor nom)
Sleazy old Fox.
This is a curious one. I wonder whether the audience reaction to this one will polarize along gender lines as it did for my wife and I? For I thought this one was "good, but nothing special"... but the illustrious Mrs Movie Man thought it was excellent and would be "memorable".
The movie is based on the true story of the first "Me Too" case against a prominent man in power. Before Harvey Weinstein (allegedly!) there was Roger Ailes (John Lithgow), CEO of the Fox Network. Under the shadowy gaze of the Murdoch brothers (Ben Lawson and Josh Lawson), Ailes rules Fox with a rod of iron. Unfortunately, it's Ailes' - ahem - 'rod of iron' that is part of the problem.
Three women are at the centre of the drama. Megyn Kelly (Charlize Theron) is a leading anchorwoman, fighting her own battles in a man's world. She is currently in trouble with 50% of the US population for taking a firm stand on-screen against Trump's treatment of women; Gretchen Carlson (Nicole Kidman) is a broadcaster approaching her 50's and being shunted progressively towards the door, via afternoon shows, in favour of 'younger models'; Kayla Pospisil (Margot Robbie) is a keen new-starter, ambitious and keen as mustard to impress her bosses, including Ailes.
The three women seldom interact (a scene in a lift is a study in awkwardness) but are all on different stages of the same journey.
I clearly saw a review which referenced the movie as being "Adam McKay-like" since I went in assuming that McKay ("Vice", "The Big Short") was the director of this one. For that reason, I was puzzled. Yes, there were occasions where the actors broke the 4th wall; and there were little visual tricks (a burned in Fox logo for example) that entertained. But it wasn't the close-to-the-edge roller-coaster of innovation that I have come to expect from a McKay film.
When the titles rolled, it was an "Aha" moment! Actually, the director is the Austin Powers director Jay Roach. Not that he hasn't done drama as well: he did the Bryan Cranston vehicle "Trumbo" a few years back. And another MacKay link is the writer: the screenplay is by Charles Randolph, the writer of "The Big Short".
The leading ladies in this really are leading, with Charlize Theron picking up a well-deserved Best Actress Oscar nomination and Margot Robbie getting the Best Supporting nom. Theron is brilliant in everything she does, and here she is chameleon-like in disappearing into her character. I wasn't as sure about Robbie early in the film, but an excruciating "twirl" for Ailes is brilliantly done and an emotional scene during a date is Oscar-reel worthy.
Great supporting turns come from "The West Wing's" Allison Janney and from Kate McKinnon. McKinnon was the most annoying thing in "Yesterday", as the brash US agent, but here she is effective as the lesbian friend of Kayla.
Holding up the male end (as it were) is a fantastic performance from John Lithgow (surprisingly overlooked during the awards season) and Malcolm McDowell delivering an uncanny Rupert Murdoch.
Overall, the "Me Too" movement has created an earthquake in popular culture. Many more movies featuring strong female leads have appeared in the last few years, and that's great. This is a reminder of the time before that, when men openly used their power to force unwanted sex on employees. And its horrifying and disconcerting to watch.
And it was a good movie. But it just wasn't a "wow" movie for me. A female audience will by definition have more experience of this than a male one. Perhaps there is a sense of 'collective guilt' that we blokes need to work through. And perhaps that's a subconscious reason why I didn't 100% engage with the film. (Though I'd like to make it perfectly clear that I don't have any skeletons in that particular closet!)
(For the graphical review, please check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/01/24/one-manns-movies-film-review-bombshell-2020/).
The movie is based on the true story of the first "Me Too" case against a prominent man in power. Before Harvey Weinstein (allegedly!) there was Roger Ailes (John Lithgow), CEO of the Fox Network. Under the shadowy gaze of the Murdoch brothers (Ben Lawson and Josh Lawson), Ailes rules Fox with a rod of iron. Unfortunately, it's Ailes' - ahem - 'rod of iron' that is part of the problem.
Three women are at the centre of the drama. Megyn Kelly (Charlize Theron) is a leading anchorwoman, fighting her own battles in a man's world. She is currently in trouble with 50% of the US population for taking a firm stand on-screen against Trump's treatment of women; Gretchen Carlson (Nicole Kidman) is a broadcaster approaching her 50's and being shunted progressively towards the door, via afternoon shows, in favour of 'younger models'; Kayla Pospisil (Margot Robbie) is a keen new-starter, ambitious and keen as mustard to impress her bosses, including Ailes.
The three women seldom interact (a scene in a lift is a study in awkwardness) but are all on different stages of the same journey.
I clearly saw a review which referenced the movie as being "Adam McKay-like" since I went in assuming that McKay ("Vice", "The Big Short") was the director of this one. For that reason, I was puzzled. Yes, there were occasions where the actors broke the 4th wall; and there were little visual tricks (a burned in Fox logo for example) that entertained. But it wasn't the close-to-the-edge roller-coaster of innovation that I have come to expect from a McKay film.
When the titles rolled, it was an "Aha" moment! Actually, the director is the Austin Powers director Jay Roach. Not that he hasn't done drama as well: he did the Bryan Cranston vehicle "Trumbo" a few years back. And another MacKay link is the writer: the screenplay is by Charles Randolph, the writer of "The Big Short".
The leading ladies in this really are leading, with Charlize Theron picking up a well-deserved Best Actress Oscar nomination and Margot Robbie getting the Best Supporting nom. Theron is brilliant in everything she does, and here she is chameleon-like in disappearing into her character. I wasn't as sure about Robbie early in the film, but an excruciating "twirl" for Ailes is brilliantly done and an emotional scene during a date is Oscar-reel worthy.
Great supporting turns come from "The West Wing's" Allison Janney and from Kate McKinnon. McKinnon was the most annoying thing in "Yesterday", as the brash US agent, but here she is effective as the lesbian friend of Kayla.
Holding up the male end (as it were) is a fantastic performance from John Lithgow (surprisingly overlooked during the awards season) and Malcolm McDowell delivering an uncanny Rupert Murdoch.
Overall, the "Me Too" movement has created an earthquake in popular culture. Many more movies featuring strong female leads have appeared in the last few years, and that's great. This is a reminder of the time before that, when men openly used their power to force unwanted sex on employees. And its horrifying and disconcerting to watch.
And it was a good movie. But it just wasn't a "wow" movie for me. A female audience will by definition have more experience of this than a male one. Perhaps there is a sense of 'collective guilt' that we blokes need to work through. And perhaps that's a subconscious reason why I didn't 100% engage with the film. (Though I'd like to make it perfectly clear that I don't have any skeletons in that particular closet!)
(For the graphical review, please check out the review on One Mann's Movies here - https://bob-the-movie-man.com/2020/01/24/one-manns-movies-film-review-bombshell-2020/).
