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If the world ended, could you keep your morals and values? Imagine that your a father, with a young child in a burned-out world, barely surviving out on the road, and there are cannibals and murderers out to get you. Over time, you would watch your child become thinner and thinner, and every now and then you're lucky enough to find some canned or jarred food here and there, but it's only a matter of time before you can't find anymore. Soon, you would both be too weak to move - - - would you murder someone if they had food? Yet, most people out on the road are just like you, with no food and searching for more - - - in that case, could you kill and eat a person to survive? Or would you let yourself and your child starve, keeping your morals and values intact?
This is a scenario people may have to face one day, especially with the shape the world is in today. Even now people are faced with sticking with their morals and values, from helping our fellow man to the decision of holding a door open for a stranger. The Road, Cormac McCarthy's Pulitzer Prize winning novel, brings the very question of humanity to the forefront, as well as how hard it is to hold onto it.
The father, The Road's main character, takes us on a journey through the mountains in a burned-out America, but the fires that took over are never explained and they didn't need to be. Apparently having been on the move for a couple of years, he wants to take his young son South to survive the winter months that are very close by. Readers get glimpses of what happened the night the grid went down from the father's point-of-view, but so many years have passed that the memories are few, the facts aren't completely straight, and any type of life before the fires seems to have been just a dream. So the two begin the story heading South, dragging everything they have scavenged in their travels inside of a metal shopping cart, and the father isn't sure they'll make it out of the mountains before winter. He only has tattered pieces of a map that they have carried for a long time, having numbered each piece with a broken crayon they had found, making it hard to estimate how far they need to travel.
While traveling, they very rarely run into other people, at one point, when they run into a very bad man, the father realizes he hasn't spoken to another person (other than his son) in at least a year. This is mostly because the majority of people that are still alive are the type of people that would rather kill you and take whatever you have than speak to you. Even most of the houses they come upon are burned and abandoned, but the father sees these buildings as a chance to find food and supplies: "The roadside hedges were gone to rows of black and twisted brambles. No sign of life. He left the boy standing in the road holding the pistol while he climbed an old set of limestone steps and walked down the porch of the farmhouse shading his eyes and peering in the windows. He let himself in through the kitchen. Trash in the floor, old newsprint. China in a breakfront, cups hanging from their hooks. He went down the hallway and stood in the door to the parlor. There was an antique pumporgan in the corner. A television set. Cheap stuffed furniture together with an old handmade cherrywood chifforobe. He climbed the stairs and walked through the bedrooms. Everything covered with ash. A child's room with a stuffed dog on the windowsill looking out at the garden. He went through the closets. He stripped back the beds and came away with two good woolen blankets and went back down the stairs. In the pantry were three jars of homecanned tomatoes. He blew the dust from the lids and studied them. Someone before him had not trusted them and in the end neither did he and he walked out with the blankets over his shoulder and they set off along the road again. " The young son is usually left close by outside because he seems scared that either there will be bad people or dead people inside.
Throughout this incredible, heart wrenching novel, the father slowly becomes more ill with what seems to be a case of pneumonia, possibly caused by all of the ash that is in the air from the fires; this makes him cough uncontrollably. Yet, he doesn't focus on that he may not live too much longer, instead he tries everything to get his son as far South as possible without too much of a plan of what to do when they get there.
The horror of this book is brought to light by the realism of what could happen if the world were to end, when people lose their humanity and begin to kill and eat their fellow humans. It leaves us wondering if we could hold onto what we are today when the basic need for shelter and food become more important than another person's life. But the father and son are examples of the few individuals who are able to hold onto their humanity during the end of the world: they share supplies if they can, they don't kill humans or animals to feed themselves, and they live by one rule: if a person is still alive, they take nothing from them.
The struggle these two go through is very real and believable, and McCarthy's writing is so well done that this book is hard to put down. Even while reading, most won't notice that there is only one character in the entire story that is given a name; our two main characters are never addressed by anything other than Papa or son/boy. The father's worry about keeping his son alive and unharmed is heartbreaking, for instance, one scene where he believes that he and his son are going to be found by cannibals, he quickly goes over with his son on how to shoot himself with the pistol, so neither of them will be taken alive. As a parent, I choked up in quite a few scenes, including this one - - - and as with the film adaptation, I cried heartily at the end.
This emotional, dark novel is an amazing book to read. The Road is bound to leave readers questioning what they would do in the same circumstances as the father. I highly recommend this book to people who love dystopian novels, but beware, this is a story you won't be able to forget.
This is a scenario people may have to face one day, especially with the shape the world is in today. Even now people are faced with sticking with their morals and values, from helping our fellow man to the decision of holding a door open for a stranger. The Road, Cormac McCarthy's Pulitzer Prize winning novel, brings the very question of humanity to the forefront, as well as how hard it is to hold onto it.
The father, The Road's main character, takes us on a journey through the mountains in a burned-out America, but the fires that took over are never explained and they didn't need to be. Apparently having been on the move for a couple of years, he wants to take his young son South to survive the winter months that are very close by. Readers get glimpses of what happened the night the grid went down from the father's point-of-view, but so many years have passed that the memories are few, the facts aren't completely straight, and any type of life before the fires seems to have been just a dream. So the two begin the story heading South, dragging everything they have scavenged in their travels inside of a metal shopping cart, and the father isn't sure they'll make it out of the mountains before winter. He only has tattered pieces of a map that they have carried for a long time, having numbered each piece with a broken crayon they had found, making it hard to estimate how far they need to travel.
While traveling, they very rarely run into other people, at one point, when they run into a very bad man, the father realizes he hasn't spoken to another person (other than his son) in at least a year. This is mostly because the majority of people that are still alive are the type of people that would rather kill you and take whatever you have than speak to you. Even most of the houses they come upon are burned and abandoned, but the father sees these buildings as a chance to find food and supplies: "The roadside hedges were gone to rows of black and twisted brambles. No sign of life. He left the boy standing in the road holding the pistol while he climbed an old set of limestone steps and walked down the porch of the farmhouse shading his eyes and peering in the windows. He let himself in through the kitchen. Trash in the floor, old newsprint. China in a breakfront, cups hanging from their hooks. He went down the hallway and stood in the door to the parlor. There was an antique pumporgan in the corner. A television set. Cheap stuffed furniture together with an old handmade cherrywood chifforobe. He climbed the stairs and walked through the bedrooms. Everything covered with ash. A child's room with a stuffed dog on the windowsill looking out at the garden. He went through the closets. He stripped back the beds and came away with two good woolen blankets and went back down the stairs. In the pantry were three jars of homecanned tomatoes. He blew the dust from the lids and studied them. Someone before him had not trusted them and in the end neither did he and he walked out with the blankets over his shoulder and they set off along the road again. " The young son is usually left close by outside because he seems scared that either there will be bad people or dead people inside.
Throughout this incredible, heart wrenching novel, the father slowly becomes more ill with what seems to be a case of pneumonia, possibly caused by all of the ash that is in the air from the fires; this makes him cough uncontrollably. Yet, he doesn't focus on that he may not live too much longer, instead he tries everything to get his son as far South as possible without too much of a plan of what to do when they get there.
The horror of this book is brought to light by the realism of what could happen if the world were to end, when people lose their humanity and begin to kill and eat their fellow humans. It leaves us wondering if we could hold onto what we are today when the basic need for shelter and food become more important than another person's life. But the father and son are examples of the few individuals who are able to hold onto their humanity during the end of the world: they share supplies if they can, they don't kill humans or animals to feed themselves, and they live by one rule: if a person is still alive, they take nothing from them.
The struggle these two go through is very real and believable, and McCarthy's writing is so well done that this book is hard to put down. Even while reading, most won't notice that there is only one character in the entire story that is given a name; our two main characters are never addressed by anything other than Papa or son/boy. The father's worry about keeping his son alive and unharmed is heartbreaking, for instance, one scene where he believes that he and his son are going to be found by cannibals, he quickly goes over with his son on how to shoot himself with the pistol, so neither of them will be taken alive. As a parent, I choked up in quite a few scenes, including this one - - - and as with the film adaptation, I cried heartily at the end.
This emotional, dark novel is an amazing book to read. The Road is bound to leave readers questioning what they would do in the same circumstances as the father. I highly recommend this book to people who love dystopian novels, but beware, this is a story you won't be able to forget.
RəX Regent (349 KP) rated Saving Private Ryan (1998) in Movies
Feb 25, 2019 (Updated Feb 25, 2019)
Groundbreaker mired in slop
Contains spoilers, click to show
Regarded as one of the best war films ever made, it certainly qualifies. The opening twenty minutes are still as breathtaking, shocking and disturbing realistic as they were back in 1998. It is hard to imagine that it has now been over twelve years since Saving Private Ryan broke the mold of World War II film making.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
Winner of five Academy Awards, including Best Director for Spielberg, Best Cinematography, and Sound, which was astonishing, even by today's standards, it failed to win Best Picture, losing out to Shakespeare In Love. Shakespeare In Love! Don't get me wrong, it's a good film, but easily forgettable compared to Ryan, only proving yet again that if you touch upon the British monarchy you get Oscars.
The film is a fictional account of four brothers, all serving in the U.S. Army, three of which were killed in action on or around the D-Day landings. The fourth, James Ryan played by Matt Damon is somewhere in Europe, and Tom Hanks with his platoon are sent to bring him home, to spare his mother anymore heartache.
Tom Hanks, who was also snubbed at the 1998 Oscars for his perfect performance as Captain Miller, the everyman who was losing himself in the horrors of war, underplayed his role perfectly. He is believable on every level, emotionally, physically and has a sense of subtly with makes him of Hollywood's greats.
The action is visceral, gritty and horrifying. But never played for crass effect. Scenes of soldiers intestines spilling out, limbs flying a sunder and brutal killing left, right and centre are recreated for one purpose. To truly demonstrate the horrors of war, and to change our perceptions of the global conflict which had almost become a joke, a setting for gung- ho action films, where the Yanks reign supreme and single-handedly win the war.
This shows troops crying, hurting and making decisions which should not be made under any moral circumstances, but you understand why, whether you agree or not. There is no doubt that Spielberg is not innocent of making an American film, but it is about as even-handed as you might expect, with the exception of Tora! Tora! Tora! or The Longest Day.
So, the action is first-rate, graphic and perfectly toned to recreate to horror of the last century's greatest and most of destructive conflicts. But that's only half the story.
The other half is the talking, reminiscing and the almost sepia tone is more than a little cloying. The U.S. General's monologues, which seem to consist almost entirely of Lincoln quotations are overly sentimental, erring on the side of sloppy patriotism rather than Jingoism, which is hardly a bad thing but it isn't good either.
The civilian scenes, such as Mrs Ryan, washing a plate as she sees the car drive down to road to inform her of her sons deaths are so sentimental that they jar against the realism of the war scenes. It's not so much contrast as it is as extreme as black and white.
The action is obviously interspersed, as all war films are, with rest stops and moments of talking, pondering etc., but the scenes drag on too long and disrupt the tone of the film. On the other hand, the direction is brilliant when explaining the situations during and around the action, but Spielberg seemed to think that we needed these sloppy and often boring moments, such as The Church, and the outside the cafe in Ramelle, to express the emotional torment of the characters, but I think that these scenes are so boring and pointless that I' can hardly remember them, as my attention drifts off during them! But I do have an understanding of the soldiers, and this was achieved, quite adorably without these scenes.
Overall, this is a film of two halves if ever there was one. The battle scenes and the journey through war-torn France are brilliant, gritty and educational, but the scenes of American sentimentality are in danger of derailing the whole film. Many feel that is the best war film of all time. I do not agree, favouring Black Hawk Down over this, but I would be remiss if I didn't acknowledge that Blank Hawk Down owes a debt to Saving Private Ryan, by opening the door to the gritty war dramas of the naughties and to the style itself.
This film is on of the most important contributions to cinema ever, and has done so much to finally show to true nature of WWII and war in general. But even though I would rate this 10/10 if it was just for the war scenes, the slop just gets in the way and devalues what should have been perfection.
James P. Sumner (65 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Jun 5, 2019
The Force is strong in this one...
Like so many of us, I had theorised what would happen in this movie based on the influx of teaser trailers online, and I'm happy to say, I was wrong on nearly everything! I like being surprised, and this film was just that. A very pleasant surprise. It's Star Wars, like Star Wars should be. Not too heavy on the CGI, plenty of action interlaced with character-driven dialogue and sub-plots, and yes, someone says "I have a bad feeling about this..." which is just ace!
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
So, the story. (No spoilers here, promise!) We join the action some 30 years after partying with the Ewoks on Endor. The Empire is no more, yet, like an evil phoenix, The First Order has risen from its ashes and is doing much the same thing—being awful to everyone and trying to rule the galaxy. Same old, same old.
There are plenty of new faces—the three main ones effectively being modern-day retellings of our old favourites. First up is Oscar Isaac's excellent Poe Dameron, who is this year's Han Solo. A hot-shot rebel fighter pilot, with rogue-ish good looks, a cheeky grin, and wise-cracking dialogue.
Then, we have the Stormtrooper with a conscience, played by John Boyega. A really good performance by him, and despite his character’s beginnings, it doesn't take long for you to genuinely care what happens to him. He's this year's Luke Skywalker, definitely.
And finally, there's the mysterious Rey, the tough-as-nails tomboy who's hotter than you first realise, brought to life by the uber-talented, destined-for-great-things, Daisy Ridley. Not much is known about who she is, but she's this year's Princess Leia, without a doubt.
And that was the first thing that really struck a chord with me—how the film acknowledges the original characters, but gives them a twist for the newer, younger audience. The comparisons are immediate and obvious, but they work. Instead of the kick-ass princess, you have the hard-done-by street kid... instead of the teenager dreaming of escaping his dead-end life, you have one who struggles to accept he's not meant for the exciting one he has. Kids today will relate to these things, yet the film manages to keep the essence of what made the main characters from the classic films so memorable.
We also have the new lovable droid, BB-8, who, like R2-D2 so many years ago, unwittingly finds itself with a garbled message in its memory banks, and in the possession of one of our heroes.
In much the same way that Episode IV didn’t hang about getting Darth Vader on the screen, it's not long before we're treated to our first look at the big bad—Kylo Ren. Let's run through the checklist:
• Looks cool wearing black? Check.
• Masked, with scary voice? Check.
• Mean? Check.
So, Mr. Ren starts out doing everything we would expect, which is nice. We know he's working with The First Order, we know he's looking for something... so far, so Star Wars.
The film moves along at a good pace. Plenty of action and fighting, slowed down by great interaction between the main cast where needed. Then we start getting drip-fed the old-timers, which is where the fanboy in you will get really excited. We first get a look of Han Solo and Chewbacca, which we already knew from the trailers, when Han says, "Chewy, we're home." Harrison Ford steps back into the role like putting on an old pair of shoes—a little awkward at first, but you soon remember how comfortable they are, and you're off and running in no time. It's almost like he's not played any other part since 1983 (and after Indiana Jones and the Kingdom of the Crystal Skull, I bet sometimes Mr. Ford wishes that were the case!). Accompanied by his long-time friend, he effortlessly goes through the motions as the scoundrel looking to make some money, but always ending up owing someone more than he has.
It's not long before a twist of fate puts him and Chewy alongside our new heroes, and they're on their way to see another familiar face, Princess Leia. Except she's not a Princess anymore, she's the General of the Resistance. I won't say too much about her, as her parts in the film are integral to the main storyline, and I don't want to ruin it. Suffice to say, like any couple reuniting after 30 years, her and Han are a joy to watch on screen together.
I don't want to delve into the storyline too much, because a) you've probably pieced together the gist of it from all the trailers, and b) it's hard to do without telling you things you won't know if you haven't already seen it. So I'll leave it there, but will finish by saying it's a pleasure from start to finish, it cues up the inevitable sequels well, and it does nothing more than what it should do—it gives you a Star Wars experience that leaves you wanting to watch it again the moment it finishes.
So, the downsides. There aren't many, but, for me, there are some. They don't take away from the movie as a whole, but they detracted from the experience enough to make them worth mentioning, so here goes.
Princess/General Leia - I'm sorry, but poor Carrie Fisher has had so much Botox, I genuinely thought it was a different actress when she first appeared on camera. We see her go through an emotional reunion, some heartache, some humorous banter, some thrilling, edge-of-the-seat action, and a nail-biting, jaw-dropping finale... and not once did her expression change! Probably because it couldn't. She's the only one who looked like they were struggling to revive their character, because she didn't look like a natural, older version of herself… she looked like she was trying to be a younger version of herself, and it made me not want to see her as much as other characters.
Kylo Ren - This guy starts out as being awesome. His mask is suitably evil, his voice is menacing, his lightsabre is just brilliant… But then he takes his mask off. He's doing something (which I won't detail, but is another obvious and much-appreciated nod to the film's predecessors) and he just takes off his mask. Now, no disrespect to Adam Driver, but... have you seen Harry Potter? Well, Kylo Ren, without his mask, kinda looks like he's related in some distant, in-bred way, to Neville Longbottom. He continues with his evil gestures and scary intentions, but without the mask, you just kinda think... Really? Am I meant to be scared here? When I was a kid, Darth Vader terrified the hell out of me! This guy... you could probably flush his head and steal his lunch money, if he doesn't force-choke you beforehand.
I think he’s another Hayden Christensen—horribly miscast for an important role that could’ve defined the right actor’s career. Let's hope it doesn't end up ruining it for him. Should've kept the mask on, Kylo!
Captain Phasma - The name might not mean much to casual fans, but I’m referring to the chrome Stormtrooper who has inexplicably developed somewhat of a cult following since their appearance in the trailers. They’re the tall, imposing, assumed leader of the Stormtroopers, and certainly looks the part. However, that part is so insignificant, it’s like it was written in as an after-thought. The character will apparently play a more significant role in later films, but that’s hardly the point. We first see him at the beginning, and they’re all evil and shooty, which is fine. But then we see him only a couple of times after that and, at one point, he’s taken hostage in possibly the most unimposing, least-threatening way imaginable, and he just goes along with it. What the hell?! Oh, and I say “He”, but the character is actually played by a woman—Gwendoline Christie, the tall, sword-wielding blonde from Game of Thrones. Anyway…
The final thing that annoyed me a little bit is tough to talk about, because it's riddled with spoilers. But I shall simply say this: the way a certain character (who I haven't mentioned previously) was handled could've been done so much better than it was. That's it. I'll say no more. Watch the film, then read this again. You'll know what I mean.
So, to sum up. This is a great addition to the franchise, no doubt. But, forgetting it's Star Wars for a moment, it's simply a great film. It provides everything you would want from this genre, and it leaves you wanting more at the end (with a clear indication it's going to provide it at some point in the future). Now go. Enjoy. Even if you don't like Star Wars, it's worth a watch. Though I'm pretty certain after seeing it, you'll want to watch the others.
Becca Major (96 KP) rated The Nutcracker Prince (1990) in Movies
Jan 20, 2018
Decent writing (3 more)
Good animation
Semi-active heroine
Loyal to the book
Dance sequence, especially the Pas de Deux (3 more)
Music placement
Weak and confusing ending
Marie
The Nutcracker Prince
Contains spoilers, click to show
Summary:
The Nutcracker Prince is an enjoyable little children's movie that is a strange mashup of the novel by E.T.A. Hoffman and the popular ballet. The story is fairly simple and follows Clara as she interacts with her family at the yearly Christmas party, where she and her siblings receive the titular Nutcracker from their Uncle Drosselmeyer, as well as a golden castle. He then proceeds to tell Clara about the Nutcracker’s backstory. Then Fritz, Clara’s little brother, breaks the Nutcracker and she scolds him.
Later that night, the Mouse King attacks, attempting to kill the Nutcracker, and Clara watches the toys do battle with the Mouse King’s army. Clara ends up tripping and hurting herself, which makes her bedridden. During this time, Fritz brings her a partially eaten box of chocolates, which she puts in her nightstand drawer. Later that night, the Mouse King approaches her and threatens her. Clara offers him the box of chocolates and when he hops in the drawer to eat them, she shuts him in. She runs downstairs to protect the Nutcracker, which transitions to the second attack of the Mouse King and his army. The toys and mice battle, and eventually the Nutcracker runs the Mouse King through (off-screen of course), and the day is won.
The Nutcracker invites Clara to visit the Land of the Dolls. She does and is impressed by the beauty around her, and the Nutcracker asks her to stay and become his Queen. She turns him down, for good reasons, and everyone in the Land of the Dolls starts to turn back into lifeless objects. Then, to make everything weirder, the “dead” Mouse King shows up for one more hurrah and fights with Clara. He ends up falling over the balcony and dying. Clara returns home via “It was just a dream,” freaks out, runs to her Uncle Drosselmeyer’s house, and meets his nephew, who looks exactly like the Nutcracker, but not really.
Overall:
When all is said and done, I would have to say that I like the beginning of the movie a lot more than the end. The rules for how the magic works make sense, and the characters are pretty well defined. Clara is competitive with her siblings and thinks they are weird, and she is basically about as active as the material allows her to be. The Nutcracker himself is pretty bland and soft-spoken in comparison, but he does try his best with the situation he’s in, so I can’t dislike him. The Mouse King is somewhat threatening, if one dimensional. There isn’t much to say about the side characters. Clara’s siblings are fine, as are most of the side characters. With the exception of Marie, none of them are particularly annoying.
The music is fine, if occasionally distracting. It is Tschaikowsky, after all.
The animation is pretty good for a direct to VHS movie. The run-cycles are pretty goofy, but it flows and has detail.
I like the obvious nods to the aspects of the book that the writers changed, such as naming the new doll Marie. As someone who read the book recently, it was nice to know that they cared about the material they were adapting.
In the end, I feel that considering the movie is twenty-eight years old, it holds up pretty good. I would definitely watch it again and probably share it with the students in my class, or with my nephew.
The Nutcracker Prince is an enjoyable little children's movie that is a strange mashup of the novel by E.T.A. Hoffman and the popular ballet. The story is fairly simple and follows Clara as she interacts with her family at the yearly Christmas party, where she and her siblings receive the titular Nutcracker from their Uncle Drosselmeyer, as well as a golden castle. He then proceeds to tell Clara about the Nutcracker’s backstory. Then Fritz, Clara’s little brother, breaks the Nutcracker and she scolds him.
Later that night, the Mouse King attacks, attempting to kill the Nutcracker, and Clara watches the toys do battle with the Mouse King’s army. Clara ends up tripping and hurting herself, which makes her bedridden. During this time, Fritz brings her a partially eaten box of chocolates, which she puts in her nightstand drawer. Later that night, the Mouse King approaches her and threatens her. Clara offers him the box of chocolates and when he hops in the drawer to eat them, she shuts him in. She runs downstairs to protect the Nutcracker, which transitions to the second attack of the Mouse King and his army. The toys and mice battle, and eventually the Nutcracker runs the Mouse King through (off-screen of course), and the day is won.
The Nutcracker invites Clara to visit the Land of the Dolls. She does and is impressed by the beauty around her, and the Nutcracker asks her to stay and become his Queen. She turns him down, for good reasons, and everyone in the Land of the Dolls starts to turn back into lifeless objects. Then, to make everything weirder, the “dead” Mouse King shows up for one more hurrah and fights with Clara. He ends up falling over the balcony and dying. Clara returns home via “It was just a dream,” freaks out, runs to her Uncle Drosselmeyer’s house, and meets his nephew, who looks exactly like the Nutcracker, but not really.
Overall:
When all is said and done, I would have to say that I like the beginning of the movie a lot more than the end. The rules for how the magic works make sense, and the characters are pretty well defined. Clara is competitive with her siblings and thinks they are weird, and she is basically about as active as the material allows her to be. The Nutcracker himself is pretty bland and soft-spoken in comparison, but he does try his best with the situation he’s in, so I can’t dislike him. The Mouse King is somewhat threatening, if one dimensional. There isn’t much to say about the side characters. Clara’s siblings are fine, as are most of the side characters. With the exception of Marie, none of them are particularly annoying.
The music is fine, if occasionally distracting. It is Tschaikowsky, after all.
The animation is pretty good for a direct to VHS movie. The run-cycles are pretty goofy, but it flows and has detail.
I like the obvious nods to the aspects of the book that the writers changed, such as naming the new doll Marie. As someone who read the book recently, it was nice to know that they cared about the material they were adapting.
In the end, I feel that considering the movie is twenty-eight years old, it holds up pretty good. I would definitely watch it again and probably share it with the students in my class, or with my nephew.
LilyLovesIndie (123 KP) rated The Truth Seekers in Books
Nov 5, 2018
A period romance of the highest order, this story is totally un-put-downable from the moment you first step foot into the twisted psyche of the enigmatic and, quite frankly, dark Mr Hawes. There are so many twists and turns and little surprises throughout this book that it truly is a wonderful read. But before I start to waffle too much in general terms, IÕll get stuck in in letting you know my thoughts.
To start, I think the characters are more than worthy of a mention. Lawrence is a master of character development, and I say this after having only read one of her books, but that is honestly how strongly I feel about it. Never, in all my many books, have I come across a character as understated yet complex as Miranda. At first sight, she appears to be a simple and quite ordinary society beauty, but how very wrong that assumption would be. As the story progresses, we see her develop into a fiesty, and then broken young woman, before she regains her spark. The journey she travels is so tangible you can almost feel the emotions pouring through the pages. And that brings me onto the strange Mr Hawes. HeÕs a character and a half. Awkward, rude and at times quite objectionable, yet I still felt endeared to his situation. I find him harder to describe, as he really is so different and out of the box that itÕs refreshing against the standard ÔconformityÕ to society norms you usually find in period novels.
Something else I think really needs mentioning is the fact that this book is hugely believable. I am a huge reader of historical books, I am a great history addict and I have to say, this book ticks every single box. ItÕs full of the little quirks you would expect to see in that time Ð the language, the traditions, the vacation spots. ItÕs all just sublimely weaved together to create a total immersion into this time. It is truly like reading a modern day Jane Austen, and I mean that as the highest compliment and the greatest praise for Lawrence. It is clear that there is a huge bank of knowledge behind this writing, and that makes it so much easier and enjoyable to read. Honestly, I canÕt praise it highly enough!
At the risk of repeating myself, I am going to touch briefly on the plot for my final batch of comments because I am left slightly astounded and speechless with this book. The plot is amazing. Put very simply I know, but it is just exquisite in itÕs development, itÕs execution and itÕs whole story is just perfect. I donÕt say that very often about books, but this is so worthy of the mention. IÕm just, well, struggling to put in to words exactly how much I loved the way the story developed. The twists and turns, sudden changes, and eventually the happiness weÕve been searching for from the start, it was all woven together with immense skill and understanding for the genre and that made it such an easy book to get lost in (in the best possible way).
In conclusion, just in case you didnÕt grasp it earlier in the review Ð I freaking loved this book! It was fantastic from start to finish. A great pace, wonderful characters and a delightful storyline that kept me hooked from page one. The only thing I didnÕt like is the fact it had to end! I cannot recommend this highly enough and I will be looking forward to devouring more of Elizabeth LawrenceÕs offerings as soon as I possibly can.
ARC received with thanks and first reviewed as part of a blog tour on Lily Loves Indie - http://lilylovesindie.co.uk/?p=267
To start, I think the characters are more than worthy of a mention. Lawrence is a master of character development, and I say this after having only read one of her books, but that is honestly how strongly I feel about it. Never, in all my many books, have I come across a character as understated yet complex as Miranda. At first sight, she appears to be a simple and quite ordinary society beauty, but how very wrong that assumption would be. As the story progresses, we see her develop into a fiesty, and then broken young woman, before she regains her spark. The journey she travels is so tangible you can almost feel the emotions pouring through the pages. And that brings me onto the strange Mr Hawes. HeÕs a character and a half. Awkward, rude and at times quite objectionable, yet I still felt endeared to his situation. I find him harder to describe, as he really is so different and out of the box that itÕs refreshing against the standard ÔconformityÕ to society norms you usually find in period novels.
Something else I think really needs mentioning is the fact that this book is hugely believable. I am a huge reader of historical books, I am a great history addict and I have to say, this book ticks every single box. ItÕs full of the little quirks you would expect to see in that time Ð the language, the traditions, the vacation spots. ItÕs all just sublimely weaved together to create a total immersion into this time. It is truly like reading a modern day Jane Austen, and I mean that as the highest compliment and the greatest praise for Lawrence. It is clear that there is a huge bank of knowledge behind this writing, and that makes it so much easier and enjoyable to read. Honestly, I canÕt praise it highly enough!
At the risk of repeating myself, I am going to touch briefly on the plot for my final batch of comments because I am left slightly astounded and speechless with this book. The plot is amazing. Put very simply I know, but it is just exquisite in itÕs development, itÕs execution and itÕs whole story is just perfect. I donÕt say that very often about books, but this is so worthy of the mention. IÕm just, well, struggling to put in to words exactly how much I loved the way the story developed. The twists and turns, sudden changes, and eventually the happiness weÕve been searching for from the start, it was all woven together with immense skill and understanding for the genre and that made it such an easy book to get lost in (in the best possible way).
In conclusion, just in case you didnÕt grasp it earlier in the review Ð I freaking loved this book! It was fantastic from start to finish. A great pace, wonderful characters and a delightful storyline that kept me hooked from page one. The only thing I didnÕt like is the fact it had to end! I cannot recommend this highly enough and I will be looking forward to devouring more of Elizabeth LawrenceÕs offerings as soon as I possibly can.
ARC received with thanks and first reviewed as part of a blog tour on Lily Loves Indie - http://lilylovesindie.co.uk/?p=267
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Debbiereadsbook (1487 KP) rated Beautiful Beast in Books
Nov 30, 2018
bloody awesome read!
Independent reviewer for Archaeolibrarian, I was gifted my copy of this book.
SO!!! Now I've come down a bit, I *might * be able to write a coherent review! Let's see, shall we?
Axis doesn't like to be confined, but needs must. He just needs a get away for a while, to get something to help him deal. Layna is on a mission to interrupt the supply of that *something* and Axis puts her in terrible danger. So, he saves her the only way he knows how, he takes her home, where the secrets have secrets and more secrets. Then Layna's headaches begin. And those secrets begin to unravel. And it is not gonna be a picnic!
It seems, (correct me if I'm wrong but I can't find anything else by this author) that this is Ms Knight's FIRST novel. And Lord if that IS the case, I so wanna be on the end of the next one!!
Because I loved this! Bloody LOVED it!
Yes, its very obviously a Beauty and the Beast kinda retell, but who cares?? Axis' beast is of a nature that doesn't become clear immediately, and I was left second guessing what kind of beast he was. Layna isn't such the good little girl she portrays, what with trying to blow up buildings and all. And deep down, she knows that something isn't quite right in the castle, with everyone whispering and keeping her out the way all day. She KNOWS what she is hearing is a pained animal, but why would there be an animal in the lower levels? And what calls to her from the wood.
When the whole story begins to unravel, when the secrets start to become clear, it moves fast!! You gotta pay attention, take in every little detail, because you will need it! I had to double back a couple of times, and it made me slow down to really concentrate. And if a book makes ME slow down, it's gotta be a good one!!
It's dark, Axis is in so much pain since The Making and he deals with how best he can. He knows what he is doing might well kill him, but he doesn't let the others know. He just deals with it. But Layna in his home, his bed, indeed, his HEART makes him want to not have to deal with it anymore, he wants it to go away. And if that means him giving up his life to free the others from his pain, Axis will do that.
It's sexy. Axis and Layna have instant and powerful attraction, and it isn't long before they are getting up close and personal. But it's Axis' giving control over to Layna that I particularly liked. I'm a sucker for an alpha male tied to the bed, I really am!
OH!!! It's just so good! So very bloody good!! Can't wait to see what Ms Knight comes up with next!
5 excellent stars!
**same worded review will appear elsewhere**
SO!!! Now I've come down a bit, I *might * be able to write a coherent review! Let's see, shall we?
Axis doesn't like to be confined, but needs must. He just needs a get away for a while, to get something to help him deal. Layna is on a mission to interrupt the supply of that *something* and Axis puts her in terrible danger. So, he saves her the only way he knows how, he takes her home, where the secrets have secrets and more secrets. Then Layna's headaches begin. And those secrets begin to unravel. And it is not gonna be a picnic!
It seems, (correct me if I'm wrong but I can't find anything else by this author) that this is Ms Knight's FIRST novel. And Lord if that IS the case, I so wanna be on the end of the next one!!
Because I loved this! Bloody LOVED it!
Yes, its very obviously a Beauty and the Beast kinda retell, but who cares?? Axis' beast is of a nature that doesn't become clear immediately, and I was left second guessing what kind of beast he was. Layna isn't such the good little girl she portrays, what with trying to blow up buildings and all. And deep down, she knows that something isn't quite right in the castle, with everyone whispering and keeping her out the way all day. She KNOWS what she is hearing is a pained animal, but why would there be an animal in the lower levels? And what calls to her from the wood.
When the whole story begins to unravel, when the secrets start to become clear, it moves fast!! You gotta pay attention, take in every little detail, because you will need it! I had to double back a couple of times, and it made me slow down to really concentrate. And if a book makes ME slow down, it's gotta be a good one!!
It's dark, Axis is in so much pain since The Making and he deals with how best he can. He knows what he is doing might well kill him, but he doesn't let the others know. He just deals with it. But Layna in his home, his bed, indeed, his HEART makes him want to not have to deal with it anymore, he wants it to go away. And if that means him giving up his life to free the others from his pain, Axis will do that.
It's sexy. Axis and Layna have instant and powerful attraction, and it isn't long before they are getting up close and personal. But it's Axis' giving control over to Layna that I particularly liked. I'm a sucker for an alpha male tied to the bed, I really am!
OH!!! It's just so good! So very bloody good!! Can't wait to see what Ms Knight comes up with next!
5 excellent stars!
**same worded review will appear elsewhere**
Hazel (1853 KP) rated The Keeper of Portals in Books
Dec 17, 2018
<i>This ARC was provided by the author in exchange for an honest review </i>
Awaiting young adult readers in early 2017 is a fantasy story unlike any other. <i>The Keeper of Portals</i> is the debut novel of V.S. Nelson, the soon-to-be-published author with an imagination worth sharing. Incorporating the familiar concept of time travel into a new way of visualizing the world results in a story that will leave minds reeling.
Nelson’s theory is that every aspect of life has a keeper, a creature in charge of making sure their assigned element functions smoothly. There are the major keepers responsible for time, causality and other things that cannot be seen, yet objects as small as buttons have their own keeper, too. Humans, of course, are unaware of these keepers, therefore fifteen-year-old Martin Lockford initially believes he is going mad when the Keeper of Portals reveals his existence in Martin’s bedroom.
Martin and his mother, with nowhere else to go, have moved into a dilapidated manor once owned by a distant relative. Whilst exploring his new room, Martin is startled by a disembodied voice claiming to be the Keeper of Portals. Having not spoken to anyone for 400 years, Portals is eager to show off his role in the flowing of the unpredictable universe. The keeper’s task is to make sure each door leads to the correct place – something that he demonstrates by sending Martin to the <i>wrong</i> places. However, there is one door in the manor that he has been unable to open.
The very next morning, Martin awakes to discover the sealed door is no longer locked and, being the curious boy that he is, goes through to explore. The mystery door does not only transport Martin to a different place, it sends him back in time to 1623. Here he meets the young Isabel, a maid, who is intrigued with the inventions of the future, especially from a personal hygiene perspective. However, she is not the only one curious about the 21st century.
The irascible master of the manor is not who he initially seems. With the desire to control everything, he places Martin and Isabel in a grave predicament, trapping them in the 17th century. At risk of creating a paradox, Martin needs to return to his own time – a difficult feat in itself – however, with the Keeper of Portals missing, the master has caused many problems that need to be solved, otherwise a whole new future will be born.
Admittedly, it takes a while for the story to warm up – the reader may be introduced to the idea of keepers fairly early on, yet the key storyline does not reveal itself until much later. After perseverance on the reader’s behalf, <i>The Keeper of Portals</i>, becomes an exciting mix of fantasy and science fiction, cleverly thought out to create an unpredictable scenario. Adventure after adventure, until bittersweet conclusion, keeps readers engaged and compelled to read on long after bedtime.
Although Martin is the protagonist of the novel, Isabel’s role is equally important. Despite women in the 1600s being deprived on the rights they have in this day and age, Isabel is an intelligent, independent girl, perfectly able to handle everything that is thrown at her. She is an inspiration to teenage girls.
Written with teenage readers in mind, <i>The Keeper of Portals</i> is suitable for fantasy-loving adults, too. With equipoise of adventure and intellectual theory, as well as a touch of romance, it is definitely a book to look out for. V.S. Nelson writes with clarity, exuding remarkable intelligence; let us hope that there will be more from where this came from.
Awaiting young adult readers in early 2017 is a fantasy story unlike any other. <i>The Keeper of Portals</i> is the debut novel of V.S. Nelson, the soon-to-be-published author with an imagination worth sharing. Incorporating the familiar concept of time travel into a new way of visualizing the world results in a story that will leave minds reeling.
Nelson’s theory is that every aspect of life has a keeper, a creature in charge of making sure their assigned element functions smoothly. There are the major keepers responsible for time, causality and other things that cannot be seen, yet objects as small as buttons have their own keeper, too. Humans, of course, are unaware of these keepers, therefore fifteen-year-old Martin Lockford initially believes he is going mad when the Keeper of Portals reveals his existence in Martin’s bedroom.
Martin and his mother, with nowhere else to go, have moved into a dilapidated manor once owned by a distant relative. Whilst exploring his new room, Martin is startled by a disembodied voice claiming to be the Keeper of Portals. Having not spoken to anyone for 400 years, Portals is eager to show off his role in the flowing of the unpredictable universe. The keeper’s task is to make sure each door leads to the correct place – something that he demonstrates by sending Martin to the <i>wrong</i> places. However, there is one door in the manor that he has been unable to open.
The very next morning, Martin awakes to discover the sealed door is no longer locked and, being the curious boy that he is, goes through to explore. The mystery door does not only transport Martin to a different place, it sends him back in time to 1623. Here he meets the young Isabel, a maid, who is intrigued with the inventions of the future, especially from a personal hygiene perspective. However, she is not the only one curious about the 21st century.
The irascible master of the manor is not who he initially seems. With the desire to control everything, he places Martin and Isabel in a grave predicament, trapping them in the 17th century. At risk of creating a paradox, Martin needs to return to his own time – a difficult feat in itself – however, with the Keeper of Portals missing, the master has caused many problems that need to be solved, otherwise a whole new future will be born.
Admittedly, it takes a while for the story to warm up – the reader may be introduced to the idea of keepers fairly early on, yet the key storyline does not reveal itself until much later. After perseverance on the reader’s behalf, <i>The Keeper of Portals</i>, becomes an exciting mix of fantasy and science fiction, cleverly thought out to create an unpredictable scenario. Adventure after adventure, until bittersweet conclusion, keeps readers engaged and compelled to read on long after bedtime.
Although Martin is the protagonist of the novel, Isabel’s role is equally important. Despite women in the 1600s being deprived on the rights they have in this day and age, Isabel is an intelligent, independent girl, perfectly able to handle everything that is thrown at her. She is an inspiration to teenage girls.
Written with teenage readers in mind, <i>The Keeper of Portals</i> is suitable for fantasy-loving adults, too. With equipoise of adventure and intellectual theory, as well as a touch of romance, it is definitely a book to look out for. V.S. Nelson writes with clarity, exuding remarkable intelligence; let us hope that there will be more from where this came from.