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"The door slid open and Clarke knew it was time to die." What a way to start the book. Kass Morgan dives right into her storyline with an in-your-face opener. It took a bit of time before I, as the reader realized what this book was about. She began by setting up a number of characters, switching between perspectives, to quickly introduce you to the players. Those people who will have the biggest impact upon the storyline.
Each character is thrown into the mix, destined to be sent to Earth. The first in a long, long time. While not all make it, we are still treated with back stories and past relationships. Had the author not included those scenes, her characters would have been much more difficult to relate to. You come to briefly understand what the person goes through, exactly why he/she is so angry and hurt, and what they each did to become subjected to the fate of the 100. Personally, I would have preferred that greater attention had been given to character development rather than relationship development.
The Earth was unlivable for so long, and yet they send these 100 "children" as guinea pigs, rather than trained professionals. People who could colonize, build shelters, feed the colony, study the land and environment, or even tend to the ill. Instead, these youths are forced to come together with a common goal - survival.
One gets to a certain point in the novel and then realizes they don't entirely know what these different living situations/names mean. Of course, the Walden and Arcadian people seem to be of a lower class, economic, and social standing than the Phoenix. Walden also had an outbreak at one point that had to be quarantined. But beyond that? I'm not entirely sure what the distinctions are. Clearly the Phoenix people are "posh", with foreign accents, prone to extravagances and taking what they have for granted. But how did they come to be in that, dare I say, caste to begins with? Were people settled based upon their original locations on Earth? Or perhaps based upon the money/knowledge they could provide? Unfortunately, that aspect of the story is not very clearly explained. It seems that the author took more time to focus on the intricacies of the relationships than the world building.
Sometimes the author was redundant, choosing to repeat the same fears/desire over and over again. Yes, we understand that the medicine is missing. Was it flung from the ship before the crash or during? Can they survive without it? We don't know yet, but if we didn't realize the medicine was important the first time it was mentioned... We certainly realized it after the tenth.
This book has a very unique concept in that it combines the post-apocalyptic Hunger Games or Divergent-type Earth with space. While it may exist in other novels, I've not yet read something similar. Where it does seem to follow typical YA novels is the fact that it has a love triangle. Those seem like they are a requirement, as they are in most popular young adult novels. (HG, Divergent, TMI, Vampire Diaries, etc.)
There is a bit of mystery in the book as well. It seems that the reason one of the characters is arrested must be kept a secret, even from the reader. The author continuously has the girl think to herself, 'Why isn't he asking me about my confinement?', 'He's happy, this is for the best [that he doesn't know.]', and even has her love interest say "I heard a rumor about a girl on Phoenix who was arrested for..." Yes, there was a dramatic pause. And no, he does not finish his sentence. After the third or fourth time, the author finally reveals the girl's situation during a flashback.
Throughout the novel, the author develops the relationship between two main characters. Unfortunately, it's a bit jarring and sporadic. It quickly jumps from bitter hatred from the moment they step foot on Earth to reconciliation after one act, then back to hatred. Again, after one act. While relationships can be a roller coaster, this is a bit too authentic to the carnival ride.
The relationship is not perfect, especially when she has a second possible love interest. A guy who after only a short while, thinks of only her before he falls asleep. That girl must be something. The first time they really spend any time together, he decides that making out is the best course of action. Much to the dismay of her other love interest, though it does not dissuade him. Sound familiar?
It doesn't take long before he snaps at her and their brief... Whatever it was is over. Or is it?
They must be masochists, because it seems they're just gluttons for punishment and emotional, gut wrenching hurt... Or just those that don't learn from history. (Doomed to repeat it and all that.) Who would continuously subject themselves to that kind of torment? Move on and let yourself heal. It's not a post-apocalyptic world that only the two of you can repopulate... There are other individuals in camp with you. (Like the second guy you may or may not like, but that you certainly make out with in the woods.) But that's just my perspective.
While I found myself bemused and skeptical at times about certain aspects of the book, none of those times corresponded to the purposefully exaggerated environment that they must adapt to on Earth. Rather it is the progression of relationships, situations characters find themselves in, and utterly disastrous karmic intervention. Seriously, they must have really messed with the world for it to so perfectly separate two lovers as it does.
I suspected there would be a particular plot twist and unsurprisingly it came to fruition approximately 98% of the way through the book. I'm intrigued to see where the author takes it and how it will develop in the sequel - The 100: Day
21 (which is next on my review list!)
I find myself enjoying the read, dispute the obvious flaws one notices whilst reading it. If you take it as an easy, enjoyable read - then that is what you will come away with. If you expect it to be a fantastic piece that delves into the human psyche to truly draw you into a character's life and relationships - then you will be quite disappointed. Overall, I would recommend this novel to those who enjoy dystopian, teen romance series.
Each character is thrown into the mix, destined to be sent to Earth. The first in a long, long time. While not all make it, we are still treated with back stories and past relationships. Had the author not included those scenes, her characters would have been much more difficult to relate to. You come to briefly understand what the person goes through, exactly why he/she is so angry and hurt, and what they each did to become subjected to the fate of the 100. Personally, I would have preferred that greater attention had been given to character development rather than relationship development.
The Earth was unlivable for so long, and yet they send these 100 "children" as guinea pigs, rather than trained professionals. People who could colonize, build shelters, feed the colony, study the land and environment, or even tend to the ill. Instead, these youths are forced to come together with a common goal - survival.
One gets to a certain point in the novel and then realizes they don't entirely know what these different living situations/names mean. Of course, the Walden and Arcadian people seem to be of a lower class, economic, and social standing than the Phoenix. Walden also had an outbreak at one point that had to be quarantined. But beyond that? I'm not entirely sure what the distinctions are. Clearly the Phoenix people are "posh", with foreign accents, prone to extravagances and taking what they have for granted. But how did they come to be in that, dare I say, caste to begins with? Were people settled based upon their original locations on Earth? Or perhaps based upon the money/knowledge they could provide? Unfortunately, that aspect of the story is not very clearly explained. It seems that the author took more time to focus on the intricacies of the relationships than the world building.
Sometimes the author was redundant, choosing to repeat the same fears/desire over and over again. Yes, we understand that the medicine is missing. Was it flung from the ship before the crash or during? Can they survive without it? We don't know yet, but if we didn't realize the medicine was important the first time it was mentioned... We certainly realized it after the tenth.
This book has a very unique concept in that it combines the post-apocalyptic Hunger Games or Divergent-type Earth with space. While it may exist in other novels, I've not yet read something similar. Where it does seem to follow typical YA novels is the fact that it has a love triangle. Those seem like they are a requirement, as they are in most popular young adult novels. (HG, Divergent, TMI, Vampire Diaries, etc.)
There is a bit of mystery in the book as well. It seems that the reason one of the characters is arrested must be kept a secret, even from the reader. The author continuously has the girl think to herself, 'Why isn't he asking me about my confinement?', 'He's happy, this is for the best [that he doesn't know.]', and even has her love interest say "I heard a rumor about a girl on Phoenix who was arrested for..." Yes, there was a dramatic pause. And no, he does not finish his sentence. After the third or fourth time, the author finally reveals the girl's situation during a flashback.
Throughout the novel, the author develops the relationship between two main characters. Unfortunately, it's a bit jarring and sporadic. It quickly jumps from bitter hatred from the moment they step foot on Earth to reconciliation after one act, then back to hatred. Again, after one act. While relationships can be a roller coaster, this is a bit too authentic to the carnival ride.
The relationship is not perfect, especially when she has a second possible love interest. A guy who after only a short while, thinks of only her before he falls asleep. That girl must be something. The first time they really spend any time together, he decides that making out is the best course of action. Much to the dismay of her other love interest, though it does not dissuade him. Sound familiar?
It doesn't take long before he snaps at her and their brief... Whatever it was is over. Or is it?
They must be masochists, because it seems they're just gluttons for punishment and emotional, gut wrenching hurt... Or just those that don't learn from history. (Doomed to repeat it and all that.) Who would continuously subject themselves to that kind of torment? Move on and let yourself heal. It's not a post-apocalyptic world that only the two of you can repopulate... There are other individuals in camp with you. (Like the second guy you may or may not like, but that you certainly make out with in the woods.) But that's just my perspective.
While I found myself bemused and skeptical at times about certain aspects of the book, none of those times corresponded to the purposefully exaggerated environment that they must adapt to on Earth. Rather it is the progression of relationships, situations characters find themselves in, and utterly disastrous karmic intervention. Seriously, they must have really messed with the world for it to so perfectly separate two lovers as it does.
I suspected there would be a particular plot twist and unsurprisingly it came to fruition approximately 98% of the way through the book. I'm intrigued to see where the author takes it and how it will develop in the sequel - The 100: Day
21 (which is next on my review list!)
I find myself enjoying the read, dispute the obvious flaws one notices whilst reading it. If you take it as an easy, enjoyable read - then that is what you will come away with. If you expect it to be a fantastic piece that delves into the human psyche to truly draw you into a character's life and relationships - then you will be quite disappointed. Overall, I would recommend this novel to those who enjoy dystopian, teen romance series.
Gareth von Kallenbach (971 KP) rated Indiana Jones and the Kingdom of the Crystal Skull (2008) in Movies
Aug 14, 2019
After 17 years away from the big screen, Indiana Jones has dusted off his trusty fedora and bullwhip in one of the most eagerly awaited returns to the screen in cinema history. Harrison Ford once again plays the rough and rugged archeologist who is as equally adept in the classroom as he is in the depths of an ancient trap laden chamber.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
In “Indiana Jones and the Kingdom of the Crystal Skull”, audience are re-introduced to Jones, who is by now an older, and wiser man who spent the years of WWII as a special operative which earned him not only the rank of Colonel, but numerous medals and citations.
The film opens with a group of bad guys forcing Indiana to locate an object from a gigantic storage area in the infamous Area 51. Since Jones was part of a team that examined said object nearly a decade earlier, his services are greatly desired, and he is forced to play along with his captors.
Of course Indiana Jones is still a man of action, and soon turns the tables on his captors in a daring and humor filled action sequence that quickly answers those that doubted Ford could pull off his charismatic character in his 60’s.
The events of the situation do not go unnoticed by the U.S. government who suspect Jones of collaborating with the enemy, and in the Red Scare America of the 1950’s Jones soon finds himself suspended from his teaching position and looking to head overseas.
As Indy’s train heads out of town, he is approached by a motorcycle riding messenger who says his name is Mutt (Shia LaBeouf), and he has been sent to find Indy by a former college of Indy’s Professor Oxle (John Hurt). Intrigued, Jones listens to the tale Mutt tells him that people have kidnapped Oxley and his mother, and he shows him a letter that Oxley instructed him to pass along to Indy should anything happen to him.
Before Indy can dig further into the mystery, he and Mutt are accosted by thugs and after a daring race through traffic on Mutt’s motorcycle, find themselves on a plane to South America in search of Oxley and Mutt’s mother as well as the fabled Crystal Skull that legend says will grant amazing powers to anyone who returns it to the fabled Golden City.
Thinking that his old friend Oxley may have succeeded where Indy was unable to many years earlier, Jones takes up the cause of locating the fabled artifact and the city as he believes that they are also the keys to locating his missing friend. The film really slows down here and devotes a good amount of time to advancing the story and characters and thanks to the amazingly detailed sets and enjoyable characters; you may find yourself not minding the change of pace.
Of course there are plenty of bad guys to add to the mix, including the evil Irinia Spalko (Cate Blanchett), who is leading a team of Russian soldiers who also have designs on the skull, as it would give them the power to read and control the minds of the leaders the world over, amongst other powers that would be used for their aggressive agendas.
What follows is an effects-laden adventure leading to a grand finale that is not as spectacular as past films in the series, but enjoyable nonetheless. When the action comes it is solid, and while some of it seems to be a retread of some of the classic moments of the series, it does deliver enough thrills to keep fans happy. There are some very welcome moments in the film such as a nice tribute to Sean Connery and the Late Denholm Elliot as well as a cleverly placed cameo early in the film during the warehouse fight.
Shia LaBeouf is an interesting addition to the series and his scenes with Ford are very enjoyable. They have a natural chemistry and do not seem forced like the Short Round character from “Indiana Jones and the Temple of Doom”. I was also very happy to see Karen Allen return to the series as Marion Ravenwood. She has truly proven to be the only love interest in the series that truly measures up to Indy, and her fiery temper with a girl next door charm is the perfect foil for Jones.
The effects in the film are not groundbreaking, but solid, however some may find that the films plot is a bit to complex and takes too long to setup. There were funny moments in the film to go along with the action and viewers who pay close attention will catch some very subtle nods to other moments in the series.
I was pleased with the sets in the film as Director Steven Speilberg and Producer George Lucas clearly paid attention to details in the look of the film. The tombs and exotic chambers depicted in the film had a very immersive nature to them much the same way that classic Disneyland rides like Pirates of the Caribbean and The Haunted Mansion place guests right in the middle of the spooky and exotic locales. From cobwebs, skeletons, and insects and well as treasures galore, it was like being in on the adventure with Indy.
The series does have some life in it and while the film does not measure up with the first film in the series, I would say it is on par with “Temple of Doom” and was for me, more enjoyable than “The Last Crusade.” The film leaves the door open for yet another adventure, and if comments from Speilberg and Lucas are to be taken seriously, we may see the beloved archeologist back on the big screen in the not too distant future.
Bob Mann (459 KP) rated Rear Window (1954) in Movies
Sep 29, 2021
“Hmm… must have splattered a lot”.
Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
Kara Skinner (332 KP) rated Bascomville in Books
Jun 12, 2019
Genre: Contemporary, Teen
Page Count: 284
Average Goodreads Rating: 4.67 out of 5 stars
My rating: 4.5 out of 5 stars
Welcome to the life of Max Bascom, whose home is Bascomville. Bascomville has its own special kind of normal, where fathers can get job leads from their sons and Christmas dinners can end up to be Chinese take out. Max does his best to navigate Bascomville and to keep it running as smoothly as possible through good times and tragedy. And he also forms a special bond with the girl next door, Janice, who understands Bascomville despite coming from a world much different.
This book is so fabulously written. I usually don’t take review requests, but I’m glad I did for this book. It’s part romance, part literary masterpiece, and it captures “growing up” so well. I wish I had this book when I was in middle school or high school because I can relate to making your own kind of normal.
“Us? Normal?”
“How do you know we aren’t? How do we know everybody doesn’t make their own?”
She considered this for a moment then dismissed it. “If everybody made their own then nothing would be normal. Nothing could ever be normal.”
“Exactly.”
That’s my kind of definition of normal. And I think everyone needs to remember that normalcy doesn’t really exist a little bit more.
I didn’t see the plot twists coming ahead of time and I never got bored. On top of that, this book is incredibly quotable. There’s some good life advice in here, like when Max helped Janice cover up vandalism on her house:
And I knew then that ultimately we can save neither ourselves nor our loved ones from life. We can only live it.
Max is a complex character that I like and dislike. He is, ultimately, human, not a hero. He tends to overreact sometimes when Janice is involved, but for the most part he’s likeable. He’s loyal to his family, loves his little sister, and wishes for a world with a level playing field.
My favorite character is his little sister Lily, though. She actually has it worse than Max. She lives at home with her parents after Max goes to college and has to deal with her mother pretending she doesn’t exist and her father pretending to be her best friend to make up for it. Her home life is lousy at best and she practically raises herself for her last years of high school. But she’s strong enough to not break under pressure and she’s not one for self-pity.
“Fair is for dorks. I don’t need fair to make things work.”– Lily Bascom
So why only a 4.5 instead of a 5?
It’s because of the long descriptions, like this one that characterizes Mr. Birnbaum, Janice’s father, through his workshop.
I stepped inside and caught my breath. It was, to me, a foreign wonderland, this workshop. I am not a particularly handy person, and the panorama of neatly arranged rows of tools hanging on pegboards, the fittings categorized in plastic bins, the copper piping slung above the rafters, the worktables and vises and clamps and braided electrical cords all echoed the prowess of this man. I felt humbled, and strangely calm. I still wasn’t sure if I was doing the right thing but I was no longer nervous about it. I could leave disappointed, even chastised, and be all right with it. Such was the power of Sheldon Birnbaum and this place.
While these descriptions certainly add character and depth to the story, they can sometimes be a little excessive and make my attention lag. This book is certainly not a fluff book and isn’t meant to be one, but the long descriptions make it slightly more harder to get through than it has to be.
This is a good book for anyone to read and I can’t recommend it enough, especially to teens. It helps us remember that we all need to make our own normal.
Page Count: 284
Average Goodreads Rating: 4.67 out of 5 stars
My rating: 4.5 out of 5 stars
Welcome to the life of Max Bascom, whose home is Bascomville. Bascomville has its own special kind of normal, where fathers can get job leads from their sons and Christmas dinners can end up to be Chinese take out. Max does his best to navigate Bascomville and to keep it running as smoothly as possible through good times and tragedy. And he also forms a special bond with the girl next door, Janice, who understands Bascomville despite coming from a world much different.
This book is so fabulously written. I usually don’t take review requests, but I’m glad I did for this book. It’s part romance, part literary masterpiece, and it captures “growing up” so well. I wish I had this book when I was in middle school or high school because I can relate to making your own kind of normal.
“Us? Normal?”
“How do you know we aren’t? How do we know everybody doesn’t make their own?”
She considered this for a moment then dismissed it. “If everybody made their own then nothing would be normal. Nothing could ever be normal.”
“Exactly.”
That’s my kind of definition of normal. And I think everyone needs to remember that normalcy doesn’t really exist a little bit more.
I didn’t see the plot twists coming ahead of time and I never got bored. On top of that, this book is incredibly quotable. There’s some good life advice in here, like when Max helped Janice cover up vandalism on her house:
And I knew then that ultimately we can save neither ourselves nor our loved ones from life. We can only live it.
Max is a complex character that I like and dislike. He is, ultimately, human, not a hero. He tends to overreact sometimes when Janice is involved, but for the most part he’s likeable. He’s loyal to his family, loves his little sister, and wishes for a world with a level playing field.
My favorite character is his little sister Lily, though. She actually has it worse than Max. She lives at home with her parents after Max goes to college and has to deal with her mother pretending she doesn’t exist and her father pretending to be her best friend to make up for it. Her home life is lousy at best and she practically raises herself for her last years of high school. But she’s strong enough to not break under pressure and she’s not one for self-pity.
“Fair is for dorks. I don’t need fair to make things work.”– Lily Bascom
So why only a 4.5 instead of a 5?
It’s because of the long descriptions, like this one that characterizes Mr. Birnbaum, Janice’s father, through his workshop.
I stepped inside and caught my breath. It was, to me, a foreign wonderland, this workshop. I am not a particularly handy person, and the panorama of neatly arranged rows of tools hanging on pegboards, the fittings categorized in plastic bins, the copper piping slung above the rafters, the worktables and vises and clamps and braided electrical cords all echoed the prowess of this man. I felt humbled, and strangely calm. I still wasn’t sure if I was doing the right thing but I was no longer nervous about it. I could leave disappointed, even chastised, and be all right with it. Such was the power of Sheldon Birnbaum and this place.
While these descriptions certainly add character and depth to the story, they can sometimes be a little excessive and make my attention lag. This book is certainly not a fluff book and isn’t meant to be one, but the long descriptions make it slightly more harder to get through than it has to be.
This is a good book for anyone to read and I can’t recommend it enough, especially to teens. It helps us remember that we all need to make our own normal.
Chris Sawin (602 KP) rated Antichrist (2009) in Movies
Jun 20, 2019
A married couple suffers one of the greatest losses any couple could endure, but the wife seems to be taking it harder than the husband. She's enrolled in a hospital until he, a therapist, thinks the doctors aren't doing a good enough job with her and that she'd do better at home under his care. She blames herself for their suffering while he thinks he can help her. They decide to depart to a cabin in the woods in hopes of relaxing a bit and to undergo his therapy. Things start out a bit rough, but it seems like progress is being made. That is until nature steps in, who has other plans for them, and the situation begins to quickly deteriorate.
This is quite possibly the most disturbing film I've ever sat through. Inside made me feel incredibly uneasy and Jack Ketchum's The Girl Next Door made me feel uncomfortable and a little nauseous, but Antichrist seems to take it to another level (I haven't seen Irreversible, however, which I hear Antichrist being compared to quite a bit). While Antichrist doesn't show absolutely everything and it's usually rather brief when it comes to showing disturbing material, it shows enough to make your stomach drop.
Throughout the film, everything that takes place just doesn't feel right. From the very first scene, the viewer knows that the film probably isn't going to be an easy watch. The character's actions and the setting being rather isolated leads one to believe a series of unfortunate events will eventually be taking place. Antichrist doesn't swerve the viewer into thinking it's going to be something else. The foundation is set right from the get-go. The film slowly builds towards the last thirty minutes or so and you're kind of left thinking, "I've got a bad feeling about this," up until that point. However, once things start taking a turn for the worst, your reaction will be something along the lines of, "Oh no, what is she going to do with...WHAT THE F---?! Now she's taking a...what is that?! OH S---!"
Everything else leading to the last half of the film is done incredibly well. The cinematography is rather incredible, especially while they're in Eden. Everything is so lush and green while certain shots alone say more than the characters in the film ever could. The score is haunting and successfully establishes putting its viewers on edge. The song used at the beginning and end of the film is beautiful yet heartbreaking at the same time. The entire film is spent with this married couple and their performances are top notch. It's just those last thirty to forty five minutes take such an abrupt turn. The film hints at things going downhill, but everything hits the fan so suddenly. Nothing can really prepare you for how unrelenting and horrifying the finale is. The events that unfold in this film will haunt you and stick with you for an incredibly long time.
The less you know about Antichrist, the more surprising that first viewing will be. That's the main reason this review is so vague. Don't read up on it and don't watch anything other than the trailer before seeing the film. Just be warned, the film shows enough for a gut-wrenching reaction. It's no In the Realm of the Senses, but it's definitely along those lines. Antichrist's strongest asset is the atmosphere it builds throughout the film. The air just seems to be constantly thick with the fact that something terrible is going to happen at any moment. While the film is disturbing, shocking, and was able to make me feel things most horror films aren't capable of, I wouldn't say the film was enjoyable. It's not to say the film isn't done well because it is in almost every aspect, but I could hardly see myself popping the movie in to entertain me on a Saturday night. The film takes its toll on you and I don't think it's a film I'd really enjoy sitting through again.
This is quite possibly the most disturbing film I've ever sat through. Inside made me feel incredibly uneasy and Jack Ketchum's The Girl Next Door made me feel uncomfortable and a little nauseous, but Antichrist seems to take it to another level (I haven't seen Irreversible, however, which I hear Antichrist being compared to quite a bit). While Antichrist doesn't show absolutely everything and it's usually rather brief when it comes to showing disturbing material, it shows enough to make your stomach drop.
Throughout the film, everything that takes place just doesn't feel right. From the very first scene, the viewer knows that the film probably isn't going to be an easy watch. The character's actions and the setting being rather isolated leads one to believe a series of unfortunate events will eventually be taking place. Antichrist doesn't swerve the viewer into thinking it's going to be something else. The foundation is set right from the get-go. The film slowly builds towards the last thirty minutes or so and you're kind of left thinking, "I've got a bad feeling about this," up until that point. However, once things start taking a turn for the worst, your reaction will be something along the lines of, "Oh no, what is she going to do with...WHAT THE F---?! Now she's taking a...what is that?! OH S---!"
Everything else leading to the last half of the film is done incredibly well. The cinematography is rather incredible, especially while they're in Eden. Everything is so lush and green while certain shots alone say more than the characters in the film ever could. The score is haunting and successfully establishes putting its viewers on edge. The song used at the beginning and end of the film is beautiful yet heartbreaking at the same time. The entire film is spent with this married couple and their performances are top notch. It's just those last thirty to forty five minutes take such an abrupt turn. The film hints at things going downhill, but everything hits the fan so suddenly. Nothing can really prepare you for how unrelenting and horrifying the finale is. The events that unfold in this film will haunt you and stick with you for an incredibly long time.
The less you know about Antichrist, the more surprising that first viewing will be. That's the main reason this review is so vague. Don't read up on it and don't watch anything other than the trailer before seeing the film. Just be warned, the film shows enough for a gut-wrenching reaction. It's no In the Realm of the Senses, but it's definitely along those lines. Antichrist's strongest asset is the atmosphere it builds throughout the film. The air just seems to be constantly thick with the fact that something terrible is going to happen at any moment. While the film is disturbing, shocking, and was able to make me feel things most horror films aren't capable of, I wouldn't say the film was enjoyable. It's not to say the film isn't done well because it is in almost every aspect, but I could hardly see myself popping the movie in to entertain me on a Saturday night. The film takes its toll on you and I don't think it's a film I'd really enjoy sitting through again.
Chris Sawin (602 KP) rated Jennifer's Body (2009) in Movies
Jun 22, 2019
Devil's Kettle is a small town where everyone knows everybody. The story revolves around the relationship between Needy (Amanda Seyfried) and Jennifer (Megan Fox) and other than having similar interests, the two are polar opposites. Needy is more of the quiet, girl next door type that is a bit of a bookworm with a heart of gold whereas Jennifer is more spontaneous, mean spirited, and the stuck-up, hot cheerleader type that every high school boy seems to dream about being with. One night, Jennifer drags Needy to Melody Lane, the one bar in town, to see a new flavor of the week indie band called Low Shoulder. When the bar catches on fire and most of the people inside are crushed or burned in the destruction, Needy thinks that's where this horrible night gone wrong would end. That is until Jennifer decides to go off with the band in their van and Needy has to make her way back home alone. After that night, a demon is transferred into Jennifer's body with an unquenchable hunger for high school guys. As Needy begins to accept what's happened to her BFF, she realizes that she's the only one that has a chance of stopping Jennifer once and for all.
Other than Megan Fox, the other factor that was pushed really hard in the advertising campaign for Jennifer's Body was the fact that Diablo Cody, the screenwriter for Juno, was attached to this film. To be honest, I think Cody's contributions are what I enjoyed most. The dialogue and humor of the film are both witty and laugh out loud funny at times. The writing, in general, made what otherwise would have been your average horror film worth watching and fairly entertaining in the long run.
This is probably the best we've seen acting-wise when it comes to Megan Fox. She isn't much other than eye candy in the Transformers films and was just an egotistical tramp that just so happened to be a rising star in How To Lose Friends and Alienate People. Other than the demonic possession part, her role in Jennifer's Body isn't too different from her role in How To Lose Friends and Alienate People. I'd give most of the credit to Cody's great writing, but Fox is actually able to display a bit more of her acting range this time around. While it probably isn't much compared to, you know, actresses with talent and she sounds like she has a cold most of the time, it's more than what we've seen from the actress in the past and everyone has to start somewhere.
The storyline doesn't offer much fresh material when it comes to horror films, but it gets the job done. The ending offers a bit of a different take on what would otherwise be an ending that would leave room for a sequel. With the conclusion to Jennifer's Body, however, it's more open ended. They could stop here and it would be a fine stand alone film, but it leaves enough questions unanswered that a sequel could see the light of day. Since the movie only made around $18 million worldwide, a sequel seeing theatrical distribution seems unlikely. A direct to DVD sequel with B-actors is definitely a possibility though. Aren't they always with horror films?
Jennifer's Body is superbly written on one hand, but feels like a run of the mill horror film on the other. The high point is definitely the screenplay by Diablo Cody, who manages to make Megan Fox's acting abilities look better than they ever have. But it seems the films enjoyment will rest solely on the shoulders of how much you enjoy horror films that don't shy away from blood. If you're not a fan of horror, I'd recommend staying away from this one. But if you're a fan of great writing, quite a bit of blood, horror, or Megan Fox's sex appeal then you should definitely give this one a go.
Other than Megan Fox, the other factor that was pushed really hard in the advertising campaign for Jennifer's Body was the fact that Diablo Cody, the screenwriter for Juno, was attached to this film. To be honest, I think Cody's contributions are what I enjoyed most. The dialogue and humor of the film are both witty and laugh out loud funny at times. The writing, in general, made what otherwise would have been your average horror film worth watching and fairly entertaining in the long run.
This is probably the best we've seen acting-wise when it comes to Megan Fox. She isn't much other than eye candy in the Transformers films and was just an egotistical tramp that just so happened to be a rising star in How To Lose Friends and Alienate People. Other than the demonic possession part, her role in Jennifer's Body isn't too different from her role in How To Lose Friends and Alienate People. I'd give most of the credit to Cody's great writing, but Fox is actually able to display a bit more of her acting range this time around. While it probably isn't much compared to, you know, actresses with talent and she sounds like she has a cold most of the time, it's more than what we've seen from the actress in the past and everyone has to start somewhere.
The storyline doesn't offer much fresh material when it comes to horror films, but it gets the job done. The ending offers a bit of a different take on what would otherwise be an ending that would leave room for a sequel. With the conclusion to Jennifer's Body, however, it's more open ended. They could stop here and it would be a fine stand alone film, but it leaves enough questions unanswered that a sequel could see the light of day. Since the movie only made around $18 million worldwide, a sequel seeing theatrical distribution seems unlikely. A direct to DVD sequel with B-actors is definitely a possibility though. Aren't they always with horror films?
Jennifer's Body is superbly written on one hand, but feels like a run of the mill horror film on the other. The high point is definitely the screenplay by Diablo Cody, who manages to make Megan Fox's acting abilities look better than they ever have. But it seems the films enjoyment will rest solely on the shoulders of how much you enjoy horror films that don't shy away from blood. If you're not a fan of horror, I'd recommend staying away from this one. But if you're a fan of great writing, quite a bit of blood, horror, or Megan Fox's sex appeal then you should definitely give this one a go.
Gareth von Kallenbach (971 KP) rated Fright Night (2011) in Movies
Aug 7, 2019
Twenty-six years ago, “Fright Night” premiered in theaters and went on to become a fondly remembered title amongst horror fans. The movie cleverly combined horror and humor to create a fresh take on the vampire and teen horror genres which had started to grow stale. While the movie spawned a largely forgettable direct to video sequel, the original film has remained popular over the years. So, when I first heard that they were planning on remaking the film I was skeptical as I felt it would be very difficult to match the original film.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Boasting an impressive cast which includes Anton Yelchin, Colin Farrell, David Tennant, Christopher Mintz-Plasse, and Toni Collette, the remake does not try to reinvent the wheel, but instead takes the formula of the original and creates an entirely new entry into the saga.
For those unfamiliar with the series, Yelchin stars as Charlie Brewster, a young man who is trying to balance watching over his single mother, and his growing relationship with a girl way out of his league named Amy (Imogen Poots). He is also wrestling with becoming part of a cooler crowd at the cost of alienating his geeky former best friend, Ed, played by Christopher Mintz-Plasse.
Colin Farrell plays the handsome and suave new next door neighbor who easily charms Charlie’s mom, played by Toni Colette. Unbeknownst to his neighbors, the charming and charismatic Jerry, played by Colin Ferrell, is actually a vampire who’s come to their Las Vegas suburb to continue his nighttime hunts. Ed has become suspicious of the recent disappearances in their community and confides to Charlie that he’s had Jerry under surveillance and knows that he is a vampire.
Needless to say this does not sit well with Charlie, who distances himself further from Ed. But when Ed goes missing, Charlie decides to do some investigating of his own. Charlie turns to a local Vegas performance artist named Peter Vincent (David Tennant), whose vampire-themed show portrays him as an expert in fighting the undead. While at first skeptical over Charlie’s claims, a few devastating confrontations with Jerry and his minions forces Vincent to rethink his role. The two unlikely allies soon find themselves in a deadly race against time to defeat Jerry and save their loved ones before it’s too late.
The film cleverly combines horror and comedy and does a good job of providing some suspenseful moments in between the blood and gore, managing to squeeze in more than a few laughs along the way. While not overly scary, the visual effects work is solid and aside from the converted 3-D is a really enjoyable to watch. The film would’ve been much better had it been shot in 3-D or simply left as a 2-D film as the conversion really didn’t offer anything of value as is often the case in these lab converted efforts.
The cast works very well with one another and Farrell cheekily introduces a few new wrinkles to the vampire lore. I really enjoyed David Tennant’s performance and should they do a sequel I certainly hope that they bring him back. Anton Yelchin gives a reliable performance but I was surprised that Christopher Mintz-Plasse did not have a bigger role but he does have some memorable moments in the film. What really impressed me was that the film did not attempt to do a shot-by-shot remake of the original but instead took the premise of the original and offered a fresh take that easily could have been issued as the third chapter in the series rather than a reboot. While there were nods to the original, outside of the premise it was very much its own film.
The film is not going to set any high marks for new standards in horror nor is the plot fresh and original. It simply knows what its target audience and source material are and sets a course right down the middle without attempting to deviate too much one way or another. “Fright Night” just might be perfect for those looking for a dose of nostalgia and some highly suspenseful, fun entertainment.
Kyera (8 KP) rated A Court of Thorns and Roses in Books
Jan 31, 2018
After reading the Throne of Glass series, I didn't think that I could love SJM's next series as much. How could it compare? It doesn't, but not in a bad way. While it's also a book about the Fae, a Court of Thorns and Roses is set in an entirely different world with its own set of unique characters. It is also vaguely a retelling, or reimagining, of the Beauty and the Beast fairytale, which I loved. The human and Fae worlds are separated by an invisible wall and a Treaty that was crafted after a brutal war which took place 500 years earlier.
We are first introduced to Feyre, a girl who tries to take care of her family as best she can despite being the youngest. It is on one of her trip into the forest to feed her family when she stumbles across the path of a wolf whilst hunting a deer. After shooting and killing both animals, she skins the wolf and carries the deer home for food. Unfortunately for her, the wolf was actually a Fae male and her actions force her to make a choice. Either be killed or live forevermore in the Fae realm.
It is not much of a choice and Feyre chooses to go with Tamlin to his estate in Prythian, the land of the Fae. Tamlin, she later discovers is not only a High Fae, but the Lord of the Spring Court and much more powerful than she realized. He is joined by Lucien, another High Fae who is originally from the Autumn Court and not much else besides a few workers. The large estate seems empty and a little bit sad.
As one can expect from a Beauty and the Beast retelling, the girl must fall in love with the shapeshifting Fae beast to break a curse. the curse is not known to the reader or Feyre until the end of the book. She must fight to prove her love under the most harrowing of situations and trials.
A must read, especially if you wish to find out what happens. Highly recommended for teen/young adult readers who like fantasy, supernatural creatures and magic. The world building is amazing, the magic is awe inspiring and the lands are populated by a variety of characters from the heroes to the villains, the cowards, the friends and the just plain misunderstood.
Reread Feelings:
Slight spoiler warning for ACOTAR and ACOWAR.
A second read-through of a Court of Thornes and Roses let me to notice a lot more details that I had missed during my first introduction to the world. The inspiration that the novel drew from Beauty and the Beast was also more prevalent than I had realized. Her family life and desire to protect those she loves is directly pulled and inspired by the original novel. Tamlin’s beast form and temper are also reminiscent of the Beast in the story.
Knowing how the book ends and what happens in ACOMAF, you can more clearly see the actions and personality of Tamlin. He is very protective of Feyre and a little bit controlling, but without any direct threat to her life it is not as apparent. The events that occurred Under the Mountain pushed him over the edge and turned that protectiveness dark. It became corrupted and too strong to be overlooked. He also has an explosive temper and anger, but you see it less frequently as the book goes on. That doesn’t mean it goes away, so his personality in the second book is not as surprising as I thought it was my first time reading the series. It still like him in this series, but I don’t love him as much as I did during the first read through.
The incredible world of Prythian is just so packed with different faeries, Courts, and intense story that you can’t focus on everything the first time you read it. You discover more magic the second, or third, time you read through the book because you know the story and can now also focus on the read of the world building and character development. To me, that is fantastic writing when you can always discover something new hidden in a book you love.
I fell in love with the series even more on the second read-through, especially Rhysand. You truly appreciate just how much he did for Feyre, not just healing her arm when she was on death’s door but mentally and emotionally supporting her when she was ready to give up. He puts on a dark front, but his every action belies his true feelings. Rhys lies to Amarantha about the identity of Tamlin’s human love, even though it could mean his end and his people’s if she discovers the truth. On multiple occasions, he plays the bad guy to maintain a façade but secretly does good. I appreciated and recognized his acts a lot more the second time reading, and it made me fall in love with his character even more.
Even though I know what happens in the book, the emotions are still so prevalent. You ride the story’s highs and lows, feel yourself filling with light when there is goodness, and fear for the dark. I can’t even describe my feelings. I was walking around my room reading the final pages as Feyre is being hurt – and someone calls out her name. I just sort of collapsed to the ground, with my hand on my heart and my feelings bursting from my chest about that particular Fae male. You could almost hear the pain and horror in his voice as he cried out for her, and it destroyed me. The final moments of the book were so beautiful and made me a little teary.
We are first introduced to Feyre, a girl who tries to take care of her family as best she can despite being the youngest. It is on one of her trip into the forest to feed her family when she stumbles across the path of a wolf whilst hunting a deer. After shooting and killing both animals, she skins the wolf and carries the deer home for food. Unfortunately for her, the wolf was actually a Fae male and her actions force her to make a choice. Either be killed or live forevermore in the Fae realm.
It is not much of a choice and Feyre chooses to go with Tamlin to his estate in Prythian, the land of the Fae. Tamlin, she later discovers is not only a High Fae, but the Lord of the Spring Court and much more powerful than she realized. He is joined by Lucien, another High Fae who is originally from the Autumn Court and not much else besides a few workers. The large estate seems empty and a little bit sad.
As one can expect from a Beauty and the Beast retelling, the girl must fall in love with the shapeshifting Fae beast to break a curse. the curse is not known to the reader or Feyre until the end of the book. She must fight to prove her love under the most harrowing of situations and trials.
A must read, especially if you wish to find out what happens. Highly recommended for teen/young adult readers who like fantasy, supernatural creatures and magic. The world building is amazing, the magic is awe inspiring and the lands are populated by a variety of characters from the heroes to the villains, the cowards, the friends and the just plain misunderstood.
Reread Feelings:
Slight spoiler warning for ACOTAR and ACOWAR.
A second read-through of a Court of Thornes and Roses let me to notice a lot more details that I had missed during my first introduction to the world. The inspiration that the novel drew from Beauty and the Beast was also more prevalent than I had realized. Her family life and desire to protect those she loves is directly pulled and inspired by the original novel. Tamlin’s beast form and temper are also reminiscent of the Beast in the story.
Knowing how the book ends and what happens in ACOMAF, you can more clearly see the actions and personality of Tamlin. He is very protective of Feyre and a little bit controlling, but without any direct threat to her life it is not as apparent. The events that occurred Under the Mountain pushed him over the edge and turned that protectiveness dark. It became corrupted and too strong to be overlooked. He also has an explosive temper and anger, but you see it less frequently as the book goes on. That doesn’t mean it goes away, so his personality in the second book is not as surprising as I thought it was my first time reading the series. It still like him in this series, but I don’t love him as much as I did during the first read through.
The incredible world of Prythian is just so packed with different faeries, Courts, and intense story that you can’t focus on everything the first time you read it. You discover more magic the second, or third, time you read through the book because you know the story and can now also focus on the read of the world building and character development. To me, that is fantastic writing when you can always discover something new hidden in a book you love.
I fell in love with the series even more on the second read-through, especially Rhysand. You truly appreciate just how much he did for Feyre, not just healing her arm when she was on death’s door but mentally and emotionally supporting her when she was ready to give up. He puts on a dark front, but his every action belies his true feelings. Rhys lies to Amarantha about the identity of Tamlin’s human love, even though it could mean his end and his people’s if she discovers the truth. On multiple occasions, he plays the bad guy to maintain a façade but secretly does good. I appreciated and recognized his acts a lot more the second time reading, and it made me fall in love with his character even more.
Even though I know what happens in the book, the emotions are still so prevalent. You ride the story’s highs and lows, feel yourself filling with light when there is goodness, and fear for the dark. I can’t even describe my feelings. I was walking around my room reading the final pages as Feyre is being hurt – and someone calls out her name. I just sort of collapsed to the ground, with my hand on my heart and my feelings bursting from my chest about that particular Fae male. You could almost hear the pain and horror in his voice as he cried out for her, and it destroyed me. The final moments of the book were so beautiful and made me a little teary.
Phillip McSween (751 KP) rated The One (2001) in Movies
Apr 7, 2018
Just Bad
What if the universe was not just one universe but a multitude of parallel universes? In each universe, you exist living a different life in the universe next door. Oh, and everytime one of you dies the other yous get stronger in every way, shape, and form. What if someone with no relation to astronomy or science figured out this secret and decided to travel to every single parallel universe killing his other replicas until he basically became a god? I'm kind of getting mad just typing it out, actually. But yeah, that's The One alright. Hot mess doesn't even begin to describe it.
Acting: 1
There were honestly times where I didn't know if I was watching an action film or an afterschool special. The lowest score I've ever given Acting before this was an 8 if that gives you any indication on my thoughts of the performances, or lack thereof, that came from The One. The lines were so badly telegraphed you could see them coming from a mile away. Overreactions in abundance. It was painful to watch so I know it had to be painful to film. Actors/actresses, you have one job...Terrible film or not, at least make me believe you.
Beginning: 6
From an action standpoint, not the worst start I've seen. However, I couldn't shake the fact that there was going to be a need for a lot of explaining in the future. I also couldn't shake the fact that that explanation was probably going to be extremely disappointing. While I enjoyed the fact that it came out of the gates swinging, there was a cohesiveness that was missing. Sadly, that carried through for the rest of the film.
Characters: 5
Both the acting and the scripted characters were wildly inconsistent. I was never really intrigued by any of the characters nor carried any desire to want to know anything more about them. Watching the characters move aimlessly through the story was like watching cardboard hold up a wall. Where did the 5 come from? That's simple: Jet Li is a badass. Give me multiple Jet Li's with superhuman abilities and you definitely have my attention.
At one point in the film, Jet Li faces the other Jet Li and goes, "After this, there will only be one." Who the hell wrote that in? Are you kidding me? We know there will only be one, that's the entire point of the movie. Killing me...
Cinematography/Visuals: 5
Conflict: 6
Decent action sequences here. Big "HOWEVER" coming up...wait for it....However, the main problem I couldn't shake was the same problem I had with the film Lucy: If you have god-like abilities, it's never really a fair fight. If it's never really a fair fight, things get boring really fast.
I felt like the girl whose boyfriend bit off more than he could chew in a fight and is now getting manhandled while she's screaming, "Stop hitting him!" It just gets old after awhile. Imagine if Superman's greatest opponent in a film was the National Guard? Definitely skipping that film.
Genre: 6
Not the best martial arts action film I've seen. Also not the worst, far from it in fact. Credit is deserved for at least trying to do something different. The execution may have fallen short, but there are still a handful of moments that I can say I enjoyed.
Memorability: 5
Pace: 10
Plot: 4
If it doesn't look good on paper, it's definitely not going to translate well to the big screen. Not remotely believable. So many holes I don't even know where to start. Again, how does this one man learn that there are other "hims" out there he can kill and get stronger? Not buying it. I'm giving it a 4 because the foundation was there. The follow-through, unfortunately, was not.
Even if the story had been fine, it would have been done in with the endless corny moments that appear out of nowhere. There's this one gas station scene...you know what, not even going to get into it. Let's just say it's bad. Real bad.
Resolution: 2
Overall: 50
Yikes. You know what's really sad? This film actually has flashes of brilliance. I can see the areas where it could have been tweaked to create a solid film. Sadly, that will never happen. Steer clear of this grenade.
Acting: 1
There were honestly times where I didn't know if I was watching an action film or an afterschool special. The lowest score I've ever given Acting before this was an 8 if that gives you any indication on my thoughts of the performances, or lack thereof, that came from The One. The lines were so badly telegraphed you could see them coming from a mile away. Overreactions in abundance. It was painful to watch so I know it had to be painful to film. Actors/actresses, you have one job...Terrible film or not, at least make me believe you.
Beginning: 6
From an action standpoint, not the worst start I've seen. However, I couldn't shake the fact that there was going to be a need for a lot of explaining in the future. I also couldn't shake the fact that that explanation was probably going to be extremely disappointing. While I enjoyed the fact that it came out of the gates swinging, there was a cohesiveness that was missing. Sadly, that carried through for the rest of the film.
Characters: 5
Both the acting and the scripted characters were wildly inconsistent. I was never really intrigued by any of the characters nor carried any desire to want to know anything more about them. Watching the characters move aimlessly through the story was like watching cardboard hold up a wall. Where did the 5 come from? That's simple: Jet Li is a badass. Give me multiple Jet Li's with superhuman abilities and you definitely have my attention.
At one point in the film, Jet Li faces the other Jet Li and goes, "After this, there will only be one." Who the hell wrote that in? Are you kidding me? We know there will only be one, that's the entire point of the movie. Killing me...
Cinematography/Visuals: 5
Conflict: 6
Decent action sequences here. Big "HOWEVER" coming up...wait for it....However, the main problem I couldn't shake was the same problem I had with the film Lucy: If you have god-like abilities, it's never really a fair fight. If it's never really a fair fight, things get boring really fast.
I felt like the girl whose boyfriend bit off more than he could chew in a fight and is now getting manhandled while she's screaming, "Stop hitting him!" It just gets old after awhile. Imagine if Superman's greatest opponent in a film was the National Guard? Definitely skipping that film.
Genre: 6
Not the best martial arts action film I've seen. Also not the worst, far from it in fact. Credit is deserved for at least trying to do something different. The execution may have fallen short, but there are still a handful of moments that I can say I enjoyed.
Memorability: 5
Pace: 10
Plot: 4
If it doesn't look good on paper, it's definitely not going to translate well to the big screen. Not remotely believable. So many holes I don't even know where to start. Again, how does this one man learn that there are other "hims" out there he can kill and get stronger? Not buying it. I'm giving it a 4 because the foundation was there. The follow-through, unfortunately, was not.
Even if the story had been fine, it would have been done in with the endless corny moments that appear out of nowhere. There's this one gas station scene...you know what, not even going to get into it. Let's just say it's bad. Real bad.
Resolution: 2
Overall: 50
Yikes. You know what's really sad? This film actually has flashes of brilliance. I can see the areas where it could have been tweaked to create a solid film. Sadly, that will never happen. Steer clear of this grenade.
graveyardgremlin (7194 KP) rated The Taken (Celestial Blues, #1) in Books
Feb 15, 2019
Even though I'm not especially fond of angels, I decided to try out this new series based on my previous experiences with Vicki Pettersson's work. Sadly, after an intriguing first chapter, any enjoyment I may have expected never came knocking (guess it was too busy knockin' on heaven's door).
Meet one of the two main characters, rockabilly girl Katherine "Kit" Craig. She's an eternally optimistic and peppy reporter whose best friend and co-worker, Nicole, was just murdered while following a lead. Our other MC is a haunted Centurion angel named Griffin Shaw who ushers the newly murdered into the afterlife, otherwise known as the Everlast, while bemoaning the murders of both himself and his wife Evie back in 1960. After making a mistake concerning Nicole, he's been sent back to earth as a human with some angelic senses still intact. Kit and Grif soon meet up and begin investigating the circumstances around Nicole's death, whilst Griffin seeks out any details involving his own.
Problem Number One:
The Cardboard Characters
Character development is supposed to unfold over the course of a book, in this case it actually appeared to deteriorate as the book went on. Kit never developed into anything but one of those annoyingly chipper people you just want to hit with a sledgehammer, while Grif started promisingly enough but then stagnated. They were both very shallow characterizations, and on top of that, I never understood Kit's actions or reactions to just about anything. I never felt her sadness about her best friend's death, whom she rarely gave a passing thought, believed she was smart (by the end, I thought her a dolt), or seem in any way human with nary a rational thought in her head. About mid-way through the book, Grif tells her he's an angel after they kiss, so what does she do? Does she a) run away screaming, b) think he's a few feathers short of a goose and tell him to get hell out of her house and life, or c) have a calm Q&A session followed by giving him a whatfor that consists of "I won't kiss you again" and "you're watching me walk out that door (in her own house) because you can't handle any emotion blah, blah, blah by pretending you're an angel" and then proceed to attend a charity event wherein she acts and converses normally, like nothing happened? If you picked "c" *ding ding ding*, you're a winner! Because as we all know, any sensible guy will pull out the "I'm an angel" trick and expect a woman to believe him. *rolls eyes* Never was it ever crystal clear if Kit thought Grif was either crazy or a liar. It was all a bit hazy, but what can you expect from someone we're never allowed to know? All we discern is she dresses and lives (somewhat) rockabilly, but it's all a veneer to her hollowness inside, which led me to dub her Rockabilly Barbie.
<img src="http://i272.photobucket.com/albums/jj183/piscesrain/reviews/RockabillyBarbie.jpg">;
Because that's all she is and nothing more. The only character that I found a little more well-rounded was the secondary character Bridget Moore and the two Centurions introduced close to the end. Everyone else was either forgettably two-dimensional or they were a caricature, a la Caleb Chambers and Paul Raggio.
Problem Number Two:
The Relationship(s)
I'm expected to believe in a possible relationship between Grif and Rockabilly Barbie, err I mean Kit, but there's not much there to believe in. Like the characters, it was shallow with the same descriptions reiterated over and over again. Basically it's a case of telling instead of showing. I felt no love, maybe some attraction, but that's all she wrote. Likewise I never bought that Kit and Paul could ever have gotten far enough to be married, they were just too different. Most people don't do a 180 after they get married, the seed of who Paul really was deep down inside would have already been there and if Kit was even a fraction astute, she should have caught that. All this served was to be a plot point in the book.
Problem Number Three:
The Plot(s)
The main plot involving Nicole's death and Chambers had a "been there, done that" quality to it. The plot didn't shock me or seem like anything new, I've come across the same before or at least plots that were very close, and it wasn't even told in a fresh way. So I wasn't as affected by anything in the book as I probably should have been, partially due to the indifference I felt and the fact that I figured out everything long before the author dropped, what I guess she thought, were informational bombshells.
The book had three major plotlines: Grif and Evie's deaths, Nicole's death/prostitution ring, and Grif and the Pure Anas' philosophical moments. They weren't juggled well at all. Ms. Pettersson should have picked only one and paid more attention to developing that specific plot and the characters. The scenes with Anas (or Anne) especially didn't mesh with the other stories and felt as if the author was overreaching the boundaries set up by the book. One scene in particular was extremely bizarre and pointless to the book as a whole.
Where was the noir? I've seen enough film noirs to know it ain't here.
Problem Number Four:
The Ending
What happened at the end is what I'd expect in a book that's exclusively romance and not in a mystery/urban fantasy hybrid, which made the rushed ending seem even more ridiculous and sappy. It was incredibly unbelievable to the story and didn't seem to set up the next book in any way. Also, one of the plotlines was all but left dangling with no foreshadowing or anything. Poor, poor, poor execution. Don't expound on a storyline if you're not going to finish it up or at least leave it dangling in a way that makes the reader want to come back. All that boring set-up for a completely stupid and cheesy ending. I expected rainbows and unicorns to pop out at any moment.
Overall the book felt more like a rough copy than a finished one and definitely could have used a few more goings over. Several descriptions were rushed and chaotic or simply poorly done so that I was scrambling to picture what was going on. The book is almost 400 pages and it is simply too long. With so many storylines, I'm not sure how they managed to both crawl and have very little action at the same time. I was going to give this two stars because I didn't hate the book, that would imply that it elicited any feelings what-so-ever, but the truth of the matter is that there isn't one thing I really liked about the book either. The only way I'd read a sequel to the bafflingly-named Celestial Blues series is if it featured different leads like the aforementioned Centurions, and even then I'd cautiously dip my toes into the book.
Originally reviewed: June 29
Received: Amazon Vine
Meet one of the two main characters, rockabilly girl Katherine "Kit" Craig. She's an eternally optimistic and peppy reporter whose best friend and co-worker, Nicole, was just murdered while following a lead. Our other MC is a haunted Centurion angel named Griffin Shaw who ushers the newly murdered into the afterlife, otherwise known as the Everlast, while bemoaning the murders of both himself and his wife Evie back in 1960. After making a mistake concerning Nicole, he's been sent back to earth as a human with some angelic senses still intact. Kit and Grif soon meet up and begin investigating the circumstances around Nicole's death, whilst Griffin seeks out any details involving his own.
Problem Number One:
The Cardboard Characters
Character development is supposed to unfold over the course of a book, in this case it actually appeared to deteriorate as the book went on. Kit never developed into anything but one of those annoyingly chipper people you just want to hit with a sledgehammer, while Grif started promisingly enough but then stagnated. They were both very shallow characterizations, and on top of that, I never understood Kit's actions or reactions to just about anything. I never felt her sadness about her best friend's death, whom she rarely gave a passing thought, believed she was smart (by the end, I thought her a dolt), or seem in any way human with nary a rational thought in her head. About mid-way through the book, Grif tells her he's an angel after they kiss, so what does she do? Does she a) run away screaming, b) think he's a few feathers short of a goose and tell him to get hell out of her house and life, or c) have a calm Q&A session followed by giving him a whatfor that consists of "I won't kiss you again" and "you're watching me walk out that door (in her own house) because you can't handle any emotion blah, blah, blah by pretending you're an angel" and then proceed to attend a charity event wherein she acts and converses normally, like nothing happened? If you picked "c" *ding ding ding*, you're a winner! Because as we all know, any sensible guy will pull out the "I'm an angel" trick and expect a woman to believe him. *rolls eyes* Never was it ever crystal clear if Kit thought Grif was either crazy or a liar. It was all a bit hazy, but what can you expect from someone we're never allowed to know? All we discern is she dresses and lives (somewhat) rockabilly, but it's all a veneer to her hollowness inside, which led me to dub her Rockabilly Barbie.
<img src="http://i272.photobucket.com/albums/jj183/piscesrain/reviews/RockabillyBarbie.jpg">;
Because that's all she is and nothing more. The only character that I found a little more well-rounded was the secondary character Bridget Moore and the two Centurions introduced close to the end. Everyone else was either forgettably two-dimensional or they were a caricature, a la Caleb Chambers and Paul Raggio.
Problem Number Two:
The Relationship(s)
I'm expected to believe in a possible relationship between Grif and Rockabilly Barbie, err I mean Kit, but there's not much there to believe in. Like the characters, it was shallow with the same descriptions reiterated over and over again. Basically it's a case of telling instead of showing. I felt no love, maybe some attraction, but that's all she wrote. Likewise I never bought that Kit and Paul could ever have gotten far enough to be married, they were just too different. Most people don't do a 180 after they get married, the seed of who Paul really was deep down inside would have already been there and if Kit was even a fraction astute, she should have caught that. All this served was to be a plot point in the book.
Problem Number Three:
The Plot(s)
The main plot involving Nicole's death and Chambers had a "been there, done that" quality to it. The plot didn't shock me or seem like anything new, I've come across the same before or at least plots that were very close, and it wasn't even told in a fresh way. So I wasn't as affected by anything in the book as I probably should have been, partially due to the indifference I felt and the fact that I figured out everything long before the author dropped, what I guess she thought, were informational bombshells.
The book had three major plotlines: Grif and Evie's deaths, Nicole's death/prostitution ring, and Grif and the Pure Anas' philosophical moments. They weren't juggled well at all. Ms. Pettersson should have picked only one and paid more attention to developing that specific plot and the characters. The scenes with Anas (or Anne) especially didn't mesh with the other stories and felt as if the author was overreaching the boundaries set up by the book. One scene in particular was extremely bizarre and pointless to the book as a whole.
Where was the noir? I've seen enough film noirs to know it ain't here.
Problem Number Four:
The Ending
What happened at the end is what I'd expect in a book that's exclusively romance and not in a mystery/urban fantasy hybrid, which made the rushed ending seem even more ridiculous and sappy. It was incredibly unbelievable to the story and didn't seem to set up the next book in any way. Also, one of the plotlines was all but left dangling with no foreshadowing or anything. Poor, poor, poor execution. Don't expound on a storyline if you're not going to finish it up or at least leave it dangling in a way that makes the reader want to come back. All that boring set-up for a completely stupid and cheesy ending. I expected rainbows and unicorns to pop out at any moment.
Overall the book felt more like a rough copy than a finished one and definitely could have used a few more goings over. Several descriptions were rushed and chaotic or simply poorly done so that I was scrambling to picture what was going on. The book is almost 400 pages and it is simply too long. With so many storylines, I'm not sure how they managed to both crawl and have very little action at the same time. I was going to give this two stars because I didn't hate the book, that would imply that it elicited any feelings what-so-ever, but the truth of the matter is that there isn't one thing I really liked about the book either. The only way I'd read a sequel to the bafflingly-named Celestial Blues series is if it featured different leads like the aforementioned Centurions, and even then I'd cautiously dip my toes into the book.
Originally reviewed: June 29
Received: Amazon Vine