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Bethany Fletcher (17 KP) rated Beyond a Darkened Shore in Books
Jun 25, 2018
Contains spoilers, click to show
I had serious mixed feelings about this book. It promised Viking’s and magic and adventure and that was all there no doubt but not really well.
The book opens straight up with a raid. This is great as it shows us Ciara’s abilities and lets us get a feel for the story to come and our characters in general. But then it didn’t live up to this great introduction. There are plenty of action sequences, battles for Dubhlinn, battles with giants, battles with sea serpents, battles with gods, but they were all so short. Seriously almost every battle was over in about three-four pages. It felt like the author had all these great ideas and then didn’t know how to execute them.
The mythology. I was excited for this book as it was a mixture of Celtic and Norse mythology. It definitely had these elements but maybe too much? There were gods and goddesses, fairy tunnels, each-uisch, giants, magic, the wild hunt, sea serpents, Valhalla, these would have all been fine if they had a purpose. Most of these things appear for 5 pages and then are never mentioned again. It read like the author was trying to throw all of the mythology she knew at us and was trying so hard to prove, Look! Magic is real in this world. It wasn’t all necessary.
The characters. I loved Ciara. She stood up for herself, she didn’t care what anyone else thought, she was strong and independent.
Leif. I liked him to start. He was sassy, sarcastic, he stood up for those he thought were getting mistreated. But then, he did some things that made me seriously question his judgement. There is a scene where Ciara cannot sleep so decides to go and find the Viking mage. When she walks into the room full of drunk Viking men on of them attempts to rape her. Leif does help but then blames her for it saying she shouldn’t have put herself in a dangerous situation. Ciara immediately calls him out and says it’s not my fault I almost got raped because I am female. He quickly tries to backtrack but she is having none of it. This made me love Ciara more and start to question Leif.
Another questionable scene is after Ciara finds out something drastic about Leif’s family. She is understandably upset and leaves. Leif proceeds to chase her, threaten to break down her door and then forces himself on her when she opens it. Again Ciara shuts him down asking how her dare kiss her at that moment. He simply wanted her and didn’t want her to be angry. HOW ABOUT DON’T FORCE YOURSLEF ON HER THEN IDIOT?
The ending. The ending felt so rushed. Seriously we fight the giants and goddesses, sail all the way back to Ireland, have another battle and get established back at Ciara’s home all wishing about 50 pages. It was so rushed. Like the writer was nearing a page count and couldn’t go over or something.
Having said all of this I did really enjoy reading the book. It didn’t take very long was a pleasant reading experience. If it sounds like something you would like then go check it out.
The book opens straight up with a raid. This is great as it shows us Ciara’s abilities and lets us get a feel for the story to come and our characters in general. But then it didn’t live up to this great introduction. There are plenty of action sequences, battles for Dubhlinn, battles with giants, battles with sea serpents, battles with gods, but they were all so short. Seriously almost every battle was over in about three-four pages. It felt like the author had all these great ideas and then didn’t know how to execute them.
The mythology. I was excited for this book as it was a mixture of Celtic and Norse mythology. It definitely had these elements but maybe too much? There were gods and goddesses, fairy tunnels, each-uisch, giants, magic, the wild hunt, sea serpents, Valhalla, these would have all been fine if they had a purpose. Most of these things appear for 5 pages and then are never mentioned again. It read like the author was trying to throw all of the mythology she knew at us and was trying so hard to prove, Look! Magic is real in this world. It wasn’t all necessary.
The characters. I loved Ciara. She stood up for herself, she didn’t care what anyone else thought, she was strong and independent.
Leif. I liked him to start. He was sassy, sarcastic, he stood up for those he thought were getting mistreated. But then, he did some things that made me seriously question his judgement. There is a scene where Ciara cannot sleep so decides to go and find the Viking mage. When she walks into the room full of drunk Viking men on of them attempts to rape her. Leif does help but then blames her for it saying she shouldn’t have put herself in a dangerous situation. Ciara immediately calls him out and says it’s not my fault I almost got raped because I am female. He quickly tries to backtrack but she is having none of it. This made me love Ciara more and start to question Leif.
Another questionable scene is after Ciara finds out something drastic about Leif’s family. She is understandably upset and leaves. Leif proceeds to chase her, threaten to break down her door and then forces himself on her when she opens it. Again Ciara shuts him down asking how her dare kiss her at that moment. He simply wanted her and didn’t want her to be angry. HOW ABOUT DON’T FORCE YOURSLEF ON HER THEN IDIOT?
The ending. The ending felt so rushed. Seriously we fight the giants and goddesses, sail all the way back to Ireland, have another battle and get established back at Ciara’s home all wishing about 50 pages. It was so rushed. Like the writer was nearing a page count and couldn’t go over or something.
Having said all of this I did really enjoy reading the book. It didn’t take very long was a pleasant reading experience. If it sounds like something you would like then go check it out.
David McK (3188 KP) rated Blood's Game in Books
Jan 30, 2019
Like, I'm sure, many others, my first exposure to the writings of [a:Angus Donald|584064|Angus Donald|https://s.gr-assets.com/assets/nophoto/user/m_50x66-82093808bca726cb3249a493fbd3bd0f.png] was when I picked up [b:Outlaw|6624899|Outlaw (The Outlaw Chronicles, #1)|Angus Donald|https://images.gr-assets.com/books/1347668868s/6624899.jpg|6819139] on sale: a novel which reimagined the familiar character of Robin Hood, and which I thoroughly enjoyed: so much so that I made it a point to pick up all the novels in that series ([b:Outlaw|6624899|Outlaw (The Outlaw Chronicles, #1)|Angus Donald|https://images.gr-assets.com/books/1347668868s/6624899.jpg|6819139], [b:Holy Warrior|7710240|Holy Warrior (The Outlaw Chronicles, #2)|Angus Donald|https://images.gr-assets.com/books/1327539941s/7710240.jpg|10428506], [b:King's Man|11351795|King's Man (The Outlaw Chronicles, #3)|Angus Donald|https://images.gr-assets.com/books/1328436464s/11351795.jpg|16281574], [b:Warlord|13077584|Warlord (The Outlaw Chronicles, #4)|Angus Donald|https://images.gr-assets.com/books/1342984405s/13077584.jpg|18244685], [b:Grail Knight|20613734|Grail Knight (The Outlaw Chronicles #5)|Angus Donald|https://images.gr-assets.com/books/1410172817s/20613734.jpg|21976159], [b:The Iron Castle|19857964|The Iron Castle (Outlaw Chronicles, #6)|Angus Donald|https://images.gr-assets.com/books/1402550564s/19857964.jpg|27860558] and (finally) [b:The Death of Robin Hood|29348050|The Death of Robin Hood (The Outlaw Chronicles, #8)|Angus Donald|https://images.gr-assets.com/books/1467543641s/29348050.jpg|49585935]).
This, however, would be the first time I had read one of Donald's novels that concerned a different central character, and that had a different setting: would it, I wondered, be more of the same, or would it have it's own 'feel'?
The answer, I can now say, is the latter.
Replacing Alan-a-Dale with Holcroft Blood, and told in the more traditional her-and-know third-person narrative (instead of the conceit of an elderly Alan recalling his youthful adventures with Robin Hood), this particular novel deals with the (attempted) theft of the Crown Jewels from the Tower of England during the reign of King Charles II, not long after the restoration.
While that (attempted) theft is carried out by Thomas Blood - who was caught red-handed but later, incredibly, was granted a pardon by Charles II - this novel does not have Thomas as the central character: rather, instead, we follow the fortunes of his youngest son Holcroft: a son who, throughout the course of this novel, becomes friends with Sir John Churchill, the future Duke of Marlborough (and Winston Churchill's direct descendant).
Whether true or not, young Holcroft is portrayed in this as suffering from a mild form of Asperger's Syndrome, able to easily code and decode correspondence sent to his master The Duke of Buckingham from his various spies and informants: a skill that comes in handy in this tale! I have to say, too, that the court of King Charles II comes across as incredibly decadent, full of scheming and back-stabbing rivals out wholly for themselves ...
I'd be interested in seeing where this series goes, especially as the next entry ([b:Blood's Revolution|36146468|Blood's Revolution|Angus Donald|https://images.gr-assets.com/books/1504033386s/36146468.jpg|57749834]) concerns itself - at least, according to the blurb at the back of this - with what is (in this country - Northern Ireland - at least) a very divisive and pivotal moment in English history.
This, however, would be the first time I had read one of Donald's novels that concerned a different central character, and that had a different setting: would it, I wondered, be more of the same, or would it have it's own 'feel'?
The answer, I can now say, is the latter.
Replacing Alan-a-Dale with Holcroft Blood, and told in the more traditional her-and-know third-person narrative (instead of the conceit of an elderly Alan recalling his youthful adventures with Robin Hood), this particular novel deals with the (attempted) theft of the Crown Jewels from the Tower of England during the reign of King Charles II, not long after the restoration.
While that (attempted) theft is carried out by Thomas Blood - who was caught red-handed but later, incredibly, was granted a pardon by Charles II - this novel does not have Thomas as the central character: rather, instead, we follow the fortunes of his youngest son Holcroft: a son who, throughout the course of this novel, becomes friends with Sir John Churchill, the future Duke of Marlborough (and Winston Churchill's direct descendant).
Whether true or not, young Holcroft is portrayed in this as suffering from a mild form of Asperger's Syndrome, able to easily code and decode correspondence sent to his master The Duke of Buckingham from his various spies and informants: a skill that comes in handy in this tale! I have to say, too, that the court of King Charles II comes across as incredibly decadent, full of scheming and back-stabbing rivals out wholly for themselves ...
I'd be interested in seeing where this series goes, especially as the next entry ([b:Blood's Revolution|36146468|Blood's Revolution|Angus Donald|https://images.gr-assets.com/books/1504033386s/36146468.jpg|57749834]) concerns itself - at least, according to the blurb at the back of this - with what is (in this country - Northern Ireland - at least) a very divisive and pivotal moment in English history.
Sophia (Bookwyrming Thoughts) (530 KP) rated Stone of Destiny in Books
Jan 23, 2020
A few confessions regarding Stone of Destiny:
~ I called this "Souls of Destiny" for quite a while. Good thing no one actually heard me say it...
~ Coincidently, I finished the prequel to Stone of Destiny, The Forgotten Ones, a few days before I got a tour invite. How could I not sign up? Oh, and no mind reading was involved. If that's the case, it's ALWAYS a coincidence. But I do love how some people think I have some sort of psychic ability and start asking about their future. *ominous voice crystal ball and all* "The future holds the unknown...."
Stone of Destiny starts right off from where The Forgotten Ones ended in fact, the last sentence in the previous book? It's the very first sentence in the sequel. If that's not starting straight off from where the last book ended, then please, feel free to correct me. But I'm pretty sure I'm in a sensible mindset.
To my delight, the pronunciation guide has been a tad bit updated. I say tad because Gaelic (Irish?) or any language really, but those with funny symbols like Chinese isn't as easy as the romantic languages is funny and there are a few terms that appear... yet they're not in the guide. One of them I was pretty much too lazy to redownload the first book just to check the pronunciation again. But hey, for those who weren't as fortunate as me aka, you recently read the book not too long ago so the terms are happily fresh in your brain and haven't read the Danaan trilogy for awhile, the pronunciation guide will be a big help!
Meanwhile, Ethan's acting strangely around Allison for awhile to which I'm not exactly happy about, but I'm sort of happy since it doesn't last too long. Plus, while Allison continues to play the "I'm going to avoid Ethan Magliaro forever" game, it's a lot less than it was back in book one even though Ethan pops out in almost every scene of the book. It's a nice change to see those pointy fences coming down to which I'm doing a happy dance. (What? Don't tell me you like pointy fences I'm sure you don't. Unless you like bleeding. Profoundly. Bad idea if you're a hemophiliac.)
Stone of Destiny focuses more on the characters in fact, a few new characters, particularly one that was mentioned back in The Forgotten Ones, make an appearance as well unraveling Aoife's plan/ritual/ceremony/whatchamacallit in Ireland. There's no particularly plot aside from continuing to add building blocks to book one, and while there's no fancy schmancy plot, it was definitely a delight to read Stone of Destiny and to go back to the world of Tir Na Nog. Thing is, Howard sort of has expectations of epic proportions to meet in the last book of the trilogy.
I'm kidding about epic proportions. That's probably reserved for someone like Stephen King, who I actually haven't read.
------------------
Review copy provided by the author for the blog tour
original rating: 4.5 out of 5
original review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/08/blog-tour-stone-of-destiny-by-laura-howard-review-and-giveaway.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
~ I called this "Souls of Destiny" for quite a while. Good thing no one actually heard me say it...
~ Coincidently, I finished the prequel to Stone of Destiny, The Forgotten Ones, a few days before I got a tour invite. How could I not sign up? Oh, and no mind reading was involved. If that's the case, it's ALWAYS a coincidence. But I do love how some people think I have some sort of psychic ability and start asking about their future. *ominous voice crystal ball and all* "The future holds the unknown...."
Stone of Destiny starts right off from where The Forgotten Ones ended in fact, the last sentence in the previous book? It's the very first sentence in the sequel. If that's not starting straight off from where the last book ended, then please, feel free to correct me. But I'm pretty sure I'm in a sensible mindset.
To my delight, the pronunciation guide has been a tad bit updated. I say tad because Gaelic (Irish?) or any language really, but those with funny symbols like Chinese isn't as easy as the romantic languages is funny and there are a few terms that appear... yet they're not in the guide. One of them I was pretty much too lazy to redownload the first book just to check the pronunciation again. But hey, for those who weren't as fortunate as me aka, you recently read the book not too long ago so the terms are happily fresh in your brain and haven't read the Danaan trilogy for awhile, the pronunciation guide will be a big help!
Meanwhile, Ethan's acting strangely around Allison for awhile to which I'm not exactly happy about, but I'm sort of happy since it doesn't last too long. Plus, while Allison continues to play the "I'm going to avoid Ethan Magliaro forever" game, it's a lot less than it was back in book one even though Ethan pops out in almost every scene of the book. It's a nice change to see those pointy fences coming down to which I'm doing a happy dance. (What? Don't tell me you like pointy fences I'm sure you don't. Unless you like bleeding. Profoundly. Bad idea if you're a hemophiliac.)
Stone of Destiny focuses more on the characters in fact, a few new characters, particularly one that was mentioned back in The Forgotten Ones, make an appearance as well unraveling Aoife's plan/ritual/ceremony/whatchamacallit in Ireland. There's no particularly plot aside from continuing to add building blocks to book one, and while there's no fancy schmancy plot, it was definitely a delight to read Stone of Destiny and to go back to the world of Tir Na Nog. Thing is, Howard sort of has expectations of epic proportions to meet in the last book of the trilogy.
I'm kidding about epic proportions. That's probably reserved for someone like Stephen King, who I actually haven't read.
------------------
Review copy provided by the author for the blog tour
original rating: 4.5 out of 5
original review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/08/blog-tour-stone-of-destiny-by-laura-howard-review-and-giveaway.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
BankofMarquis (1832 KP) rated The Banshees of Inisherin (2022) in Movies
Jan 13, 2023
Strong Acting aids Character Study
Back in 2008, Writer/Director Martin McDonagh scored an improbable hit with IN BRUGES, a tale of two hitmen “laying low” in…well…Bruges, Belgium while awaiting instructions from their boss. During this down time these two characters muse about the meanings of life and love in a wonderful, Oscar Nominated, character study.
15 years later, McDonagh does it again with THE BANSHEES OF INISHERIN.
Set in the 1920s in the fictional Island of Inisherin (off the coast of Ireland), BANSHEES reunites Writer/Director McDonagh with his two stars of the previous film - Brendan Gleeson (“Mad Eye” Mooney in the Harry Potter films) and Colin Farrell (unrecognizable as The Penguin in the recent BATMAN movie) - and the resultant character study is just as interesting and intriguing to watch in a setting just as interesting…and breath-takingly beautifully bleak.
McDonagh, more than likely, will be nominated (as he was with IN BRUGES) for his screenplay for this film - it IS Oscar worthy - but for me, he was better as the Director of this character study, pointing his camera with a keen eye and surety in what he wanted to show all the while letting the performers and the countryside tell the story.
Both lead performers (and the Supporting Actors) are perfectly cast. Farrell, as Padraic,is the protagonist - a simple man who just wants to be able to go to the pub everyday and have conversation with his best friend, Colm (Gleeson) who, one day, proclaims that he no longer wants to be friends with Padraic. Padraic, then spends the rest of the film trying to understand why this is so, what happened and what he can do to make amends.
Farrell will earn an Oscar nomination for his portrayal of the simple (but not simple-minded) Padraic who is having a hard time grappling with deeper issues seeping into his simple life. Farrell has really grown into a fine actor and he (at this point in time) has to be considered on of the FrontRunners for the Best Actor Oscar for his work in this film.
Just as good is Gleeson as Colm, the recalcitrant, stoic friend who stubbornly wants nothing to do with Padraic. In lesser hands, this character could have come off as “one-note” being, simply, an immovable object in the way of Padraic’s irresistible force, but in Gleeson’s skilled hands, Colm has layers and depth that seep out through the cracks of his stoney facade. I would not be surprised if Gleeson, too, is nominated for an Oscar (probably in the Supporting category).
These two are capably assisted by Kerry Condon (Stacey Ehrmantraut in BETTER CAUL SAUL) and Barry Keoghn (DUNKIRK) as Padraic’s sister and a friend of both Padraic and Colm (respectively). Both bring their “A” games to this film and truly show the meaning of the term “Supporting” in “Supporting Performance”.
Special mention needs to be made for the Cinematography of Ben Davis (GUARDIANS OF THE GALAXY) who brings beauty to the bleak, stark and harsh Irish countryside. This cinematography is, actually, another character of this piece and brings strong emotional support to the performances.
Not the fastest moving film you will ever see, THE BANSHEES OF INISHERIN is an interesting, intriguing - and beautifully shot - character study that will stay with you long after the film ends.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
15 years later, McDonagh does it again with THE BANSHEES OF INISHERIN.
Set in the 1920s in the fictional Island of Inisherin (off the coast of Ireland), BANSHEES reunites Writer/Director McDonagh with his two stars of the previous film - Brendan Gleeson (“Mad Eye” Mooney in the Harry Potter films) and Colin Farrell (unrecognizable as The Penguin in the recent BATMAN movie) - and the resultant character study is just as interesting and intriguing to watch in a setting just as interesting…and breath-takingly beautifully bleak.
McDonagh, more than likely, will be nominated (as he was with IN BRUGES) for his screenplay for this film - it IS Oscar worthy - but for me, he was better as the Director of this character study, pointing his camera with a keen eye and surety in what he wanted to show all the while letting the performers and the countryside tell the story.
Both lead performers (and the Supporting Actors) are perfectly cast. Farrell, as Padraic,is the protagonist - a simple man who just wants to be able to go to the pub everyday and have conversation with his best friend, Colm (Gleeson) who, one day, proclaims that he no longer wants to be friends with Padraic. Padraic, then spends the rest of the film trying to understand why this is so, what happened and what he can do to make amends.
Farrell will earn an Oscar nomination for his portrayal of the simple (but not simple-minded) Padraic who is having a hard time grappling with deeper issues seeping into his simple life. Farrell has really grown into a fine actor and he (at this point in time) has to be considered on of the FrontRunners for the Best Actor Oscar for his work in this film.
Just as good is Gleeson as Colm, the recalcitrant, stoic friend who stubbornly wants nothing to do with Padraic. In lesser hands, this character could have come off as “one-note” being, simply, an immovable object in the way of Padraic’s irresistible force, but in Gleeson’s skilled hands, Colm has layers and depth that seep out through the cracks of his stoney facade. I would not be surprised if Gleeson, too, is nominated for an Oscar (probably in the Supporting category).
These two are capably assisted by Kerry Condon (Stacey Ehrmantraut in BETTER CAUL SAUL) and Barry Keoghn (DUNKIRK) as Padraic’s sister and a friend of both Padraic and Colm (respectively). Both bring their “A” games to this film and truly show the meaning of the term “Supporting” in “Supporting Performance”.
Special mention needs to be made for the Cinematography of Ben Davis (GUARDIANS OF THE GALAXY) who brings beauty to the bleak, stark and harsh Irish countryside. This cinematography is, actually, another character of this piece and brings strong emotional support to the performances.
Not the fastest moving film you will ever see, THE BANSHEES OF INISHERIN is an interesting, intriguing - and beautifully shot - character study that will stay with you long after the film ends.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Story: 71 starts as we see Gary Hook (O’Connell) going through his training with his regiment before they get deployed to Belfast to deal with the riot situation. In Ireland the regiment receive their instructions and onto the Catholic side of the war. When the riots get out of hand Gary finds himself on the wrong side of the barrier alone and unarmed in the Irish territory.
With tensions rising Gary finds himself in the middle of the battle not knowing which side to trust as both side are preparing to attack each other as Gary learns the harsh reality of what these riots are causing.
71 puts us into the middle of the Irish riots showing just one soldier’s experience behind enemy lines, this works well. My issue with the story is unless you know the history which I only know the basics you are left kind of wondering why the riots are happening in the first place. Another problem I found was telling what was going on with the supporting characters like who was on whose side which I do understand adds to the mystery but in this situation we should be able to identify them easily. As a film about survival in an urban setting this is great though.
Actor Review
Jack O’Connell: Gary Hook is the young soldier who is on his first mission on the streets on Belfast during the riots of 71, trying to receive a lost weapon he gets separated by his unit and stranded alone behind enemy lines never sure who to trust. Jack is great in this leading role in what was an outstanding year for the young actor.gary
Sam Reid: Lt. Armitage is one of the men that wants to start searching for Gary but constantly gets put down Captain Browning. Sam is solid in this role but doesn’t get enough screen time.
Sean Harris: Captain Sandy Browning is the man running the situation he knows that Gary is alive but really is playing both sides of the battle. Sean is also solid but only in a supporting role.
Killian Scott: Quinn is one of the leaders out trying to kill Gary, he takes his men and boys out on the streets on the hunt for him and will hurt anyone who gets in his way. Killian is good in what seems like one of the primary villains.
Support Cast: 71 has a large supporting cast but working out which side they are on gets confusing at times.
Director Review: Yann Demange – Yann gives us wonderfully shot sequences throughout but not enough back story to the events on the film.
Action: 71 has intensely shot action sequences involved.
Thriller: 71 keeps us on edge as we watch Gary trying to survive the warzone.
War: 71 puts us into a warzone as we see Gary trying to avoid conflict seemingly around every single corner.
Settings: 71 puts us in the warzone of the Belfast streets which really works to pull us into the story.
Special Effects: 71 has great effects when needed without having to just go overboard with them.
Suggestion: 71 is one for fans of the genre but otherwise people might find it slightly hard to keep up with. (War Film Fans Watch)
Best Part: Bomb shock.
Worst Part: Not enough history of the events.
Believability: The riots were real but story is fictional.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Behind Enemy Lines
Awards: Nominated for One BAFTA.
Oscar Chances: No
Runtime: 1 Hour 39 Minutes
Trivia: Most scenes within the film were shot in Northern England, not in the film’s setting of Belfast.
Overall: Good history war thriller that is intense but never fully drags you into believing everything.
https://moviesreview101.com/2016/11/08/71-2014/
With tensions rising Gary finds himself in the middle of the battle not knowing which side to trust as both side are preparing to attack each other as Gary learns the harsh reality of what these riots are causing.
71 puts us into the middle of the Irish riots showing just one soldier’s experience behind enemy lines, this works well. My issue with the story is unless you know the history which I only know the basics you are left kind of wondering why the riots are happening in the first place. Another problem I found was telling what was going on with the supporting characters like who was on whose side which I do understand adds to the mystery but in this situation we should be able to identify them easily. As a film about survival in an urban setting this is great though.
Actor Review
Jack O’Connell: Gary Hook is the young soldier who is on his first mission on the streets on Belfast during the riots of 71, trying to receive a lost weapon he gets separated by his unit and stranded alone behind enemy lines never sure who to trust. Jack is great in this leading role in what was an outstanding year for the young actor.gary
Sam Reid: Lt. Armitage is one of the men that wants to start searching for Gary but constantly gets put down Captain Browning. Sam is solid in this role but doesn’t get enough screen time.
Sean Harris: Captain Sandy Browning is the man running the situation he knows that Gary is alive but really is playing both sides of the battle. Sean is also solid but only in a supporting role.
Killian Scott: Quinn is one of the leaders out trying to kill Gary, he takes his men and boys out on the streets on the hunt for him and will hurt anyone who gets in his way. Killian is good in what seems like one of the primary villains.
Support Cast: 71 has a large supporting cast but working out which side they are on gets confusing at times.
Director Review: Yann Demange – Yann gives us wonderfully shot sequences throughout but not enough back story to the events on the film.
Action: 71 has intensely shot action sequences involved.
Thriller: 71 keeps us on edge as we watch Gary trying to survive the warzone.
War: 71 puts us into a warzone as we see Gary trying to avoid conflict seemingly around every single corner.
Settings: 71 puts us in the warzone of the Belfast streets which really works to pull us into the story.
Special Effects: 71 has great effects when needed without having to just go overboard with them.
Suggestion: 71 is one for fans of the genre but otherwise people might find it slightly hard to keep up with. (War Film Fans Watch)
Best Part: Bomb shock.
Worst Part: Not enough history of the events.
Believability: The riots were real but story is fictional.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Behind Enemy Lines
Awards: Nominated for One BAFTA.
Oscar Chances: No
Runtime: 1 Hour 39 Minutes
Trivia: Most scenes within the film were shot in Northern England, not in the film’s setting of Belfast.
Overall: Good history war thriller that is intense but never fully drags you into believing everything.
https://moviesreview101.com/2016/11/08/71-2014/
Chris Sawin (602 KP) rated The Boondock Saints II: All Saints Day (2009) in Movies
Jun 22, 2019
**I was really high on this film after seeing it in theaters in 2009. I haven't seen the film since or edited the review since seeing it. I feel like it hasn't aged well over the past decade; hence the average rating. This is my original review though.**
It's been eight years since Connor (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) have gone into hiding after assassinating Giuseppe Yakavetta in public. Now living on a sheep farm in Ireland with their father, Noah "Il Duce" MacManus (Billy Connolly), everything is relatively quiet in their lives. That is until their uncle, Father Sibeal MacManus, visits them and informs them that a priest was killed in a church back in Boston and made it look like the MacManus brothers had come out of hiding. The brothers waste little time digging up their old clothes and Berettas to head back to Boston to figure out just who is behind this while continuing to rid the world of as many criminal overlords as they can along the way.
What can be considered a worthy sequel, especially when it's a sequel to a film that has reached cult like status? A sequel has to at least be as good as the original film, if not better. In fact, the sequel should attempt to be better than the original film otherwise why visit the same material again? A worthy sequel should bring together most, if not all, of the original cast, have a solid storyline, and be entertaining above all else. The Boondock Saints II: All Saints Day is such a sequel as it's everything the first film was and then some.
As great as the first film is, All Saints Day just felt bigger and more entertaining overall. The story is simple, but effective. The easiest way to flush somebody out who's gone into hiding is to flush them out yourself by using their MO, but is it ever really that easy? There's always something bigger going on with a setup like that and the payoff is just as sweet as the buildup. The dialogue and a lot of the arguing between the MacManus brothers in the original film was hilarious at times. The arguing between the brothers in the sequel doesn't miss a beat as the ten year gap between films hasn't affected Troy Duffy's writing at all. The addition of Clifton Collins Jr as Romeo was brilliant in terms of entertainment value as Romeo steals quite a few scenes and has some pretty incredible one liners throughout the film.
A sequel's ending is just as important as it being an acceptable addition to the franchise it finds itself a part of. The ending to All Saints Day not only satisfied my appetite, but also left me craving the next film and wishing there was another hour or two to the duration of the film. There's something in the last few minutes of the sequel that's a throwback to the original film that just absolutely blew me away since I wasn't expecting it at all. The ending managed to wrap up just about everything to that point and tease another film. It's very rare that a sequel like that is satisfying, but All Saints Day managed to pull it off.
The Boondock Saints II: All Saints Day is a sequel that lives up to the cult status achieved in the original film by delivering a film that is nearly better than its predecessor in every way. It hardly feels like there's ten years between the two films as everything between familiar characters feels just as natural as it did in the original film. There's no doubt in my mind that if you enjoyed the original film that you'll enjoy the explosive sequel. The saints are comin' and I highly recommend you pay them a visit.
It's been eight years since Connor (Sean Patrick Flanery) and Murphy MacManus (Norman Reedus) have gone into hiding after assassinating Giuseppe Yakavetta in public. Now living on a sheep farm in Ireland with their father, Noah "Il Duce" MacManus (Billy Connolly), everything is relatively quiet in their lives. That is until their uncle, Father Sibeal MacManus, visits them and informs them that a priest was killed in a church back in Boston and made it look like the MacManus brothers had come out of hiding. The brothers waste little time digging up their old clothes and Berettas to head back to Boston to figure out just who is behind this while continuing to rid the world of as many criminal overlords as they can along the way.
What can be considered a worthy sequel, especially when it's a sequel to a film that has reached cult like status? A sequel has to at least be as good as the original film, if not better. In fact, the sequel should attempt to be better than the original film otherwise why visit the same material again? A worthy sequel should bring together most, if not all, of the original cast, have a solid storyline, and be entertaining above all else. The Boondock Saints II: All Saints Day is such a sequel as it's everything the first film was and then some.
As great as the first film is, All Saints Day just felt bigger and more entertaining overall. The story is simple, but effective. The easiest way to flush somebody out who's gone into hiding is to flush them out yourself by using their MO, but is it ever really that easy? There's always something bigger going on with a setup like that and the payoff is just as sweet as the buildup. The dialogue and a lot of the arguing between the MacManus brothers in the original film was hilarious at times. The arguing between the brothers in the sequel doesn't miss a beat as the ten year gap between films hasn't affected Troy Duffy's writing at all. The addition of Clifton Collins Jr as Romeo was brilliant in terms of entertainment value as Romeo steals quite a few scenes and has some pretty incredible one liners throughout the film.
A sequel's ending is just as important as it being an acceptable addition to the franchise it finds itself a part of. The ending to All Saints Day not only satisfied my appetite, but also left me craving the next film and wishing there was another hour or two to the duration of the film. There's something in the last few minutes of the sequel that's a throwback to the original film that just absolutely blew me away since I wasn't expecting it at all. The ending managed to wrap up just about everything to that point and tease another film. It's very rare that a sequel like that is satisfying, but All Saints Day managed to pull it off.
The Boondock Saints II: All Saints Day is a sequel that lives up to the cult status achieved in the original film by delivering a film that is nearly better than its predecessor in every way. It hardly feels like there's ten years between the two films as everything between familiar characters feels just as natural as it did in the original film. There's no doubt in my mind that if you enjoyed the original film that you'll enjoy the explosive sequel. The saints are comin' and I highly recommend you pay them a visit.
Bob Mann (459 KP) rated The Light Between Oceans (2016) in Movies
Sep 29, 2021
“You only have to forgive once. To resent, you have to do it all day, every day”.
In my review of “The Two Faces of January” I described it as a film that “will be particularly enjoyed by older viewers who remember when story and location were put far ahead of CGI-based special effects”. In watching this film I was again linking in my mind to that earlier film… and that was before the lead character suddenly brought up the two faces of Janus!
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
For this is a good old-fashioned weepy melodrama: leisurely, character based and guaranteed to give the tear ducts a good old cleaning out.
It’s 1918 and Michael Fassbender plays Tom Sherbourne, a damaged man seeking solitude and reflection after four years of hell in the trenches. As a short-term job he takes the post of lighthouse keeper on the isolated slab of rock called Janus – sat between two oceans (presumably as this is Western Australia, the Indian and the Southern Oceans). The isolation of the job previously sent his predecessor off his trolley.
En route to his workplace he is immediately attracted to headmaster’s daughter Isabel (Alicia Vikander) who practically THROWS herself at Tom (the hussy), given that they only have snatches of a day at a time to be together during shore leave. Tom falls for her (as a hot blooded man, and with Vikander’s performance, this is entirely believable!) and the two marry to retire to their ‘fortress of solitude’ together to raise a family and live happily ever after…. or not… For the path of true motherhood runs not smoothly for poor Isabel, and a baby in a drifting boat spells both joy and despair for the couple as the story unwinds.
(I’ll stop my synopsis there, since I think the trailer – and other reviews I’ve read – give too much away).
While Fassbender again demonstrates what a mesmerising actor he is, the acting kudos in this one really goes again to Vikander, who pulls out all the stops in a role that demands fragility, naivety, resentment, anger and despair across its course. While I don’t think the film in general will trouble the Oscars, this is a leading actress performance that I could well see nominated. In a supporting role, with less screen-time, is Rachel Weisz who again needs to demonstrate her acting stripes in a demanding role. (Also a shout-out to young Florence Clery who is wonderfully naturalistic as the 4 year old Lucy-Grace.)
So this is a film with a stellar class, but it doesn’t really all gel together satisfyingly into a stellar – or at least particularly memorable – movie. After a slow start, director Derek Cianfrance (“The Place Beyond the Pines”) ladles on the melodrama interminably, and over a two hour running time the word overwrought comes to mind.
The script (also by Cianfrance, from the novel by M.L.Stedman) could have been tightened up, particularly in the first reel, and the audience given a bit more time to reflect and absorb in the second half.
The film is also curiously ‘place-less’. I assumed this was somewhere off Ireland until someone suddenly starting singing “Waltzing Matilda” (badly) and random people started talking in Aussie accents: most strange.
Cinematography by Adam Arkapaw (“Macbeth”) is also frustratingly inconsistent. The landscapes of the island, steam trains, sunsets and the multiple boatings in between is just beautiful (assisted by a delicate score by the great Alexandre Desplat which is well used) but get close up (and the camera does often get VERY close up) and a lack of ‘steadicam’ becomes infuriating, with faces dancing about the screen and – in one particular scene early on – wandering off on either side with the camera apparently unsure which one to follow!
A memorable cinema experience only for Vikander’s outstanding performance. Now where are those tissues…
Bob Mann (459 KP) rated The Last Duel (2021) in Movies
Oct 28, 2021
Three nuanced perspectives on a winter’s tale.
In Ridley Scott’s new movie “The Last Duel” we are in the late 14th century in France. And – apart from in one scene – it appears to be perpetual winter!
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Plot Summary:
Widowed Jean de Carrouges (Matt Damon) is a battle-hardened warrior, loyal to King Charles VI of France (Alex Lawther). He is becoming progressively estranged from his one-time friend Jacques Le Gris (Adam Driver), a personal favourite of Normandy ruler Pierre d’Alençon (Ben Affleck).
But Carrouges’ lovely new wife Marguerite (Jodie Comer) accuses Le Gris of a terrible crime. But who is telling the truth? Only God can decide, as Carrouges and Le Gris must duel to the death.
Certification:
US: R. UK: 18.
Talent:
Starring: Jodie Comer, Matt Damon, Adam Driver, Ben Affleck.
Directed by: Ridley Scott.
Written by: Matt Damon, Ben Affleck and Nicole Holofcener.
“The Last Duel” Review: Positives:
It’s an intriguing script – the first collaboration between Damon and Affleck since their Oscar-winning “Good Will Hunting” from 25 years ago. It presents 3 different versions of “the truth” from three different perspectives. (One of these – Marguerite’s version – is suggested as being the ‘actual’ truth through a clever delayed fade of the chapter title). Many of the same scenes are repeated in each variant: sometimes with obvious differences in fact; sometimes with the slightest nuance of tone or expression; and sometimes with no change to the visuals, but with the benefit of hearing the dialogue being spoken. Very clever.
“Killing Eve”‘s Jodie Comer is just brilliant here. She is the master of nuanced expression, and she genuinely deserves an Oscar nomination for this work. Combined with her great and fun role in the surprise summer hit “Free Guy“, Comer is surely on a path to movie acting greatness.
Damon, Driver and Affleck also have great fun with their roles: they are all eminently watchable and this is a study in acting greatness. But I particularly loved Alex Lawther’s turn as the king: all excitable childish power in the body of a young adult.
Battle scenes and the final duel are delivered in visceral nature reminiscent of Ridley Scott’s famous battle and arena scenes in “Gladiator”.
Excellent production design and special effects on show here. Another Oscar nomination perhaps? The movie was filmed in the Dordogne region of France and also – after a 2020 Covid lockdown – in Ireland.
Negatives:
At two and a half hours it’s another long film (is October 2021 designated long film month??). And although the nuances between the different versions of reality are fascinating, there’s a degree of tedium involved in rehashing the same scenes (in some cases) for the third time. Arguably I think a few of these re-versions could have been omitted to reduce the bladder-testing run time.
Summary Thoughts on “The Last Duel”
This is Ridley Scott back on top form again. I found this a gripping watch. As the film opens, we are teased with the start of the ‘boss level’ duel between Damon and Driver. But these final dramatic scenes are the emotional lynchpin of the movie since only then do you understand the background and the ramifications of the fight.
Evidently, 14th Century France was NOT a great time for sexual equality. Women were merely chattels, denied not only fair play and self-determination, but also the bedroom niceties of foreplay and, in most cases, orgasms. As the story was based on real events, the courage and determination of Marguerite of Carrouges were extraordinary. And Jodie Comer’s portrayal of her wonderfully demonstrates, yet again, why she is the UK’s most exciting acting export for many years.
Kristy H (1252 KP) rated Sweet Little Lies in Books
Mar 18, 2019
Perplexing, well-written tale
Young Detective Constable Catrina (Cat) Kinsella hasn't had the easiest of lives--she didn't get along well with her father and her mother has since passed away. At twenty-six, Cat is in counseling after a traumatic incident while on the job, and she spends most of her nights alone, plagued by insomnia. She isn't close to her family, including her father, sister, or brother. Her latest case is that of thirty-five-year old Alice Lapaine, who is found murdered and dumped in Leamington Square. Alice too led a solitary life, spending weeks away from her husband, Thomas, who quickly becomes the team's top suspect. But then they receive a call--Alice isn't Alice, but rather Maryanne Doyle, a teenager who went missing in Ireland nearly twenty years ago. Suddenly, Cat's world is upside down. After all, she knew Maryanne, whom her family met while visiting Cat's grandmother when Cat was eight. And Cat has always suspected her father had something to do with Maryanne's sudden disappearance. Cat chooses not to tell her DCI about the linkages between Maryanne and her father, but this choice may have serious consequences: for Cat, her career, and her entire family.
"I feel it's necessary to make clear that I know nothing about what happened to Maryanne Doyle, the girl who went to Riley's for hairspray and never came back. I have my suspicions, of course. I speculate plenty, especially after white wine. But when it comes right down to it, I actually know nothing. The same cannot be said of my father."
This was an interesting, complicated tale. The mystery aspect of it was actually really fascinating, with the linkages slowly building between Alice and Maryanne, as we try to figure out what happened between Maryanne disappearing as a teen, her becoming Alice and then winding up murdered. Overall, I really enjoyed that part of the book. Frear has a lot of good surprises for us, and I was kept guessing for most of the novel.
The personal side of the book was a little harder for me. Don't get me wrong, I did like Cat. She certainly is a complicated character. I have to admit that characters that don't tell the truth or narratives that revolve around this aspect of keeping the truth hidden can be a bit of a pet peeve of mine. So basically an entire book that involves the main character keeping such a big secret (my Dad knew my murder victim, who was found a few paces outside the pub he owns)--that was tough for me. The more involved Cat gets in her case and the more entwined the case becomes with her own life and past: ugh. It all felt a little wrong and icky for me.
Honestly, I probably would have enjoyed this book more if the personal ties to Cat weren't there, or weren't so strong. I recognize they existed to give her depth and add more to the story and case, but they just made me uncomfortable and almost added an extra layer to the mystery that I felt wasn't necessary. Things were already twisty enough, it seemed as we didn't need this whole additional convoluted element with Cat's family. But maybe that's just me and my aversion to lying and such. (I don't even like when this happens in movies and eventually you know it's all going to come out and bad things will happen.)
This is not a simple book, and the story told is a perplexing and sophisticated one: you really have to be ready to follow along. On the plus side, it's original, and the characters are rather unique. I'm intrigued that it looks like Cat will be part of a series. I did like this book, even if some elements were a little harder for me to enjoy, and it was well-written. I'd certainly pick up the next book in a series and perhaps if her family wasn't so entwined in her case, enjoy it even more.
I received a copy of this book from the publisher and Edelweiss in return for an unbiased review (thank you!).
"I feel it's necessary to make clear that I know nothing about what happened to Maryanne Doyle, the girl who went to Riley's for hairspray and never came back. I have my suspicions, of course. I speculate plenty, especially after white wine. But when it comes right down to it, I actually know nothing. The same cannot be said of my father."
This was an interesting, complicated tale. The mystery aspect of it was actually really fascinating, with the linkages slowly building between Alice and Maryanne, as we try to figure out what happened between Maryanne disappearing as a teen, her becoming Alice and then winding up murdered. Overall, I really enjoyed that part of the book. Frear has a lot of good surprises for us, and I was kept guessing for most of the novel.
The personal side of the book was a little harder for me. Don't get me wrong, I did like Cat. She certainly is a complicated character. I have to admit that characters that don't tell the truth or narratives that revolve around this aspect of keeping the truth hidden can be a bit of a pet peeve of mine. So basically an entire book that involves the main character keeping such a big secret (my Dad knew my murder victim, who was found a few paces outside the pub he owns)--that was tough for me. The more involved Cat gets in her case and the more entwined the case becomes with her own life and past: ugh. It all felt a little wrong and icky for me.
Honestly, I probably would have enjoyed this book more if the personal ties to Cat weren't there, or weren't so strong. I recognize they existed to give her depth and add more to the story and case, but they just made me uncomfortable and almost added an extra layer to the mystery that I felt wasn't necessary. Things were already twisty enough, it seemed as we didn't need this whole additional convoluted element with Cat's family. But maybe that's just me and my aversion to lying and such. (I don't even like when this happens in movies and eventually you know it's all going to come out and bad things will happen.)
This is not a simple book, and the story told is a perplexing and sophisticated one: you really have to be ready to follow along. On the plus side, it's original, and the characters are rather unique. I'm intrigued that it looks like Cat will be part of a series. I did like this book, even if some elements were a little harder for me to enjoy, and it was well-written. I'd certainly pick up the next book in a series and perhaps if her family wasn't so entwined in her case, enjoy it even more.
I received a copy of this book from the publisher and Edelweiss in return for an unbiased review (thank you!).
Emma @ The Movies (1786 KP) rated Wolfwalkers (2020) in Movies
Oct 11, 2020
Coming into this I wasn't sure what to expect, an animated Apple TV film... hmm.
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html