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Hazel (2934 KP) rated Legend (A Claire Whitcomb Western #3) in Books
Dec 29, 2020
If, like me, you tend to bypass the Western or Historical Fiction genres thinking they might be boring or not what you usually enjoy, can I give you a little advice? Don't ... take a look at the blurb and if it sparks even a little light of interest, give it a go ... you never know, you might enjoy it. I have certainly enjoyed this series and it is way off what I normally read.
This is a very satisfying third and, supposedly the last, book in the series featuring Claire Whitcomb with "Retribution" being the first and "Gunslinger" being the second. Claire is a strong female in a time when strong females were frowned upon and she has to work doubly hard to follow the line of work she wishes and to prove herself amongst a world full of men; she does this with grace, dignity and style in this story filled with action and adventure set in the Wild West.
What I particularly enjoy is the references to real historical figures and places such as Doc Holliday, Wyatt Earp, Calamity Jane, Tombstone and the OK Corral; these are people and places I have grown up with (my dad and husband being avid Western watchers) and with adding a great character like Claire in amongst it all brought it to life even more for me.
My only gripe, which has continued over the three books, is that they aren't long enough ... you no sooner start when you have finished but maybe that's my fault and I read too quickly!
Having said that, I still highly recommend this series and D.V. Berkom as a whole; you won't be disappointed with anything she writes because, let's face it, what's not to like - great characters, immersive stories that transport you to different times and places, action, adventure, thrills and spills; she writes about it all with the bonus of the lead characters being strong females that aren't afraid to kick some behinds! So, have a look at her back catalogue and get reading.
I am lucky to be a member of D.V. Berkom's ARTeam and was sent a copy of Legend before the official publication date of 12-January-2020 in return for an honest, unbiased and unedited review and for which I am, once again, extremely grateful.
This is a very satisfying third and, supposedly the last, book in the series featuring Claire Whitcomb with "Retribution" being the first and "Gunslinger" being the second. Claire is a strong female in a time when strong females were frowned upon and she has to work doubly hard to follow the line of work she wishes and to prove herself amongst a world full of men; she does this with grace, dignity and style in this story filled with action and adventure set in the Wild West.
What I particularly enjoy is the references to real historical figures and places such as Doc Holliday, Wyatt Earp, Calamity Jane, Tombstone and the OK Corral; these are people and places I have grown up with (my dad and husband being avid Western watchers) and with adding a great character like Claire in amongst it all brought it to life even more for me.
My only gripe, which has continued over the three books, is that they aren't long enough ... you no sooner start when you have finished but maybe that's my fault and I read too quickly!
Having said that, I still highly recommend this series and D.V. Berkom as a whole; you won't be disappointed with anything she writes because, let's face it, what's not to like - great characters, immersive stories that transport you to different times and places, action, adventure, thrills and spills; she writes about it all with the bonus of the lead characters being strong females that aren't afraid to kick some behinds! So, have a look at her back catalogue and get reading.
I am lucky to be a member of D.V. Berkom's ARTeam and was sent a copy of Legend before the official publication date of 12-January-2020 in return for an honest, unbiased and unedited review and for which I am, once again, extremely grateful.
City of Girls
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From the # 1 New York Times bestselling author of Eat, Pray, Love and The Signature of All Things, a...
Ali A (82 KP) rated How To Succeed in Witchcraft in Books
Sep 27, 2022
Trigger Warnings: Grooming, prejudice, racism
Shay Johnson is a junior at T.K. Anderson Magical Magnet School and has done everything she possibly can to win the full-ride Brockton Scholarship - her ticket into the university of her dreams. Her only real competition is Ana Alvarez, but Shay also knows if she can impress Mr.B, the drama teacher and head of the scholarship committee, she’ll have an upper leg.
When Mr.B “persuades” Shay into being in the school’s racially diverse musical, in their no-so-diverse school, she agrees, and lands the leading role. But Ana is right behind her playing the second female lead. With the start of rehearsals, Shay realizes Ana isn’t the intense enemy she’s always thought she was… perhaps, she would be a friend, or more?
But when Shay gets asked by Mr.B to do some one-on-one practicing for the musical, she finds herself on the receiving end of Mr.B’s unpleasant and unwanted attention. When Shay learns she’s not the first witch to experience his inappropriate behavior, she must decide if she’ll come forward. But, will speaking out cancel her opportunity for the scholarship - her future?
This book deals with a lot of hard topics: grooming, prejudice, abuse of power, racism. I feel like Aislinn Brophy did a good job in writing the predatory actions that Mr.B was doing with Shay - every time something between them happened, it made my skin crawl.
I did enjoy the enemy-to-lovers storyline; or should I say misunderstandings-to-lovers storyline? It was cute and adorable and nothing drastically changed afterwards (besides more cuteness).
Though the title I feel like the title is a little deceiving, I still liked that magic was a part of the world here, but that magic doesn’t fix everything. Even in a world where you can fly around on brooms and make potions to help you wake up, the world is still far from perfect.
Overall, this is a magic-filled book that dives into where one draws the line on what they will allow to happen in order to get something they’ve worked so hard for their entire life. A good read for the witchy season coming up, but also a good read for the message behind it.
*Thank you G.P. Putnam’s Sons Books for Young Reads and BookishFirst for a copy of this book in exchange for an honest review
Shay Johnson is a junior at T.K. Anderson Magical Magnet School and has done everything she possibly can to win the full-ride Brockton Scholarship - her ticket into the university of her dreams. Her only real competition is Ana Alvarez, but Shay also knows if she can impress Mr.B, the drama teacher and head of the scholarship committee, she’ll have an upper leg.
When Mr.B “persuades” Shay into being in the school’s racially diverse musical, in their no-so-diverse school, she agrees, and lands the leading role. But Ana is right behind her playing the second female lead. With the start of rehearsals, Shay realizes Ana isn’t the intense enemy she’s always thought she was… perhaps, she would be a friend, or more?
But when Shay gets asked by Mr.B to do some one-on-one practicing for the musical, she finds herself on the receiving end of Mr.B’s unpleasant and unwanted attention. When Shay learns she’s not the first witch to experience his inappropriate behavior, she must decide if she’ll come forward. But, will speaking out cancel her opportunity for the scholarship - her future?
This book deals with a lot of hard topics: grooming, prejudice, abuse of power, racism. I feel like Aislinn Brophy did a good job in writing the predatory actions that Mr.B was doing with Shay - every time something between them happened, it made my skin crawl.
I did enjoy the enemy-to-lovers storyline; or should I say misunderstandings-to-lovers storyline? It was cute and adorable and nothing drastically changed afterwards (besides more cuteness).
Though the title I feel like the title is a little deceiving, I still liked that magic was a part of the world here, but that magic doesn’t fix everything. Even in a world where you can fly around on brooms and make potions to help you wake up, the world is still far from perfect.
Overall, this is a magic-filled book that dives into where one draws the line on what they will allow to happen in order to get something they’ve worked so hard for their entire life. A good read for the witchy season coming up, but also a good read for the message behind it.
*Thank you G.P. Putnam’s Sons Books for Young Reads and BookishFirst for a copy of this book in exchange for an honest review
Bob Mann (459 KP) rated Terminator: Dark Fate (2019) in Movies
Nov 10, 2019
Natalie Reyes - a kick-ass non-white female hero (1 more)
Arnie's drapes
Linda Hamilton - acting didn't work for me (1 more)
Confusing storyline (as a continuation of T2)
Enjoyable Hokum
Natalia Reyes plays young Mexican Dani Ramos. Out of the blue she faces danger and tragedy when a ‘Rev 9’ Terminator (Gabriel Luna) zaps itself back in time to Mexico City to dispose of her. But, as in “Terminator 2: Judgement Day”, a protector is on hand. This time it’s in the ripped form of ‘enhanced’ human Grace (Mackenzie Davis). She’s there to protect Dani and maintain whatever key to the future that she holds.
Dani is assisted by Sarah Connor (Linda Hamilton), a vigilante Terminator-fighter wanted in all 50 US States for wanton destruction of property. But even this dynamic duo are no match for the unstoppable force of the Rev 9. So they must turn to an old nemesis from Sarah’s past for assistance.
James Cameron is heavily involved with this one. The decision was made to ‘reboot’ the series as if all the dodgy Terminator movies of the intervening years (after #2) had never happened. (That’s not to say that *I* necessarily found them all dodgy. I quite liked “Terminator 3: Rise of the Machines” for example, with it’s grim and downbeat ending).
Now I went into this flick understanding that premise. So a flashback scene in the first few minutes of the film left me mightily confused. How on earth did this link to the ‘thumbs up’ scene at the end of “Terminator 2”? #baffled.
But if you ignore this issue, the film settles into what I thought was a nice “Logan“-style modus operandi. There’s an exciting chase sequence along a Mexican highway, but it never overwhelmed the ongoing development of character and motive.
Unfortunately, this didn’t last. Overall, the script lacked momentum, showing a general lack of narrative drive. This is the result, I suspect, of the familiar malaise of ‘team-input’. There are a total of SIX writers contributing to the story and/or screenplay. For example, an opportunity to take a poke at Trump’s Mexican wall isn’t taken; neither are scenes in the topically newsworthy detention centre. It’s as if the “better not: we’ll upset people” button was pressed in either the writing room or by the studio.
Trying to make up for this wallowing second reel, the movie – on boarding a military transport plane – goes to extremes of unbelievable action, both in the sky and below the water. That “Logan-esque” start seems a long way away now.
There’s another element of the movie that confused the hell out of me. The ‘Rev 9’ is able to jump out of it’s “skeleton” which could then pursue actions on its own. Given the Terminator gets FLATTENED – skeleton and all – during certain scenes of the film, this makes little sense unless the skeleton is made of the same ‘liquid metal’ as the body. In which case, why not just have liquid metal that can assume multiple different forms and attack the target from all sides? Perhaps that came in with the “Rev 10”!
But it’s not as bad as I’ve made it sound. This is in no way a terrible movie. As a ‘brain at the door’ piece of sci-fi hocum I really quite enjoyed it. The cast in particular is nicely of our time. There’s a Colombian (not Mexican), feisty and successful female lead in the form of the relatively unknown Reyes. And she has two strong female characters in support. Arnie Schwarzenegger has top billing, but his is really a supporting role.
Natalia Reyes I thought was particularly impressive. The girl has real screen presence, and I look forward to seeing what she does next.
Mackenzie Davis is also terrific as the kick-ass cyborg. I particularly liked the way she executed a neat plot device. Grace has a ‘war-machine’ design… she’s designed for incredible bursts of activity over short periods, but then becomes next to useless as her body crashes and needs ‘rebooting’.
I don’t want to be mean, but there’s probably a reason Linda Hamilton hasn’t been in more mainstream movies since T2. Her acting here is adequate at best and didn’t really cut it for me. The script has delivered her a number of humorous lines – including the iconic “I’ll be back’ – but none of them really land in the delivery.
Instead , it’s Arnie who has the best lines in the movie, delivered with dead-pan wit. His “cover” identity – and particularly his chosen profession – deliver some laugh out loud dialogue.
All in all, I found this a big step up on other Terminator films in the series. The director is Tim Miller, he of “Deadpool“. It’s not bloody Shakespeare, but I found it – warts and all – an enjoyable night out at the movies.
For the full graphical review, check out https://bob-the-movie-man.com/2019/11/10/one-manns-movies-film-review-terminator-dark-fate-2019/
Dani is assisted by Sarah Connor (Linda Hamilton), a vigilante Terminator-fighter wanted in all 50 US States for wanton destruction of property. But even this dynamic duo are no match for the unstoppable force of the Rev 9. So they must turn to an old nemesis from Sarah’s past for assistance.
James Cameron is heavily involved with this one. The decision was made to ‘reboot’ the series as if all the dodgy Terminator movies of the intervening years (after #2) had never happened. (That’s not to say that *I* necessarily found them all dodgy. I quite liked “Terminator 3: Rise of the Machines” for example, with it’s grim and downbeat ending).
Now I went into this flick understanding that premise. So a flashback scene in the first few minutes of the film left me mightily confused. How on earth did this link to the ‘thumbs up’ scene at the end of “Terminator 2”? #baffled.
But if you ignore this issue, the film settles into what I thought was a nice “Logan“-style modus operandi. There’s an exciting chase sequence along a Mexican highway, but it never overwhelmed the ongoing development of character and motive.
Unfortunately, this didn’t last. Overall, the script lacked momentum, showing a general lack of narrative drive. This is the result, I suspect, of the familiar malaise of ‘team-input’. There are a total of SIX writers contributing to the story and/or screenplay. For example, an opportunity to take a poke at Trump’s Mexican wall isn’t taken; neither are scenes in the topically newsworthy detention centre. It’s as if the “better not: we’ll upset people” button was pressed in either the writing room or by the studio.
Trying to make up for this wallowing second reel, the movie – on boarding a military transport plane – goes to extremes of unbelievable action, both in the sky and below the water. That “Logan-esque” start seems a long way away now.
There’s another element of the movie that confused the hell out of me. The ‘Rev 9’ is able to jump out of it’s “skeleton” which could then pursue actions on its own. Given the Terminator gets FLATTENED – skeleton and all – during certain scenes of the film, this makes little sense unless the skeleton is made of the same ‘liquid metal’ as the body. In which case, why not just have liquid metal that can assume multiple different forms and attack the target from all sides? Perhaps that came in with the “Rev 10”!
But it’s not as bad as I’ve made it sound. This is in no way a terrible movie. As a ‘brain at the door’ piece of sci-fi hocum I really quite enjoyed it. The cast in particular is nicely of our time. There’s a Colombian (not Mexican), feisty and successful female lead in the form of the relatively unknown Reyes. And she has two strong female characters in support. Arnie Schwarzenegger has top billing, but his is really a supporting role.
Natalia Reyes I thought was particularly impressive. The girl has real screen presence, and I look forward to seeing what she does next.
Mackenzie Davis is also terrific as the kick-ass cyborg. I particularly liked the way she executed a neat plot device. Grace has a ‘war-machine’ design… she’s designed for incredible bursts of activity over short periods, but then becomes next to useless as her body crashes and needs ‘rebooting’.
I don’t want to be mean, but there’s probably a reason Linda Hamilton hasn’t been in more mainstream movies since T2. Her acting here is adequate at best and didn’t really cut it for me. The script has delivered her a number of humorous lines – including the iconic “I’ll be back’ – but none of them really land in the delivery.
Instead , it’s Arnie who has the best lines in the movie, delivered with dead-pan wit. His “cover” identity – and particularly his chosen profession – deliver some laugh out loud dialogue.
All in all, I found this a big step up on other Terminator films in the series. The director is Tim Miller, he of “Deadpool“. It’s not bloody Shakespeare, but I found it – warts and all – an enjoyable night out at the movies.
For the full graphical review, check out https://bob-the-movie-man.com/2019/11/10/one-manns-movies-film-review-terminator-dark-fate-2019/
5 Minute Movie Guy (379 KP) rated The Kitchen (2019) in Movies
Aug 24, 2019
Married into a life with the mob, three women living in Hell’s Kitchen, New York City in the late ‘70s find themselves trapped in their husband’s shadows in Andrea Berloff’s debut film, The Kitchen. Based on a 2014 DC Comics graphic novel by the same name, the film focuses on these three female friends facing the aftermath of their husband’s botched crime and subsequent imprisonment. Their Italian crime family promised to take care of them while their spouses are locked away, but their measly support simply isn’t enough when they’ve got mouths to feed and bills to pay. Tired of being weak and dependent, the ladies band together to take control of their situation by trying to take over the mob.
The Kitchen stars actresses Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss as the female trio who work to rise to the top of their crime family by carrying the dead weight of the lazy men who lead it. McCarthy plays Kathy Brennan, a housewife and mother of two, whose seemingly good-natured husband is clearly involved in the wrong crowd. In spite of that, she appears to have a pleasant life at home, but her heavy reliance on her husband puts her in peril once he’s locked away. On the other hand, Haddish and Moss play Ruby and Claire, who are both victimized and disrespected by their husbands, with Claire even being regularly abused. These characteristics help to define the women and their actions as they attempt to upend the male-dominated establishment.
However, despite The Kitchen’s strong set-up, the characters themselves don’t show much depth beyond this, and the film’s performances leave a lot to be desired. McCarthy felt like she was acting in an entirely different movie. I’ve never seen a more passive and unconvincing crime boss. She’s struggling with a balancing act that sees her going between being tough, funny, ruthless, submissive, and sweet. By comparison to the rest of the movie, her whole character feels off-key. Then there’s Haddish who gives the worst acting performance I’ve seen in quite some time. I’m not really a fan of her brand of humor, but I didn’t like her dramatic turn here either. She just delivers snarky lines with attitude and death glares before walking off-camera in practically every shot she’s in. It’s almost funny how cheesy and over-the-top it is. You can’t just go mean-mugging your way through a whole major motion picture and expect to be taken seriously.
On a more positive note, Moss was much more impressive as Claire, who is fed up with being beaten down and bullied, and is determined to learn how to defend herself. She partners up with Domhnall Gleeson’s hitman character Gabriel who teaches her how to kill. Their relationship ends up being perhaps the most interesting aspect of the whole movie, and it has something of a Bonnie and Clyde quality to it. I only wish we could have seen it fleshed out a bit more.
For all of its potential, especially in terms of portraying female empowerment, The Kitchen regrettably winds up being a generic, inconsistent, and lethargic affair. I personally love the premise of the film. It’s a bad ass statement to any man who has ever said that a woman’s place is in the kitchen. It sticks up a middle finger to sexism by taking the action to the criminal streets of Hell’s Kitchen where the women rise to power. Unfortunately, despite the kick-ass feminist concept, I found that the film’s attempt at empowerment never really manifests into anything meaningful.
Instead, The Kitchen feels messy and uninspired. There isn’t a single scene in the entire film that I would consider to be good. The story is thin, the suspense is absent, the setting is bland, the tone is confusing, and the characters are mostly uninspired. I hate to even say it, but while watching it, I couldn’t help but be reminded of last year’s train-wreck of a film, Gotti, starring John Travolta. I think both of these films had a lot of promise, but seriously failed to deliver. As someone who loves a good gangster movie, I feel really disappointed.
There’s ultimately very little I liked about The Kitchen. The movie lacks a pulse, and the stakes never feel significant, not even as the body count piles up. The set design shows no strong sense of place or time period. Most of the settings outside seemed to be looking at nondescript sidewalks that could have been filmed anywhere. With the setting of Hell’s Kitchen, I can’t help but immediately think of The Godfather. Similarly, the use of The Rolling Stones in the trailer evokes thoughts of Scorsese and Goodfellas. Unfortunately, this movie clearly doesn’t even come close to comparing to either of those classics. This movie’s plot is weak, the betrayals are obvious, and the ending is uncomfortably idiotic. Despite it all, however, I find myself still interested in The Kitchen’s graphic novel at least, because I can’t imagine it being this bad.
The Kitchen stars actresses Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss as the female trio who work to rise to the top of their crime family by carrying the dead weight of the lazy men who lead it. McCarthy plays Kathy Brennan, a housewife and mother of two, whose seemingly good-natured husband is clearly involved in the wrong crowd. In spite of that, she appears to have a pleasant life at home, but her heavy reliance on her husband puts her in peril once he’s locked away. On the other hand, Haddish and Moss play Ruby and Claire, who are both victimized and disrespected by their husbands, with Claire even being regularly abused. These characteristics help to define the women and their actions as they attempt to upend the male-dominated establishment.
However, despite The Kitchen’s strong set-up, the characters themselves don’t show much depth beyond this, and the film’s performances leave a lot to be desired. McCarthy felt like she was acting in an entirely different movie. I’ve never seen a more passive and unconvincing crime boss. She’s struggling with a balancing act that sees her going between being tough, funny, ruthless, submissive, and sweet. By comparison to the rest of the movie, her whole character feels off-key. Then there’s Haddish who gives the worst acting performance I’ve seen in quite some time. I’m not really a fan of her brand of humor, but I didn’t like her dramatic turn here either. She just delivers snarky lines with attitude and death glares before walking off-camera in practically every shot she’s in. It’s almost funny how cheesy and over-the-top it is. You can’t just go mean-mugging your way through a whole major motion picture and expect to be taken seriously.
On a more positive note, Moss was much more impressive as Claire, who is fed up with being beaten down and bullied, and is determined to learn how to defend herself. She partners up with Domhnall Gleeson’s hitman character Gabriel who teaches her how to kill. Their relationship ends up being perhaps the most interesting aspect of the whole movie, and it has something of a Bonnie and Clyde quality to it. I only wish we could have seen it fleshed out a bit more.
For all of its potential, especially in terms of portraying female empowerment, The Kitchen regrettably winds up being a generic, inconsistent, and lethargic affair. I personally love the premise of the film. It’s a bad ass statement to any man who has ever said that a woman’s place is in the kitchen. It sticks up a middle finger to sexism by taking the action to the criminal streets of Hell’s Kitchen where the women rise to power. Unfortunately, despite the kick-ass feminist concept, I found that the film’s attempt at empowerment never really manifests into anything meaningful.
Instead, The Kitchen feels messy and uninspired. There isn’t a single scene in the entire film that I would consider to be good. The story is thin, the suspense is absent, the setting is bland, the tone is confusing, and the characters are mostly uninspired. I hate to even say it, but while watching it, I couldn’t help but be reminded of last year’s train-wreck of a film, Gotti, starring John Travolta. I think both of these films had a lot of promise, but seriously failed to deliver. As someone who loves a good gangster movie, I feel really disappointed.
There’s ultimately very little I liked about The Kitchen. The movie lacks a pulse, and the stakes never feel significant, not even as the body count piles up. The set design shows no strong sense of place or time period. Most of the settings outside seemed to be looking at nondescript sidewalks that could have been filmed anywhere. With the setting of Hell’s Kitchen, I can’t help but immediately think of The Godfather. Similarly, the use of The Rolling Stones in the trailer evokes thoughts of Scorsese and Goodfellas. Unfortunately, this movie clearly doesn’t even come close to comparing to either of those classics. This movie’s plot is weak, the betrayals are obvious, and the ending is uncomfortably idiotic. Despite it all, however, I find myself still interested in The Kitchen’s graphic novel at least, because I can’t imagine it being this bad.
Lee (2222 KP) rated Black Christmas (2019) in Movies
Dec 13, 2019
Back in 1974, a low-budget Canadian horror movie by the name of Black Christmas was released and was one of the first to define the slasher movie template that we've now become so heavily accustomed to. Black Christmas already got a remake back in 2006 and now we have another, coming this time from powerhouse movie studio Blumhouse and directed/co-written by Sophia Takal.
Black Christmas retains its campus setting as a group of sorority sisters, all seniors at Hawthorne University, prepare for the end of term and the Christmas holidays. While a group of girls are celebrating one night, one of their friends is being terrorised by a robed killer as she walks home alone down a quiet snowy street, adorned with Christmas decorations. It's all pretty generic stuff so far, and in terms of horror and suspense, that's all we get for about the next 30 minutes or so while the movie shifts down a few gears and tries to introduce us to some characters and some kind of plot.
Riley (Imogen Poots) is one of only a couple of characters who you'll remember come the end of the movie. After passing out at a frat party a few years earlier, Riley was sexually assaulted, and she and her friends are now preparing to sing at another frat party which her accused rapist will also be attending. While looking around the house for a friend who seems to have gone missing, Riley opens the door on a hidden room where she observes a strange ceremony - pledges, wearing medieval robes and masks, are being daubed with some kind of black goo that's oozing from the eyes of a bust depicting the University's founder. She leaves them to it, and heads back to the party, not before rescuing her lost friend from the unwanted advances of another frat boy in his room.
Riley goes on to perform with her friends, a routine which turns out to be a carefully choreographed prank song - worded as a call out to the toxic masculinity and frat rape culture that Riley and so many other girls have experienced first hand. Needless to say, this doesn't go down too well with the boys, even more so when a video of the routine goes viral the next day.
Meanwhile, another one of the sisters is currently in the process of gathering signatures for a petition, in an attempt to get their English professor (Cary Elwes) sacked for not including enough diversity in his curriculum. So, when some of the lesser known female characters begin disappearing, and our main cast begin receiving mysterious and threatening messages on their phones, there are certainly plenty of potential suspects to choose from. Eventually, the killer makes it into the sorority house where Riley and her friends are, and it's up to them all to work together in order to outwit and defeat the killer.
I'm a big fan of the 'final girl' movie, where the seemingly indestructible female lead goes from downtrodden victim to badass warrior (see 'You're Next', or this years hugely enjoyable 'Ready Or Not'), remaining as sole survivor once the dust has settled and the movie comes to its satisfying conclusion. I was really hoping for Black Christmas to follow in that vein, and it's clearly what the filmmakers were aiming for too. But, despite its well-intentioned premise, Black Christmas completely fails to deliver. Death scenes are rushed, not even particularly inventive, and because it is so drearily written and poorly directed, you barely know or even care who most of the victims are anyway. Following a slow and messy first half, the movie then takes a turn towards the supernatural, culminating in a frankly ridiculous final act and cementing this movie firmly in my worst 5 movies of 2019!
Black Christmas retains its campus setting as a group of sorority sisters, all seniors at Hawthorne University, prepare for the end of term and the Christmas holidays. While a group of girls are celebrating one night, one of their friends is being terrorised by a robed killer as she walks home alone down a quiet snowy street, adorned with Christmas decorations. It's all pretty generic stuff so far, and in terms of horror and suspense, that's all we get for about the next 30 minutes or so while the movie shifts down a few gears and tries to introduce us to some characters and some kind of plot.
Riley (Imogen Poots) is one of only a couple of characters who you'll remember come the end of the movie. After passing out at a frat party a few years earlier, Riley was sexually assaulted, and she and her friends are now preparing to sing at another frat party which her accused rapist will also be attending. While looking around the house for a friend who seems to have gone missing, Riley opens the door on a hidden room where she observes a strange ceremony - pledges, wearing medieval robes and masks, are being daubed with some kind of black goo that's oozing from the eyes of a bust depicting the University's founder. She leaves them to it, and heads back to the party, not before rescuing her lost friend from the unwanted advances of another frat boy in his room.
Riley goes on to perform with her friends, a routine which turns out to be a carefully choreographed prank song - worded as a call out to the toxic masculinity and frat rape culture that Riley and so many other girls have experienced first hand. Needless to say, this doesn't go down too well with the boys, even more so when a video of the routine goes viral the next day.
Meanwhile, another one of the sisters is currently in the process of gathering signatures for a petition, in an attempt to get their English professor (Cary Elwes) sacked for not including enough diversity in his curriculum. So, when some of the lesser known female characters begin disappearing, and our main cast begin receiving mysterious and threatening messages on their phones, there are certainly plenty of potential suspects to choose from. Eventually, the killer makes it into the sorority house where Riley and her friends are, and it's up to them all to work together in order to outwit and defeat the killer.
I'm a big fan of the 'final girl' movie, where the seemingly indestructible female lead goes from downtrodden victim to badass warrior (see 'You're Next', or this years hugely enjoyable 'Ready Or Not'), remaining as sole survivor once the dust has settled and the movie comes to its satisfying conclusion. I was really hoping for Black Christmas to follow in that vein, and it's clearly what the filmmakers were aiming for too. But, despite its well-intentioned premise, Black Christmas completely fails to deliver. Death scenes are rushed, not even particularly inventive, and because it is so drearily written and poorly directed, you barely know or even care who most of the victims are anyway. Following a slow and messy first half, the movie then takes a turn towards the supernatural, culminating in a frankly ridiculous final act and cementing this movie firmly in my worst 5 movies of 2019!
Movie Metropolis (309 KP) rated Transformers: The Last Knight (2017) in Movies
Jun 10, 2019
Has anyone got an aspirin?
Shhh! Don’t tell anyone I told you this but I’m a little bit of a Transformers fanboy. As a child I had many of the series’ toys and adored the animated series. Heck, I even have an Optimus Prime bobblehead next to my bed.
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
So when director Michael Bay announced in 2005 that he was planning a Transformers live-action movie with Steven Spielberg as producer, my heart skipped a beat. 2007 came and the film was everything I wanted.
Fast forward ten years and the series has, rightly or wrongly, become a laughing stock for critics the world over. Derided for nonsensical plots, messy special effects and in some cases racism, it’s been regarded as one of the worst film franchises of all time. Does the fifth entry in the franchise, The Last Knight redeem the series somewhat?
Humans are at war with the Transformers and Optimus Prime (Peter Cullen) has disappeared. The key to saving the future lies buried in the secrets of the past and the hidden history of Transformers on Earth. Now, it’s up to the alliance of Cade Yeager (Mark Wahlberg), Bumblebee, a Lord (Sir Anthony Hopkins) and an Oxford professor (Laura Haddock) to save the planet.
Michael Bay’s swansong is definitely the best of the series since the 2007 original, but suffers from all the problems of its 3 sequels.
On a budget of $260million, there was no doubt The Last Knight would look spectacular, but things really have stepped up a gear. The CGI is some of the best put to film and makes the uncharacteristically sloppy special effects of Age of Extinction look incredibly dated.
The Transformers themselves all look great with Bumblebee in particular taking on the role of “lead bot”. Newcomer Squeeks is sure to become the BB-8 of the franchise and is predictably adorable despite his limited screen-time.
Of the cast, it’s a story of same old. The voice acting on all the Transformers is good with a disappointingly underused Peter Cullen stealing the show once again. Mark Wahlberg is permanently likeable and it’s always a pleasure having John Turturro’s Agent Simmons returning to the screen. Laura Haddock is the typical Michael Bay choice of female lead, channelling Megan Fox, Rosie Huntington-Whitely and Nicola Peltz.
However, Sir Anthony Hopkins is where this film raises itself above the parapet. The veteran actor is really exceptional and brightens the movie in every single scene he appears in. You can tell he’s not taking it too seriously, and that is exactly the point of this series.
Sure, the plot is a hot steaming mess of nonsensical dialogue with loose strands of story, and at 149 minutes it’s a good half hour too long, but with all the fear and hate in real life, sometimes it’s nice to switch your brain off and escape to a world where robots exist – and there’s nothing wrong with that.
Michael Bay may not be the subtlest of directors. Give him a classy love story and he’ll turn it into Fifty Shades of Grey, but he’s clearly a very clever man. The critics have savaged this franchise but audiences keep coming back for more and who can blame them?
If this is, as has been said by the man himself, Michael Bay’s last entry into the Transformers canon, then it’s not a bad film to leave on whatsoever.
You know the score by now. Don’t go in expecting Shakespeare or Oscar-winning performances and you’ll be fine. Just make sure you take some paracetamol; crikey it’s loud.
https://moviemetropolis.net/2017/06/24/transformers-the-last-knight-review/
BobbiesDustyPages (1259 KP) rated Alice in Zombieland - White Rabbit Chronicles in Books
Jul 23, 2017
This was bad. read in 2013
Contains spoilers, click to show
I have to say this is one of the most misleading titles I have ever seen. I was really excited to read this book it sounded interesting and I've been a fan of both Alice in Wonderland and Zombies since I was just a kid so this seemed right up my alley..too bad that's not what I got at all. I read a little less than half the book and I just couldn't make myself finish it it was causing me actual pain.
One of the things that really got to me that actually had nothing to do with the plot was that it was so damn preachy and that was only in the first chapter, I don't mind books that talk about religion or a charter having a set religion but please do not make me feel like I'm being tricked in to going to church with out warning.
The only thing that this book had to do with Alice in Wonderland was a cloud that looked like a white rabbit, the name Alice and a few very small things.
Also, it was like the author looked up every cliche for a YA book and every teenage cliche from books and movies,(the perfect popular girl, the stunningly pretty but I'm so average protagonist, and the dark bad boy and slut shaming.)threw them in a blender and came out this.
Alice or Ali could have been a strong female lead but she came off as a mean, selfish, and a whiny person that I did not connect with at all, actually the only character I kind of like was her little sister Emma..and that didn't last long.
Cole was absolutely horrid, please stop making these alpha male asshole characters in YA books it's not clever or cute or romantic it down right unhealthy.
The writing was about average and since I know nothing about this author it doesn't really make me want to give any of her other works even a chance if this is what I'm in for.
The only thing I liked about this book was the title which wasn't even original and the cover art.
So all in all if you're looking for:
A take on Alice in Wonderland
Zombies and everything that comes with them
A teen girl kicking ass and killing the undead
Actual zombies at all
A good book
Then move along and don't waste your money because you'll get none of that here.
One of the things that really got to me that actually had nothing to do with the plot was that it was so damn preachy and that was only in the first chapter, I don't mind books that talk about religion or a charter having a set religion but please do not make me feel like I'm being tricked in to going to church with out warning.
The only thing that this book had to do with Alice in Wonderland was a cloud that looked like a white rabbit, the name Alice and a few very small things.
Also, it was like the author looked up every cliche for a YA book and every teenage cliche from books and movies,(the perfect popular girl, the stunningly pretty but I'm so average protagonist, and the dark bad boy and slut shaming.)threw them in a blender and came out this.
Alice or Ali could have been a strong female lead but she came off as a mean, selfish, and a whiny person that I did not connect with at all, actually the only character I kind of like was her little sister Emma..and that didn't last long.
Cole was absolutely horrid, please stop making these alpha male asshole characters in YA books it's not clever or cute or romantic it down right unhealthy.
The writing was about average and since I know nothing about this author it doesn't really make me want to give any of her other works even a chance if this is what I'm in for.
The only thing I liked about this book was the title which wasn't even original and the cover art.
So all in all if you're looking for:
A take on Alice in Wonderland
Zombies and everything that comes with them
A teen girl kicking ass and killing the undead
Actual zombies at all
A good book
Then move along and don't waste your money because you'll get none of that here.
ArecRain (8 KP) rated Wolf Tales (Wolf Tales #1) in Books
Jan 18, 2018
This is the worst piece of trash I have ever read. I have read better smut on Literotica.
It was like Douglas tried to take something that was taboo (bestiality) and make it okay. She failed. HARD. Not only did she manage to write about bestiality, but rape, too. Within the first ten page of the book, the lead female wakes up in the dark to have sex with some naked wolfman stranger she can't even see and then goes on to make him let her live with him where they continue to have more sex for about 2 week. Apparently that's enough to fall in love with someone and not care about life anymore. Not only that, but the reason sex is so fantastic with him is because he has the penis of a DOG, knot and all, which she begs him to keep. Meanwhile, our little wolfman is lusting after the sorcerer who exposed him all to this, actually wanting the man to pretty much rape the wolfman (which isn't really rape since he wants it). Upon meeting the sorcerer, the wolfman is then "raped" by the sorcerer while the sorcerer is a wolf.
I stopped reading there.
In all the 76 pages that I read, the bestiality wasn't actually what made me hate this book. There was such an utter lack of plot line that this book couldn't even be considered a guilty pleasure book. I felt as if Douglas was trying to create plot line to explain the random sex that seemed to happen every chapter. Douglas also manipulated the characters responses and inner dialogue to make it seem as if their own feelings and thoughts conflict with what they really desire. The characters know that what they are doing is taboo, yet they still want to be raped by a wolf or have sex with a man with a dog penis.
Unfortunately for Douglas, the fact that she took something so socially taboo and tried to pass it off as an erotic novel without creating a realistic reason why any of it was happening made this book not only painful to read, but also near impossible to finish.
And before you bash me for not even finishing the book, I will tell you that I did read more than just the 76 pages. I know all about the Chanku and how the novel ends. I just couldn't force myself to read this piece of utter garbage in whole.
It was like Douglas tried to take something that was taboo (bestiality) and make it okay. She failed. HARD. Not only did she manage to write about bestiality, but rape, too. Within the first ten page of the book, the lead female wakes up in the dark to have sex with some naked wolfman stranger she can't even see and then goes on to make him let her live with him where they continue to have more sex for about 2 week. Apparently that's enough to fall in love with someone and not care about life anymore. Not only that, but the reason sex is so fantastic with him is because he has the penis of a DOG, knot and all, which she begs him to keep. Meanwhile, our little wolfman is lusting after the sorcerer who exposed him all to this, actually wanting the man to pretty much rape the wolfman (which isn't really rape since he wants it). Upon meeting the sorcerer, the wolfman is then "raped" by the sorcerer while the sorcerer is a wolf.
I stopped reading there.
In all the 76 pages that I read, the bestiality wasn't actually what made me hate this book. There was such an utter lack of plot line that this book couldn't even be considered a guilty pleasure book. I felt as if Douglas was trying to create plot line to explain the random sex that seemed to happen every chapter. Douglas also manipulated the characters responses and inner dialogue to make it seem as if their own feelings and thoughts conflict with what they really desire. The characters know that what they are doing is taboo, yet they still want to be raped by a wolf or have sex with a man with a dog penis.
Unfortunately for Douglas, the fact that she took something so socially taboo and tried to pass it off as an erotic novel without creating a realistic reason why any of it was happening made this book not only painful to read, but also near impossible to finish.
And before you bash me for not even finishing the book, I will tell you that I did read more than just the 76 pages. I know all about the Chanku and how the novel ends. I just couldn't force myself to read this piece of utter garbage in whole.
Carma (21 KP) rated Bad Reputation (Bad Bachelors, #2) in Books
Jun 17, 2019
Bad Reputation by Stefanie London is the first book Ive read by this author after meeting her briefly at a reader event in June 2018. Bad Reputation is the 2nd book in this series but not having read the first one before diving into this one hasnt really affected my enjoyment of this novel. The theme of the first 2 books centers around an app called Bad Bachelor, which essentially allows people to rate and review dates online. The first book set the stage for this continuation of story with Wes being the target of reviews online.
Wes is the son of famous dance parents. He has lived in the world of ballet and dance his entire life. He wants to break free of his family name and legacy and start something on his own, he leaves the family business much to the chagrin of his very opinionated mother. He comes up with an idea for an off-off broadway show that will engage the audience right into the middle of the show. Now all he needs are investors and a star dancer for the female lead. With a website posting reviews about his manhood threatening to derail any hope of funding he needs to find a way to get his show off the ground.
Remi is an ex ballerina currently living in New York teaching ballet class at her friends studio. She has dream of opening her own studio now that her career in the dance world looks to be over. A chance meeting at one of her parent/kid classes has her reconsidering giving up on her dream. But can she put her past mistakes behind her and not head down the same ruining road of disaster.
I really enjoyed the dynamic of Wes and his mother, his father was pretty much talked about not actually to during this novel. Wes was trying his hardest to show his mother that he can make it on his own, without being a disappointment to the family name, while waiting for her to dish out an I told you so.
I wasnt sure I liked the gossip articles, review blurbs etc that were at the beginning of each new chapter. At the beginning they were very distracting, but as the story went on they really added to and became part of the story. I received an advance copy from the publishers without any expectation for review. Any and all opinions expressed are solely my own. I cant wait to read many more books from Stefanie London, starting with Bad Bachelor (Book 1 in this series)
Wes is the son of famous dance parents. He has lived in the world of ballet and dance his entire life. He wants to break free of his family name and legacy and start something on his own, he leaves the family business much to the chagrin of his very opinionated mother. He comes up with an idea for an off-off broadway show that will engage the audience right into the middle of the show. Now all he needs are investors and a star dancer for the female lead. With a website posting reviews about his manhood threatening to derail any hope of funding he needs to find a way to get his show off the ground.
Remi is an ex ballerina currently living in New York teaching ballet class at her friends studio. She has dream of opening her own studio now that her career in the dance world looks to be over. A chance meeting at one of her parent/kid classes has her reconsidering giving up on her dream. But can she put her past mistakes behind her and not head down the same ruining road of disaster.
I really enjoyed the dynamic of Wes and his mother, his father was pretty much talked about not actually to during this novel. Wes was trying his hardest to show his mother that he can make it on his own, without being a disappointment to the family name, while waiting for her to dish out an I told you so.
I wasnt sure I liked the gossip articles, review blurbs etc that were at the beginning of each new chapter. At the beginning they were very distracting, but as the story went on they really added to and became part of the story. I received an advance copy from the publishers without any expectation for review. Any and all opinions expressed are solely my own. I cant wait to read many more books from Stefanie London, starting with Bad Bachelor (Book 1 in this series)