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Merissa (11877 KP) rated Shadow Bound (Shadow #1) in Books
Oct 20, 2023
SHADOW BOUND is the first book in the Shadow series, starting off with the Daughter of Death, Talia. Not only that, but you get a nice prologue that tells you about the love between her father and mother, and just what their situation was. I really liked that.
After the prologue, you move forward twenty-six years to find Talia packing for a new job after successfully defending her dissertation. All that changes when two Wraiths force their way into her home and kill her flatmate. Talia goes on the run, successfully hiding for a few months until her luck seems to run out. While this has been going on, Adam has been searching for her. She is the only one so far he has found that mentions 'Shadowman' and he is desperate to find her. He does, in the nick of time, and that's when the fun really starts.
Talia doesn't simply turn into a kick-ass bad-ass b!tch. Nope, she claws her way through her instincts to run and hide, only really coming into her own during the last part of the book. Adam is a bitter, arrogant jerk (with reason) who wants to use Talia at the beginning and, by the end, will do anything to protect her.
This is a fast-paced story that will keep you turning the pages. The world-building was great and really helped to set the scene, not only for this book but also for the others in the series. Talia and Adam are ably supported by a fascinating group of characters that I hope will be in later books. I found it to be a great start to the series and look forward to Custo's story, which is next.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Oct 20, 2023
After the prologue, you move forward twenty-six years to find Talia packing for a new job after successfully defending her dissertation. All that changes when two Wraiths force their way into her home and kill her flatmate. Talia goes on the run, successfully hiding for a few months until her luck seems to run out. While this has been going on, Adam has been searching for her. She is the only one so far he has found that mentions 'Shadowman' and he is desperate to find her. He does, in the nick of time, and that's when the fun really starts.
Talia doesn't simply turn into a kick-ass bad-ass b!tch. Nope, she claws her way through her instincts to run and hide, only really coming into her own during the last part of the book. Adam is a bitter, arrogant jerk (with reason) who wants to use Talia at the beginning and, by the end, will do anything to protect her.
This is a fast-paced story that will keep you turning the pages. The world-building was great and really helped to set the scene, not only for this book but also for the others in the series. Talia and Adam are ably supported by a fascinating group of characters that I hope will be in later books. I found it to be a great start to the series and look forward to Custo's story, which is next.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book; the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Oct 20, 2023
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As a worker tears apart an old house under construction in London, he makes an unsettling discovery: tiny bones. The police believe they belong to a baby who was buried years earlier. The story catches the eye of journalist Kate Waters, who immediately wants to determine the child's identity. Her research leads her to a missing child from several decades in the past: a stolen baby, who was never found. Kate finds herself drawn into the missing baby's case and the lives of several women: Angela, a mother who had her baby stolen many years ago; Emma, who once lived on the block where the baby's bones were found; and Jude, Emma's mother.
I really enjoyed Barton's previous novel, The Widow, and I have to say that THE CHILD did not disappoint. It's hard exactly to describe her books, but they have some sort of power over you, drawing you into their narrative and making it difficult to come back to reality until you've reached the end. Much like THE WIDOW, we're presented with a cast of disparate characters-not all of whom are particularly likeable. I hadn't realized, for some reason, that THE CHILD would feature Kate again--a journalist we previously met in Barton's earlier book. I found Kate a much more engaging protagonist this time around: she came across as more human and flawed.
Otherwise, the novel focuses on timid, depressed Emma and her difficult relationship with her mother, Jude, who kicked Emma out of the house at the sixteen. Each woman has a turn at the narration, as does Angela, who is still reeling from having her baby stolen from the hospital (and never found). Barton does a skillful job weaving their stories together. Everything unfolds in bits and pieces as the tale progresses in the eyes of each of our narrators. For me, it was extremely riveting: just as one shocking piece came out, another one would fall into place.
Barton also gives us an excellent look into the journalism business, with a focus on how Kate writes her stories, with a strong emphasis on real (face-to-face, non-Internet-based) research. We see firsthand how the current social media craze is affecting the newspaper world. It's refreshing, as we get to basically see a crime/story solved, yet not necessarily through the lens of a typical police drama.
Overall, I really enjoyed this one. I figured out parts of it as it went along, but found it to be a very compelling read. Definitely worth picking up.
I really enjoyed Barton's previous novel, The Widow, and I have to say that THE CHILD did not disappoint. It's hard exactly to describe her books, but they have some sort of power over you, drawing you into their narrative and making it difficult to come back to reality until you've reached the end. Much like THE WIDOW, we're presented with a cast of disparate characters-not all of whom are particularly likeable. I hadn't realized, for some reason, that THE CHILD would feature Kate again--a journalist we previously met in Barton's earlier book. I found Kate a much more engaging protagonist this time around: she came across as more human and flawed.
Otherwise, the novel focuses on timid, depressed Emma and her difficult relationship with her mother, Jude, who kicked Emma out of the house at the sixteen. Each woman has a turn at the narration, as does Angela, who is still reeling from having her baby stolen from the hospital (and never found). Barton does a skillful job weaving their stories together. Everything unfolds in bits and pieces as the tale progresses in the eyes of each of our narrators. For me, it was extremely riveting: just as one shocking piece came out, another one would fall into place.
Barton also gives us an excellent look into the journalism business, with a focus on how Kate writes her stories, with a strong emphasis on real (face-to-face, non-Internet-based) research. We see firsthand how the current social media craze is affecting the newspaper world. It's refreshing, as we get to basically see a crime/story solved, yet not necessarily through the lens of a typical police drama.
Overall, I really enjoyed this one. I figured out parts of it as it went along, but found it to be a very compelling read. Definitely worth picking up.
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Sophia (Bookwyrming Thoughts) (530 KP) rated The Chosen (Contender #1) in Books
Jan 23, 2020
<b><i>The author/publisher provided a free copy of the book for review purposes - thank you! Receiving a review copy does not guarantee a positive review and therefore do not affect the opinion or content of the review.</i></b>
It's midnight and apparently, it was a good idea for me to crank out reading a book in the span of 2 days. I don't know why I'm like this, but anyways, I somehow finished <em>The Chosen</em>?
The first book in Taran Matharu's <em>Contender</em> series introduces us to Cade, who finds himself in a boarding school after being wrongly accused. But shortly after he settles down, he and his classmates find themselves in another world filled with items and people from various mysteries throughout history. They're forced into a game controlled by the Strategos as contenders, only knowing if they fail, there will be consequences.
<h2><em><strong>The Chosen</strong></em><strong> is a quick, action-packed read.</strong></h2>
At least, in the beginning. Hold that thought for a moment. Matharu captured my attention from the first chapter as Cade finds himself having to fend for his life, not knowing his whereabouts. There's a lot of action throughout that made me want to know more as Cade made discoveries and his moves.
<h2><strong>But there's nothing much going on.</strong></h2>
I am all about characters running and fighting for their lives from pre-historic dinosaurs. <em>The Chosen</em> is practically a survival book, but about 60% through, I realized, <em>there's not actually anything going on</em>. Cade, his classmates and eventually the people he meets who join the cause -- they're running around with a timer floating around them. (That timer is also a handy dandy floating Google, which is just plain cool if you ask me.)
Then about 90%, everything happens and Cade finds out more information about <em>why</em> they're on the world. <em>And</em> he finds out both he and his companions got fucked over big time. It's not a one-time battle, there's more to come! A massive internal groan from Cade -- just when you thought it was over, the entire universe laughs.
<h2><em><strong>The Chosen</strong></em><strong> is engaging, though.</strong></h2>
Seriously, I appreciate a good, action-packed book that is engaging enough, I don't notice the entire book is full of running until I'm in deep. By that time, I'm a little too invested - I want to know the end.
Despite being a somewhat huge cast, it was fun seeing most of them come together. It was also fun seeing the choices Cade makes and how creative he is in implementing them in the game they've been forced in. And call me evil, but I'm delighted with the end (we'll even insert an evil laugh here) and want to see what Matharu will put the characters through in the second book.
<a href="https://bookwyrmingthoughts.com/the-chosen-by-taran-matharu/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
It's midnight and apparently, it was a good idea for me to crank out reading a book in the span of 2 days. I don't know why I'm like this, but anyways, I somehow finished <em>The Chosen</em>?
The first book in Taran Matharu's <em>Contender</em> series introduces us to Cade, who finds himself in a boarding school after being wrongly accused. But shortly after he settles down, he and his classmates find themselves in another world filled with items and people from various mysteries throughout history. They're forced into a game controlled by the Strategos as contenders, only knowing if they fail, there will be consequences.
<h2><em><strong>The Chosen</strong></em><strong> is a quick, action-packed read.</strong></h2>
At least, in the beginning. Hold that thought for a moment. Matharu captured my attention from the first chapter as Cade finds himself having to fend for his life, not knowing his whereabouts. There's a lot of action throughout that made me want to know more as Cade made discoveries and his moves.
<h2><strong>But there's nothing much going on.</strong></h2>
I am all about characters running and fighting for their lives from pre-historic dinosaurs. <em>The Chosen</em> is practically a survival book, but about 60% through, I realized, <em>there's not actually anything going on</em>. Cade, his classmates and eventually the people he meets who join the cause -- they're running around with a timer floating around them. (That timer is also a handy dandy floating Google, which is just plain cool if you ask me.)
Then about 90%, everything happens and Cade finds out more information about <em>why</em> they're on the world. <em>And</em> he finds out both he and his companions got fucked over big time. It's not a one-time battle, there's more to come! A massive internal groan from Cade -- just when you thought it was over, the entire universe laughs.
<h2><em><strong>The Chosen</strong></em><strong> is engaging, though.</strong></h2>
Seriously, I appreciate a good, action-packed book that is engaging enough, I don't notice the entire book is full of running until I'm in deep. By that time, I'm a little too invested - I want to know the end.
Despite being a somewhat huge cast, it was fun seeing most of them come together. It was also fun seeing the choices Cade makes and how creative he is in implementing them in the game they've been forced in. And call me evil, but I'm delighted with the end (we'll even insert an evil laugh here) and want to see what Matharu will put the characters through in the second book.
<a href="https://bookwyrmingthoughts.com/the-chosen-by-taran-matharu/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bob Mann (459 KP) rated The Front Runner (2018) in Movies
Sep 28, 2021
Candidate for a downfall.
We can all probably rattle off some of the classics movies with US politics as their backdrop. For me, “All the President’s Men”; “Primary Colors”; and “Frost/Nixon” might make that list. In the next tier down there are many great drama/thrillers – “Miss Sloane“; “The Post“; “The Ides of March”; “The American President”; “JFK” – and even some pretty funny comedies – “Dave” and “My Fellow Americans” for example. It’s actually quite difficult to think of many films on the subject that are outright dire, proving it remains a fertile ground for film-makers.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
Sophia (Bookwyrming Thoughts) (530 KP) rated The Winner's Curse (The Winner's Trilogy, #1) in Books
Jan 23, 2020
You never know what kinds of books you'll find when you take your time at the library.
<i>The Winner's Curse</i>, to say the least, is perhaps one of the best, if not <i>the</i> best, book I've read so far in 2015. The characters, the writing, the world, the plot – I loved it all (or most of it, but technically it's still all of it).
Kestrel may be one of my favorite characters – I just love how she resists (flouting them may be more accurate) her father's and society's rules, values, and expectations throughout the entire book, and even how she resists being bossed around by Cheat near the end.
<blockquote>"If a woman can fight and die for the empire, why can't a woman walk alone?"</blockquote>
Frankly, it's fantastic. It's fantastic how she doesn't really care too much about what society thinks of her relationship with Arin, despite the fact the rumors weren't true at the time. And it's even more fantastic how loyal Jess and Ronan are to Kestrel – they stick around even while Kestrel's reputation is obviously going down the drain with each action she takes that society looks down upon (though Ronan may be questionable).
<blockquote>"It doesn't matter what they think. Dance with me."</blockquote>
Then there's the writing – it's beautiful. The parallel structure the author uses occasionally throughout seems almost poetic, or if not poetic, then there seems to be a rhythm every so often.
<blockquote>She would have stopped him. She would have wished herself deaf, blind, made of unfeeling smoke. She would have stopped his words out of terror, longing.</blockquote>
I'm also not typically a fan of authors revealing what really happens through another character (while another character hears differently), but with <i>The Winner's Curse</i>, I find I rather enjoy Rutkoski revealing what really happens through Arin while Kestrel hears something else. Perhaps it's just the character itself, as Arin <i>is</i> an intriguing character and seems to have an air of mystery about him right when he is first sold to Kestrel – the author reveals that there's something up with him, but is vague enough not to give too much away.
The ending to <i>The Winner's Curse</i> is full of tension – with the second book already released or being released soon, I <i>really</i> want to read the next book, in hopes the sequel is as wonderfully written and unpredictable as the first to the <i>Winner's Trilogy</i> is.
<a href="https://bookwyrmingthoughts.com/review-the-winners-curse-by-marie-rutkoski/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<i>The Winner's Curse</i>, to say the least, is perhaps one of the best, if not <i>the</i> best, book I've read so far in 2015. The characters, the writing, the world, the plot – I loved it all (or most of it, but technically it's still all of it).
Kestrel may be one of my favorite characters – I just love how she resists (flouting them may be more accurate) her father's and society's rules, values, and expectations throughout the entire book, and even how she resists being bossed around by Cheat near the end.
<blockquote>"If a woman can fight and die for the empire, why can't a woman walk alone?"</blockquote>
Frankly, it's fantastic. It's fantastic how she doesn't really care too much about what society thinks of her relationship with Arin, despite the fact the rumors weren't true at the time. And it's even more fantastic how loyal Jess and Ronan are to Kestrel – they stick around even while Kestrel's reputation is obviously going down the drain with each action she takes that society looks down upon (though Ronan may be questionable).
<blockquote>"It doesn't matter what they think. Dance with me."</blockquote>
Then there's the writing – it's beautiful. The parallel structure the author uses occasionally throughout seems almost poetic, or if not poetic, then there seems to be a rhythm every so often.
<blockquote>She would have stopped him. She would have wished herself deaf, blind, made of unfeeling smoke. She would have stopped his words out of terror, longing.</blockquote>
I'm also not typically a fan of authors revealing what really happens through another character (while another character hears differently), but with <i>The Winner's Curse</i>, I find I rather enjoy Rutkoski revealing what really happens through Arin while Kestrel hears something else. Perhaps it's just the character itself, as Arin <i>is</i> an intriguing character and seems to have an air of mystery about him right when he is first sold to Kestrel – the author reveals that there's something up with him, but is vague enough not to give too much away.
The ending to <i>The Winner's Curse</i> is full of tension – with the second book already released or being released soon, I <i>really</i> want to read the next book, in hopes the sequel is as wonderfully written and unpredictable as the first to the <i>Winner's Trilogy</i> is.
<a href="https://bookwyrmingthoughts.com/review-the-winners-curse-by-marie-rutkoski/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bob Mann (459 KP) rated Spider-Man: Homecoming (2017) in Movies
Sep 29, 2021
When I heard the news last year that Spider-Man was going to be rebooted yet again, I was like “are you freaking serious”? After the successful Toby Maguire trilogy (though the less said about “Spider-Man 3” the better) and the mildly successful “Amazing Spider-Man” duo with Andrew Garfield only finishing in 2014, did we REALLY need another reboot? More dramatic spider biting? More Uncle Ben spouting then dying? The same old – same old, rewarmed in a pan with a bit of red wine added just to stop it feeling so dry and tasteless.
And I still feel the same way. I understand that its more to do with rights ownership between Sony, Marvel and Disney that this got made so quickly…. but in the words of Ian Malcolm “they didn’t stop to think if they should”.
But actually, although I still don’t really approve of it, they’ve done a pretty good job in rebooting in a different manner. I commented in my review for “The Amazing Spider-Man 2” that that first reboot was “much less earnest and quirkier than the original Tobey Maguire series, and reveling more in the fun to be had around a superhero’s schooldays.” This latest reboot moves even further along that scale, being very much more of a high-school comedy that a pure superhero flick.
Wearing the suit this time is a far more age-appropriate Tom Holland, winner of last year’s BAFTA Rising Star award. And very personable he is too. The suit in question has been jizzed up by Iron Man (Robert Downey Jnr) – perhaps I could have rephrased that better! Because here the Spider-Man story carries on from the brief cameo in “Captain America: Civil War” that crossed Spidey into the mainstream Marvel timeline.
Within the high-school setting, Peter Parker’s geeky, and almost too deliberately multi-racial, gang includes his pal Ned (Jacob Batalon), very funny with a “chair guy” sequence, the unattainable Liz (Laura Harrier) as the love-interest, Betty (the excellent Angourie Rice who made such a great impression in “The Nice Guys” but didn’t really move the meter for me here I’m afraid), Flash (Tony Revolori) and best of all for me the almost horizontally laconic Michelle (Zendaya, of Shoshone heritage) – uber-cool but harbouring a secret crush on Peter.
Chris Evans pops up for comic relief as Captain America doing motivational high-school videos. And older viewers might want to have fun watching out for Tyne Daly: Lacey in the old cop show “Cagney and Lacey”.
But stealing the show in the acting stakes is Michael Keaton as Adrian Toomes (aka “The Vulture”) who could for all the world be auditioning for “Birdman 2”. The well-judged thing about this villain is that he is no hyper-galactic being with superpowers, or a typical “rule the world” Bond villain, but just an ordinary Joe in search of financial profit to keep his family in the manner to which they are accustomed. I really liked that. The script (an army of people, but led by Jonathan Goldstein and John Francis Daley, who also wrote the story) also nicely counterpoints the thin-line between the “good arms dealer” (Tony Stark) and the “bad arms dealer” (Toomes).
The script also very wisely leaps several months into where the reboot could have started. None of the tedious spider biting. No Uncle Ben – just a sly reference to “what Aunt May’s been through”. Now this might confuse anyone not familiar with the Spider-Man story, but the percentage of people in the Western world in that segment must be less than 2%.
There are however also significant character changes that may annoy Spider-Man devotees. Aunt May herself is no longer the frail old lady of previous depictions, but a hot and attractive middle-aged woman (AILF?) played by Marisa Tomei (who does indeed look ‘Mila Kunis‘).
Many of the action scenes are well done, with a scene at the Washington Monument being particularly exciting. It all gets rather overblown though with a later scene aboard the Avenger’s plane. And this scene sums up my problem with many of these films: the superhero characters are pretty well indestructible. You know they are. So the scenes of peril, that might thrill in an Indiana Jones, an M.I. or a Bond film, lack any sort of tension. Even when the protagonist does have a superhero on the ropes, they don’t carry on kicking the proverbial c**p out of them until they are “dead”…. they lay off so the superhero can recover and kick their ass in a few minutes time!
The director is Jon Watts in only his third directorial outing (with only the much praised “Cop Car” to pretty up his CV). With such a lot on his shoulders he does a good job.
At 133 minutes its a tad over-long (I watched this in a double bill with “War for the Planet of the Apes” so my eyes afterwards were 16:9!). But it’s a fun summer flick that both amuses and entertains. If you have the choice between this and Planet of the Apes though for your Saturday night at the movies, I would personally choose the latter.
By the way, in terms of “monkeys” – yep, it’s a Marvel film, of course there are monkeys! One early on in the credits and another one at the end… which is actually very funny indeed.
And I still feel the same way. I understand that its more to do with rights ownership between Sony, Marvel and Disney that this got made so quickly…. but in the words of Ian Malcolm “they didn’t stop to think if they should”.
But actually, although I still don’t really approve of it, they’ve done a pretty good job in rebooting in a different manner. I commented in my review for “The Amazing Spider-Man 2” that that first reboot was “much less earnest and quirkier than the original Tobey Maguire series, and reveling more in the fun to be had around a superhero’s schooldays.” This latest reboot moves even further along that scale, being very much more of a high-school comedy that a pure superhero flick.
Wearing the suit this time is a far more age-appropriate Tom Holland, winner of last year’s BAFTA Rising Star award. And very personable he is too. The suit in question has been jizzed up by Iron Man (Robert Downey Jnr) – perhaps I could have rephrased that better! Because here the Spider-Man story carries on from the brief cameo in “Captain America: Civil War” that crossed Spidey into the mainstream Marvel timeline.
Within the high-school setting, Peter Parker’s geeky, and almost too deliberately multi-racial, gang includes his pal Ned (Jacob Batalon), very funny with a “chair guy” sequence, the unattainable Liz (Laura Harrier) as the love-interest, Betty (the excellent Angourie Rice who made such a great impression in “The Nice Guys” but didn’t really move the meter for me here I’m afraid), Flash (Tony Revolori) and best of all for me the almost horizontally laconic Michelle (Zendaya, of Shoshone heritage) – uber-cool but harbouring a secret crush on Peter.
Chris Evans pops up for comic relief as Captain America doing motivational high-school videos. And older viewers might want to have fun watching out for Tyne Daly: Lacey in the old cop show “Cagney and Lacey”.
But stealing the show in the acting stakes is Michael Keaton as Adrian Toomes (aka “The Vulture”) who could for all the world be auditioning for “Birdman 2”. The well-judged thing about this villain is that he is no hyper-galactic being with superpowers, or a typical “rule the world” Bond villain, but just an ordinary Joe in search of financial profit to keep his family in the manner to which they are accustomed. I really liked that. The script (an army of people, but led by Jonathan Goldstein and John Francis Daley, who also wrote the story) also nicely counterpoints the thin-line between the “good arms dealer” (Tony Stark) and the “bad arms dealer” (Toomes).
The script also very wisely leaps several months into where the reboot could have started. None of the tedious spider biting. No Uncle Ben – just a sly reference to “what Aunt May’s been through”. Now this might confuse anyone not familiar with the Spider-Man story, but the percentage of people in the Western world in that segment must be less than 2%.
There are however also significant character changes that may annoy Spider-Man devotees. Aunt May herself is no longer the frail old lady of previous depictions, but a hot and attractive middle-aged woman (AILF?) played by Marisa Tomei (who does indeed look ‘Mila Kunis‘).
Many of the action scenes are well done, with a scene at the Washington Monument being particularly exciting. It all gets rather overblown though with a later scene aboard the Avenger’s plane. And this scene sums up my problem with many of these films: the superhero characters are pretty well indestructible. You know they are. So the scenes of peril, that might thrill in an Indiana Jones, an M.I. or a Bond film, lack any sort of tension. Even when the protagonist does have a superhero on the ropes, they don’t carry on kicking the proverbial c**p out of them until they are “dead”…. they lay off so the superhero can recover and kick their ass in a few minutes time!
The director is Jon Watts in only his third directorial outing (with only the much praised “Cop Car” to pretty up his CV). With such a lot on his shoulders he does a good job.
At 133 minutes its a tad over-long (I watched this in a double bill with “War for the Planet of the Apes” so my eyes afterwards were 16:9!). But it’s a fun summer flick that both amuses and entertains. If you have the choice between this and Planet of the Apes though for your Saturday night at the movies, I would personally choose the latter.
By the way, in terms of “monkeys” – yep, it’s a Marvel film, of course there are monkeys! One early on in the credits and another one at the end… which is actually very funny indeed.