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Phil Leader (619 KP) rated Flatland (Enhanced Illustrated Edition) in Books
Nov 13, 2019
I have wanted to read Flatland since I read the reference to it in Gödel Escher Bach: An Eternal Golden Braid which was a set text at university. As the book is out of copyright it was one of the first that I downloaded to my eReader.
The book (although really a novella rather than a full novel at only 88 pages) works on two levels; firstly the story revolves around A Square, an inhabitant of the two dimensional space that is Flatland. Most of the book describes the rigid social hierarchy of the regular polygons that make up the people - the more sides a person has the higher their social standing. Irregular shapes are despised and usually executed. The second half involves investigation into the nature of dimensions when A Square first of all dreams of a one dimensional land, then is shown three dimensions and zero dimensions by a spherical person from the three dimensional land.
The first half is a satire on the rigid class system of Victorian society - it is particularly disparaging of women, who being lines rather than shapes are very much second class citizens, even having their own doors into and out of houses. This half shows the book's age, it was written in a different time and looking at it from more than 100 years later a lot of the discussion is overlong and unengaging. This part has not aged at all well.
The book only comes into its own when A Square has a dream about a land of one dimension, populated by lines of varying length, the longest line being the King of Lineland. The two dimensional dreamer attempts to persuade the King that is he could step sideways he would be able to see that his land of a single line was limited. Of course the King can conceive of no such direction as 'sideways' and rejects the suggestion as ridiculous.
A sphere from the 3 dimensional land of Space then visits Flatland, appearing as a circle of varying size as he passes through the two dimensional space. He tries to persuade Square that if he could move 'up' or 'down' he would be able to move beyond the rigid plane of his existence. Obviously the square cannot understand a direction which doesn't fall into two dimensions, until the sphere pulls him up and then he can look down to see Flatland spread out below him. He has an epiphany and is determined to spread the word on three dimensional space. The sphere also visits a zero dimensional land. However when the square suggests that if the sphere could somehow move in a new direction he might be able to enter four dimensional space the sphere is very quick to say how ridiculous such a notion is.
In this way the ideas behind dimensions are communicated quite effectively, including being able to deduce the properties of a four dimensional regular shape by extrapolating the properties of lines, squares and cubes. It is then clear how properties of higher dimensions can be calculated without our poor three dimensional minds actually being able to perceive of it.
Flatland is regarded as one of the very first science fiction novels. So is Gulliver's Travels but that has very little science and to my mind is more of a fantasy book. Despite Flatland having very little in the way of story and plot (although there are twists in the story) and the first half isn't really story at all but social commentary, it definitely describes fantastic worlds and imagines what the results would be of living in such places. This seems to me to be the very concept behind science fiction.
In conclusion, I would not recommend this to everyone as I think its appeal is quite limited. But for anyone of a mathematical bent who likes science fiction, it's always good to see where it all started.
The book (although really a novella rather than a full novel at only 88 pages) works on two levels; firstly the story revolves around A Square, an inhabitant of the two dimensional space that is Flatland. Most of the book describes the rigid social hierarchy of the regular polygons that make up the people - the more sides a person has the higher their social standing. Irregular shapes are despised and usually executed. The second half involves investigation into the nature of dimensions when A Square first of all dreams of a one dimensional land, then is shown three dimensions and zero dimensions by a spherical person from the three dimensional land.
The first half is a satire on the rigid class system of Victorian society - it is particularly disparaging of women, who being lines rather than shapes are very much second class citizens, even having their own doors into and out of houses. This half shows the book's age, it was written in a different time and looking at it from more than 100 years later a lot of the discussion is overlong and unengaging. This part has not aged at all well.
The book only comes into its own when A Square has a dream about a land of one dimension, populated by lines of varying length, the longest line being the King of Lineland. The two dimensional dreamer attempts to persuade the King that is he could step sideways he would be able to see that his land of a single line was limited. Of course the King can conceive of no such direction as 'sideways' and rejects the suggestion as ridiculous.
A sphere from the 3 dimensional land of Space then visits Flatland, appearing as a circle of varying size as he passes through the two dimensional space. He tries to persuade Square that if he could move 'up' or 'down' he would be able to move beyond the rigid plane of his existence. Obviously the square cannot understand a direction which doesn't fall into two dimensions, until the sphere pulls him up and then he can look down to see Flatland spread out below him. He has an epiphany and is determined to spread the word on three dimensional space. The sphere also visits a zero dimensional land. However when the square suggests that if the sphere could somehow move in a new direction he might be able to enter four dimensional space the sphere is very quick to say how ridiculous such a notion is.
In this way the ideas behind dimensions are communicated quite effectively, including being able to deduce the properties of a four dimensional regular shape by extrapolating the properties of lines, squares and cubes. It is then clear how properties of higher dimensions can be calculated without our poor three dimensional minds actually being able to perceive of it.
Flatland is regarded as one of the very first science fiction novels. So is Gulliver's Travels but that has very little science and to my mind is more of a fantasy book. Despite Flatland having very little in the way of story and plot (although there are twists in the story) and the first half isn't really story at all but social commentary, it definitely describes fantastic worlds and imagines what the results would be of living in such places. This seems to me to be the very concept behind science fiction.
In conclusion, I would not recommend this to everyone as I think its appeal is quite limited. But for anyone of a mathematical bent who likes science fiction, it's always good to see where it all started.
Sophia (Bookwyrming Thoughts) (530 KP) rated Powerless (The Hero Agenda, #1) in Books
Jan 23, 2020
<strong>Guys, I've found the Fight Book of the Year.</strong> At this rate I'm actually wondering if there's such a thing as a Blogger's Choice Awards so I can actually <i>nominate</i> this.
(If there is one, point me there NOW. I'll love you forever. :p)
In a world with heroes and villains, Kenna Swift works as an intern in a lab. While working in the lab one night, Kenna gets attacked by villains and is even saved by one of them. Being saved by a villain causes her to think about what a hero or a villain really is, and she ends up teaming up with them after finding out that maybe heroes aren't exactly heroes.
<b>I actually like Kenna as a character. Considering her circumstances, she's actually pretty brilliant and resourceful</b> when all else fails, kick butt by kneeing someone in the balls. She even had an experiment before everything went Inferno to try and become a hero as well instead of being powerless. <b>Her brilliance and intelligence sometimes fall short in the midst of chaos, but I pretty much approve her as a character.</b>
Except... I'm still irritated. <strong><i>Powerless</i> just has sooo many arguments and fights. The characters fight with each other constantly verbally and physically. The fighting takes up over half of the book</strong> when Kenna, Rebel, and Jeremy team up with villains. Kenna is basically a bystander, Rebel is ironically the glue, and Jeremy is going neck to neck with Draven. Nitro and Dante already have some tension between them. <strong>There's boy drama and fighting thrown together, and it is SO. DARN. IRRITATING.</strong>
Have I mentioned <strong>it sounds completely immature?</strong> By some point in the book, I've deemed <i>Powerless</i> <b>a book unworthy of memorability in my brain simply because of the number of fights that belong in a playground with unruly little kids tugging each other consistently.</b> The amount was also great enough I mentally started to threaten poor A.G. Howard's <i>Unhinged</i>.
But of course, <i><a title="Splintered by A.G. Howard" href="https://bookwyrmingthoughts.com/review-splintered-by-ag-howard/"; target="_blank" rel="noopener">Splintered</a></i> has a love triangle to which I feel completely indifferent to regardless of the fact I like the world and read the second book to determine which, if any, corner actually deserves my complete and utmost devotion.
(It also inspired a few discussion posts for the future. *tucks posts in an invisible drawer*)
Anyways, back to the fights. The majority of book are the characters not getting along for most of the book it's akin to the <a title="Lark by Erica Cope" href="https://bookwyrmingthoughts.com/review-lark-by-erica-cope/"; target="_blank" rel="noopener">romance overshadowing the plot</a> and I found it highly annoying. Meanwhile, <strong>I'm left with questions about the entire world after reading the book and none of them actually got answered.</strong><strong>
</strong>
How does this whole power thing work? Are powers inherited, or are they random? Is being a villain or hero random, or are they inherited (that seems to be yes)? Why was the hero/villain world created? HOW was it created? Was it an experiment gone awry? Is it similar to Captain America?
I got vague answers or no answers. Childs and Deebs may answer those questions in the sequels, or perhaps it's the overall plot of the series, but, I don't really see how it will all fit with what they've laid out in <i>Powerless</i>. <b>It's plot-driven and doesn't take too much time to develop the world or the characters, but makes you question what is considered good and evil.</b>
<a href="https://bookwyrmingthoughts.com/review-powerless-by-tera-lynn-childs-and-tracey-deebs/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
(If there is one, point me there NOW. I'll love you forever. :p)
In a world with heroes and villains, Kenna Swift works as an intern in a lab. While working in the lab one night, Kenna gets attacked by villains and is even saved by one of them. Being saved by a villain causes her to think about what a hero or a villain really is, and she ends up teaming up with them after finding out that maybe heroes aren't exactly heroes.
<b>I actually like Kenna as a character. Considering her circumstances, she's actually pretty brilliant and resourceful</b> when all else fails, kick butt by kneeing someone in the balls. She even had an experiment before everything went Inferno to try and become a hero as well instead of being powerless. <b>Her brilliance and intelligence sometimes fall short in the midst of chaos, but I pretty much approve her as a character.</b>
Except... I'm still irritated. <strong><i>Powerless</i> just has sooo many arguments and fights. The characters fight with each other constantly verbally and physically. The fighting takes up over half of the book</strong> when Kenna, Rebel, and Jeremy team up with villains. Kenna is basically a bystander, Rebel is ironically the glue, and Jeremy is going neck to neck with Draven. Nitro and Dante already have some tension between them. <strong>There's boy drama and fighting thrown together, and it is SO. DARN. IRRITATING.</strong>
Have I mentioned <strong>it sounds completely immature?</strong> By some point in the book, I've deemed <i>Powerless</i> <b>a book unworthy of memorability in my brain simply because of the number of fights that belong in a playground with unruly little kids tugging each other consistently.</b> The amount was also great enough I mentally started to threaten poor A.G. Howard's <i>Unhinged</i>.
But of course, <i><a title="Splintered by A.G. Howard" href="https://bookwyrmingthoughts.com/review-splintered-by-ag-howard/"; target="_blank" rel="noopener">Splintered</a></i> has a love triangle to which I feel completely indifferent to regardless of the fact I like the world and read the second book to determine which, if any, corner actually deserves my complete and utmost devotion.
(It also inspired a few discussion posts for the future. *tucks posts in an invisible drawer*)
Anyways, back to the fights. The majority of book are the characters not getting along for most of the book it's akin to the <a title="Lark by Erica Cope" href="https://bookwyrmingthoughts.com/review-lark-by-erica-cope/"; target="_blank" rel="noopener">romance overshadowing the plot</a> and I found it highly annoying. Meanwhile, <strong>I'm left with questions about the entire world after reading the book and none of them actually got answered.</strong><strong>
</strong>
How does this whole power thing work? Are powers inherited, or are they random? Is being a villain or hero random, or are they inherited (that seems to be yes)? Why was the hero/villain world created? HOW was it created? Was it an experiment gone awry? Is it similar to Captain America?
I got vague answers or no answers. Childs and Deebs may answer those questions in the sequels, or perhaps it's the overall plot of the series, but, I don't really see how it will all fit with what they've laid out in <i>Powerless</i>. <b>It's plot-driven and doesn't take too much time to develop the world or the characters, but makes you question what is considered good and evil.</b>
<a href="https://bookwyrmingthoughts.com/review-powerless-by-tera-lynn-childs-and-tracey-deebs/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Night Reader Reviews (683 KP) rated Final Notice: A Political Thriller in Books
Jan 9, 2020
Honest Review for Free Copy of Book
Final Notice by Van Flesher was a very conflicting book for me. I was excited to read this book after I read over the description but found myself to be extremely disappointed. The concept was good but the way the book was written completely lost my interest. I debated a few different times about putting the book down but felt that I owed it to the author to give the book a chance. That being said, just because I did not like it does not mean that other readers would not find it enjoyable.
A company creates a watch called the VT2 and it can monitor a person's health with surprising accuracy. It also has the capability of giving a person a Final Notice when it detect a change that will ultimately lead to death. At the same time the NRA started offering a discount to senior citizens to buy guns in order to defend themselves in their families. On top of these two events, many states are being pushed to have loser laws that will make it easier for people to get guns. These three factors together line up to create a series of horrible events.
The Final Notice feature was intended to give people a chance to get their affairs in order. However, for some once they get their notice they realize with having nothing to lose they can get revenge on people who have wronged them in the past. Some seniors lash out at others, specifically younger people who insulted them in some way. Other people go after political figures that they do not agree with. People who work for the company that created VT2 even joke about how if they knew they were going to die they had a list of people that they would try to take with them. The company ends up working with the FBI and a journalist to offset the negative impact of the VT2 and market it to the public in a positive light.
Many books did not include specifics about religion but that's one does. I found that to be a nice change as it made some of the characters feel more authentic. It also tackled some hard issues, not just the gun laws but also refugees and immigration focusing on those from Syria. With how anti-gun and anti-NRA this book is I was surprised at how casually other issues are mentioned. I would think topic such as underage drinking, fake IDs, and teen pregnancy would also be shown in a more negative light and not just as a passing memory. There were also a few attempt at humor towards the end of the book that just felt weird, in fact I am not even completely sure if it was supposed to be humor. The author says " the author feel sorry..." and " the author was tempted..." and as these are the only time this writing style is used it feels out of place. Morals are also called into question a three different times over the course of this book. It makes the reader question just because you can make money off of something and it is legal does that automatically make it alright?
The target readers for this book would be adult to our supporters of gun control. High school teachers might find this book interesting to teach with topics for group discussion by the students. Also people who are against the NRA in general would probably find this books topics to be enjoyable. After much the bay I have decided to give this book a 2 out of 4. Originally, I was only going to give the book a 1 but the concept of the watch is too interesting. Many chapters or paragraph felt repetitive of previous statements and I think that was largely what turned me away from this book.
A company creates a watch called the VT2 and it can monitor a person's health with surprising accuracy. It also has the capability of giving a person a Final Notice when it detect a change that will ultimately lead to death. At the same time the NRA started offering a discount to senior citizens to buy guns in order to defend themselves in their families. On top of these two events, many states are being pushed to have loser laws that will make it easier for people to get guns. These three factors together line up to create a series of horrible events.
The Final Notice feature was intended to give people a chance to get their affairs in order. However, for some once they get their notice they realize with having nothing to lose they can get revenge on people who have wronged them in the past. Some seniors lash out at others, specifically younger people who insulted them in some way. Other people go after political figures that they do not agree with. People who work for the company that created VT2 even joke about how if they knew they were going to die they had a list of people that they would try to take with them. The company ends up working with the FBI and a journalist to offset the negative impact of the VT2 and market it to the public in a positive light.
Many books did not include specifics about religion but that's one does. I found that to be a nice change as it made some of the characters feel more authentic. It also tackled some hard issues, not just the gun laws but also refugees and immigration focusing on those from Syria. With how anti-gun and anti-NRA this book is I was surprised at how casually other issues are mentioned. I would think topic such as underage drinking, fake IDs, and teen pregnancy would also be shown in a more negative light and not just as a passing memory. There were also a few attempt at humor towards the end of the book that just felt weird, in fact I am not even completely sure if it was supposed to be humor. The author says " the author feel sorry..." and " the author was tempted..." and as these are the only time this writing style is used it feels out of place. Morals are also called into question a three different times over the course of this book. It makes the reader question just because you can make money off of something and it is legal does that automatically make it alright?
The target readers for this book would be adult to our supporters of gun control. High school teachers might find this book interesting to teach with topics for group discussion by the students. Also people who are against the NRA in general would probably find this books topics to be enjoyable. After much the bay I have decided to give this book a 2 out of 4. Originally, I was only going to give the book a 1 but the concept of the watch is too interesting. Many chapters or paragraph felt repetitive of previous statements and I think that was largely what turned me away from this book.
Purple Phoenix Games (2266 KP) rated Trust Me, I'm a Superhero in Tabletop Games
Oct 8, 2020
You know when you’re fortunate enough to be given superpowers but they are super lame? Yeah me neither, but I still think it would be awesome to have even the lamest superpower. Well, if you’re like me, you will relish the opportunity to play Trust Me, I’m a Superhero where you can try out different superhero combinations and aid the citizens of our fair city!
Trust Me, I’m a Superhero is a negotiation-style party card game in the vein of Apples to Apples. In it players are bogus superheros answering the Call for Help and attempting to convince the Director to send them out as the city’s hero.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I know for sure that the final components will be different from these shown. I usually include a messy photo as my last of the review, but in this case I captured the art style that will be used in the final version. You are invited to back the game through the Kickstarter campaign launching October 27, 2020, or purchase through any retailers stocking it after fulfillment. -T
To setup, shuffle the Super deck and Power deck separately. Deal each player five cards from each deck and the game may begin!
Playing Trust Me, I’m a Superhero is incredibly simple. From the hand of 10 cards dealt players will choose one Super card and one Power card to mash together creating a lame superhero. Players will display their superhero face-up in front of them. The player who is the current Director will flip over the top Call for Help card, read it aloud, and then players will initiate discussion with the Director to convince them that their hero should be sent to answer the call. The Director then chooses the best superhero by awarding the Call for Help card to the winning player. The next player in clock-wise order is the next Director. Play continues in this fashion until a player has won three Call for Help cards or some other determined time limit.
Components. Well, I cannot really comment on the components too much as again, I am using a prototype copy with prototype non-final artwork. From the photo below of the art style the final game will be using I can see that the art is whimsical and cartoony, which is perfect for this game. I am also sure that components will probably be upgraded as a result of a successful Kickstarter campaign with crushed stretch goals.
I have also played and reviewed Trust Me, I’m a Doctor and I said that I liked it, and I do. But if I like Trust Me, I’m a Doctor then I love Trust Me, I’m a Superhero. Just the added little twist of choosing your Super and Power cards BEFORE you see what the Call for Help will be is excellent. This game would be so different if you saw the Help card prior to assembling your Super Power. It would be too easy and not at all hilarious. I am so glad this twist exists and helps to elevate this from a good game to a great little A2A spin-off that CAN get NSFW with the right (or wrong?) people, and will feature some fun art. If you are interested in this little title, please consider backing it on Kickstarter on October 27, 2020! Tell them Purple Phoenix Games sent ya or I’ll send over Solar-Powered Punch or Seductive Corpse to rough you up a bit.
Trust Me, I’m a Superhero is a negotiation-style party card game in the vein of Apples to Apples. In it players are bogus superheros answering the Call for Help and attempting to convince the Director to send them out as the city’s hero.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I know for sure that the final components will be different from these shown. I usually include a messy photo as my last of the review, but in this case I captured the art style that will be used in the final version. You are invited to back the game through the Kickstarter campaign launching October 27, 2020, or purchase through any retailers stocking it after fulfillment. -T
To setup, shuffle the Super deck and Power deck separately. Deal each player five cards from each deck and the game may begin!
Playing Trust Me, I’m a Superhero is incredibly simple. From the hand of 10 cards dealt players will choose one Super card and one Power card to mash together creating a lame superhero. Players will display their superhero face-up in front of them. The player who is the current Director will flip over the top Call for Help card, read it aloud, and then players will initiate discussion with the Director to convince them that their hero should be sent to answer the call. The Director then chooses the best superhero by awarding the Call for Help card to the winning player. The next player in clock-wise order is the next Director. Play continues in this fashion until a player has won three Call for Help cards or some other determined time limit.
Components. Well, I cannot really comment on the components too much as again, I am using a prototype copy with prototype non-final artwork. From the photo below of the art style the final game will be using I can see that the art is whimsical and cartoony, which is perfect for this game. I am also sure that components will probably be upgraded as a result of a successful Kickstarter campaign with crushed stretch goals.
I have also played and reviewed Trust Me, I’m a Doctor and I said that I liked it, and I do. But if I like Trust Me, I’m a Doctor then I love Trust Me, I’m a Superhero. Just the added little twist of choosing your Super and Power cards BEFORE you see what the Call for Help will be is excellent. This game would be so different if you saw the Help card prior to assembling your Super Power. It would be too easy and not at all hilarious. I am so glad this twist exists and helps to elevate this from a good game to a great little A2A spin-off that CAN get NSFW with the right (or wrong?) people, and will feature some fun art. If you are interested in this little title, please consider backing it on Kickstarter on October 27, 2020! Tell them Purple Phoenix Games sent ya or I’ll send over Solar-Powered Punch or Seductive Corpse to rough you up a bit.
Bob Mann (459 KP) rated The Invisible Man (2020) in Movies
Jan 9, 2021
Elisabeth Moss - excellent performance (1 more)
Slowly creeping tension - clever camera work
Have you seen "The Invisible Man"?
Cecilia Kass (Elisabeth Moss) is trapped in a highly controlling and violent relationship with technology mogul Adrian Griffin (Oliver Jackson-Cohen). Escaping from his fortress-like home, she lives in fear of his retribution. So she is much relieved, if a little surprised, at the report of his suicide. Now living with old friend James Lanier (Aldis Hodge) and his teenage daughter Sydney (Storm Reid), Cecilia can finally start to relax. But as strange things start to happen, is the ghost of Griffin back to haunt her? Or is it really all in her rapidly disintegrating mind, as her sister Emily (Harriet Dyer) and James suspect?
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Australian writer/director Leigh Whannell is famous as the writer behind the "Saw" and "Insidious" franchises. So he knows a thing or two about crafting horror movies. And in this Blumhouse production, after a clever attention-grabbing opening, he really takes his time in building an understanding of Cecilia's mental state. When things start to happen, they happen so stealthily that I needed to hit the rewind button a couple of times (no cinema experience for this one I'm afraid). Cinematographer Stefan Duscio keeps slowly panning away from Cecilia across the room to show empty corridors before slowly panning back again. It's superbly effective and was comprehensively creeping me out!
When the set action pieces do occur then they are satisfactorily exciting, albeit wildly implausible. I did not see some of the "Surprises" coming, making them jolt-worthy. And the denouement really delivered for me, reminiscent of Hitchcock's style.
Now most famous for "Mad Men" and "The Handmaids Tale" on TV, Elisabeth Moss has delivered a range of impressive film performances including in "High Rise" and - as most closely related to this role - in "Girl, Interrupted" as mental patient Lisa. It's a star turn, no doubt about it.
This movie was intended by Universal to be part of the "Dark Universe" series. But the Tom Cruise flop "The Mummy" unfortunately put paid to that. Which is a great shame. If they'd started with this one, then they might have had a hit on their hands. With a post-credits "monkey" (there isn't one in this movie by the way) they could have lined up into the follow-up movie and started the ball rolling.
It's a rollicking action flick that had my attention throughout. However, the initial question it poses - haunting, 'all in the mind' or something else - gets clarified a little too early for me (and - note - is spoiled by the trailer), so the movie falls short of being a classic for that reason.
There's one aspect of the movie that really irritated me. And that is that there was no credit whatsoever for the idea of H.G. Wells that originated this story. There's a discussion of that here: since Wells died in 1946, his copyright will have expired on his works 70 years later. This is definitely NOT a retelling of his story, but in reusing the novel's title it would seem at least 'polite' to include a "Based on an idea by H.G. Wells" in the credits somewhere.
All in all, this is still a bit of a B-movie, but its a bloody good one! Utterly preposterous at times, and with decision-making that would feel at home within the Trump presidency, it's an entertaining rollercoaster of a movie. Definitely comes with a "recommended" from me and I'll look forward to a re-watch at some point.
For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/01/09/have-you-seen-the-invisible-man/ .
Gareth von Kallenbach (965 KP) rated Dunkirk (2017) in Movies
Jul 11, 2019
In May 1940, as Germany advanced into France, Allied troops found themselves surrounded at the town of Dunkirk with little time to escape. In the distance, the Germans sought to capture or kill each of the nearly 400,000 men. French and British soldiers began the slow process to evacuate using every naval or civilian ship available. Dunkirk examines the heroism involved by everyone on the land, sea, and air in their attempt to get their countrymen home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
When we discuss, reflect, or are taught about World War II, we often think the turning points of the war as the Battle of the Bulge, Leningrad, Midway, or D-Day. In doing this, we overlook moments like Dunkirk. Christopher Nolan exposes how vital this moment was in determining the fate, not only of the war, but the world in Dunkirk.
It is hard to describe what the film is like just from the visuals. It captures you and surrounds you by making the audience feel as though they are witnessing these events from a third-person perspective, as well as, through the eyes of those involved. The film itself is not limited to just the war or a discussion of the circumstances that led up to the war itself. There are no major battles shown, however, the film demonstrates quite vividly the horrors of war, the confusion, the chaos, the brutality, and the fear that each moment might be your last.
Dunkirk, masterfully tells the story of those involved in the evacuation of those troops that found themselves being pursued by Nazi Germany. Each frame will have audiences fearing for the safety of the men on the screen and hoping that they will somehow make it home despite all indications that their fate is sealed. Nolan gives audiences the opportunity to see the events in a multilayered way so that we can understand all of the moving parts involved in this massive undertaking. It renews the appreciation that many of us have for those who fought in World War II and offers a new sense of appreciation for younger generations who are far removed from those events. Most impressive about the film is its ability to be more historically accurate in displaying the different people who actually were fighting. It is not, like Saving Private Ryan, a film that exaggerates American participation in the war to make it look as though the only people fighting were Americans and Nazis. Dunkirk shows how the French, British, and Belgians, of various colors and backgrounds were fighting well before summer of 1944.
The film also pulls of quite an ambitious task by removing the Nazis from the film. This is not to say that there is no German presence in the film, rather, they minimize the focus on the Nazis in order to keep the focus on those evacuating and those involved in assisting with the efforts. In my viewing, I felt that this strengthened the film in adding to the fear by having a faceless enemy, one that could be lurking around the corner or coming around the corner at any moment. This added to the tension to make audiences feel the fear that so many of these young men must have had as they waited to board their ships to get home.
Dunkirk is impressive, emotional, and full of tension. It raises the bar with respect to how historically-based films should be in the representation of events. It does not rely on one linear story to capture the audience. It is an intelligent and overdue homage to the men and women who did all they could to ensure that these men made it home.
Bob Mann (459 KP) rated Me Before You (2016) in Movies
Sep 29, 2021
“You are scored on my heart Clark”
“Me Before You” is a bit of a queer fish of a movie. It never quite decides whether it wants to be a romantic weepy, a drama, or a rom-com and as such ends up rather falling between all three stools.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Jamie (131 KP) rated Men Explain Things to Me: And Other Essays in Books
Jul 26, 2017
Poorly written (2 more)
Not intersectional
Lack of sources in the physical version
Mediocre essays, I wish I could've liked this more
Disappointment and shallow is probably the most apt descriptions I can think of when describing this book which is really sad because I usually enjoy feminist essays.
The titular essay, Men Explain Things to Me, discusses the author’s experiences with men explaining things with the assumption that she couldn’t possibly know due to her gender. While I was nodding my head that yes, I have experienced this as well, there was not much else. There was little to no research into the history of why this might be or any additional insight into the topic which was really a let down, I didn’t feel like I got much out of it. I should have known that the rest of the essays in this collection would be the same but I was optimistic.
One of the better essays was In Praise of the Threat: What Marriage Equality Really Means which discussed how the fight for marriage equality, or same-sex marriage, has been redefining the traditional gendered views of marriage and I thought that this was really great. However in a later essay Solnit goes on to claim that gay marriage would never have been possible if it weren’t for feminists redefining marriage as a union between equals, which is a statement I found both bold and mildly insulting.
I also need to address a specific statement that became the basis the essay, The Longest War, which was the following:
“Violence doesn’t have a race, a class, a religion,
or a nationality, but it does have a gender.”
It is very apparent that Solnit doesn’t know a thing about intersectionality because any minority can tell you that the statement above is laughably false. Is it true, statistically, that more reported violent crimes are perpetrated by men? Yes. Do people in many societies have an issue with toxic masculinity? Yes. Does this mean, then, that violence has a gender, that it is purely a male problem? No. To say that it doesn’t have a specific race, class, religion, or nationality despite evidence to the contrary throughout history is naïve.
Solnit continues on to rant about how men are the almost exclusive source of violence and assault and how everyone should acknowledge this so we can go about finding solutions. She doesn’t go into much more depth than that or offer up much in the way of solutions herself. A large portion of the essay is just her fluffing up the piece with a literal list of vague examples which might not mean much to folks less knowledgeable about violent crimes. There are also quite a few statistics thrown in with absolutely no sources to back up the claims.
Not that I doubt the information provided, but in times where people cherry pick the news to fit their own narrative books like this become questionable. After flipping through the back of the book I eventually found a note in the acknowledgements section that Solnit chose to edit out her sources for the book version, but that they could be found on the online versions of her essays. It’s careless and lazy for an author that wants to be taken seriously.
Solnit also postulates at several points that because she has published several books that she is an authority and I found that sort of attitude to be self defeating. She talks about another author that she argued with about Virginia Woolfe and claims that she had “won” which just makes the author sound childish, and I wondered what the point of the essay was to begin with. It felt out of place for the rest of the collection and any connections she attempted to make were shaky at best.
I think that Solnit had some good ideas but the execution was extremely poor. Because she spends so much time listing examples and being over dramatic in her descriptions the actual point of discussion in her essays becomes muddled and unclear. There are far better essays out there that address the exact same topics. Men Explain Things to Me just wasn’t worth the time.
The titular essay, Men Explain Things to Me, discusses the author’s experiences with men explaining things with the assumption that she couldn’t possibly know due to her gender. While I was nodding my head that yes, I have experienced this as well, there was not much else. There was little to no research into the history of why this might be or any additional insight into the topic which was really a let down, I didn’t feel like I got much out of it. I should have known that the rest of the essays in this collection would be the same but I was optimistic.
One of the better essays was In Praise of the Threat: What Marriage Equality Really Means which discussed how the fight for marriage equality, or same-sex marriage, has been redefining the traditional gendered views of marriage and I thought that this was really great. However in a later essay Solnit goes on to claim that gay marriage would never have been possible if it weren’t for feminists redefining marriage as a union between equals, which is a statement I found both bold and mildly insulting.
I also need to address a specific statement that became the basis the essay, The Longest War, which was the following:
“Violence doesn’t have a race, a class, a religion,
or a nationality, but it does have a gender.”
It is very apparent that Solnit doesn’t know a thing about intersectionality because any minority can tell you that the statement above is laughably false. Is it true, statistically, that more reported violent crimes are perpetrated by men? Yes. Do people in many societies have an issue with toxic masculinity? Yes. Does this mean, then, that violence has a gender, that it is purely a male problem? No. To say that it doesn’t have a specific race, class, religion, or nationality despite evidence to the contrary throughout history is naïve.
Solnit continues on to rant about how men are the almost exclusive source of violence and assault and how everyone should acknowledge this so we can go about finding solutions. She doesn’t go into much more depth than that or offer up much in the way of solutions herself. A large portion of the essay is just her fluffing up the piece with a literal list of vague examples which might not mean much to folks less knowledgeable about violent crimes. There are also quite a few statistics thrown in with absolutely no sources to back up the claims.
Not that I doubt the information provided, but in times where people cherry pick the news to fit their own narrative books like this become questionable. After flipping through the back of the book I eventually found a note in the acknowledgements section that Solnit chose to edit out her sources for the book version, but that they could be found on the online versions of her essays. It’s careless and lazy for an author that wants to be taken seriously.
Solnit also postulates at several points that because she has published several books that she is an authority and I found that sort of attitude to be self defeating. She talks about another author that she argued with about Virginia Woolfe and claims that she had “won” which just makes the author sound childish, and I wondered what the point of the essay was to begin with. It felt out of place for the rest of the collection and any connections she attempted to make were shaky at best.
I think that Solnit had some good ideas but the execution was extremely poor. Because she spends so much time listing examples and being over dramatic in her descriptions the actual point of discussion in her essays becomes muddled and unclear. There are far better essays out there that address the exact same topics. Men Explain Things to Me just wasn’t worth the time.
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.
Cyn Armistead (14 KP) rated Moon Fever (Includes: Primes, #6.5) in Books
Mar 1, 2018
This was one of those "I finished the last thing I was reading and I'm bored, what's already loaded on the iTouch?" reads. It was on there because the anthology includes [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg]'s "Cobwebs Over the Moon" (Nightcreatures, #10) and I read all of that series a while back. I didn't care to read the rest of the anthology at the time, but I hadn't gotten around to deleting the book. Ah, happy digital packrat am I!
If I've read anything by [a:Susan Sizemore|88608|Susan Sizemore|http://photo.goodreads.com/authors/1254303347p2/88608.jpg] other than "Tempting Fate" (Primes #6.5), it was eminently forgettable. I'm absolutely sure that I haven't read anything else in her <a href="http://www.goodreads.com/series/41947-primes">Primes</a>; series, because I probably would have thrown said material firmly into the nearest hard surface (or whatever the equivalent is with bytes) because of the insanely annoying number of times Sizemore feels it necessary to remind us that her vampires are Primes! Alpha Primes! They are! Really! And that means they fight a lot! Especially over women! Otherwise, it's a Mary Jane story set in New Orleans. I have a strong feeling that most of the Primes series is Mary Jane-ish, but I may at some point be trapped and forced with the prospect of staring at the inside of my eyeballs or reading more of Sizemore's stuff. I'm not sure which would be worse right now. I'll get back to you on that.
"The Darkness Within" by [a:Maggie Shayne|17064|Maggie Shayne|http://photo.goodreads.com/authors/1215028948p2/17064.jpg] feels terribly familiar, although I'm sure I haven't read it before. I have, however, read other Shayne novellas in other anthologies, and this story follows a familiar pattern. Sexy gal who doesn't think she's attractive has had a run of hard luck and may lose the house she has bought relatively recently and loves. Said house has a spooky past that she didn't know about when she bought it. Stalwart too-sexy-for-her man gets involved somehow, preferably in a way that allows her to question his motives. They are inexplicably drawn to each other and screw like bunnies (or near as makes no difference), then blame their lapse in judgement on whatever weirdness is going on in the house. (Yep, that's what they all say - and no safer sex anywhere! Does paranormal activity preclude discussion of sexual history and prevent STD transmission?)
"Cobwebs Over the Moon" by [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg] (<a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>;, #10) isn't the most logical entry in that series. Neither is it the most illogical - but by the tenth entry, the series' mythology has gotten a bit ridiculous, so I don't know why I even bother bringing up something as irrelevant as logic. Silly me! In every book, we're introduced to a woman who is in some way tangled up with werewolves, then to a man who is tangled up with her and/or the creatures and, of course, whose loyalties are uncertain. There is always an element of danger to add spice to the romance that has to grow between the two. The formula never changes at all. There are always evil werewolves, but sometimes there are also good ones. If you like predictability in your paranormal romance, <a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>; is a great series for you.
I suppose [a:Caridad Piñeiro|2944621|Caridad Piñeiro|http://photo.goodreads.com/authors/1305975476p2/2944621.jpg]'s "Crazy for the Cat" isn't technically any better or worse than any of the other three stories. There's more variety in the shapeshifting and the main setting is the Amazon jungle. I couldn't get past the bigotry and colonialism, though. Dark is bad, light is good, of course! Those poor benighted natives couldn't possibly handle a few rogues without that white woman, could they? Spare me.
If I've read anything by [a:Susan Sizemore|88608|Susan Sizemore|http://photo.goodreads.com/authors/1254303347p2/88608.jpg] other than "Tempting Fate" (Primes #6.5), it was eminently forgettable. I'm absolutely sure that I haven't read anything else in her <a href="http://www.goodreads.com/series/41947-primes">Primes</a>; series, because I probably would have thrown said material firmly into the nearest hard surface (or whatever the equivalent is with bytes) because of the insanely annoying number of times Sizemore feels it necessary to remind us that her vampires are Primes! Alpha Primes! They are! Really! And that means they fight a lot! Especially over women! Otherwise, it's a Mary Jane story set in New Orleans. I have a strong feeling that most of the Primes series is Mary Jane-ish, but I may at some point be trapped and forced with the prospect of staring at the inside of my eyeballs or reading more of Sizemore's stuff. I'm not sure which would be worse right now. I'll get back to you on that.
"The Darkness Within" by [a:Maggie Shayne|17064|Maggie Shayne|http://photo.goodreads.com/authors/1215028948p2/17064.jpg] feels terribly familiar, although I'm sure I haven't read it before. I have, however, read other Shayne novellas in other anthologies, and this story follows a familiar pattern. Sexy gal who doesn't think she's attractive has had a run of hard luck and may lose the house she has bought relatively recently and loves. Said house has a spooky past that she didn't know about when she bought it. Stalwart too-sexy-for-her man gets involved somehow, preferably in a way that allows her to question his motives. They are inexplicably drawn to each other and screw like bunnies (or near as makes no difference), then blame their lapse in judgement on whatever weirdness is going on in the house. (Yep, that's what they all say - and no safer sex anywhere! Does paranormal activity preclude discussion of sexual history and prevent STD transmission?)
"Cobwebs Over the Moon" by [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg] (<a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>;, #10) isn't the most logical entry in that series. Neither is it the most illogical - but by the tenth entry, the series' mythology has gotten a bit ridiculous, so I don't know why I even bother bringing up something as irrelevant as logic. Silly me! In every book, we're introduced to a woman who is in some way tangled up with werewolves, then to a man who is tangled up with her and/or the creatures and, of course, whose loyalties are uncertain. There is always an element of danger to add spice to the romance that has to grow between the two. The formula never changes at all. There are always evil werewolves, but sometimes there are also good ones. If you like predictability in your paranormal romance, <a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>; is a great series for you.
I suppose [a:Caridad Piñeiro|2944621|Caridad Piñeiro|http://photo.goodreads.com/authors/1305975476p2/2944621.jpg]'s "Crazy for the Cat" isn't technically any better or worse than any of the other three stories. There's more variety in the shapeshifting and the main setting is the Amazon jungle. I couldn't get past the bigotry and colonialism, though. Dark is bad, light is good, of course! Those poor benighted natives couldn't possibly handle a few rogues without that white woman, could they? Spare me.