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Micky Barnard (542 KP) rated The Boy and His Ribbon in Books
Jan 26, 2019
Often discomforting but gripping
I don't know how to categorise the genre of this book because the story is a metamorphosis of character growth in age and maturity. THE BOY AND HIS RIBBON is a story of becoming family, escaping abuse but never really being free. This is a tale told over a number of years, everything in this book has a tangible and realistic timeline.
The two characters in this book are Ren Wild the boy on the run and his little fellow escapee Della Ribbon. These two were enchanting characters to read; beautiful souls. Ren knocked my socks off as a care giver, his love for Della evolved and bloomed as he fathered-her, brothered-her, best-friended-her. He was utterly selfless in carving out life and survival for his Ribbon and himself. The bond between these two was seemingly unbreakable. Della evolved the most in this book, growing from babe to teen and she was a complex, fiercely-loving and possessive girl.
"He treated me as capable and brave and bright, and that's what I became because I never wanted to let him down because he would never let me down. Simple as that.“
The story is narrated from a dual POV with an emphasis on Ren's perspective but Della then reflecting back on her experiences. I felt there were two distinct phases in this book, both difficult but certainly the latter years, more complex and challenging. There is a discomfort to the story direction that challenged my allegiances, my personal morality and it's a bit of noodled-mess of thinking right now. However, I could not look away, it was an addictive story, compelling in the best way.
I have thoughts about where I think the next book's story line is going and I'm full of trepidation over it but longing to read it nevertheless. I enjoyed Pepper Winter's writing in this immensely, especially the childhood era of Della and Ren.
I voluntarily read an early copy of this book.
Reviewed for Jo&IsaLoveBooks Blog.
The two characters in this book are Ren Wild the boy on the run and his little fellow escapee Della Ribbon. These two were enchanting characters to read; beautiful souls. Ren knocked my socks off as a care giver, his love for Della evolved and bloomed as he fathered-her, brothered-her, best-friended-her. He was utterly selfless in carving out life and survival for his Ribbon and himself. The bond between these two was seemingly unbreakable. Della evolved the most in this book, growing from babe to teen and she was a complex, fiercely-loving and possessive girl.
"He treated me as capable and brave and bright, and that's what I became because I never wanted to let him down because he would never let me down. Simple as that.“
The story is narrated from a dual POV with an emphasis on Ren's perspective but Della then reflecting back on her experiences. I felt there were two distinct phases in this book, both difficult but certainly the latter years, more complex and challenging. There is a discomfort to the story direction that challenged my allegiances, my personal morality and it's a bit of noodled-mess of thinking right now. However, I could not look away, it was an addictive story, compelling in the best way.
I have thoughts about where I think the next book's story line is going and I'm full of trepidation over it but longing to read it nevertheless. I enjoyed Pepper Winter's writing in this immensely, especially the childhood era of Della and Ren.
I voluntarily read an early copy of this book.
Reviewed for Jo&IsaLoveBooks Blog.
Phil Leader (619 KP) rated Explorations: First Contact (Explorations #2) in Books
Nov 13, 2019
Science Fiction has always been at home with the short story. The science fiction magazines from the mid 20th Century onwards was frequently the only way of writers to get their work published. As a bonus the concept of science fiction - taking an idea and seeing where it goes - is a really nice fit for short stories.
This collection is more than just a selection of tales from up and coming science fiction writers; all the stories are set in the same universe and are in some way on the theme of first contact. The introduction sets this up, with a damaged alien ship discovered on the moon. It is able to transmit details of nearby inhabited star systems - and a terrible warning about a dangerous foe - before it shuts down. Mankind learns all it can from the message and the wreckage before setting out for the stars.
Each story then follows the fate of the mission to one of the star systems. This is the point where any similarity in stories ends as each writer brings their own style and ideas for their contribution (although there are some neat nods to the other stories now and again). The result is a satisfying mix of different ideas but all within a consistant whole.
That's not to say that every story hit the spot for me, but that's inevitable given the range of authors here, but every story was interesting to read. There are also the occasional one that felt a little rushed, the idea either too big for a short story, or too many ideas vying for the limited word count. But these are minor niggles and the standard of all the stories is very high.
Overall a really good collection showcasing the talents of current science fiction writers. If you like interesting ideas and gripping stories about aliens and space exploration you won't be disappointed.
This collection is more than just a selection of tales from up and coming science fiction writers; all the stories are set in the same universe and are in some way on the theme of first contact. The introduction sets this up, with a damaged alien ship discovered on the moon. It is able to transmit details of nearby inhabited star systems - and a terrible warning about a dangerous foe - before it shuts down. Mankind learns all it can from the message and the wreckage before setting out for the stars.
Each story then follows the fate of the mission to one of the star systems. This is the point where any similarity in stories ends as each writer brings their own style and ideas for their contribution (although there are some neat nods to the other stories now and again). The result is a satisfying mix of different ideas but all within a consistant whole.
That's not to say that every story hit the spot for me, but that's inevitable given the range of authors here, but every story was interesting to read. There are also the occasional one that felt a little rushed, the idea either too big for a short story, or too many ideas vying for the limited word count. But these are minor niggles and the standard of all the stories is very high.
Overall a really good collection showcasing the talents of current science fiction writers. If you like interesting ideas and gripping stories about aliens and space exploration you won't be disappointed.
LeftSideCut (3776 KP) rated Alien (1979) in Movies
Nov 16, 2019
A masterpiece through and through
Alien is simply put is on of the most perfect horror movies ever committed to film. Decades worth of sequels, prequels, and spin offs don't match it (although Aliens comes pretty damn close) and that is a true testament to the quality of Alien.
The plot is straightforward, and immediately gripping, as a merchant space vessel called The Nostromo, and it's crew, pick up an unidentified distress signal from a nearby moon.
Upon arrival, one of the Crue is attacked by an alien lifeform, and accidentally smuggles something back onto the ship with him, resulting in the infamous chest bursting scene, and a crew trapped floating through space, whilst being hunted one by one.
Said chest bursting scene is one of the single most disturbing scenes in horror, with genuine reactions of surprise by the cast, and horrific practical effects.
Once the plot kicks in, we're presented with a master class of tension. The shadowy setting hides the Xenomorph alien for most of the runtime, offering fleeting glimpses, and occasional bursts of violence.
H. R. Gigers design of the creature is of course iconic, abrasive, and terrifying.
Sigourney Weaver offers a strong female lead in Ellen Ripley, a character that remains a highlight, even throughout the later underwhelming sequels.
Even though Ripley is thrown front and centre in the aftermath of Alien, during this film, she is part of a crew that don't boast any heroes. Everyone aboard feels like real people, way out of their depth in what they're dealing with, and it just adds to the already unsettled surroundings.
Ridley Scott's directing and camera work in Alien manages to be claustrophobic, atmospheric and isolating all at, combining uneasy sound cues with amazing visuals to create a sci-fi horror like no other.
Alien is a film I never tire of watching. As far as this genre goes, it's near perfect.
The plot is straightforward, and immediately gripping, as a merchant space vessel called The Nostromo, and it's crew, pick up an unidentified distress signal from a nearby moon.
Upon arrival, one of the Crue is attacked by an alien lifeform, and accidentally smuggles something back onto the ship with him, resulting in the infamous chest bursting scene, and a crew trapped floating through space, whilst being hunted one by one.
Said chest bursting scene is one of the single most disturbing scenes in horror, with genuine reactions of surprise by the cast, and horrific practical effects.
Once the plot kicks in, we're presented with a master class of tension. The shadowy setting hides the Xenomorph alien for most of the runtime, offering fleeting glimpses, and occasional bursts of violence.
H. R. Gigers design of the creature is of course iconic, abrasive, and terrifying.
Sigourney Weaver offers a strong female lead in Ellen Ripley, a character that remains a highlight, even throughout the later underwhelming sequels.
Even though Ripley is thrown front and centre in the aftermath of Alien, during this film, she is part of a crew that don't boast any heroes. Everyone aboard feels like real people, way out of their depth in what they're dealing with, and it just adds to the already unsettled surroundings.
Ridley Scott's directing and camera work in Alien manages to be claustrophobic, atmospheric and isolating all at, combining uneasy sound cues with amazing visuals to create a sci-fi horror like no other.
Alien is a film I never tire of watching. As far as this genre goes, it's near perfect.
Ross (3284 KP) rated Awaken Online: Dominion in Books
Nov 29, 2019
Another excellent tale in the world of AO
This the 4th "full-length" (though the side quests aren't exactly novellas!) story in the LitRPG series starts of with Jason in his new incarnation as a "Keeper". He has a new set of tools, necromancy spells and abilities to get to grips with, and a new threat to overcome.
For once, the in-game story is split between characters, as we see Jason and Riley take on new training regimes (Jason has finally realised he can't always cower in the background letting his zombies and skeletons do all the work and he has to become better at combat himself), Frank goes on tour to secure the outlying towns of their growing empire, and the baddie Alex plots to get some revenge on Jason for publicly besting him. We also spend time in the real world as a senatorial hearing is opened to look into allegations that Awaken Online may not be safe for its users.
All of the characters develop notably in this book, none more than Jason who has to do some soul-searching, change his in-game role, and also make peace with what the game technology may be doing to his mind and body.
The story is strong, though with a smaller scale in its problem solving than before - the focus is more on Jason and Riley's personal challenges rather than larger quests. It is a little heavy on the admin at times but given how complicated games like this would be that adds to the immersive feel of the book.
The only main gripe for me is the use of the word "tendril" on almost every page, and the occasional use of "overtop" which very much jars when read.
Otherwise, another superb, gripping tome in this online fantasy world.
Next up is Frank's side-quest, hopefully before Christmas (I can't seem to keep up with Bagwell's output and am always at least 2 books behind!).
For once, the in-game story is split between characters, as we see Jason and Riley take on new training regimes (Jason has finally realised he can't always cower in the background letting his zombies and skeletons do all the work and he has to become better at combat himself), Frank goes on tour to secure the outlying towns of their growing empire, and the baddie Alex plots to get some revenge on Jason for publicly besting him. We also spend time in the real world as a senatorial hearing is opened to look into allegations that Awaken Online may not be safe for its users.
All of the characters develop notably in this book, none more than Jason who has to do some soul-searching, change his in-game role, and also make peace with what the game technology may be doing to his mind and body.
The story is strong, though with a smaller scale in its problem solving than before - the focus is more on Jason and Riley's personal challenges rather than larger quests. It is a little heavy on the admin at times but given how complicated games like this would be that adds to the immersive feel of the book.
The only main gripe for me is the use of the word "tendril" on almost every page, and the occasional use of "overtop" which very much jars when read.
Otherwise, another superb, gripping tome in this online fantasy world.
Next up is Frank's side-quest, hopefully before Christmas (I can't seem to keep up with Bagwell's output and am always at least 2 books behind!).
JT (287 KP) rated 1917 (2020) in Movies
Mar 3, 2020
Brilliant cinematography (2 more)
Great score
Fantastic central characters
A stunning film which hits hard both physically and emotionally
particular emphasis on cinematography. The World War I film is made to look like one continuous shot by director Sam Mendes whose one-shot opening of Spectre gave us a taste of things to come.
The film swept awards season with the film winning Best Drama Motion Picture at the Golden Globes, not to mention cleaning up at the BAFTAs. This was a strong indication that Mendes might have a hand on a couple of Oscars.
1917 tells the story of two Lance Corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay) who are tasked with hand-delivering a message to another battalion who are inadvertently walking into a trap – Blake’s brother among them. If they fail then 1,600 men will lose their lives.
Blake and Schofield have been through a lot. When we first meet them they are relaxing beneath a tree, taking a break trying to enjoy the peaceful surroundings.
Without so much as a thought the pair salute General Erinmore (Colin Firth) and start the first part of their harrowing journey crossing no man’s land. The film is gripping in every sense of the word and you feel as if you are making the treacherous journey with them.
The scenery is devastatingly realistic, particularly the trip across no man’s land where charred bodies are buried deep in bombed-out craters of mud, their faces starring out in a look of shock.
The cast is limited to a few big-name cameos which aren’t blink and you miss them. Joining Firth is Andrew Scott, Mark Strong and Benedict Cumberbatch who make a significant impression in key scenes. The film flows incredibly well and never takes a back step, quite literally.
This is a journey that rivals Saving Private Ryan for it’s impactfulness, and why the memories of those who fought in the great war should always be forever remembered as true heroes.
The film swept awards season with the film winning Best Drama Motion Picture at the Golden Globes, not to mention cleaning up at the BAFTAs. This was a strong indication that Mendes might have a hand on a couple of Oscars.
1917 tells the story of two Lance Corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay) who are tasked with hand-delivering a message to another battalion who are inadvertently walking into a trap – Blake’s brother among them. If they fail then 1,600 men will lose their lives.
Blake and Schofield have been through a lot. When we first meet them they are relaxing beneath a tree, taking a break trying to enjoy the peaceful surroundings.
Without so much as a thought the pair salute General Erinmore (Colin Firth) and start the first part of their harrowing journey crossing no man’s land. The film is gripping in every sense of the word and you feel as if you are making the treacherous journey with them.
The scenery is devastatingly realistic, particularly the trip across no man’s land where charred bodies are buried deep in bombed-out craters of mud, their faces starring out in a look of shock.
The cast is limited to a few big-name cameos which aren’t blink and you miss them. Joining Firth is Andrew Scott, Mark Strong and Benedict Cumberbatch who make a significant impression in key scenes. The film flows incredibly well and never takes a back step, quite literally.
This is a journey that rivals Saving Private Ryan for it’s impactfulness, and why the memories of those who fought in the great war should always be forever remembered as true heroes.
Phillip McSween (751 KP) rated Rabid (2019) in Movies
Mar 9, 2020
The Antithesis of Horror
I just got done watching a trailer for A Quiet Place Part II and I couldn’t help but think, “Now this is what horror is all about!” It’s gripping and terrifying, keeping your attention the whole way through, even in the quiet moments. Rabid fails at this miserably. Rabid is the story of Sarah (Laura Vandervoort) and complications she experiences post-surgery following her getting hit by a car. Not only does she find herself the victim of a disease that causes her to desire raw flesh, but she also quickly discovers that she is the source of the disease spreading.
Acting: 10
Beginning: 5
Rabid could have gotten to the point a lot faster and didn’t. I was waiting for the kicker that would get my attention. When it finally hit, it was a bit of a shoulder shrug for me. I had to force myself to get into it, telling myself that things would eventually get better.
Characters: 5
Not only were the characters one-dimensional and flat, but they left me with little to no interest in the story at all. I didn’t much care what happened to the protagonist or anyone. Having seen this movie a few weeks ago, I can’t think of any characters that really stood out for me.
Cinematography/Visuals: 3
Conflict: 3
Entertainment Value: 3
Memorability: 7
Pace: 5
Plot: 3
I thought the story had potential to be intriguing, but it ended up feeling more bland than anything else. Too much of nothing, too much waiting for things to happen. There were no moments or pieces of anything to really connect me to the characters which checked me out of the story as a whole.
Resolution: 5
Overall: 49
There are some indy movies that blow me away and stand out above even the larger in-theatre titles. Rabid falls short for me due to weak story progression and weak characters. I don’t recommend.
Acting: 10
Beginning: 5
Rabid could have gotten to the point a lot faster and didn’t. I was waiting for the kicker that would get my attention. When it finally hit, it was a bit of a shoulder shrug for me. I had to force myself to get into it, telling myself that things would eventually get better.
Characters: 5
Not only were the characters one-dimensional and flat, but they left me with little to no interest in the story at all. I didn’t much care what happened to the protagonist or anyone. Having seen this movie a few weeks ago, I can’t think of any characters that really stood out for me.
Cinematography/Visuals: 3
Conflict: 3
Entertainment Value: 3
Memorability: 7
Pace: 5
Plot: 3
I thought the story had potential to be intriguing, but it ended up feeling more bland than anything else. Too much of nothing, too much waiting for things to happen. There were no moments or pieces of anything to really connect me to the characters which checked me out of the story as a whole.
Resolution: 5
Overall: 49
There are some indy movies that blow me away and stand out above even the larger in-theatre titles. Rabid falls short for me due to weak story progression and weak characters. I don’t recommend.
JT (287 KP) rated Rec 3: Genesis (2012) in Movies
Mar 10, 2020
If you enjoyed the success of the first two [Rec] films in which a reporter and camera crew where stuck in a apartment block over run with flesh eating tenants as a result of a strange virus then you’ll probably still enjoy this. The sequel followed on after the events of the first film and for this the location has changed from apartment block to a glamorous Spanish wedding.
The opening twenty minutes are shot from the viewpoint of a handheld camera by one of the guests as well as the occasional cut shot to the official wedding videographer. For Clara (Leticia Dolera) and Koldo (Diego Martín) this is the happiest day of their lives and we witness everything from the arrival of the guests, service and the wedding breakfast. The film then suddenly turns on its head when one of the guests starts showing the signs of a strange illness, then the shit hits the fan.
The handheld camera shot is abruptly dropped in a neat edit that adds in the title sequence, although we still get glimpses of flesh eating carnage from security cameras scattered around the venue. Clara and Koldo the pair are separated amidst all the mayhem and they have to fight their way back together, how romantic.
The first film’s apartment block location had the effectiveness of delivering high tension in a relatively enclosed and tight space, with Génesis the location is more vast and so at times it doesn’t feel as gripping, given also that some of the occurances happen in broad daylight.
Once the film gets going the gore is ramped up a few more levels, and when Clara turns into some sort of bridezilla complete with ripped wedding dress and chainsaw any more scares are lost in the comedy of death scenes for the unlucky few who choose to get in her way. It is certainly not the best of the three but it offers enough to keep the connections of the story-line going, perhaps even for one more film?
The opening twenty minutes are shot from the viewpoint of a handheld camera by one of the guests as well as the occasional cut shot to the official wedding videographer. For Clara (Leticia Dolera) and Koldo (Diego Martín) this is the happiest day of their lives and we witness everything from the arrival of the guests, service and the wedding breakfast. The film then suddenly turns on its head when one of the guests starts showing the signs of a strange illness, then the shit hits the fan.
The handheld camera shot is abruptly dropped in a neat edit that adds in the title sequence, although we still get glimpses of flesh eating carnage from security cameras scattered around the venue. Clara and Koldo the pair are separated amidst all the mayhem and they have to fight their way back together, how romantic.
The first film’s apartment block location had the effectiveness of delivering high tension in a relatively enclosed and tight space, with Génesis the location is more vast and so at times it doesn’t feel as gripping, given also that some of the occurances happen in broad daylight.
Once the film gets going the gore is ramped up a few more levels, and when Clara turns into some sort of bridezilla complete with ripped wedding dress and chainsaw any more scares are lost in the comedy of death scenes for the unlucky few who choose to get in her way. It is certainly not the best of the three but it offers enough to keep the connections of the story-line going, perhaps even for one more film?
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