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Sophia (Bookwyrming Thoughts) (530 KP) rated All Is Fair in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
<h2><em><strong>All is Fair</strong></em><strong> by Dee Garretson promises an adventure.</strong></h2>
The beginning of <em>All is Fair</em> promises a fun, action-packed adventure, set in World War I with badass females being involved in espionage. After Mina receives a telegram from her father at her boarding school and decrypts the message, she heads home to find her friend Andrew with an American named Lucas.
<h2><strong>It's a little predictable, but also fun.</strong></h2>
<em>All is Fair</em> starts off great and I loved seeing Mina decrypting her father's message at school. I also loved seeing this play a role later on when Mina has to join Lucas on his mission so he could succeed.
But Garretson's novel is relatively predictable as I called some of the twists before they happened. While this may suck out of the fun for some people, I found myself letting the easy predictions slide as I enjoyed other aspects of the story.
<h2><strong>Slow at the beginning.</strong></h2>
After the promising intro and beginning when we are introduced to Mina and learn a little about her, the story dies down. <em>All is Fair</em> becomes slow and we focus a lot on the aristocratic life in the early 20th century before we get to the action-packed part of the story. I found myself stepping away frequently until then because I was just <em>bored</em> despite the character interactions.
<h2><strong>Characters and interactions are great, romance unnecessary</strong></h2>
I'm a huge character person - if there's a character or two that I enjoy reading, I'll likely let other problems (if any) I have slide. And I adored Mina. From the beginning, she's wanted to go on an adventure but rarely gets the opportunity until something happens and she takes the chance. Her interactions with Lucas are amusing and there is <em>quite</em> the shade being thrown between the two (I love me some good shade).
But the romance wasn't necessary to the story. It felt suddenly thrown in near the end just to have a romantic aspect of sorts. <em>All is Fair</em> would have been perfectly fine with the friendship and occasional shade being thrown about.
<h2><strong>We have an open ending.</strong></h2>
<em>All is Fair</em> leaves an open ending that promises of a possible sequel that could potentially happen. Even if there is no sequel, though, the story wrapped up nicely. My only issue aside from the unnecessary romantic aspect is the boring beginning readers will have to drag themselves through to get to the action-packed adventure.
<a href="http://bookwyrmingthoughts.com/all-is-fair-by-dee-garretson/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<h2><em><strong>All is Fair</strong></em><strong> by Dee Garretson promises an adventure.</strong></h2>
The beginning of <em>All is Fair</em> promises a fun, action-packed adventure, set in World War I with badass females being involved in espionage. After Mina receives a telegram from her father at her boarding school and decrypts the message, she heads home to find her friend Andrew with an American named Lucas.
<h2><strong>It's a little predictable, but also fun.</strong></h2>
<em>All is Fair</em> starts off great and I loved seeing Mina decrypting her father's message at school. I also loved seeing this play a role later on when Mina has to join Lucas on his mission so he could succeed.
But Garretson's novel is relatively predictable as I called some of the twists before they happened. While this may suck out of the fun for some people, I found myself letting the easy predictions slide as I enjoyed other aspects of the story.
<h2><strong>Slow at the beginning.</strong></h2>
After the promising intro and beginning when we are introduced to Mina and learn a little about her, the story dies down. <em>All is Fair</em> becomes slow and we focus a lot on the aristocratic life in the early 20th century before we get to the action-packed part of the story. I found myself stepping away frequently until then because I was just <em>bored</em> despite the character interactions.
<h2><strong>Characters and interactions are great, romance unnecessary</strong></h2>
I'm a huge character person - if there's a character or two that I enjoy reading, I'll likely let other problems (if any) I have slide. And I adored Mina. From the beginning, she's wanted to go on an adventure but rarely gets the opportunity until something happens and she takes the chance. Her interactions with Lucas are amusing and there is <em>quite</em> the shade being thrown between the two (I love me some good shade).
But the romance wasn't necessary to the story. It felt suddenly thrown in near the end just to have a romantic aspect of sorts. <em>All is Fair</em> would have been perfectly fine with the friendship and occasional shade being thrown about.
<h2><strong>We have an open ending.</strong></h2>
<em>All is Fair</em> leaves an open ending that promises of a possible sequel that could potentially happen. Even if there is no sequel, though, the story wrapped up nicely. My only issue aside from the unnecessary romantic aspect is the boring beginning readers will have to drag themselves through to get to the action-packed adventure.
<a href="http://bookwyrmingthoughts.com/all-is-fair-by-dee-garretson/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
You’ll never guess who dunnit…
There’s a big problem with Kenneth Branagh’s 2017 filming of the Hercule Poirot-based murder mystery…. and that’s the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable – at least, the “who” of the “whodunnit” (no spoilers here) was so memorable – that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
Lee (2222 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 3, 2019
I think I was one of the few people that was ultimately disappointed by Spider-Man: Homecoming. After Spider-Man's impressive and thrilling introduction to the Marvel universe during Captain America: Civil War, I felt Homecoming to be somewhat lacking - set pieces that had already been shown in the trailer, bigger set pieces that were difficult to follow on screen and, to quote my review, "too much awkward teen, not enough action hero". I even used the phrase "superhero fatigue", which funnily enough is a phrase currently being bandied around by some for this next Spider-Man venture, Far From Home, particularly in the wake of the intense Avengers: Endgame earlier this year. So, let's just say I was cautiously optimistic heading in to see this movie.
We kick off with a brief introduction to what will dominate the rest of the movie - Nick Fury and Maria Hill arrive in Mexico, where "a cyclone with a face" has completely destroyed a small town. As this new threat returns to wreak even more havoc, a mysterious new hero arrives to face it square on in battle, dramatically declaring to the startled S.H.I.E.L.D agents, "you don't want any part of this". From there, we switch to a lighthearted wrap up of the devastating events surrounding Infinity War/Endgame, in the form of an amateur high school news report. Mourning the loss of fallen heroes (accompanied by Whitney Houston singing 'I Will Always Love You'!), the report goes on to explain how "The Blip" - the term many are using to describe the effects of the 5 year period where half of the population were wiped from existence. Having the population age 5 years while the returning half haven't aged at all naturally has humorous consequences when it comes to students and their school life, but essentially humanity has managed to move on and has learnt to deal with it. Someone who is struggling to move on though, particularly from the loss of mentor/surrogate father, Tony Stark, is young Peter Parker. Desperately in need of a summer vacation, and a break from being Spider-Man, Parker cannot wait to join the rest of his friends, and crucially MJ (Zendaya), on an upcoming school trip which will take them to various European destinations.
But there's no chance of any kind of break for Spider-Man just yet, as Nick Fury has other plans for him. Peter does the unthinkable though and ignores the many phone calls from Fury, until he eventually tracks him down for a face to face meeting in his Venice hotel room. Since the incident in Mexico, S.H.I.E.L.D have been working with the mysterious new hero, Quentin Beck, or 'Mysterio' as he has now been dubbed, and Peter (along with us) are now brought up to speed on the origins of Quentin and these new global threats. Quentin actually comes from an alternate Earth where these creatures, known as The Elementals (monstrous versions of wind, fire, water and air), were responsible for the destruction of not only his world but his entire family too. The most powerful Elemental, fire, is yet to appear on our Earth and Mysterio, along with the help of S.H.I.E.L.D and Spider-Man, need to locate and stop it before it becomes too powerful for them to defeat.
Peter isn't initially interested though, being more concerned about jeopardising his school trip and exposing his identity, not to mention ruining his chances of finally hooking up with MJ. So, the rest of the movie nicely splits itself between teen high school banter/comedy drama and international superhero action. Happy Hogan (Jon Favreau) features prominently throughout the movie, helping to guide and mentor Peter in the absence of his old boss Tony Stark, and providing plenty of comic relief along the way too. He also passes onto Peter, a gift from Tony Stark - a pair of Jarvis-like talking shades called EDITH (Even Dead I'm The Hero!) - which initially act as a funny and poignant accessory for Peter, but proves to be a hugely important part of how the rest of the movie plays out.
Beyond that, I'm struggling to avoid spoilers. And there are a lot of them. If you're familiar with the comics though (and despite having some vague familiarity with them, I'd completely forgotten everything!), you'll be able to predict a lot of what comes next anyway. But, once again, I have to say how amazed I am that Marvel managed to produce trailers for this movie which not only mislead you into believing that you know exactly which direction this movie is heading in, but also feature scenes which aren't in the final movie! As a result, I found Far From Home to be a truly wonderful surprise, and even if you know how it's all going to play out, you should still manage to get a huge amount of enjoyment from seeing the masters of storytelling at work yet again. This movie gave me Endgame-level thrills and goose-bump moments, over and over again throughout. Visually, it's outstanding - with impressive action scenes and trippy sequences the likes of which we haven't seen since Doctor Strange. Jake Gyllenhaal is perfect as Mysterio too, really bringing the character to life, and by the end of it all I was just completely blown away. So when the mid credit sequence hit, opening up some shocking possibilities for future movies, I was almost hyperventilating with excitement!
We kick off with a brief introduction to what will dominate the rest of the movie - Nick Fury and Maria Hill arrive in Mexico, where "a cyclone with a face" has completely destroyed a small town. As this new threat returns to wreak even more havoc, a mysterious new hero arrives to face it square on in battle, dramatically declaring to the startled S.H.I.E.L.D agents, "you don't want any part of this". From there, we switch to a lighthearted wrap up of the devastating events surrounding Infinity War/Endgame, in the form of an amateur high school news report. Mourning the loss of fallen heroes (accompanied by Whitney Houston singing 'I Will Always Love You'!), the report goes on to explain how "The Blip" - the term many are using to describe the effects of the 5 year period where half of the population were wiped from existence. Having the population age 5 years while the returning half haven't aged at all naturally has humorous consequences when it comes to students and their school life, but essentially humanity has managed to move on and has learnt to deal with it. Someone who is struggling to move on though, particularly from the loss of mentor/surrogate father, Tony Stark, is young Peter Parker. Desperately in need of a summer vacation, and a break from being Spider-Man, Parker cannot wait to join the rest of his friends, and crucially MJ (Zendaya), on an upcoming school trip which will take them to various European destinations.
But there's no chance of any kind of break for Spider-Man just yet, as Nick Fury has other plans for him. Peter does the unthinkable though and ignores the many phone calls from Fury, until he eventually tracks him down for a face to face meeting in his Venice hotel room. Since the incident in Mexico, S.H.I.E.L.D have been working with the mysterious new hero, Quentin Beck, or 'Mysterio' as he has now been dubbed, and Peter (along with us) are now brought up to speed on the origins of Quentin and these new global threats. Quentin actually comes from an alternate Earth where these creatures, known as The Elementals (monstrous versions of wind, fire, water and air), were responsible for the destruction of not only his world but his entire family too. The most powerful Elemental, fire, is yet to appear on our Earth and Mysterio, along with the help of S.H.I.E.L.D and Spider-Man, need to locate and stop it before it becomes too powerful for them to defeat.
Peter isn't initially interested though, being more concerned about jeopardising his school trip and exposing his identity, not to mention ruining his chances of finally hooking up with MJ. So, the rest of the movie nicely splits itself between teen high school banter/comedy drama and international superhero action. Happy Hogan (Jon Favreau) features prominently throughout the movie, helping to guide and mentor Peter in the absence of his old boss Tony Stark, and providing plenty of comic relief along the way too. He also passes onto Peter, a gift from Tony Stark - a pair of Jarvis-like talking shades called EDITH (Even Dead I'm The Hero!) - which initially act as a funny and poignant accessory for Peter, but proves to be a hugely important part of how the rest of the movie plays out.
Beyond that, I'm struggling to avoid spoilers. And there are a lot of them. If you're familiar with the comics though (and despite having some vague familiarity with them, I'd completely forgotten everything!), you'll be able to predict a lot of what comes next anyway. But, once again, I have to say how amazed I am that Marvel managed to produce trailers for this movie which not only mislead you into believing that you know exactly which direction this movie is heading in, but also feature scenes which aren't in the final movie! As a result, I found Far From Home to be a truly wonderful surprise, and even if you know how it's all going to play out, you should still manage to get a huge amount of enjoyment from seeing the masters of storytelling at work yet again. This movie gave me Endgame-level thrills and goose-bump moments, over and over again throughout. Visually, it's outstanding - with impressive action scenes and trippy sequences the likes of which we haven't seen since Doctor Strange. Jake Gyllenhaal is perfect as Mysterio too, really bringing the character to life, and by the end of it all I was just completely blown away. So when the mid credit sequence hit, opening up some shocking possibilities for future movies, I was almost hyperventilating with excitement!
Sophia (Bookwyrming Thoughts) (530 KP) rated Such Sweet Sorrow in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b><i>Such Sweet Sorrow</i> is quite literally an unwritten sequel to <i>Romeo and Juliet</i> coinciding with <i>Hamlet</i> with a dark twist, or in other words, a bridge between the end of one Shakespeare play and the beginning of another.
I personally liked Trouts version of Romeo as he journeys to Denmark in the quest to save Juliet from death - he's much more spunky, but he has his romantic elements as well that Shakespeare originally placed in him. Hamlet is just as cheeky as his original counterpart, if not more cheeky (<i>Hamlet</i> is my favorite Shakespeare play, and it's not actually because of the ending). Juliet, like Romeo, also has another side to her Trout creates - she's more badass. (<i>Romeo and Juliet</i> is my least favorite - interesting combo going on here honestly.)
But <i>Such Sweet Sorrow</i> can be overwhelming. Trout doesn't just have <i>Hamlet</i> mashed with <i>Romeo and Juliet</i> - she's got Norse mythology and Greek mythology and who knows what else (some reviewers on Goodreads say anything you can think of... Essentially). Regardless, there is definitely a mess of things going on throughout and I just decided to go with it rather than question the book in its entirety (like what other mythological aspects are involved).
For the first half of the book, Romeo and Hamlet are, for the most part, wandering around cluelessly through this place called the Afterjord - it can get boring pretty quickly, but there is so much going on with the creatures they come across, it's not actually boring (I'm too busy trying to keep track of what's going on so I'm not lost). <i>Such Sweet Sorrow </i>doesn't actually pick up until after Romeo and Hamlet finally rescue Juliet and try to make their way back to the mortal world.
But while there is so much going on throughout, I actually liked this strange little book in all its weird complexities. However...
I'm disappointed that a cliffhanger is involved and nowhere on Goodreads does it say <i>Such Sweet Sorrow</i> has a sequel in the works.
<a href="https://bookwyrmingthoughts.com/arc-review-such-sweet-sorrow-by-jenny-trou/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
I personally liked Trouts version of Romeo as he journeys to Denmark in the quest to save Juliet from death - he's much more spunky, but he has his romantic elements as well that Shakespeare originally placed in him. Hamlet is just as cheeky as his original counterpart, if not more cheeky (<i>Hamlet</i> is my favorite Shakespeare play, and it's not actually because of the ending). Juliet, like Romeo, also has another side to her Trout creates - she's more badass. (<i>Romeo and Juliet</i> is my least favorite - interesting combo going on here honestly.)
But <i>Such Sweet Sorrow</i> can be overwhelming. Trout doesn't just have <i>Hamlet</i> mashed with <i>Romeo and Juliet</i> - she's got Norse mythology and Greek mythology and who knows what else (some reviewers on Goodreads say anything you can think of... Essentially). Regardless, there is definitely a mess of things going on throughout and I just decided to go with it rather than question the book in its entirety (like what other mythological aspects are involved).
For the first half of the book, Romeo and Hamlet are, for the most part, wandering around cluelessly through this place called the Afterjord - it can get boring pretty quickly, but there is so much going on with the creatures they come across, it's not actually boring (I'm too busy trying to keep track of what's going on so I'm not lost). <i>Such Sweet Sorrow </i>doesn't actually pick up until after Romeo and Hamlet finally rescue Juliet and try to make their way back to the mortal world.
But while there is so much going on throughout, I actually liked this strange little book in all its weird complexities. However...
I'm disappointed that a cliffhanger is involved and nowhere on Goodreads does it say <i>Such Sweet Sorrow</i> has a sequel in the works.
<a href="https://bookwyrmingthoughts.com/arc-review-such-sweet-sorrow-by-jenny-trou/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
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Merissa (13489 KP) rated It's a Match in Books
May 2, 2022 (Updated Jun 20, 2023)
IT'S A MATCH was an intriguing story from beginning to end, not going in the direction I thought it would, and oh-so-better for it!
Sarah is living in a world where AI is all around, reminding her of appointments and even advising her on what to wear. Her friends all use it to one degree or another. Her love life is not what she wants it to be so she comes up with the crazy idea of using her AI to sort out her matches for her. This opens a can of worms that deals with just how much is too much, whilst giving an insight into the various supporting and main characters.
There is a lot here about being part Chinese (and other nationalities) but all living together in London. It was an insight into how their lives may be and what the perfect qualities in a partner might be. I say might because I'm not Chinese and so don't know for sure! Some of it seemed quite picky but I'm positive that part is 100% true from what I've heard from friends.
Told mainly from Sarah's perspective, it did throw me slightly when I would get someone else start speaking. My review copy didn't have any headings on the chapters, so it only became clear who was 'speaking' as the chapter continued.
An intriguing story that will have you question what is right and wrong. How much morality exists in AI? Anyway, I thoroughly enjoyed it and have no hesitation in recommending it.
** 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, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Apr 26, 2022
Sarah is living in a world where AI is all around, reminding her of appointments and even advising her on what to wear. Her friends all use it to one degree or another. Her love life is not what she wants it to be so she comes up with the crazy idea of using her AI to sort out her matches for her. This opens a can of worms that deals with just how much is too much, whilst giving an insight into the various supporting and main characters.
There is a lot here about being part Chinese (and other nationalities) but all living together in London. It was an insight into how their lives may be and what the perfect qualities in a partner might be. I say might because I'm not Chinese and so don't know for sure! Some of it seemed quite picky but I'm positive that part is 100% true from what I've heard from friends.
Told mainly from Sarah's perspective, it did throw me slightly when I would get someone else start speaking. My review copy didn't have any headings on the chapters, so it only became clear who was 'speaking' as the chapter continued.
An intriguing story that will have you question what is right and wrong. How much morality exists in AI? Anyway, I thoroughly enjoyed it and have no hesitation in recommending it.
** 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, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Apr 26, 2022
Movie Metropolis (309 KP) rated 2012 (2009) in Movies
Jun 10, 2019
Roland Emmerich does big budget disaster flicks as well as Dairylea does cheese. However, some of his most recent attempts to dominate the box office have been panned by viewers and critics alike, who say that he has become too reliant on special effects.
Unfortunately, those critics better look away now, as his new film is the biggest yet.
2012 takes place, well, in 2012 for the most part and features an array of big Hollywood names attracted none the less by the huge box office forecasts for the film. The premise is simple; here comes the end of the world and god should we run!
With a reported budget of over $200m which is more than Michael Bay spent on his worldwide smash Transformers: Revenge of the fallen, Emmerich was certainly able to splash out on some eye popping CGI.
2012 reads like The Day After Tomorrow on a steroid, which is no bad thing, but that film had some hideously underdeveloped characters and lacked the depth needed to allow viewers to share compassion for the people who had been affected by the global crisis.
Thankfully it seems that Emmerich has learnt his lesson here and has provided us with a back-story and it comes in many different forms. Thandie Newton and Danny Glover play president’s daughter and president respectively, a great deal of emotion has gone into writing these two characters and their on-screen scenes together, albeit a small amount, are wonderful.
John Cusack and Amanda Peet play divorced parents Jackson and Kate, only united by the love they share for their two young children and predictably later on in the film, a few deeper emotions. Unfortunately these two share no chemistry together and their on-screen scenes are flawed as a result.
2012 doesn’t have a huge deal of character development but it does improve on what was seen in The Day After Tomorrow and more recently, 10,000BC, with a deeper understanding of the characters. It ultimately succeeds in making the viewers share compassion for even the heartless characters in the film.
Moving on to the saving grace of all disaster films; the special effects, fans of major cities being destroyed are going to be pleased here with some eye-watering action pieces really showing why perhaps Emmerich overshadows even Michael Bay and has become the king of destroying anything that can be destroyed. There are a few questionable scenes, which look rather less than realistic, but this is a small point that doesn’t need to be taken into account.
Whilst all this may seem excellent, it all feels familiar, it’s all been seen and done before, so in reality 2012 adds nothing new to the genre which is unfortunate because it really is an excellent film.
Overall, 2012 is a mouth-watering treat in cinema engineering, apart from some lapses in scientific accuracy and some shaky special effects; it surpasses The Day After Tomorrow and similar disaster films by sheer depth. On the downside it adds nothing new to the formula, but if you want sheer popcorn fodder then please, look no further.
https://moviemetropolis.net/2010/10/18/2012-2009/
Unfortunately, those critics better look away now, as his new film is the biggest yet.
2012 takes place, well, in 2012 for the most part and features an array of big Hollywood names attracted none the less by the huge box office forecasts for the film. The premise is simple; here comes the end of the world and god should we run!
With a reported budget of over $200m which is more than Michael Bay spent on his worldwide smash Transformers: Revenge of the fallen, Emmerich was certainly able to splash out on some eye popping CGI.
2012 reads like The Day After Tomorrow on a steroid, which is no bad thing, but that film had some hideously underdeveloped characters and lacked the depth needed to allow viewers to share compassion for the people who had been affected by the global crisis.
Thankfully it seems that Emmerich has learnt his lesson here and has provided us with a back-story and it comes in many different forms. Thandie Newton and Danny Glover play president’s daughter and president respectively, a great deal of emotion has gone into writing these two characters and their on-screen scenes together, albeit a small amount, are wonderful.
John Cusack and Amanda Peet play divorced parents Jackson and Kate, only united by the love they share for their two young children and predictably later on in the film, a few deeper emotions. Unfortunately these two share no chemistry together and their on-screen scenes are flawed as a result.
2012 doesn’t have a huge deal of character development but it does improve on what was seen in The Day After Tomorrow and more recently, 10,000BC, with a deeper understanding of the characters. It ultimately succeeds in making the viewers share compassion for even the heartless characters in the film.
Moving on to the saving grace of all disaster films; the special effects, fans of major cities being destroyed are going to be pleased here with some eye-watering action pieces really showing why perhaps Emmerich overshadows even Michael Bay and has become the king of destroying anything that can be destroyed. There are a few questionable scenes, which look rather less than realistic, but this is a small point that doesn’t need to be taken into account.
Whilst all this may seem excellent, it all feels familiar, it’s all been seen and done before, so in reality 2012 adds nothing new to the genre which is unfortunate because it really is an excellent film.
Overall, 2012 is a mouth-watering treat in cinema engineering, apart from some lapses in scientific accuracy and some shaky special effects; it surpasses The Day After Tomorrow and similar disaster films by sheer depth. On the downside it adds nothing new to the formula, but if you want sheer popcorn fodder then please, look no further.
https://moviemetropolis.net/2010/10/18/2012-2009/