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Lottie disney bookworm (1056 KP) rated The Girl In The Clockwork Tower in Books
Aug 30, 2021
Steampunk Rapunzel-inspired tale? Check.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
The New PSYCHOLOGY
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From the mind of genius to the suicide bombers of today’s news, from science to sex, understanding...
RəX Regent (349 KP) rated Hell's Angels (1930) in Movies
Feb 19, 2019
Big budget, elaborate air combat scenes which resulted in several deaths and Gimmick after gimmick… This has to be the Howard Hughes’ World War 1 epic, Hell’s Angels.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.
Mark Jaye (65 KP) rated Justice League (2017) in Movies
May 13, 2019
JUSTICE FOR THE LEAGUE
Contains spoilers, click to show
As much as it pains me to acknowledge it, this film got slaughtered upon its' release (and has endured much ridicule ever since)! Personally speaking....I don't get why.
Everyone and their dog - in reviewing this movie, quote the poor CGI, the fact that Steppenwolf is an ineffective villain, the obvious mish-mash of two directorial styles, weak storyline, oh...and the whole moustache thing. Bore, bore, bore. If anyone comes up with a valid reason for why they hate this film that they haven't read anywhere else a dozen times before then I might entertain them......nah, I won't, because I loved JL!
The opening scene shows us some 'amateur' style recorded footage of a brief conversation with Superman - a very short sequence that was clearly filmed by Joss Whedon. And yes, it is very obvious - and would be to someone unaware of the whole 'moustache-gate' affair, that something's wrong with Henry Cavill's upper lip. Does that detract from the experience? Is it really that much a big deal? No, it is not. And that's all I'll say on that aspect.
There is a very basic plot concerning Steppenwolf and his return to Earth to reclaim the three Mother Boxes which - when brought together, form 'The Unity' with which he hopes to transform the planet and get back in favour with his nephew (Darkseid). These boxes were left on Earth a long time ago following a battle with Steppenwolf (shown in Flashback) and placed into the care of the Atlanteans, the Amazons, and the Tribes of Man. We are given this background exposition fairly early on in proceedings from Diana Prince (Wonder Woman) which effectively sums up the gist of the movie - no criticism there. The first half of the film concerns Diana and Bruce Wayne's (Batman) efforts to bring together a small group of Meta-Humans in order to tackle the imminent threat balanced against Steppenwolf's successful recovery of two of the Boxes. Do we need a more complex plot?
After an initial encounter with the villain of the piece in which the newly formed League are knocked on their proverbial backsides Batman comes up with a way to resurrect the deceased Superman, involving a Mother Box, the recovered Kryptonian Scout Ship, and the Speedforce. To quote The Flash (aka Barry Allen, aka Ezra Miller) things go a bit 'Pet Sematary-y' as the resurrected Man Of Steel goes up against the JL in a confused fit of rage. The sequence depicting the skirmish is a highlight of the movie, and anyone who got a little annoyed t how much Batman was hell bent on persecuting Supes in BVS will get some satisfaction from hearing the line "Do you bleed?"!
It isn't long before the Superman we all know and love (although perhaps not the one from his darker portrayal in the previous two movies in which he appeared) returns - thanks to some intervention from Lois Lane, and joins his fellow heroes in their final battle with Steppenwolf.
Simple plot I agree but this is a story about individuals coming together in the name of hope. Each character gives enough that the audience cares about them, even if some of them could have been given a bit more to play with (sounds like sequel material to me!). Wonder Woman effectively becomes the Leader of the team - exorcising her demons in the process (see her solo movie for more) and Gal Gadot is great.
The battle scenes are fantastic - the attack on Themyscira by Steppenwolf being one such example, and complemented by the CGI. Yeah, I've heard the whole 'poor CGI' thing but frankly.... whatever?! Had I not stupidly read the reviews before seeing the film I might not have spent the running time watching the villain and thinking "Is he a poor villain?" (I came away thinking "Nah, he worked for me!")
Henry Cavill didn't get half as much screen time as the other characters in the League and it looks as if most of the Zac Snyder material featuring his Superman ended up on the cutting room floor, but he is one of the highlights. I will agree with the critics that WB seriously messed up with their marketing strategy in which they essentially 'excluded him' from all promotional material. I now eagerly await for Man of Steel 2 where we'll get to see more of the 'fun' Supes that we got in this movie.
I saw this film three times at the cinema and now own on Blu Ray. Fantastic film for the JL's first outing on the big screen. And you know what?
You are allowed to enjoy both the Justice League AND The Avengers!!
Everyone and their dog - in reviewing this movie, quote the poor CGI, the fact that Steppenwolf is an ineffective villain, the obvious mish-mash of two directorial styles, weak storyline, oh...and the whole moustache thing. Bore, bore, bore. If anyone comes up with a valid reason for why they hate this film that they haven't read anywhere else a dozen times before then I might entertain them......nah, I won't, because I loved JL!
The opening scene shows us some 'amateur' style recorded footage of a brief conversation with Superman - a very short sequence that was clearly filmed by Joss Whedon. And yes, it is very obvious - and would be to someone unaware of the whole 'moustache-gate' affair, that something's wrong with Henry Cavill's upper lip. Does that detract from the experience? Is it really that much a big deal? No, it is not. And that's all I'll say on that aspect.
There is a very basic plot concerning Steppenwolf and his return to Earth to reclaim the three Mother Boxes which - when brought together, form 'The Unity' with which he hopes to transform the planet and get back in favour with his nephew (Darkseid). These boxes were left on Earth a long time ago following a battle with Steppenwolf (shown in Flashback) and placed into the care of the Atlanteans, the Amazons, and the Tribes of Man. We are given this background exposition fairly early on in proceedings from Diana Prince (Wonder Woman) which effectively sums up the gist of the movie - no criticism there. The first half of the film concerns Diana and Bruce Wayne's (Batman) efforts to bring together a small group of Meta-Humans in order to tackle the imminent threat balanced against Steppenwolf's successful recovery of two of the Boxes. Do we need a more complex plot?
After an initial encounter with the villain of the piece in which the newly formed League are knocked on their proverbial backsides Batman comes up with a way to resurrect the deceased Superman, involving a Mother Box, the recovered Kryptonian Scout Ship, and the Speedforce. To quote The Flash (aka Barry Allen, aka Ezra Miller) things go a bit 'Pet Sematary-y' as the resurrected Man Of Steel goes up against the JL in a confused fit of rage. The sequence depicting the skirmish is a highlight of the movie, and anyone who got a little annoyed t how much Batman was hell bent on persecuting Supes in BVS will get some satisfaction from hearing the line "Do you bleed?"!
It isn't long before the Superman we all know and love (although perhaps not the one from his darker portrayal in the previous two movies in which he appeared) returns - thanks to some intervention from Lois Lane, and joins his fellow heroes in their final battle with Steppenwolf.
Simple plot I agree but this is a story about individuals coming together in the name of hope. Each character gives enough that the audience cares about them, even if some of them could have been given a bit more to play with (sounds like sequel material to me!). Wonder Woman effectively becomes the Leader of the team - exorcising her demons in the process (see her solo movie for more) and Gal Gadot is great.
The battle scenes are fantastic - the attack on Themyscira by Steppenwolf being one such example, and complemented by the CGI. Yeah, I've heard the whole 'poor CGI' thing but frankly.... whatever?! Had I not stupidly read the reviews before seeing the film I might not have spent the running time watching the villain and thinking "Is he a poor villain?" (I came away thinking "Nah, he worked for me!")
Henry Cavill didn't get half as much screen time as the other characters in the League and it looks as if most of the Zac Snyder material featuring his Superman ended up on the cutting room floor, but he is one of the highlights. I will agree with the critics that WB seriously messed up with their marketing strategy in which they essentially 'excluded him' from all promotional material. I now eagerly await for Man of Steel 2 where we'll get to see more of the 'fun' Supes that we got in this movie.
I saw this film three times at the cinema and now own on Blu Ray. Fantastic film for the JL's first outing on the big screen. And you know what?
You are allowed to enjoy both the Justice League AND The Avengers!!
Movie Metropolis (309 KP) rated The Commuter (2018) in Movies
Jun 10, 2019
Liam Neeson's special set of skills return
The Movie Metropolis Alternative Oscars have received over 650 votes so far and it’s proving to be the closest run awards ever. Make sure you cast your vote for the best films and performances from 2017 before March 6th.
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Liam Neeson is this generation’s formidable action hero. From protecting his family in Taken and protecting his family in Run All Night, to protecting his family in Taken 2, and you know, protecting his family in Taken 3, Neeson is a family man if ever I’ve seen one.
Teaming up with director Jaume Collet-Serra for the fourth time, the rather excellent Non-Stop being their best work together, Neeson takes the action and moves it on-board, you guessed it, a commuter train. But does The Commuter work? Or are we starting to get derailed by these constant action roles?
Insurance salesman Michael (Neeson) is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger (Vera Farmiga), Michael is forced to uncover the identity of a hidden passenger on the train before the last stop. As he works against the clock to solve the puzzle, he realizes a deadly plan is unfolding, and he is unwittingly caught up in a criminal conspiracy that carries life and death stakes for everyone on the train.
The premise is a borderline carbon copy of what we saw in Non-Stop, but with Neeson battling a series of bad guys on a train instead of in the air, and while it is at times, ridiculous, it’s directed with the usual Collet-Serra sense of style that would make even a dog food commercial look intriguing.
Where last year’s Murder on the Orient Express opted for opulence and fairly static camerawork, here The Commuter utilises every part of the train to its advantage. From underneath the carriages, to through the windows and even cleverly framed through a ticket stub, Collet-Serra’s direction is unique, if a little over-stylised at times.
Casting wise, Neeson is the perfect choice to play the world-weary protagonist with a very special set of skills, after all, it’s a role he has been playing for many years now. Some might say typecast, I prefer to think of it as knowing what he wants. Elsewhere, Vera Farmiga is a disappointingly underused presence and it would have been nice to see her a little more throughout the fairly taut 105-minute running time. It’s also nice to see Sam Neill back on the big screen and he remains dependable company.
It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG
The action is choreographed well considering the limitations of the set and while it’s clear that the carriages have been manipulated during some of the fight scenes, it’s still impressive to think of all the camera equipment being squeezed into a fairly small space. There’s always been something oddly satisfying at seeing 65-year-old Neeson taking down a group of ruffians half his age and that shows no sign of dissipating any time soon.
Unfortunately, it appears that the limitations of the set also manifested themselves in limits to the script. There are numerous scenes of Neeson pacing up and down the carriages with very little dialogue and while this worked reasonably well in Non-Stop, the result is less successful here, probably due to a less engaging supporting cast.
And while the cinematography is very clever indeed, the low budget, less than $20million in fact, means some of the CGI and special effects leave a lot to be desired, especially towards the film’s climax. It’s a shame that Collet-Serra wasn’t given slightly more to work with as his ingenious camera trickery is at odds with the poor CG.
Overall, The Commuter is another thrilling slice of popcorn entertainment from Jaume Collet-Serra and Liam Neeson. At 65-years-old, you’d think everyone’s favourite Irish actor would want to be settling down into cosier rom-com territory and who could blame him? I’m just thankful he’s not. The Commuter may be utterly preposterous and completely unoriginal, but you’ll have a blast watching it.
https://moviemetropolis.net/2018/01/20/the-commuter-review-liam-neesons-special-set-of-skills-return/
Kristy H (1252 KP) rated 13 Minutes in Books
Feb 13, 2018
When they pull Natasha out of the river, she's been dead for thirteen minutes. Thirteen dark, cold minutes. It's amazing the teenager even lives; in fact, it's just pure luck that a man and his dog stumble upon her and pull her from the river's icy clutches. Tasha, as she's known, has no memory of how she wound up in the river, but she knows it wasn't intentional on her part. In fact, she's pretty sure two of her closest friends, Hayley and Jenny, had something to do with it. The two seemed weird in the days leading up to the incident. The trio of beautiful, popular girls--known as "the Barbies" at school--were supposedly the best of friends. But after the accident, Tasha feels drawn to her former friend, Becca, whom she dropped in middle school. Becca isn't sure why Tasha is suddenly being so nice to her. Tasha isn't sure either. And no one is exactly sure how or why Tasha ended up in that river.
I've never read a novel by [a:Sarah Pinborough|457300|Sarah Pinborough|https://images.gr-assets.com/authors/1463056151p2/457300.jpg] before, and I was pretty impressed. She's a great writer, and <i>she certainly knows how to capture the voice of the teenagers within the pages of her novel</i>. I don't think I realized this book would be quite so YA, if that makes any sense. I <i>kept waiting for there to be a bit more to the story than teenage politics</i>, but it's truly sort of a <i>Pretty Little Liars</i>-type tale. That's not to say it's not well-done. It may have just been a tad bit young for me; still, <i>it's an excellent novel and would be a truly wonderful read for most teens</i>, too.
Part of the novel's brilliance comes in its format. It's told from the point of view of Becca and Tasha, but we also get excerpts from Tasha's diary; case files from the Inspector on Tasha's case; notes from Tasha's psychologist; texts between the teens; and more. <i>I enjoyed the format, and it was quite effective at building suspense and tension. </i>
Because,<i> wow, yes, the book is certainly tense and compelling.</i> You're constantly wondering how reliable our teenage narrators are and questioning everything that happens. Now, as mentioned, there's a lot of teenage drama. A LOT. <i>These teens are truly a little scary</i>, and this was yet another book that makes me a tiny bit frightened for my five-year-old daughters to grow up. My goodness. At times, I got a bit bogged down in all the teen antics, but it was still quite interesting.
Becca was definitely a bit of a kid, but I still liked her (for the most part). She was well-written, just a little young for me. Pinborough is truly amazing at getting in the head of these teenagers--capturing the pettiness, meanness, and honestly, sometimes the dumbness, of their mindset. But she also caught the brutal neediness behind some of their actions: that raw need of kids that age to fit in with their peers.
I had a decent idea how this one was going to play out pretty early on, but that didn't stop me from reading (as mentioned, I tore through this in about 24 hours). There's something oddly compelling about this book and its characters. Pinborough weaves in <i>The Crucible</i> as a backdrop--it's the school play--which is a really clever move, as there are a lot of parallels between said drama and the melodrama unfolding among Tasha, Hayley, and Jenny.
Overall, this novel really just hinges on the duality of the hatefulness and vulnerability of teenagers. It may come across as a little too YA and predictable for some adults, but I can't deny that it's well-written and crisp. It's hard to like some of the characters, but I think it would make a great book for teens (albeit it's rather freaking scary). I was leaning toward 3.5 stars before writing this review, but I think I'll do 3.75 and bump up to 4 stars here on Goodreads (that's not complicated at all, right? Perhaps fitting for this complicated and twisty novel).
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 10/03/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
I've never read a novel by [a:Sarah Pinborough|457300|Sarah Pinborough|https://images.gr-assets.com/authors/1463056151p2/457300.jpg] before, and I was pretty impressed. She's a great writer, and <i>she certainly knows how to capture the voice of the teenagers within the pages of her novel</i>. I don't think I realized this book would be quite so YA, if that makes any sense. I <i>kept waiting for there to be a bit more to the story than teenage politics</i>, but it's truly sort of a <i>Pretty Little Liars</i>-type tale. That's not to say it's not well-done. It may have just been a tad bit young for me; still, <i>it's an excellent novel and would be a truly wonderful read for most teens</i>, too.
Part of the novel's brilliance comes in its format. It's told from the point of view of Becca and Tasha, but we also get excerpts from Tasha's diary; case files from the Inspector on Tasha's case; notes from Tasha's psychologist; texts between the teens; and more. <i>I enjoyed the format, and it was quite effective at building suspense and tension. </i>
Because,<i> wow, yes, the book is certainly tense and compelling.</i> You're constantly wondering how reliable our teenage narrators are and questioning everything that happens. Now, as mentioned, there's a lot of teenage drama. A LOT. <i>These teens are truly a little scary</i>, and this was yet another book that makes me a tiny bit frightened for my five-year-old daughters to grow up. My goodness. At times, I got a bit bogged down in all the teen antics, but it was still quite interesting.
Becca was definitely a bit of a kid, but I still liked her (for the most part). She was well-written, just a little young for me. Pinborough is truly amazing at getting in the head of these teenagers--capturing the pettiness, meanness, and honestly, sometimes the dumbness, of their mindset. But she also caught the brutal neediness behind some of their actions: that raw need of kids that age to fit in with their peers.
I had a decent idea how this one was going to play out pretty early on, but that didn't stop me from reading (as mentioned, I tore through this in about 24 hours). There's something oddly compelling about this book and its characters. Pinborough weaves in <i>The Crucible</i> as a backdrop--it's the school play--which is a really clever move, as there are a lot of parallels between said drama and the melodrama unfolding among Tasha, Hayley, and Jenny.
Overall, this novel really just hinges on the duality of the hatefulness and vulnerability of teenagers. It may come across as a little too YA and predictable for some adults, but I can't deny that it's well-written and crisp. It's hard to like some of the characters, but I think it would make a great book for teens (albeit it's rather freaking scary). I was leaning toward 3.5 stars before writing this review, but I think I'll do 3.75 and bump up to 4 stars here on Goodreads (that's not complicated at all, right? Perhaps fitting for this complicated and twisty novel).
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 10/03/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>