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Darren (1599 KP) rated The Accountant (2016) in Movies
Jun 20, 2019
Story: The Accountant starts as we see Christian Wolff at a young age struggling to deal with autism but with the correct tuition Christian (Affleck) has turned his math savant skills to help small town people manage their accounts. He is distant from people but always helps those who need it.
On the other side of the story we meet head of the treasury department Ray King (Simmons) who blackmails a young agent Marybeth Medina (Addai-Robinson) into investigating this mysterious accountant that has been working with the biggest names on the terrorists list, that accountant is Christian under an alter-ego.
Christian’s latest accountancy job is sorting 15 years of accounts for Lamar Black (Lithgow) Living Robotics company that have been working on defence contracts. While Christian gets on with his latest job we see how Brax (Bernthal) goes about cleaning up other questionable actions from the bankers. While Christian must deal with the junior accountant Dana Cummings (Kendrick) being too talkative for his own liking.
As the story continues to unfold we continue to learn just how dangerous Christian really is and what his bigger plan is. As Brax cleans up what Christian discovers his desperate need for completion explodes but what he discovers could expose the fraud going on.
The Accountant is one of the most complete action thrillers of recent years. The story does borrow elements from recent ideas with myself seeing a mix of John Wick and Dexter going on throughout. Where this story stand head and shoulders above most other films is the way the whole story gets completed. Another huge plus point for this film is that every character gets a full development and we see their story arc go full circle.
Ben Affleck gives a brilliant performance in this leading role where we get to see him have the full emotionless character that is intense to level most action character could only wish for. Jon Bernthal continues to shine through supporting roles in films after his time on television. J.K. Simmons and Cynthia Addai-Robinson work excellently together again with a perfect story arc to their character. The only negative in this film I found was the character Dana just feels added to the story while this doesn’t mean Kendrick is bad it was the character didn’t quite fit the full story.
This is easily one of the films of the year that I can fully expect everyone to enjoy and even at over two hours long you barely notice the time being used in this film.
Overall: Brutal action, story with heart and perfect story telling throughout.
https://moviesreview101.com/2016/12/12/the-accountant-2016/
On the other side of the story we meet head of the treasury department Ray King (Simmons) who blackmails a young agent Marybeth Medina (Addai-Robinson) into investigating this mysterious accountant that has been working with the biggest names on the terrorists list, that accountant is Christian under an alter-ego.
Christian’s latest accountancy job is sorting 15 years of accounts for Lamar Black (Lithgow) Living Robotics company that have been working on defence contracts. While Christian gets on with his latest job we see how Brax (Bernthal) goes about cleaning up other questionable actions from the bankers. While Christian must deal with the junior accountant Dana Cummings (Kendrick) being too talkative for his own liking.
As the story continues to unfold we continue to learn just how dangerous Christian really is and what his bigger plan is. As Brax cleans up what Christian discovers his desperate need for completion explodes but what he discovers could expose the fraud going on.
The Accountant is one of the most complete action thrillers of recent years. The story does borrow elements from recent ideas with myself seeing a mix of John Wick and Dexter going on throughout. Where this story stand head and shoulders above most other films is the way the whole story gets completed. Another huge plus point for this film is that every character gets a full development and we see their story arc go full circle.
Ben Affleck gives a brilliant performance in this leading role where we get to see him have the full emotionless character that is intense to level most action character could only wish for. Jon Bernthal continues to shine through supporting roles in films after his time on television. J.K. Simmons and Cynthia Addai-Robinson work excellently together again with a perfect story arc to their character. The only negative in this film I found was the character Dana just feels added to the story while this doesn’t mean Kendrick is bad it was the character didn’t quite fit the full story.
This is easily one of the films of the year that I can fully expect everyone to enjoy and even at over two hours long you barely notice the time being used in this film.
Overall: Brutal action, story with heart and perfect story telling throughout.
https://moviesreview101.com/2016/12/12/the-accountant-2016/
Hazel (1853 KP) rated Videodrome: Days of O'Blivion in Books
Dec 17, 2018
<i>I received this book from the author in exchange for an honest review</i>
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Gareth von Kallenbach (980 KP) rated The Bourne Ultimatum (2007) in Movies
Aug 14, 2019
When last audiences left Jason Bourne (Matt Damon), he had just exposed a coverup and in doing so, extacted revenge upon those who killed his girlfriend and hunted him. In the new thriller “The Bourne Ultimatum”, Bourne is back in a big way, as he becomes unwittingly entangled in a international manhunt, when a reporter gets to close to the truth of a top secret program.
With most of his memory still missing, Boune travels to London to seek out the reporter, in an effort to learn what he knows, hoping it will lead him to the answers he seeks. Things take a turn for the worse when Bourne is discovered, by the powers that created him who are convinced that he is a danger to the program, and may expose everything he knows to the media. Unwilling to take that chance, Bourne is targeted for elimination which sets into motion a frantic series of events that spans seven cities around the world.
Tasked with locating Bourne is Pamela Landy (Joan Allen), who while dedicated to her task, is convinced that Bourne is simply caught up in the mix, and wants nothing more than to get on with his life.
Bourne in the course of tracking the source of the leak eventually meets up with Nicky Parsons (Julia Stiles), who not only gets Bourne up to speed, but helps him attempt to locate her boss, as he may very well be the source of the information leak and the key to unlocking Bourne’s missing memories.
Between daring action scenes, intrigue, and solid Drama, Bourne begins to unravel the puzzle as he attempts to solve the mystery and stay alive from the myriad of threats that target his every move.
This Bourne is solid and fits very well into the framework of the past two films. Damon has never been stronger his signature role and is able to convincingly transition from action sequences to the dramatic elements the story requires adroitly while never losing his connection with the audience. Bourne while dangerous is in many ways a victim, who simply wants to know the truth, and is easy for the audience to support.
There are numerous action and chase sequences that combine brutality and fluidity in a amazing combination. This is not a CGI fest, this is flesh and bone, metal and glass combining to create one of the best action dramas ever to grace the screen.
The film is well paced and never overstays its welcome thanks to a plot that is intelligent yet not overly complicated.
In a summer of sequels that have mainly not lived up to expectations, Bourne is a film that delivers.
With most of his memory still missing, Boune travels to London to seek out the reporter, in an effort to learn what he knows, hoping it will lead him to the answers he seeks. Things take a turn for the worse when Bourne is discovered, by the powers that created him who are convinced that he is a danger to the program, and may expose everything he knows to the media. Unwilling to take that chance, Bourne is targeted for elimination which sets into motion a frantic series of events that spans seven cities around the world.
Tasked with locating Bourne is Pamela Landy (Joan Allen), who while dedicated to her task, is convinced that Bourne is simply caught up in the mix, and wants nothing more than to get on with his life.
Bourne in the course of tracking the source of the leak eventually meets up with Nicky Parsons (Julia Stiles), who not only gets Bourne up to speed, but helps him attempt to locate her boss, as he may very well be the source of the information leak and the key to unlocking Bourne’s missing memories.
Between daring action scenes, intrigue, and solid Drama, Bourne begins to unravel the puzzle as he attempts to solve the mystery and stay alive from the myriad of threats that target his every move.
This Bourne is solid and fits very well into the framework of the past two films. Damon has never been stronger his signature role and is able to convincingly transition from action sequences to the dramatic elements the story requires adroitly while never losing his connection with the audience. Bourne while dangerous is in many ways a victim, who simply wants to know the truth, and is easy for the audience to support.
There are numerous action and chase sequences that combine brutality and fluidity in a amazing combination. This is not a CGI fest, this is flesh and bone, metal and glass combining to create one of the best action dramas ever to grace the screen.
The film is well paced and never overstays its welcome thanks to a plot that is intelligent yet not overly complicated.
In a summer of sequels that have mainly not lived up to expectations, Bourne is a film that delivers.
Andy K (10821 KP) rated Altered States (1980) in Movies
Oct 26, 2019
Dr. Eddie Jessup is conducting some interesting research using a deprivation chamber. His goal is to better understand the human mind and maybe the psychology of schizophrenia or how the deep unconscious works. He meets a smart female mind and the two have a whirlwind romance which distracts from his research a bit.
He does manage to make a trip to Mexico where he hears about a tribe using a hallucinatory drug which causes some of the same effects he experienced while submerged in his isolation tank back home so he decides to try it. He has massive hallucinations, loses control of his actions and even gives in to his more primal instincts and devours a sheep. When he wakes he only remember bits and pieces of his actions, but is convinced this is the correct road for his research.
Back in the US, he decides to combine both elements of his research including use of the drug and the chamber at the same time to see the results. The results of the combination are not only dangerous to Eddie's psyche and soul, but to his physical human body as well. He performs an unsupervised deprivation experience on his own and experiences an evolution regression back to a primitive homo sapien state which is now loose in the basement of his lab and has to be stopped.
Eddie ultimately has to decide if his estranged family or his research is more important to him and if now it is too late to have them both.
Famed, provocative British director Ken Russell takes on the task of bringing this interesting, colorful and wild film to life. He already had a reputation of helming controversial films like The Devils and Tommy, so maybe this film was a step down from those.
The psychedelic hallucination sequences Eddie experiences while on the drug or in the chamber were so unique, shocking and visceral they were intense but hard to look away from. Images were being edited at such a pace your mind races as you watch them. Eddie's personal journey as a doctor and student of the human mind are fascinating to watch as he struggles with his relationship with his wife and kids at the same time. As he continues his research, he wants to understand what is happening to him, but doesn't want to be inhibited but others' desires.
William Hurt and Blair Brown have good chemistry when together onscreen and you feel her concern as she feels she is losing the man she loves to something she doesn't understand. They both field infidelity in their marriage as he tries to fill the empty space of commitment and she tries in vain to replace with others the man she truly loves.
He does manage to make a trip to Mexico where he hears about a tribe using a hallucinatory drug which causes some of the same effects he experienced while submerged in his isolation tank back home so he decides to try it. He has massive hallucinations, loses control of his actions and even gives in to his more primal instincts and devours a sheep. When he wakes he only remember bits and pieces of his actions, but is convinced this is the correct road for his research.
Back in the US, he decides to combine both elements of his research including use of the drug and the chamber at the same time to see the results. The results of the combination are not only dangerous to Eddie's psyche and soul, but to his physical human body as well. He performs an unsupervised deprivation experience on his own and experiences an evolution regression back to a primitive homo sapien state which is now loose in the basement of his lab and has to be stopped.
Eddie ultimately has to decide if his estranged family or his research is more important to him and if now it is too late to have them both.
Famed, provocative British director Ken Russell takes on the task of bringing this interesting, colorful and wild film to life. He already had a reputation of helming controversial films like The Devils and Tommy, so maybe this film was a step down from those.
The psychedelic hallucination sequences Eddie experiences while on the drug or in the chamber were so unique, shocking and visceral they were intense but hard to look away from. Images were being edited at such a pace your mind races as you watch them. Eddie's personal journey as a doctor and student of the human mind are fascinating to watch as he struggles with his relationship with his wife and kids at the same time. As he continues his research, he wants to understand what is happening to him, but doesn't want to be inhibited but others' desires.
William Hurt and Blair Brown have good chemistry when together onscreen and you feel her concern as she feels she is losing the man she loves to something she doesn't understand. They both field infidelity in their marriage as he tries to fill the empty space of commitment and she tries in vain to replace with others the man she truly loves.
Gareth von Kallenbach (980 KP) rated Maleficent: Mistress of Evil (2019) in Movies
Oct 15, 2019
In “Maleficent: Mistress of Evil”; Angelina Jolie returns as the title character to the smash Live-Action film based on the classic Fairy Tale and Animated film.
In the years since the last film ended; Aurora (Elle Fanning) has relished in her role as Princess over the Moors and all of the enchanted creatures that live within it. When she accepts a proposal from Prince Phillip (Harris Dickinson), this sets off a chain of celebratory events as they all prepare for the big day which will unite the two lands.
Phillip’s parents King John (Robert Lindsay) and Queen Ingrith (Michelle Pfeiffer) are eager for the union while Maleficent strongly opposes it and tells Aurora that there will be no wedding. When Aurora persists; Maleficent reluctantly accepts an invitation to dinner at the Castle where things soon go horribly wrong and Maleficent is accused of putting a curse on the King.
Injured while fleeing, Maleficent is wounded and takin in by others of her kind who are preparing for war against the humans as a dark and dangerous plan is underway and the survival of the enchanted creatures is threatened.
The film then becomes a tense adventure with plenty of action, magic, and fantasy which is a nice framework for the great visual effects of the film.
I had been concerned that the film might be too dark for the usual audience for this type of film and there are moments where my concerns are validated. However there is much more charm, fantasy and wonder in the film and if anyone has ever read the original Grimm Fairy Tales; they will know that this is considerably toned down compared to what they offered.
The film has some great visuals to it but they never overshadow the characters in the film as Jolie seems to be taking gleeful delight in playing the title character but allows herself to have some fun with the character at times which helps her emerge as a well-rounded character versus being a staple Fairy Tale Villain.
The film may take a bit of time getting up to the main events but it does so to give more time for the characters to develop which helps them stand out from the usual good/bad monikers given to many fantasy characters.
The supporting cast is solid especially the performances by Pfeiffer and Chiwetel Ejiofor who add much to the complexity of the film and also invoke many themes of discussion that mirrors what is happening in much of society today.
In the end the film delivers a strong performance by Jolie and plenty of magic to make this a modern Fairy Tale Disney classic in the making.
3.5 stars out of 5.
In the years since the last film ended; Aurora (Elle Fanning) has relished in her role as Princess over the Moors and all of the enchanted creatures that live within it. When she accepts a proposal from Prince Phillip (Harris Dickinson), this sets off a chain of celebratory events as they all prepare for the big day which will unite the two lands.
Phillip’s parents King John (Robert Lindsay) and Queen Ingrith (Michelle Pfeiffer) are eager for the union while Maleficent strongly opposes it and tells Aurora that there will be no wedding. When Aurora persists; Maleficent reluctantly accepts an invitation to dinner at the Castle where things soon go horribly wrong and Maleficent is accused of putting a curse on the King.
Injured while fleeing, Maleficent is wounded and takin in by others of her kind who are preparing for war against the humans as a dark and dangerous plan is underway and the survival of the enchanted creatures is threatened.
The film then becomes a tense adventure with plenty of action, magic, and fantasy which is a nice framework for the great visual effects of the film.
I had been concerned that the film might be too dark for the usual audience for this type of film and there are moments where my concerns are validated. However there is much more charm, fantasy and wonder in the film and if anyone has ever read the original Grimm Fairy Tales; they will know that this is considerably toned down compared to what they offered.
The film has some great visuals to it but they never overshadow the characters in the film as Jolie seems to be taking gleeful delight in playing the title character but allows herself to have some fun with the character at times which helps her emerge as a well-rounded character versus being a staple Fairy Tale Villain.
The film may take a bit of time getting up to the main events but it does so to give more time for the characters to develop which helps them stand out from the usual good/bad monikers given to many fantasy characters.
The supporting cast is solid especially the performances by Pfeiffer and Chiwetel Ejiofor who add much to the complexity of the film and also invoke many themes of discussion that mirrors what is happening in much of society today.
In the end the film delivers a strong performance by Jolie and plenty of magic to make this a modern Fairy Tale Disney classic in the making.
3.5 stars out of 5.
The Craggus (360 KP) rated The Queens Corgi (2019) in Movies
Jul 8, 2019
The Queen's Corgi is a vicious mongrel
There’re so many problematic aspects to “The Queen’s Corgi” it’s kind of baffling it ever made it to cinema screens. A cute cartoon fable about the Queen’s beloved pets may seem like a slam-dunk for the Saturday kid’s club crowd and, if you’re determined to see it, it’s definitely worth waiting for it to reach the bargain screening circuit. Nobody should pay full price to see this.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
At its core, it’s a story of Rex (Jack Whitehall), an adorable but arrogant Corgi who lets being the ‘top dog’ go to his head and ends up in the doghouse, stranded outside the Palace and at the mercy of the ferocious leader of the pack at the local dog pound. So far, so predictable.
Where “The Queen’s Corgi” surprises is in its decision to include in cutesy cartoon the divisive figure of President Trump and his current wife, especially as it involves the real-life self-confessed sexual predator in a sub-plot about mating his (fictional) Corgi with one of the Queen’s pets, a storyline rife with casual coercion and canine sexual assault. From that tawdry and uncomfortable opening, we progress onwards to the meat of the plot which sees Rex encounter an underground dogfighting ring operating at the Pound.
Add in a couple of pretty scary sequences involving nearly getting run over, a surprisingly graphic near-drowning and an attempted murder by arson and you start to understand why this European production has been rated PG when its subject should be an easy-U. It earns it.
Some of this will, of course, pass over the heads of younger children, at least on a conscious level, but there’s such a nasty undertone to the whole movie that you should be thinking twice about seeing it. To UK children, of course, Donald Trump is something of a distant, already cartoonish figure, possibly a bit of a bogeyman but the casual humanisation and normalising of a figure like Trump is a dangerous and slippery slope (as Jimmy Kimmel can attest to) and sets an unpleasant precedent for future ‘family entertainment’. The fact that it pokes fun at him up to and including him getting bitten in the dick by a Corgi doesn’t mitigate his appearance, it just makes it more inappropriate.
I’m genuinely surprised this has been allowed to pass without comment from the Royal Household but perhaps they hope it will quickly fade into obscurity, even though this would benefit from a more activist Royal prerogative – this is one movie that should be sent to The Tower for the rest of its life.
Phil Leader (619 KP) rated Shadow (Pendulum #2) in Books
Nov 25, 2019
Shadow is the second book in the Pendulum series of novels by Will Elliott. Following on immediately from the first book, The Pilgrims (reviewed previously) it follows the adventures of Eric, a regular guy who ends up in the mysterious and dangerious world of Levaal.
Taking up the story where the predecessor left off, this is a book of regrouping and answers. Following the destruction of the wall between the two halves of Levaal seemingly unstoppable forces are unleashed. The pendulum has started to swing - and signals the end of life on Levaal if it is not stopped.
This book is one of regrouping and answers. The various players were scattered at the end of the first book and now some of them arrive at the same destination. We also have answers to a number of questions from the first book, which given how many questions there were really is a considerable relief. Mysterious protagonists with opaque drives are all very well (and probably required these days to raise any story above the rest) but it is really good to see that Elliott really does know what is going on (even if as a reader it still not entirely clear). The description of how magic works was particularly good, and as with the first book this is a really strong point in the creation of the mythology here.
Most of the characters are the same faces, but there are a few new ones. Most notably Shadow who is referred to a couple of times in the first book (mostly in terms of Eric potentially being Shadow). The title character appears here as a main character and drives most of the plot. Clearly a being of power, the back story of where Shadow came from and why is also touched on. The great dragons who apparently rule the world also take a more direct hand and are as devious and manipulative as expected.
Meanwhile the Arch Mage is losing control of Vous as he nears godhood and the unpredictable destruction wrought by Vous is creating a dangerous instability as the forces representing the Castle fragment into their own factions, each with their own agenda,
The writing continues to be strong, the story moves again at some pace although inevitably there is a lot more talking and exposition as the nature of the threats are explained. Elliott's inventiveness is not diminished with more odd characters and situations and locations at every turn.
Although light on actual plot, this book is clearly required as a bridge between the first book and the third, giving the reader enough information to understand exactly what is going on before what is shaping up to be a strong and no doubt surprising finale.
Taking up the story where the predecessor left off, this is a book of regrouping and answers. Following the destruction of the wall between the two halves of Levaal seemingly unstoppable forces are unleashed. The pendulum has started to swing - and signals the end of life on Levaal if it is not stopped.
This book is one of regrouping and answers. The various players were scattered at the end of the first book and now some of them arrive at the same destination. We also have answers to a number of questions from the first book, which given how many questions there were really is a considerable relief. Mysterious protagonists with opaque drives are all very well (and probably required these days to raise any story above the rest) but it is really good to see that Elliott really does know what is going on (even if as a reader it still not entirely clear). The description of how magic works was particularly good, and as with the first book this is a really strong point in the creation of the mythology here.
Most of the characters are the same faces, but there are a few new ones. Most notably Shadow who is referred to a couple of times in the first book (mostly in terms of Eric potentially being Shadow). The title character appears here as a main character and drives most of the plot. Clearly a being of power, the back story of where Shadow came from and why is also touched on. The great dragons who apparently rule the world also take a more direct hand and are as devious and manipulative as expected.
Meanwhile the Arch Mage is losing control of Vous as he nears godhood and the unpredictable destruction wrought by Vous is creating a dangerous instability as the forces representing the Castle fragment into their own factions, each with their own agenda,
The writing continues to be strong, the story moves again at some pace although inevitably there is a lot more talking and exposition as the nature of the threats are explained. Elliott's inventiveness is not diminished with more odd characters and situations and locations at every turn.
Although light on actual plot, this book is clearly required as a bridge between the first book and the third, giving the reader enough information to understand exactly what is going on before what is shaping up to be a strong and no doubt surprising finale.
Sophia (Bookwyrming Thoughts) (530 KP) rated Shadow and Bone (The Grisha #1) in Books
Jan 23, 2020
<i>Shadow and Bone</i> could have been better – a lot better.
What annoyed me: Alina Starkov.
There is this thing about characters: there are lots of different types – the desperate ones, the annoying ones, the mopey ones, the overly happy ones, the sassy ones, etc.
Alina is the mopey one for – wait for it – a whopping half of the book. It takes her literally <i>half</i> of the book to realize that maybe she should stop being so mopey over Mal, or stop being so insecure about herself and comparing herself to a Grisha of what? Ten plus years? Really, it almost stalls the book as the character tries to get her bearings and a love triangle developing (I've pretty much decided if one couple happens, I'll have a field day.).
<blockquote>I didn't belong in this beautiful world, and if I didn't find a way to use my power, I never would.</blockquote>
She's also the desperate one – a very dangerous combination to put with mopey. Certainly not as desperate as <i>Eon(a)</i>, as Alina doesn't resort to doing anything stupid or harmful to herself. She's more of the, "I can't do this, I can't fit in with the others, why am I doing this, etc." type of person rather than, "Hey! Here's how I can fit in and be more manly: pump myself up with sun drugs!" (Admit it – that was totally Eona in <i>Eon</i>. Alina doesn't dress up as a guy to be a Grisha in <i>Shadow and Bone</i> if anyone's wondering. That would certainly be a fun plot twist to see though!)
What actually kept me reading, aka what kept me from throwing my arms up in exasperation: the idea and the setting.
Based off Imperial Russia, Bardugo's depiction of Ravka seems magical – the Grisha and the Shadow Fold seem to fit in nicely into the story without many hiccups if there's even any.
The Grisha idea is pure genius – no guide needed, even though it took me awhile (okay, 30 pages) to actually figure out how to tell which Grisha from Grisha (in common, sensible terms that I understand). As much as it may sound really complicated, it's actually pretty simple.
The first in the <i>Grisha</i> trilogy has a fantastic idea set in a mystical version of Russia, but it really could have done better (I'm probably sounding like a broken record now). With the fear of the sequel being worse than the first one (or any terrifying possibility), I'm almost afraid to pick up the second book.
<a href="https://bookwyrmingthoughts.com/review-shadow-and-bone-by-leigh-bardugo/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
What annoyed me: Alina Starkov.
There is this thing about characters: there are lots of different types – the desperate ones, the annoying ones, the mopey ones, the overly happy ones, the sassy ones, etc.
Alina is the mopey one for – wait for it – a whopping half of the book. It takes her literally <i>half</i> of the book to realize that maybe she should stop being so mopey over Mal, or stop being so insecure about herself and comparing herself to a Grisha of what? Ten plus years? Really, it almost stalls the book as the character tries to get her bearings and a love triangle developing (I've pretty much decided if one couple happens, I'll have a field day.).
<blockquote>I didn't belong in this beautiful world, and if I didn't find a way to use my power, I never would.</blockquote>
She's also the desperate one – a very dangerous combination to put with mopey. Certainly not as desperate as <i>Eon(a)</i>, as Alina doesn't resort to doing anything stupid or harmful to herself. She's more of the, "I can't do this, I can't fit in with the others, why am I doing this, etc." type of person rather than, "Hey! Here's how I can fit in and be more manly: pump myself up with sun drugs!" (Admit it – that was totally Eona in <i>Eon</i>. Alina doesn't dress up as a guy to be a Grisha in <i>Shadow and Bone</i> if anyone's wondering. That would certainly be a fun plot twist to see though!)
What actually kept me reading, aka what kept me from throwing my arms up in exasperation: the idea and the setting.
Based off Imperial Russia, Bardugo's depiction of Ravka seems magical – the Grisha and the Shadow Fold seem to fit in nicely into the story without many hiccups if there's even any.
The Grisha idea is pure genius – no guide needed, even though it took me awhile (okay, 30 pages) to actually figure out how to tell which Grisha from Grisha (in common, sensible terms that I understand). As much as it may sound really complicated, it's actually pretty simple.
The first in the <i>Grisha</i> trilogy has a fantastic idea set in a mystical version of Russia, but it really could have done better (I'm probably sounding like a broken record now). With the fear of the sequel being worse than the first one (or any terrifying possibility), I'm almost afraid to pick up the second book.
<a href="https://bookwyrmingthoughts.com/review-shadow-and-bone-by-leigh-bardugo/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
LeftSideCut (3778 KP) rated Bad Boys for Life (2020) in Movies
Jan 28, 2020
It's says a lot about this third entry into the Bad Boys franchise, when there's been a 17 year gap between movies, and it still manages to be this good!
The Bad Boys films are known for being over the top, sweary, violent, funny, and action packed, and thankfully, this tried and tested formula sticks again.
It's silliness is hugely toned down from the overly gratuitous Bad Boys II, (it's still pretty silly mind), and we're presented with a host of characters that actually ground the franchise a little, and it's all the better for it.
Will Smith and Martin Lawrence are once again hugely likable as detectives Mike Lowrey and Marcus Burnett, the chemistry between the two is still hilariously beautiful and bro-tastic after all these years.
BBFL also introduces a group of new characters, a law enforcement response team known as AMMO, who are also all pretty likable. I feel that the writers are perhaps testing the waters for a potential spin off.
The movies bad guys are drug-queen Isabel Aretas and her son Armando (Kate del Castillo and Jacob Scipio respectively) who both do a pretty good job at playing imposing and dangerous villains.
We also get some back story regarding Mike Lowrey that has never been touched on before - a possible avenue for a prequel maybe?
The action set pieces are exciting and well choreographed (best motorbike chase since John Wick 3) and directors Adil El Arbi and Bilall Fallah - taking over from Michael Bay - do a solid job of delivering a well shot action packed adventure, with just enough nods to the original duology's style.
The only criticisms I have really stem from pacing. The movie feels very staggered for much of the first half and takes a while to really kick into gear, but once it does, it's hugely entertaining.
Also, the comedy is laid on pretty thick and fast from the get go, and there were quite a few moments that didn't land, (predictably, there was plenty of too-old-for-this-shit jokes) but by the same merit, there were plenty that did.
Bad Boys For Life is overall a fun time that is pretty hard to not enjoy, and it actually might just be the best of the series, if not, then it's certainly on par with the first.
The narrative makes a good effort to set up potential directions for the franchise going forward (I counted at least three obvious set ups) but based on the strength of this entry, it something that I would actually like to see, and considering I went to the cinema content in the apparent knowledge that this would be the last one, that can only be a good thing.
The Bad Boys films are known for being over the top, sweary, violent, funny, and action packed, and thankfully, this tried and tested formula sticks again.
It's silliness is hugely toned down from the overly gratuitous Bad Boys II, (it's still pretty silly mind), and we're presented with a host of characters that actually ground the franchise a little, and it's all the better for it.
Will Smith and Martin Lawrence are once again hugely likable as detectives Mike Lowrey and Marcus Burnett, the chemistry between the two is still hilariously beautiful and bro-tastic after all these years.
BBFL also introduces a group of new characters, a law enforcement response team known as AMMO, who are also all pretty likable. I feel that the writers are perhaps testing the waters for a potential spin off.
The movies bad guys are drug-queen Isabel Aretas and her son Armando (Kate del Castillo and Jacob Scipio respectively) who both do a pretty good job at playing imposing and dangerous villains.
We also get some back story regarding Mike Lowrey that has never been touched on before - a possible avenue for a prequel maybe?
The action set pieces are exciting and well choreographed (best motorbike chase since John Wick 3) and directors Adil El Arbi and Bilall Fallah - taking over from Michael Bay - do a solid job of delivering a well shot action packed adventure, with just enough nods to the original duology's style.
The only criticisms I have really stem from pacing. The movie feels very staggered for much of the first half and takes a while to really kick into gear, but once it does, it's hugely entertaining.
Also, the comedy is laid on pretty thick and fast from the get go, and there were quite a few moments that didn't land, (predictably, there was plenty of too-old-for-this-shit jokes) but by the same merit, there were plenty that did.
Bad Boys For Life is overall a fun time that is pretty hard to not enjoy, and it actually might just be the best of the series, if not, then it's certainly on par with the first.
The narrative makes a good effort to set up potential directions for the franchise going forward (I counted at least three obvious set ups) but based on the strength of this entry, it something that I would actually like to see, and considering I went to the cinema content in the apparent knowledge that this would be the last one, that can only be a good thing.
Joan of Arc: The Image of Female Heroism
Book
The fame of Joan of Arc began in her lifetime and, though it has dipped a little now and then, she...