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Mark @ Carstairs Considers (2204 KP) rated Christmas Cocoa Murder in Books
Nov 8, 2022
Drowning in Hot Chocolate
This story finds Siobhan O’Sullivan, the main character in the popular Irish Village Mysteries, a few weeks from joining the local police department in her small Irish village. Even though she’s not supposed to officially join until after the first of the year, she finds herself getting involved in a case just before Christmas. First, her family’s dog goes missing. Then the intermission entertainment at the holiday panto goes horribly wrong. Paddy O’Shea, the village Santa, has been obsessed over how to top the Santa from the neighboring village, and he’s come up with what he thinks is the perfect way. He’s had a custom-built dunk tank made, and he’s going to challenge people to dunk him in hot chocolate. However, before the show is over, Paddy is found floating face down in the hot chocolate. Who killed Santa?
This was my introduction to the characters, and I did struggle a bit keeping Siobhan’s family straight, and there are some references to things going on in her personal life that I didn’t get. However, these were very minor issues in an overall fun story and easy enough to ignore. As you might have guessed from the description of the story, there is some humor involved in the events, but it does have plenty of serious moments as well. These were balanced perfectly. I really enjoyed getting to know Siobhan and the suspects were all strong enough to be believable as the killer. The plot kept me engaged until we reached the great climax.
NOTE: This story is a novella, roughly 100 pages, and was originally part of the novella collection Christmas Cocoa Murder. If you have that book, there is no need to buy this ebook. If you haven’t read the story, now is the time to sit back and enjoy this Christmas mystery.
This was my introduction to the characters, and I did struggle a bit keeping Siobhan’s family straight, and there are some references to things going on in her personal life that I didn’t get. However, these were very minor issues in an overall fun story and easy enough to ignore. As you might have guessed from the description of the story, there is some humor involved in the events, but it does have plenty of serious moments as well. These were balanced perfectly. I really enjoyed getting to know Siobhan and the suspects were all strong enough to be believable as the killer. The plot kept me engaged until we reached the great climax.
NOTE: This story is a novella, roughly 100 pages, and was originally part of the novella collection Christmas Cocoa Murder. If you have that book, there is no need to buy this ebook. If you haven’t read the story, now is the time to sit back and enjoy this Christmas mystery.
Would You Rather? Book for Kids 8-12: 350 Challenging Questions, Silly Scenarios, and Hilarious Situations
8.0
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Why settle for a boring day when you can sprinkle it with the magic of laughter? This fantastic...
Comedy Can Be Deadly
10.0
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When the curtain falls, the body count rises When former nurse Sho Tanaka reluctantly takes on...
Ryan Hill (152 KP) rated Guardians of the Galaxy (2014) in Movies
May 10, 2019
“You said it yourself bitch, we’re the Guardians of the Galaxy”
The Marvel marathon continues. We started with the story of a soldier out of time. Now we move on to the tale of a group of losers having to learn not to kill each other and maybe, just maybe, becoming friends along the way. Guardians of the Galaxy I view as the movie that fully cemented Marvel Studios as the powerhouse we know today. The popularity of Iron Man and Thor spiked after their respective films, but I'm gonna guess if you pulled someone random off the street and asked them who either character was before their movies were released, they could probably at least tell you who they are. Now, not too far separated from the humongous success of The Avengers, here comes Marvel with a film about characters next to no one, not even some avid fans of comics, knew existed. And wouldn't you know, five years after Guardians came out and made Groot a household word, it's still one of their best films Marvel has made.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
MichaelS (0 KP) rated Thor: Ragnarok (2017) in Movies
Feb 20, 2018
Thor has always been the red headed stepchild of the Marvel Cinematic Universe. He's there, but nobody really seems to care all that much. His presence in the Avengers films is always more in the background, and his solo movies have been mediocre at best. Nothing that warrants more than one viewing. Now, with a healthy dose of Flash Gordon flair, Thor finally gets a movie that elevates this particular branch of the MCU to good, popcorn fun.
Visually, the movie is splendid. Bright colors and sweeping visuals create great backgrounds and settings. The hand to hand fights are impactful, and a aerial chase scene is exciting, and well shot. The music smacks of 70's science fiction, and 80's action movies, giving it a very retro feel. And the director is obviously a big fan of Led Zeppelin's "Immigrant Song". It's used in 2 fight scenes, which seems redundant, as Kiss' "God Of Thunder", or AC/DC's "Thunderstruck" would've been welcome additions.
But the film suffers from the same shortcomings as most other Marvel movies. First, the over reliance on humor continues to be crutch for the entire MCU. Way too often, the plot stops dead in it's track to tell a joke, and humor is injected into serious situations, completely erasing any feeling of something actually being at stake. After all, if the characters are cracking jokes, what they're fighting for must not be that important.
Once again, Marvel shits the bed when it comes to having a threatening villain. As Hela, Cate Blanchett is a step up from the useless villains Marvel usually produces, but even so, we're never really sure what exactly she's after. And when Thor devises a plan to stop her, it seemed to me that plan was simply doing Hela was out to accomplish in the first place. Other than that, she talks slow, walks, slow, and flicks her wrists a lot for various reasons.
The biggest problem with this movie is indicative of the entire MCU at this point. These movies simply can not stand on their own. They're so dependent on the viewer having seen all the other Marvel movies, that you'll be lost on many plot points if you go into this movie cold. Cameos by characters from other Marvel movies serve no point, other than to remind you that this movie is a part of a "cinematic universe"...two words, and a concept, I'd be glad to never deal with again.
Chris Hemsworth is solid as Thor, but he's always been rather unremarkable in the role. He does have a good chemistry with Mark Ruffalo's Bruce Banner/Hulk, but it's never really explained how Hulk was suddenly able to be such a chatterbox. Tessa Thompson is a welcome addition as Valkyrie. She has more layers to her character than any other in the movie, and looks great in tight leather. Tom Hiddleston is back...again...as Loki. It's never a good thing when the villain of your movie is more popular than the hero, and this movie completes Loki's transformation into full blown good guy. So, there's that.
All that being said, the movie is undeniable fun. It's has a very retro, Flash Gordon feel to it. Right down to a synthesized musical score that is a mixture of 70's science fiction, and 80's action movies. The action consists mostly of hand to hand fights, and for the most part, they're done very well. The final "three fights at once" scenario is reminiscent of movies like Return Of The Jedi, where the effects of all separate fights merge into one.
It's a fun, popcorn movie, and a major step up from the first two Thor movies. It's nothing great, or even memorable. But there's enough here to warrant additional viewings, and that's a first for this branch of the Marvel franchise.
Visually, the movie is splendid. Bright colors and sweeping visuals create great backgrounds and settings. The hand to hand fights are impactful, and a aerial chase scene is exciting, and well shot. The music smacks of 70's science fiction, and 80's action movies, giving it a very retro feel. And the director is obviously a big fan of Led Zeppelin's "Immigrant Song". It's used in 2 fight scenes, which seems redundant, as Kiss' "God Of Thunder", or AC/DC's "Thunderstruck" would've been welcome additions.
But the film suffers from the same shortcomings as most other Marvel movies. First, the over reliance on humor continues to be crutch for the entire MCU. Way too often, the plot stops dead in it's track to tell a joke, and humor is injected into serious situations, completely erasing any feeling of something actually being at stake. After all, if the characters are cracking jokes, what they're fighting for must not be that important.
Once again, Marvel shits the bed when it comes to having a threatening villain. As Hela, Cate Blanchett is a step up from the useless villains Marvel usually produces, but even so, we're never really sure what exactly she's after. And when Thor devises a plan to stop her, it seemed to me that plan was simply doing Hela was out to accomplish in the first place. Other than that, she talks slow, walks, slow, and flicks her wrists a lot for various reasons.
The biggest problem with this movie is indicative of the entire MCU at this point. These movies simply can not stand on their own. They're so dependent on the viewer having seen all the other Marvel movies, that you'll be lost on many plot points if you go into this movie cold. Cameos by characters from other Marvel movies serve no point, other than to remind you that this movie is a part of a "cinematic universe"...two words, and a concept, I'd be glad to never deal with again.
Chris Hemsworth is solid as Thor, but he's always been rather unremarkable in the role. He does have a good chemistry with Mark Ruffalo's Bruce Banner/Hulk, but it's never really explained how Hulk was suddenly able to be such a chatterbox. Tessa Thompson is a welcome addition as Valkyrie. She has more layers to her character than any other in the movie, and looks great in tight leather. Tom Hiddleston is back...again...as Loki. It's never a good thing when the villain of your movie is more popular than the hero, and this movie completes Loki's transformation into full blown good guy. So, there's that.
All that being said, the movie is undeniable fun. It's has a very retro, Flash Gordon feel to it. Right down to a synthesized musical score that is a mixture of 70's science fiction, and 80's action movies. The action consists mostly of hand to hand fights, and for the most part, they're done very well. The final "three fights at once" scenario is reminiscent of movies like Return Of The Jedi, where the effects of all separate fights merge into one.
It's a fun, popcorn movie, and a major step up from the first two Thor movies. It's nothing great, or even memorable. But there's enough here to warrant additional viewings, and that's a first for this branch of the Marvel franchise.
Gareth von Kallenbach (980 KP) rated Thor: Ragnarok (2017) in Movies
Jun 19, 2019
One of the biggest challenges with an ongoing series is crafting a story that is on par or better than the prior offering and that the characters continue to grow so audiences do not get a rehash of what they have seen before.
With “Thor Ragnarok” Chris Hemsworth has returned for his third solo outing, and fifth outing overall as the heroic Asgardian warrior Thor.
This time out Thor is on his quest to track down the Infinity Stones and finds himself plagued by visions of Ragnarok: a legend detailing the fiery destruction of his home of Asgard.
With an action laden opening, Thor believes he has ended the threat and returns home to find his father Odin (Sir Anthony Hopkins), has been sent to Earth and his evil brother Loki (Tom Hiddleston) assuming his place.
Thor ventures to Earth with his brother which sets a series of events into motion, the result of which unleashes the long imprisoned Hela (Cate Blanchett), who plans the subjugation of Thor and Asgard. Naturally Thor is not going to put up with this, but finds himself mid battle knocked out of his transit home and on a remote world called Sakaar.
As if being stranded far from home is not enough of a challenge, Thor is forced to become a gladiator for the erratic Grandmaster (Jeff Goldblum), whom Loki has managed to charm and become a part of his inner circle.
As fate has it, Thor becomes matched with The Hulk (Mark Ruffalo), and must find a way to survive and make his way home before Hella can destroy all that he holds precious.
The film is the best of the Thor films and it is engaging from start to finish. There is a significant amount of humor in the film but it does not feel forced and is very appropriate to many of the scenes. The film also has plenty of action and the blend between comedy and action is deftly handed by Director TaiKa Waititi who never lets the film become a parody of itself nor take itself too seriously at times. He knows when there is a time to laugh and when there is a time to be deathly serious.
This allows for a deeper and more enjoyable and engaging Thor than has been previously seen. He is not as one-dimensional as he has been in the past as the strong, quick to anger muscle that I would love to see explored in further outings.
I had worried from the trailers that the movie might be more of a video game as it seemed heavily dependent on retro style CGI and camp humor which made it seem like something out of the 80s. While there are elements of that, the film mixes the old and new to create one of the most authentic and enjoyable comic adaptations seen to date. It continues the winning formula of Marvel Studios and of course, sets up the next outing for Thor in “Avengers: Infinity War” as well as the larger Marvel Universe as we a whole. The film also has some great cameos and I am curious to see how the addition of the newly introduced characters will be explored down the road. The return of Hiddleston was also a real treat as he is so good as the mercurial but always sly and dangerous Loki that he commands your complete attention every time he appears on screen.
Marvel has once again set very high standards for comic based movies and has again delivered another winner that you will not want to miss.
http://sknr.net/2017/11/01/thor-ragnarok-2/
With “Thor Ragnarok” Chris Hemsworth has returned for his third solo outing, and fifth outing overall as the heroic Asgardian warrior Thor.
This time out Thor is on his quest to track down the Infinity Stones and finds himself plagued by visions of Ragnarok: a legend detailing the fiery destruction of his home of Asgard.
With an action laden opening, Thor believes he has ended the threat and returns home to find his father Odin (Sir Anthony Hopkins), has been sent to Earth and his evil brother Loki (Tom Hiddleston) assuming his place.
Thor ventures to Earth with his brother which sets a series of events into motion, the result of which unleashes the long imprisoned Hela (Cate Blanchett), who plans the subjugation of Thor and Asgard. Naturally Thor is not going to put up with this, but finds himself mid battle knocked out of his transit home and on a remote world called Sakaar.
As if being stranded far from home is not enough of a challenge, Thor is forced to become a gladiator for the erratic Grandmaster (Jeff Goldblum), whom Loki has managed to charm and become a part of his inner circle.
As fate has it, Thor becomes matched with The Hulk (Mark Ruffalo), and must find a way to survive and make his way home before Hella can destroy all that he holds precious.
The film is the best of the Thor films and it is engaging from start to finish. There is a significant amount of humor in the film but it does not feel forced and is very appropriate to many of the scenes. The film also has plenty of action and the blend between comedy and action is deftly handed by Director TaiKa Waititi who never lets the film become a parody of itself nor take itself too seriously at times. He knows when there is a time to laugh and when there is a time to be deathly serious.
This allows for a deeper and more enjoyable and engaging Thor than has been previously seen. He is not as one-dimensional as he has been in the past as the strong, quick to anger muscle that I would love to see explored in further outings.
I had worried from the trailers that the movie might be more of a video game as it seemed heavily dependent on retro style CGI and camp humor which made it seem like something out of the 80s. While there are elements of that, the film mixes the old and new to create one of the most authentic and enjoyable comic adaptations seen to date. It continues the winning formula of Marvel Studios and of course, sets up the next outing for Thor in “Avengers: Infinity War” as well as the larger Marvel Universe as we a whole. The film also has some great cameos and I am curious to see how the addition of the newly introduced characters will be explored down the road. The return of Hiddleston was also a real treat as he is so good as the mercurial but always sly and dangerous Loki that he commands your complete attention every time he appears on screen.
Marvel has once again set very high standards for comic based movies and has again delivered another winner that you will not want to miss.
http://sknr.net/2017/11/01/thor-ragnarok-2/
Gareth von Kallenbach (980 KP) rated Click (2006) in Movies
Aug 14, 2019
Michael Newman (Adam Sandler) is a man in crisis. As a caring a devoted father and husband, Michael is at the end of his rope as his life has become a non-stop series of projects and endless deadlines as he attempts to become a partner in his architecture firm.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
Gareth von Kallenbach (980 KP) rated Get Smart (2008) in Movies
Aug 14, 2019
In the post Cold-War era the focus on national security has changed from focusing on Eastern Block adversaries to terror cells and state sponsored terrorism. For the agents of the ultra secret agency Control, the demise of their arch nemesis KAOS was the signal that they had ceased to be important in the world of today and had shut down when in truth they just went further into a cloak of secrecy and continued their mission.
In the new movie “Get Smart” audiences are given a new interpretation of the classic Mel Brooks/Buck Henry series that started Don Adams and Barbra Feldon as a pair of secret agents tasked with saving the world.
This time out Steve Carell and Anne Hathaway star Maxwell Smart and Agent 99 as they are forced to work with one another following a devastating attack on Control headquarters which results in the exposure of their operatives worldwide.
With no agents having the required anonymity needed to perform covert missions, the Chief of Control (Alan Arkin), is forced to promote eager intelligence analyst Smart to the ranks of field agent and pairs him with Agent 99 who is still able to maintain her guise thanks to some prep work she had done for a prior assignment.
To say that 99 is not thrilled to be paired with Smart would be an understatement, as she sees the eager Smart to be an unproven liability and one that would likely cause the failure of the mission and kill both of them.
Since the ultra suave Agent 23 (Dwayne Johnson), is unable to work in the field, Smart and Agent 99 are forced to work with one another as they head off to Russia to get to the bottom of the weapons threat and hopefully follow the trail to the ultimate threat, Siegfried (Terrance Stamp), who is the brains behind an all new wave of terror that only Agent 99 and Smart can stop.
The film starts out slowly, but eventually finds its rhythm and does a decent job of blending comedy and action. Hathaway and Carell do a great job with the material as both roles require a degree of physicality that they have not shown in previous works.
The laughs on the film are constant, but they are off the more dumb humor comedy as nobody will mistake this film as a piece of high comedy. Which is not to say this is a bad thing as Carell is very likeable as Smart and while he portrays the character differently than did the late Don Adams; he maintains the goofy competence that his character requires as despite being a goofball, he does get the job done in the end.
The fine supporting work by Arkin and Johnson as well as a good amount of cameos lead to the fun of the film.
It is important to note that this is not a retelling of the original series that ran from 1965-1970 but a completely new interpretation of the series which has been updated to reflect the modern setting yet contains plenty of winks to the show that inspired it.
While many of the series catch phrases seem out of place in the film, I found myself enjoying the new film despite being a fan of the original series.
Some have leveled criticism that the film has traded locker room humor, stupid comedy, and FX for the wit and inventiveness that made the original series so popular.
I found myself enjoying the new version of the film and enjoyed the performances of the characters and while not side splittingly funny, there were more than enough chuckles along the way to keep me entertained.
Here is hoping 86 and 99 will be back on the big screen for future missions.
In the new movie “Get Smart” audiences are given a new interpretation of the classic Mel Brooks/Buck Henry series that started Don Adams and Barbra Feldon as a pair of secret agents tasked with saving the world.
This time out Steve Carell and Anne Hathaway star Maxwell Smart and Agent 99 as they are forced to work with one another following a devastating attack on Control headquarters which results in the exposure of their operatives worldwide.
With no agents having the required anonymity needed to perform covert missions, the Chief of Control (Alan Arkin), is forced to promote eager intelligence analyst Smart to the ranks of field agent and pairs him with Agent 99 who is still able to maintain her guise thanks to some prep work she had done for a prior assignment.
To say that 99 is not thrilled to be paired with Smart would be an understatement, as she sees the eager Smart to be an unproven liability and one that would likely cause the failure of the mission and kill both of them.
Since the ultra suave Agent 23 (Dwayne Johnson), is unable to work in the field, Smart and Agent 99 are forced to work with one another as they head off to Russia to get to the bottom of the weapons threat and hopefully follow the trail to the ultimate threat, Siegfried (Terrance Stamp), who is the brains behind an all new wave of terror that only Agent 99 and Smart can stop.
The film starts out slowly, but eventually finds its rhythm and does a decent job of blending comedy and action. Hathaway and Carell do a great job with the material as both roles require a degree of physicality that they have not shown in previous works.
The laughs on the film are constant, but they are off the more dumb humor comedy as nobody will mistake this film as a piece of high comedy. Which is not to say this is a bad thing as Carell is very likeable as Smart and while he portrays the character differently than did the late Don Adams; he maintains the goofy competence that his character requires as despite being a goofball, he does get the job done in the end.
The fine supporting work by Arkin and Johnson as well as a good amount of cameos lead to the fun of the film.
It is important to note that this is not a retelling of the original series that ran from 1965-1970 but a completely new interpretation of the series which has been updated to reflect the modern setting yet contains plenty of winks to the show that inspired it.
While many of the series catch phrases seem out of place in the film, I found myself enjoying the new film despite being a fan of the original series.
Some have leveled criticism that the film has traded locker room humor, stupid comedy, and FX for the wit and inventiveness that made the original series so popular.
I found myself enjoying the new version of the film and enjoyed the performances of the characters and while not side splittingly funny, there were more than enough chuckles along the way to keep me entertained.
Here is hoping 86 and 99 will be back on the big screen for future missions.
Dakotah Salazar (12 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 6, 2019
Jaw Dropping Action (3 more)
Mysterio
Mid Credit Scene
Nice Romance
Road Trip Troupes (2 more)
Slow Start
End Credit Scene
Wrapping a bow on an excellent phase.
In Spider-Man's return from the Thanos 'blip' in Avengers Infinity War shows a different world for the MCU.
We are shown with a strong start. A mediocre high school presentation of how the world was affected by the blip, such as the age transitions of some characters. It was a great addition in wanting to expand the aftermath, and Spider-Man uses it humorously. But after that introduction becomes a run of the mill superhero film. At least for the first half.
We see a lot of troupes from this genre, or even road trip movies. Peter Parker is in pursuit for this outlandish plan of asking MJ out. While being a romantic, a force of nature called The Eternals are attacking the cities that Peter and his friends are venturing on. A figure called Mysterio saves Peter from the huge destruction creating a bond between the two heroes. Nick Fury is also caught in the mix as well wanting Peter to stop this problem. Peter refuses because he wants to be normal for a while. And you can't blame Peter. Especially after being snapped and revived to save the world from Thanos. Who wouldn't be tired? But it gets tiring when his only mission is to get MJ to like him when it is clear that she is giving him hints over and over again. It is sweet but becomes trite after a while. The humor is effective at points, but some moments can slow the movie down.
As for the second half, the film twists around with a strong second act. Probably some of the best action in the MCU to date. Yes, it even holds up to Endgame in some regards. It approaches into very psychedelic areas where you really are in the perspective of Peter. We see character depth, tension, and a stronger balance of humor thrown in. Plus a strong mid credit scene at the end which will please fans of Spider-Man. It will create a strong stir of events to come for Phase 4. For only Spider-Man...while we are left wondering what is going to come next for Marvel. In a way, it was kind of disappointing that there wasn't a stronger end credits stinger to help establish another Phase. While some say that it might, it only affects Spider-Man greatly.
As for newcomer Jake Gyllenhaal who is playing Mysterio. He is a veteran actor already playing down to an MCU film. Especially when he is recieving Oscar nominated performances. It was a weird situation for him to come in and play this character. I've had to analyze his performance and found it very strong throughout. He may be the best performance in this movie. Tom Holland and Zendaya had great chemistry throughout. They really gave a sense of an awkward teenage relationship trying to bloom out of their shyness, and while it was meandering after a while, it turned into something that was strong and a nice way of showing depth to their characters. The rest of the cast are there for comedic effect. Even Marisa Tomei's Aunt May is kind of sidelined here.
For any MCU fan, seek it out in a theater as soon as you can. It's a lot of fun. As for Spider-Man fans, it kind of sits in the middle when it comes to listing it. Especially after the triumphant Into the Spider Verse and Homecoming really defined who Spider-Man is.
We are shown with a strong start. A mediocre high school presentation of how the world was affected by the blip, such as the age transitions of some characters. It was a great addition in wanting to expand the aftermath, and Spider-Man uses it humorously. But after that introduction becomes a run of the mill superhero film. At least for the first half.
We see a lot of troupes from this genre, or even road trip movies. Peter Parker is in pursuit for this outlandish plan of asking MJ out. While being a romantic, a force of nature called The Eternals are attacking the cities that Peter and his friends are venturing on. A figure called Mysterio saves Peter from the huge destruction creating a bond between the two heroes. Nick Fury is also caught in the mix as well wanting Peter to stop this problem. Peter refuses because he wants to be normal for a while. And you can't blame Peter. Especially after being snapped and revived to save the world from Thanos. Who wouldn't be tired? But it gets tiring when his only mission is to get MJ to like him when it is clear that she is giving him hints over and over again. It is sweet but becomes trite after a while. The humor is effective at points, but some moments can slow the movie down.
As for the second half, the film twists around with a strong second act. Probably some of the best action in the MCU to date. Yes, it even holds up to Endgame in some regards. It approaches into very psychedelic areas where you really are in the perspective of Peter. We see character depth, tension, and a stronger balance of humor thrown in. Plus a strong mid credit scene at the end which will please fans of Spider-Man. It will create a strong stir of events to come for Phase 4. For only Spider-Man...while we are left wondering what is going to come next for Marvel. In a way, it was kind of disappointing that there wasn't a stronger end credits stinger to help establish another Phase. While some say that it might, it only affects Spider-Man greatly.
As for newcomer Jake Gyllenhaal who is playing Mysterio. He is a veteran actor already playing down to an MCU film. Especially when he is recieving Oscar nominated performances. It was a weird situation for him to come in and play this character. I've had to analyze his performance and found it very strong throughout. He may be the best performance in this movie. Tom Holland and Zendaya had great chemistry throughout. They really gave a sense of an awkward teenage relationship trying to bloom out of their shyness, and while it was meandering after a while, it turned into something that was strong and a nice way of showing depth to their characters. The rest of the cast are there for comedic effect. Even Marisa Tomei's Aunt May is kind of sidelined here.
For any MCU fan, seek it out in a theater as soon as you can. It's a lot of fun. As for Spider-Man fans, it kind of sits in the middle when it comes to listing it. Especially after the triumphant Into the Spider Verse and Homecoming really defined who Spider-Man is.
Sophia (Bookwyrming Thoughts) (530 KP) rated Black Bird of the Gallows in Books
Jan 23, 2020
<b><i>The author/publisher provided a free copy of the book for review purposes - thank you! Receiving a review copy does not guarantee a positive review and therefore do not affect the opinion or content of the review.</i></b>
"I'm going to sleep!” says reviewer, as she furiously types on the keyboard. The next time she looks up, an hour has passed, leaving her with one less hour of sleep and an 8 am class looming closer.
Obviously, I am a complete night owl because all of my decent reviews (aka my usual self and not some half hearted attempt of I THINK THIS IS A REVIEW BUT MY BRAIN IS CRYING SO I GIVE UP *presses schedule*) are all written after all the other souls in the house are sleeping soundly.
<b>There's only one other soul 99% of the time.</b>
Also, I read this weeks ago and completely forgot about the release date being last week, so I started writing other reviews and reading other books and poor Meg Kassel’s debut just sat there crying at me silently, “Are you going to review me?”
<h3 style="text-align: center;"><b>Five Things about Black Bird of the Gallows</b></h3>
At the same time, I had high expectations for Kassel’s debut novel, I also didn't, for some weird and odd reason my brain won't conjure up (the brain is strange, very strange). Here are some things to be aware of before/when picking up the book:
<b>Death is a theme, but used differently </b>- the few novels I've read with a death theme always have something in common: there's probably a grim reaper, and the grim reaper collects souls. Kassel uses a similar theme, but <b>it's not the exact same theme</b>. Honestly, I'm curious if this has mythology ties - is it okay if I kind of regret dropping myth and folklore senior year? I sacrificed it for college credit in speech instead (that's okay, right?).
<b>I am in love with gorgeous lines, and Kassel delivers</b> - I mean, they're not enough that I want to <i>draw </i>them (this is a rare thing to happen), but there are lovely lines and descriptions! And there's humor. I think I enjoyed the humor more often.
<blockquote class="tr_bq">Suddenly, I notice the light steam coming off his skin—the same coming from my mouth when I speak. It feels like I’m sitting next to an attractive, boy-shaped wood stove.</blockquote>
<b>There's a music aspect</b> - As a once upon a violin player, music is important! Okay, maybe not important in my life as much as books are, but music books are cute. Music plays a major role in <i>Black Bird of the Gallows</i> when it comes to character development. When we first meet Angie, she's not as confident with her music as she eventually becomes later in the book.
<b>
</b> <b>Birds! (Okay, Crows)</b> - It's probably a bad idea for me to read another book involving birds after <i>Shatter Me</i>, but I'm fine with birds in this one. The crows are also one of my favorite parts of the book - the crows aren't directly involved with death, but they play a role as well.
<b>It gets dark </b>- <i>Black Bird of the Gallows </i>might be less dark at the beginning, but it gets dark, VERY dark near the end. (Secretly my evil little heart likes this. I'm worried.)
Overall: <i>Black Bird of the Gallows</i> is perfect for those who enjoy books about death but are looking for something different than what we usually see.
<a href="https://bookwyrmingthoughts.com/black-bird-of-gallows-by-meg-kassel-arc-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
"I'm going to sleep!” says reviewer, as she furiously types on the keyboard. The next time she looks up, an hour has passed, leaving her with one less hour of sleep and an 8 am class looming closer.
Obviously, I am a complete night owl because all of my decent reviews (aka my usual self and not some half hearted attempt of I THINK THIS IS A REVIEW BUT MY BRAIN IS CRYING SO I GIVE UP *presses schedule*) are all written after all the other souls in the house are sleeping soundly.
<b>There's only one other soul 99% of the time.</b>
Also, I read this weeks ago and completely forgot about the release date being last week, so I started writing other reviews and reading other books and poor Meg Kassel’s debut just sat there crying at me silently, “Are you going to review me?”
<h3 style="text-align: center;"><b>Five Things about Black Bird of the Gallows</b></h3>
At the same time, I had high expectations for Kassel’s debut novel, I also didn't, for some weird and odd reason my brain won't conjure up (the brain is strange, very strange). Here are some things to be aware of before/when picking up the book:
<b>Death is a theme, but used differently </b>- the few novels I've read with a death theme always have something in common: there's probably a grim reaper, and the grim reaper collects souls. Kassel uses a similar theme, but <b>it's not the exact same theme</b>. Honestly, I'm curious if this has mythology ties - is it okay if I kind of regret dropping myth and folklore senior year? I sacrificed it for college credit in speech instead (that's okay, right?).
<b>I am in love with gorgeous lines, and Kassel delivers</b> - I mean, they're not enough that I want to <i>draw </i>them (this is a rare thing to happen), but there are lovely lines and descriptions! And there's humor. I think I enjoyed the humor more often.
<blockquote class="tr_bq">Suddenly, I notice the light steam coming off his skin—the same coming from my mouth when I speak. It feels like I’m sitting next to an attractive, boy-shaped wood stove.</blockquote>
<b>There's a music aspect</b> - As a once upon a violin player, music is important! Okay, maybe not important in my life as much as books are, but music books are cute. Music plays a major role in <i>Black Bird of the Gallows</i> when it comes to character development. When we first meet Angie, she's not as confident with her music as she eventually becomes later in the book.
<b>
</b> <b>Birds! (Okay, Crows)</b> - It's probably a bad idea for me to read another book involving birds after <i>Shatter Me</i>, but I'm fine with birds in this one. The crows are also one of my favorite parts of the book - the crows aren't directly involved with death, but they play a role as well.
<b>It gets dark </b>- <i>Black Bird of the Gallows </i>might be less dark at the beginning, but it gets dark, VERY dark near the end. (Secretly my evil little heart likes this. I'm worried.)
Overall: <i>Black Bird of the Gallows</i> is perfect for those who enjoy books about death but are looking for something different than what we usually see.
<a href="https://bookwyrmingthoughts.com/black-bird-of-gallows-by-meg-kassel-arc-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>