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RavenclawPrincess913 (253 KP) rated Flirting with fate in Books
Jun 8, 2022
To start off I love the cover it's very pretty. Ava's Nana dying was very sad and how she was late to recieve her blessing and it sent out to someone else. How Ava's mom left her when she was younger was sad. I don't understand how people can do this to their own kid.
Quote "Nana spoke your blessing at exactly 8:51." Ava not knowing her blessing is sad.
Quote "Meteors, Stars, 8:51. Collision. And hummingbird." Her grandma said this when Ava was in the accident making her late for her blessing which lead me to think something was up when this happened. I'm including this because it's important part of this story. It had me hooked hooked at this part.
The day following her grandmas death especially her funeral must have been hard. It gave me flash backs to my grandmas funeral. When her sister said she's the family serial dater though it lightened up the mood.
Ava seeing her Nana's ghost was scary at first and what her fate might be if they don't get Ava's blessing back. Her loosing her memory over this mistake is just not ok.
In the story they go after the person who accidentally got the blessing and have to get it back by August 16th on the evening of a meteor shower or Nana looses her memories and the girls can no longer pass blessings onto their daughters. I personally think the guy who she got into accident with is the one. But you'll need to read to find out.
This book was very intense, interesting and emotional. I loved the pace of it. I definitely recommend this one I give it a 4.5/5 stars and I'd definitely reread.
Do I reccomend? 100% yes
Quote "Nana spoke your blessing at exactly 8:51." Ava not knowing her blessing is sad.
Quote "Meteors, Stars, 8:51. Collision. And hummingbird." Her grandma said this when Ava was in the accident making her late for her blessing which lead me to think something was up when this happened. I'm including this because it's important part of this story. It had me hooked hooked at this part.
The day following her grandmas death especially her funeral must have been hard. It gave me flash backs to my grandmas funeral. When her sister said she's the family serial dater though it lightened up the mood.
Ava seeing her Nana's ghost was scary at first and what her fate might be if they don't get Ava's blessing back. Her loosing her memory over this mistake is just not ok.
In the story they go after the person who accidentally got the blessing and have to get it back by August 16th on the evening of a meteor shower or Nana looses her memories and the girls can no longer pass blessings onto their daughters. I personally think the guy who she got into accident with is the one. But you'll need to read to find out.
This book was very intense, interesting and emotional. I loved the pace of it. I definitely recommend this one I give it a 4.5/5 stars and I'd definitely reread.
Do I reccomend? 100% yes
Outlaw Witch (Enchanted Bargains #1)
8.0
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Book
In a city of magic users, I’m a freak—a sponge with the ability to absorb the powers of others....
Reverse Harem Why Choose? Cliffhanger Ending Paranormal Romance Forced Proximit
Young Elizabeth: Princess. Prisoner. Queen
10.0
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Elizabeth I is one of England's most famous monarchs, whose story as the ‘Virgin Queen’ is well...
Lee (2222 KP) rated Black Summer - Season 1 in TV
May 1, 2019
A refreshing new take on the familiar zombie format
I gave up on The Walking Dead a few seasons ago. Continually disappointing story-lines and characters, along with frustrating pacing issues had made this show hard work to watch, and a far cry from it's early days of action packed originality. Black Summer recently arrived on Netflix, described as a companion piece to the show Z Nation, and consisting of just 8 episodes ranging in length from 20 to 40 minutes. After seeing some online recommendations, I gave it a shot, and it's safe to say that it has reignited my passion for zombie shows.
We're in the fairly early stages of a full on zombie apocalypse. The military are evacuating a small town, taking survivors to a nearby stadium for safety and eventual extraction. There's a lot of panic and confusion, and not a great deal of undead around at first in the mostly deserted town. The first episode is broken into smaller, titled scenes, introducing us to single characters or groups who are located about the town, and it's a style of story telling that continues throughout the season. Some episodes focus on a single character while some focus on a particular mission, with different scenes shot from the perspective of different characters, highlighting how their actions affect others. There's not a single character who is more important than the others in the show, and characters can be lost to the undead in the blink of an eye, with new ones immediately taking their place to become core characters.
Black Summer shares some of its ideas with The Walking Dead, not to mention many other zombie movies and shows. The virus which turns you into a zombie appears to be there within all of us, lying dormant, so you don't necessarily need to die from a zombie bite in order to become one. Turning is pretty much instantaneous too, and the resulting zombies are of the more vicious, faster and cleverer kind. Running, climbing, very determined and able to learn in order to catch you whatever it takes. Luckily then, it's not very often that our characters are having to deal with more than just a few of these things at any one time, which helps to keep things more focused and terrifying.
Black Summer is very dialogue light - something which definitely works in its favour, and is a refreshing change to the long conversations and monologuing of TWD. Many of the scenes are single camera shots, following our characters around and really immersing you in the action. It's taking a simple idea and giving it a fresh spin, providing the viewer with a harrowing and intensely enjoyable thrill ride. For me, the perfect example of this is the episode titled 'Alone', where an unlucky coward called Lance finds himself all alone after escaping a school. He meanders around town before picking up the pace when a zombie decides that it wants to feed on him. I spent a pretty intense 30 minutes just wishing this poor guy would find himself a weapon and catch a break. But even when he does, he manages to blow his chance and lose it again! It's a standout episode, and a perfect example of what I love about this show.
I couldn't really fault a single episode of Black Summer, as it builds towards it's intense but relatively short finale where a number of survivors converge on the stadium, while zombies come at them from all directions. I really hope it gets renewed, and I really hope it continues to find ways to remain original and enjoyable too.
We're in the fairly early stages of a full on zombie apocalypse. The military are evacuating a small town, taking survivors to a nearby stadium for safety and eventual extraction. There's a lot of panic and confusion, and not a great deal of undead around at first in the mostly deserted town. The first episode is broken into smaller, titled scenes, introducing us to single characters or groups who are located about the town, and it's a style of story telling that continues throughout the season. Some episodes focus on a single character while some focus on a particular mission, with different scenes shot from the perspective of different characters, highlighting how their actions affect others. There's not a single character who is more important than the others in the show, and characters can be lost to the undead in the blink of an eye, with new ones immediately taking their place to become core characters.
Black Summer shares some of its ideas with The Walking Dead, not to mention many other zombie movies and shows. The virus which turns you into a zombie appears to be there within all of us, lying dormant, so you don't necessarily need to die from a zombie bite in order to become one. Turning is pretty much instantaneous too, and the resulting zombies are of the more vicious, faster and cleverer kind. Running, climbing, very determined and able to learn in order to catch you whatever it takes. Luckily then, it's not very often that our characters are having to deal with more than just a few of these things at any one time, which helps to keep things more focused and terrifying.
Black Summer is very dialogue light - something which definitely works in its favour, and is a refreshing change to the long conversations and monologuing of TWD. Many of the scenes are single camera shots, following our characters around and really immersing you in the action. It's taking a simple idea and giving it a fresh spin, providing the viewer with a harrowing and intensely enjoyable thrill ride. For me, the perfect example of this is the episode titled 'Alone', where an unlucky coward called Lance finds himself all alone after escaping a school. He meanders around town before picking up the pace when a zombie decides that it wants to feed on him. I spent a pretty intense 30 minutes just wishing this poor guy would find himself a weapon and catch a break. But even when he does, he manages to blow his chance and lose it again! It's a standout episode, and a perfect example of what I love about this show.
I couldn't really fault a single episode of Black Summer, as it builds towards it's intense but relatively short finale where a number of survivors converge on the stadium, while zombies come at them from all directions. I really hope it gets renewed, and I really hope it continues to find ways to remain original and enjoyable too.
Movie Metropolis (309 KP) rated Labor Day (2014) in Movies
Jun 11, 2019
Director Jason Reitman is no stranger to obtaining a few awards from his varied career, with films like Juno and Up in the Air under his belt, you would be forgiven for thinking that he could put himself on autopilot – however his latest offering Labor Day stays well clear of such drama.
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Starring Kate Winslet and Josh Brolin, the film stays on the right side of touching without feeling overly sentimental and cheesy. But is it worth a watch?
Following the story of Adele (Winslet) and her son Henry (Gattlin Griffith) as they comes to terms with repairing their lives after an unsuccessful marriage, Labor Day leaves the story and plot of Joyce Maynard’s hugely popular novel to the audience, who piece things together themselves, culminating in a pleasing if slightly clumsy final act.
Josh Brolin stars as Frank Chambers, an escaped murderer looking for somewhere tolabor-day-poster1 lay low whilst the police continue searching for him. Brolin is a master of playing the bad guy gone good and his performance here is no exception to that rule. His convict-like scowls are brilliantly juxtaposed with scenes involving him cooking and baking, leaving the viewer slightly perplexed by his real intentions – at the start that is anyway.
As the story takes place over a weekend, the film does feel a little drawn out in places but this adds to its simplistic charm, with the characters and their sublime acting doing most of the work.
Winslet is excellent as Adele, a woman so heartbroken and terrified by the painful effects of love she no longer leaves the house. Her fragility is exceptionally intense; her hands and facial expressions talk more than words ever could and this is a theme throughout the film. I wouldn’t be surprised if Winslet is nominated for an Oscar at next year’s awards.
However, by far the standout is Gattlin Griffith’s performance as young Henry. Here is a boy who would do anything for his mother. His transition from moody teenager to vulnerable young adult is beautiful to watch and again, his facial expressions speak volumes.
As the police close in on Frank’s location and Adele and Henry’s behaviour becomes ever more suspicious, Labor Day becomes increasingly intense in a ‘will they won’t they’ kind of way. As much as the film drives home the simplicity of its intentions, you can’t helped but get sucked into their predicament and this, along with the acting, is where it stuns most.
Unfortunately, the simple nature of the directing and cinematography leaves a lot of room for other areas to fill, and this doesn’t quite happen.
The score is mind-numbingly dull which is a true shame. Rolfe Kent has created some stunning pieces of music for films across the decades including his Golden Globe nominated work on Sideways, not forgetting the excellent score in The Wedding Crashers. Despite some lift in the latter half of the picture, it remains a relatively music-free affair.
Tobey Maguire’s narration is also a little dull. Those of you familiar with the Spider-Man trilogy will know how irritating Maguire’s voice can be, and unfortunately it’s the case here too.
Overall though, Labor Day fills the void in between the magic of the Christmas blockbuster and the frantic summer season which is approaching thick and fast. Filled with some fine performances from the three lead actors and a story which really makes you believe in second chances, it’s an utterly compelling and emotional spring flick. Only the poor score and uninspiring cinematography lets it down.
https://moviemetropolis.net/2014/03/27/labor-day-review/
Gareth von Kallenbach (980 KP) rated Terminator Genisys (2015) in Movies
Jun 19, 2019
The Terminator franchise has been as relentless and unstoppable as the series namesake. The first two films written and directed by James Cameron are cinematic icons and made many of the ten best lists when they were released.
The subsequent two films that lacked any input from Cameron and as such paled in comparison with the most recent, “Terminator Salvation” failing to achieve the success of the previous films in the series.
Undaunted, the series is back with “Terminator Genisys”, the first in a planned trilogy before the rights to the series revert back to James Cameron.
The new film shows parts of the final battle by the human resistance as they finally defeat the deadly Skynet system but as fans of the series know, learn that a Terminator was sent back to stop humanities savior John Connor (Jason Clarke), from being born.
As fans known, loyal soldier Kyle Reese (jai Courtney) volunteers to travel back to 1984 to save Sara Connor (Emilia Clarke) and preserve the future but upon his arrival in 1984, Reese learns that the mission he has been sent on has changed.
Someone has sent a Terminator back to protect a younger Sarah when she was a child and as such, this Sara is not the naïve waitress Reese had been expecting, rather she is a battle hardened and strong willed woman with a Terminator protector she named “Pops” played by series icon Arnold Schwarzenegger.
This is where any similarities to the original films end as what initially sets up to be moments from the first two films revisited in a new timeline quickly changes and moves to 2017 where Sara, Reese, and Pops, learn that Skynet is about to go live and accomplish the start of Judgement Day which puts the heroes in a race against time and overwhelming odds to save humanity.
This time however there are several new wrinkles to the mix as well as some epic action sequences that have been sorely missing from the series since Cameron’s departure. The 3D effects are solid but note that they are converted from a 2D source and the film was not shot with 3D cameras.
What really worked well for me was the fact that the film is very respectful to the source material and while telling a new chapter to the story does not do much to undermine the impact and the legacy of the first two films. It was reported that James Cameron himself has endorsed this film and had called it the third film in the series.
The action is solid from an epic bus chase to intense firefights across the timelines the film grabs your attention the way the best summer films do and takes you on an epic thrill ride. Action and effects aside, what really makes the film work is the cast. The characters are strong and well portrayed and mix humanity, empathy, and self-sacrifice in the manner to which the characters have been established.
Reese and Sara are strong and determined and in a twist, have a more complicated relationship in this timeline than had been previously established. Of course the star of the film is Schwarzenegger and he knows this character inside and out. From the stoic and intense action sequences to the rivalry and distrust he and Reese share which grows into a solid respect. Arnold knows what audiences want and delivers it again and again. Despite the years, he still remains the backbone of the series and it is great to see him back in form.
While some may have issues with a rebooted timeline to propel future films, there were enough great moments in the film and plenty of entertainments for me not only to recommend the film, but to say bring on the next chapter.
http://sknr.net/2015/07/01/terminator-genisys/
The subsequent two films that lacked any input from Cameron and as such paled in comparison with the most recent, “Terminator Salvation” failing to achieve the success of the previous films in the series.
Undaunted, the series is back with “Terminator Genisys”, the first in a planned trilogy before the rights to the series revert back to James Cameron.
The new film shows parts of the final battle by the human resistance as they finally defeat the deadly Skynet system but as fans of the series know, learn that a Terminator was sent back to stop humanities savior John Connor (Jason Clarke), from being born.
As fans known, loyal soldier Kyle Reese (jai Courtney) volunteers to travel back to 1984 to save Sara Connor (Emilia Clarke) and preserve the future but upon his arrival in 1984, Reese learns that the mission he has been sent on has changed.
Someone has sent a Terminator back to protect a younger Sarah when she was a child and as such, this Sara is not the naïve waitress Reese had been expecting, rather she is a battle hardened and strong willed woman with a Terminator protector she named “Pops” played by series icon Arnold Schwarzenegger.
This is where any similarities to the original films end as what initially sets up to be moments from the first two films revisited in a new timeline quickly changes and moves to 2017 where Sara, Reese, and Pops, learn that Skynet is about to go live and accomplish the start of Judgement Day which puts the heroes in a race against time and overwhelming odds to save humanity.
This time however there are several new wrinkles to the mix as well as some epic action sequences that have been sorely missing from the series since Cameron’s departure. The 3D effects are solid but note that they are converted from a 2D source and the film was not shot with 3D cameras.
What really worked well for me was the fact that the film is very respectful to the source material and while telling a new chapter to the story does not do much to undermine the impact and the legacy of the first two films. It was reported that James Cameron himself has endorsed this film and had called it the third film in the series.
The action is solid from an epic bus chase to intense firefights across the timelines the film grabs your attention the way the best summer films do and takes you on an epic thrill ride. Action and effects aside, what really makes the film work is the cast. The characters are strong and well portrayed and mix humanity, empathy, and self-sacrifice in the manner to which the characters have been established.
Reese and Sara are strong and determined and in a twist, have a more complicated relationship in this timeline than had been previously established. Of course the star of the film is Schwarzenegger and he knows this character inside and out. From the stoic and intense action sequences to the rivalry and distrust he and Reese share which grows into a solid respect. Arnold knows what audiences want and delivers it again and again. Despite the years, he still remains the backbone of the series and it is great to see him back in form.
While some may have issues with a rebooted timeline to propel future films, there were enough great moments in the film and plenty of entertainments for me not only to recommend the film, but to say bring on the next chapter.
http://sknr.net/2015/07/01/terminator-genisys/
Lucy Buglass (45 KP) rated Velvet Buzzsaw (2019) in Movies
Jun 20, 2019
Ever since Netflix have proven themselves as a fantastic streaming platform, everyone gets hyped about their ‘Originals’. Velvet Buzzsaw was no exception, and when the first trailer dropped I was so excited to watch it. Everything about it seemed great; it was written and directed by Dan Gilroy (the guy who gave us the fantastic Nightcrawler), and the cast was incredible. Who could say no to Jake Gyllenhaal, Rene Russo AND Toni Collette? Not me. Unfortunately, this wonderful mix didn’t live up to my expectations at all and left me feeling very disappointed.
The main issue I had with Velvet Buzzsaw is that the pacing is horrendously slow. The first 45 minutes felt like nothing but exposition, when it was a relatively simple concept for the audience to grasp. The film follows a bunch of art critics, artists and patrons of the arts as they uncover a series of paintings from an unknown artist. However, they’re not your normal paintings because a supernatural force lurks within them waiting to enact revenge. That’s it, that’s the synopsis. So why waste so much screen time dragging things out? The trailer made this look like a fast paced, intense thriller, but the reality is nothing like that.
It’s a shame the pacing and screenplay is so weak, because Velvet Buzzsaw does have a few redeeming features. The quality of acting is very good, and visually it’s beautiful to look at, particularly the locations and the paintings that appear throughout. I especially enjoyed the characters Rhodora Haze (Rene Russo) and Gretchen (Toni Collette), as they embody the typically powerful, ruthless and bitchy personas one would expect from this industry. They satirise art lovers perfectly, which is partially why I haven’t rated this film lower. In all honesty, these actors deserved better than the script they were dealt, and it’s a shame such talent was wasted here. I’m having trouble understanding how you can take such an interesting concept and brilliant actors, and make it so boring.
Even the inevitable death scenes are pretty dull, and play like a straight to TV horror film that doesn’t quite hit the mark. Velvet Buzzsaw fails to execute any sort of suspense, or even terror, so when people eventually die you’re just sat there like “Huh, is that it?”. After such a slow first act, you expect some kind of payoff, but it never arrives. Again, the trailer had some pretty scary moments that made me expect a few jump scares or intense moments. I’m confused about why this was even marketed as a horror-thriller, when it lacks so many of the aspects that make both those genres great. I didn’t feel scared at all, and even when the characters we were supposed to hate met their demise, there was no morbid satisfaction in it. To be completely honest, I was apathetic towards the whole thing. I just wanted it to end.
If you are a fan of slow-burning films that take a while to get going, then you might enjoy Velvet Buzzsaw more than I did. I don’t necessarily have a problem with these types of films, but you still need to keep the audience gripped somehow. You need to give people a reason to keep watching.
Gilroy’s attempt to show the horrors of the art world falls flat, and certainly doesn’t live up to the expectations based on the success of Nightcrawler. Part of me even wondered how this was the same man, it felt so vastly different to his other work. Netflix Originals rarely let me down, but this time, they really did.
https://jumpcutonline.co.uk/review-velvet-buzzsaw-2019/
The main issue I had with Velvet Buzzsaw is that the pacing is horrendously slow. The first 45 minutes felt like nothing but exposition, when it was a relatively simple concept for the audience to grasp. The film follows a bunch of art critics, artists and patrons of the arts as they uncover a series of paintings from an unknown artist. However, they’re not your normal paintings because a supernatural force lurks within them waiting to enact revenge. That’s it, that’s the synopsis. So why waste so much screen time dragging things out? The trailer made this look like a fast paced, intense thriller, but the reality is nothing like that.
It’s a shame the pacing and screenplay is so weak, because Velvet Buzzsaw does have a few redeeming features. The quality of acting is very good, and visually it’s beautiful to look at, particularly the locations and the paintings that appear throughout. I especially enjoyed the characters Rhodora Haze (Rene Russo) and Gretchen (Toni Collette), as they embody the typically powerful, ruthless and bitchy personas one would expect from this industry. They satirise art lovers perfectly, which is partially why I haven’t rated this film lower. In all honesty, these actors deserved better than the script they were dealt, and it’s a shame such talent was wasted here. I’m having trouble understanding how you can take such an interesting concept and brilliant actors, and make it so boring.
Even the inevitable death scenes are pretty dull, and play like a straight to TV horror film that doesn’t quite hit the mark. Velvet Buzzsaw fails to execute any sort of suspense, or even terror, so when people eventually die you’re just sat there like “Huh, is that it?”. After such a slow first act, you expect some kind of payoff, but it never arrives. Again, the trailer had some pretty scary moments that made me expect a few jump scares or intense moments. I’m confused about why this was even marketed as a horror-thriller, when it lacks so many of the aspects that make both those genres great. I didn’t feel scared at all, and even when the characters we were supposed to hate met their demise, there was no morbid satisfaction in it. To be completely honest, I was apathetic towards the whole thing. I just wanted it to end.
If you are a fan of slow-burning films that take a while to get going, then you might enjoy Velvet Buzzsaw more than I did. I don’t necessarily have a problem with these types of films, but you still need to keep the audience gripped somehow. You need to give people a reason to keep watching.
Gilroy’s attempt to show the horrors of the art world falls flat, and certainly doesn’t live up to the expectations based on the success of Nightcrawler. Part of me even wondered how this was the same man, it felt so vastly different to his other work. Netflix Originals rarely let me down, but this time, they really did.
https://jumpcutonline.co.uk/review-velvet-buzzsaw-2019/
Gareth von Kallenbach (980 KP) rated Red Sparrow (2018) in Movies
Jul 8, 2019
In Red Sparrow, Jennifer Lawrence (of Hunger Games fame) portrays Russian ballet dancer Dominika who is grievously injured at the peak of her career. Without the ability to continue dancing, she is at risk of losing not only her home, but the medical care that her sickly mother so desperately needs. In a final act of desperation, she reaches out to her uncle (masterfully portrayed by Matthias Schoenaerts), who is not only family, but also the deputy director of Russia’s intelligence agency, the SVR. He offers the means to not only keep them housed, but also to ensure that her mother continues to get the very best treatment and care from her private nurses. With no other option but to agree, she reluctantly takes an assignment to “entertain” a powerful Russian figure with the intent to swap out his cell phone, with another provided by her uncle. In an emotionally intense scene she witnesses a heinous act of murder and is forced to make a decision, join those who carried out the murder and become a Red Sparrow or die.
Dominika is then sent to the training school where all Red Sparrows learn their craft. They are taught manipulation by any means necessary, identifying what their target desires and utilizing this desire to get what they want. It’s brutal training that few succeed at, where each pupil uses their body and their minds to get information from their subjects. Dominika’s personal strength of both will and body are tested, until a call comes in from the SVR that they are in need of her newly acquired talents. She is given an opportunity to prove her worth to the state by traveling to Budapest, to get close to a C.I.A. agent, and convince him to give up the name of a mole who has been providing secrets to the Americans. This is where the dangerous game of cat and mouse starts between her and her C.I.A. target Nate Nash (Joel Edgerton).
Jennifer Lawrence in her portrayal of a strong, yet desperate Russian woman is both believable and saddening. She mastered her Russian accent and it comes across naturally. The audience sees the constant struggle between what she must do to protect her mother and the lengths that she must go to, to acquire the information the SVR needs to rout out the mole. Her character goes through numerous physical, emotional and psychological tortures as she grows closer to her end game. For a Red Sparrow failure is not an option, as failure means death.
As a spy movie, it regularly keeps you guessing up until the very end. You keep asking yourself whether Nate will be able to turn Dominika against her country and become an operative for the C.I.A., or is she simply playing the part as the sparrow and using his trust against him? As an audience member you never truly know who to trust or which side Dominika is on, and that’s what keeps the movie so intriguing throughout.
“Red Sparrow” is one of those rare films that keeps you on the edge of your seat through the entire film. As soon as you think you know where it’s going you are suddenly turned in another direction. You think you know the answers, only to be wrong the next minute…or are you? Red Sparrow is by far one of the best spy movies that I have seen in a long time. Even though there isn’t a lot of action it provides the intrigue of an intense chess game, planning multiple moves ahead to arrive at checkmate in the very end, and to that end it succeeds brilliantly.
Dominika is then sent to the training school where all Red Sparrows learn their craft. They are taught manipulation by any means necessary, identifying what their target desires and utilizing this desire to get what they want. It’s brutal training that few succeed at, where each pupil uses their body and their minds to get information from their subjects. Dominika’s personal strength of both will and body are tested, until a call comes in from the SVR that they are in need of her newly acquired talents. She is given an opportunity to prove her worth to the state by traveling to Budapest, to get close to a C.I.A. agent, and convince him to give up the name of a mole who has been providing secrets to the Americans. This is where the dangerous game of cat and mouse starts between her and her C.I.A. target Nate Nash (Joel Edgerton).
Jennifer Lawrence in her portrayal of a strong, yet desperate Russian woman is both believable and saddening. She mastered her Russian accent and it comes across naturally. The audience sees the constant struggle between what she must do to protect her mother and the lengths that she must go to, to acquire the information the SVR needs to rout out the mole. Her character goes through numerous physical, emotional and psychological tortures as she grows closer to her end game. For a Red Sparrow failure is not an option, as failure means death.
As a spy movie, it regularly keeps you guessing up until the very end. You keep asking yourself whether Nate will be able to turn Dominika against her country and become an operative for the C.I.A., or is she simply playing the part as the sparrow and using his trust against him? As an audience member you never truly know who to trust or which side Dominika is on, and that’s what keeps the movie so intriguing throughout.
“Red Sparrow” is one of those rare films that keeps you on the edge of your seat through the entire film. As soon as you think you know where it’s going you are suddenly turned in another direction. You think you know the answers, only to be wrong the next minute…or are you? Red Sparrow is by far one of the best spy movies that I have seen in a long time. Even though there isn’t a lot of action it provides the intrigue of an intense chess game, planning multiple moves ahead to arrive at checkmate in the very end, and to that end it succeeds brilliantly.
Lee (2222 KP) rated Ready or Not (2019) in Movies
Sep 27, 2019
Ready or Not opens with a gleefully intense and shocking scene. It serves to give us a taste of the kind of twisted games that usually play out within the confines of huge gothic mansion owned by the eccentric Le Domas family, who made their fortune in the board game business. If you've seen the trailer, then you'll know that Ready or Not is basically just Hide and Seek, but with deathly consequences. However, this short, sharp introduction leaves you in no doubt as to just how far the Le Domas family will go in order to win the game.
Cut to a more happier time as Grace (Samara Weaving, niece of Hugo Weaving) is preparing to marry into the Le Domas dynasty. Her husband to be is Alex (Mark O'Brien), estranged son who has now returned to the family home where the ceremony will be taking place. As a foster child, Grace yearns to become part of a more permanent family and is concerned that she won't be accepted by the Le Domas clan, not helped by the cold scowl she gets from a seriously creepy looking Aunt Helene.
We rejoin Grace and Alex later that evening, now married. But Grace discovers that rather than retire to bed with her new husband, they must join the family downstairs and partake in a wedding night tradition which will see her officially becoming a Le Domas - she has to play a game. Wanting nothing more than to fit in with her new in-laws, Grace goes along with it all as patriarch Tony (Henry Czerny) explains how the tradition will play out. The game they must play is selected at random from a box that has been passed down through the generations after it was originally given to the family by mysterious benefactor, Mr. Le Bail. The wife of eldest son Daniel got Chess, the husband of daughter Emilie got Old Maid, so it really is anyone's guess what the mystery game will be! All of the siblings and their spouse's are in attendance for the game and watch on as Grace draws... Hide and Seek, the one game which results in death!
Not realising the seriousness of her choice, Tony explains to Grace that in order to win the game she must remain hidden until dawn, and she laughs it off. An old vinyl hide and seek record begins playing, giving Grace the time to go find a suitable hiding place, and she winds up climbing into a dumb waiter to hide. But, she soon gets bored and decides to go wandering around the huge house. It's not long though until she discovers that the family members have equipped themselves with shotguns, axes and crossbows... and they're not afraid to use them! Turns out, the family believe that if they don’t kill Grace by dawn, a terrible fate will befall them all.
What follows is an intense game of cat and mouse, with a good dose of gore and dark humour thrown in. One minute we're holding our breath as Grace tries to quietly avoid a member of the family, the next we're cutting to the other family members, who are mostly completely incompetent - bickering between themselves or watching a YouTube crash course on how to use a crossbow! Ready or Not manages to juggle the different tones effortlessly, and brilliantly, as Grace goes from terrified scream queen in a pristine white wedding dress, to blood-soaked badass wearing a pair of old converse and brandishing a shotgun. She's the latest in a long line of great female survivors, played to perfection by Samara Weaving. If you liked 2011 movie 'You're Next', then Ready or Not reminded me of that in many ways.
The gothic setting and the suitably wonderful score by Brian Tyler (usually found providing music for MCU movies) all adds to what is a wonderfully short (95 minute), but perfectly paced, completely bonkers thrill ride.
Cut to a more happier time as Grace (Samara Weaving, niece of Hugo Weaving) is preparing to marry into the Le Domas dynasty. Her husband to be is Alex (Mark O'Brien), estranged son who has now returned to the family home where the ceremony will be taking place. As a foster child, Grace yearns to become part of a more permanent family and is concerned that she won't be accepted by the Le Domas clan, not helped by the cold scowl she gets from a seriously creepy looking Aunt Helene.
We rejoin Grace and Alex later that evening, now married. But Grace discovers that rather than retire to bed with her new husband, they must join the family downstairs and partake in a wedding night tradition which will see her officially becoming a Le Domas - she has to play a game. Wanting nothing more than to fit in with her new in-laws, Grace goes along with it all as patriarch Tony (Henry Czerny) explains how the tradition will play out. The game they must play is selected at random from a box that has been passed down through the generations after it was originally given to the family by mysterious benefactor, Mr. Le Bail. The wife of eldest son Daniel got Chess, the husband of daughter Emilie got Old Maid, so it really is anyone's guess what the mystery game will be! All of the siblings and their spouse's are in attendance for the game and watch on as Grace draws... Hide and Seek, the one game which results in death!
Not realising the seriousness of her choice, Tony explains to Grace that in order to win the game she must remain hidden until dawn, and she laughs it off. An old vinyl hide and seek record begins playing, giving Grace the time to go find a suitable hiding place, and she winds up climbing into a dumb waiter to hide. But, she soon gets bored and decides to go wandering around the huge house. It's not long though until she discovers that the family members have equipped themselves with shotguns, axes and crossbows... and they're not afraid to use them! Turns out, the family believe that if they don’t kill Grace by dawn, a terrible fate will befall them all.
What follows is an intense game of cat and mouse, with a good dose of gore and dark humour thrown in. One minute we're holding our breath as Grace tries to quietly avoid a member of the family, the next we're cutting to the other family members, who are mostly completely incompetent - bickering between themselves or watching a YouTube crash course on how to use a crossbow! Ready or Not manages to juggle the different tones effortlessly, and brilliantly, as Grace goes from terrified scream queen in a pristine white wedding dress, to blood-soaked badass wearing a pair of old converse and brandishing a shotgun. She's the latest in a long line of great female survivors, played to perfection by Samara Weaving. If you liked 2011 movie 'You're Next', then Ready or Not reminded me of that in many ways.
The gothic setting and the suitably wonderful score by Brian Tyler (usually found providing music for MCU movies) all adds to what is a wonderfully short (95 minute), but perfectly paced, completely bonkers thrill ride.
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