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LeftSideCut (3778 KP) rated The Witcher - Season 1 in TV
Jan 9, 2020 (Updated Jan 22, 2020)
An exceptional start to the show
The Witcher is a show I've been excited about for some time.
I've never read the books, and to be honest, only slightly dabbled in the video games, but the idea of seeing the exploits of Geralt of Rivea on screen was a prospect I was ready for.
Henry Cavill is great as the titular Witcher, I've heard people complain that he's a bit too brooding, doesn't say a whole lot etc, but it's to my understanding that this is his character, and it works well when put alongside the other two leads.
Anya Chalotra as Yennefer is the star of this season for sure. Her story is one of pain, and triumph, and the constant longing for something more. It's frequently emotional, and at times difficult to watch, and the series pulls no punches when it comes to what it wants to show.
Her character transformation both physically and mentally is superb, and well realised.
And then we have Freya Allen playing Ciri, a princess on the run when her home and city is sacked and burned by the main villains Nilfgaard.
Her role is a little more straightforward, as she spends the season hiding and fleeing, all whilst looking for Geralt.
The three separate storylines work very well alongside each other, as they slowly start to come together over the course of the eight episode season.
The stories timeline seems all over the place at first, and for some may be quite jarring, but it does begin to make sense the further in it gets. If you've been put off by this aspect initially, then please stick with it!
The cinematography is frequently gorgeous, and the CGI is mostly passable (there are some dodgy moments here and there, but surely that's to be expected from a first season), and it's nice to see creatures bought to life that even I recognise from my short time spent with the games.
The music score is beautiful - Sonya Belousova and Giona Ostinelli have created a score that sticks with you after watching (a highlight is the music attached to Aretuza and the mages).
Overall, it's an exceptionally strong start to a new ambitious series. I can't wait to see where it goes from here!
I've never read the books, and to be honest, only slightly dabbled in the video games, but the idea of seeing the exploits of Geralt of Rivea on screen was a prospect I was ready for.
Henry Cavill is great as the titular Witcher, I've heard people complain that he's a bit too brooding, doesn't say a whole lot etc, but it's to my understanding that this is his character, and it works well when put alongside the other two leads.
Anya Chalotra as Yennefer is the star of this season for sure. Her story is one of pain, and triumph, and the constant longing for something more. It's frequently emotional, and at times difficult to watch, and the series pulls no punches when it comes to what it wants to show.
Her character transformation both physically and mentally is superb, and well realised.
And then we have Freya Allen playing Ciri, a princess on the run when her home and city is sacked and burned by the main villains Nilfgaard.
Her role is a little more straightforward, as she spends the season hiding and fleeing, all whilst looking for Geralt.
The three separate storylines work very well alongside each other, as they slowly start to come together over the course of the eight episode season.
The stories timeline seems all over the place at first, and for some may be quite jarring, but it does begin to make sense the further in it gets. If you've been put off by this aspect initially, then please stick with it!
The cinematography is frequently gorgeous, and the CGI is mostly passable (there are some dodgy moments here and there, but surely that's to be expected from a first season), and it's nice to see creatures bought to life that even I recognise from my short time spent with the games.
The music score is beautiful - Sonya Belousova and Giona Ostinelli have created a score that sticks with you after watching (a highlight is the music attached to Aretuza and the mages).
Overall, it's an exceptionally strong start to a new ambitious series. I can't wait to see where it goes from here!
KalJ95 (25 KP) rated God of War in Video Games
Jan 3, 2020
The most gripping and emotionally engaging narrative in years. (2 more)
Combat is brutal and satisfying.
The one take camera is an astonishing achievement.
Powerful Playstation Epic.
Back in 2015, gaming hit its peak, and the new generation really came into full effect. Bloodborne, MGS V: The Phantom Pain, Rise of the Tomb Raider, just some games to hit the same year, but what really made me question just how incredible video games could become, was The Witcher 3: Wild Hunt. Since then, I found games that reached similar levels, but never peaked as much as that. Until God of War.
God of War engaged with me so much because at the time I was trying with my other half to have a child, and persistent family issues meant I no longer spoke to my father. Following the story of Kratos and Atreus really hit home, and I've never felt so gripped and emotionally attached to fictional characters. Every beat of the narrative is put there to for purpose, and to carry weight along this epic journey with a father and son. It packs so much intensity at times it becomes enthralling, almost addictive to continue its 25 hour length. This, I suppose, you could say is it's one part of two contained within the game.
Of course, there are levels upon levels to examine within this masterpiece, but simplifying it within two aspects seems the most appropriate way. The second is the combat.
God of War is brutal, bloody, bold. The simplicity to master the move sets is so brilliant and often bonkers. Throwing your trusty Leviathan Axe, and calling it back never, ever gets boring, and pushes you to become more intelligent with its system. The more the game enters its next stage, a curveball hits you, and you have to learn what you know already, and add even more creativity. By the end, you should be an expert. That is until you meet the Queen Valkyrie. That's all I'll say.
God of War is a masterpiece. Sure, there could of been a little more meat on the bone when it came to the endgame, more side mission content. But the story is so perfect, so masterful, it deserves every bit of praise it gathers.
God of War engaged with me so much because at the time I was trying with my other half to have a child, and persistent family issues meant I no longer spoke to my father. Following the story of Kratos and Atreus really hit home, and I've never felt so gripped and emotionally attached to fictional characters. Every beat of the narrative is put there to for purpose, and to carry weight along this epic journey with a father and son. It packs so much intensity at times it becomes enthralling, almost addictive to continue its 25 hour length. This, I suppose, you could say is it's one part of two contained within the game.
Of course, there are levels upon levels to examine within this masterpiece, but simplifying it within two aspects seems the most appropriate way. The second is the combat.
God of War is brutal, bloody, bold. The simplicity to master the move sets is so brilliant and often bonkers. Throwing your trusty Leviathan Axe, and calling it back never, ever gets boring, and pushes you to become more intelligent with its system. The more the game enters its next stage, a curveball hits you, and you have to learn what you know already, and add even more creativity. By the end, you should be an expert. That is until you meet the Queen Valkyrie. That's all I'll say.
God of War is a masterpiece. Sure, there could of been a little more meat on the bone when it came to the endgame, more side mission content. But the story is so perfect, so masterful, it deserves every bit of praise it gathers.
Gareth von Kallenbach (980 KP) rated War Horse (2011) in Movies
Aug 7, 2019
“War Horse” is one of Steven Spielberg’s newest silver screen stories. His flair and panache are present, as ever. This gorgeous film pulls on the heart strings, and plays on several different emotional chords.
The story starts as you might guess: a young British lad, Albert Narracot, who is present at the birth of our four-legged hero, Joey the horse, becomes immediately entranced by the grace and majesty of said equine. As any equestrian will tell you, a bond between person and horse is about as magical and mysterious as this film alludes to.
As Joey the horse comes of age, Albert’s father, a drunk, down-and-out soldier-turned-farmer, also sees the beauty of this animal, and bids exceedingly high at auction to win Joey, but does so against his own landlord.
Albert’s father comes home with the horse, intent upon using this thoroughbred as a workhorse, tilling fields instead of running free. Unfortunately for Albert, demands on the farm soon force the horse to be sold, in order to save the family’s home. The British military purchases Joey, and off starts the wild adventure of one horse through the landscape of World War II.
Though many of the scenarios Joey faces are fantastical, this film mixes moments of great sadness, brutal war scenes and amazing joy, sprinkled throughout with laugh-out-loud humor. The unexpected humor accentuates the film, though it occasionally feels awkward, since the subject matter doesn’t lend itself to laughter and merriment. Perhaps this is what makes it so unique; it’s a delightful departure from sad stories that only have a single uplifting moment at the end.
A word of caution to all horse lovers: Joey the horse experiences what the director wants us to perceive as great physical pain, in various parts of the film. I can imagine for some equestrians this will be a bit much to handle.
The only major flaw I found in this film is that they made the horse appear overly intelligent. While I know horses to be very intelligent creatures, there was one scene in particular where Joey took the place of his buddy (another horse) in such dramatic fashion that it seems far too human-like to be plausible.
All in all, the film is a win. The cinematography alone is captivatingly beautiful. The acting, writing and music make up for whatever the film lacks in realism regarding the horse’s fantastical journey.
The story starts as you might guess: a young British lad, Albert Narracot, who is present at the birth of our four-legged hero, Joey the horse, becomes immediately entranced by the grace and majesty of said equine. As any equestrian will tell you, a bond between person and horse is about as magical and mysterious as this film alludes to.
As Joey the horse comes of age, Albert’s father, a drunk, down-and-out soldier-turned-farmer, also sees the beauty of this animal, and bids exceedingly high at auction to win Joey, but does so against his own landlord.
Albert’s father comes home with the horse, intent upon using this thoroughbred as a workhorse, tilling fields instead of running free. Unfortunately for Albert, demands on the farm soon force the horse to be sold, in order to save the family’s home. The British military purchases Joey, and off starts the wild adventure of one horse through the landscape of World War II.
Though many of the scenarios Joey faces are fantastical, this film mixes moments of great sadness, brutal war scenes and amazing joy, sprinkled throughout with laugh-out-loud humor. The unexpected humor accentuates the film, though it occasionally feels awkward, since the subject matter doesn’t lend itself to laughter and merriment. Perhaps this is what makes it so unique; it’s a delightful departure from sad stories that only have a single uplifting moment at the end.
A word of caution to all horse lovers: Joey the horse experiences what the director wants us to perceive as great physical pain, in various parts of the film. I can imagine for some equestrians this will be a bit much to handle.
The only major flaw I found in this film is that they made the horse appear overly intelligent. While I know horses to be very intelligent creatures, there was one scene in particular where Joey took the place of his buddy (another horse) in such dramatic fashion that it seems far too human-like to be plausible.
All in all, the film is a win. The cinematography alone is captivatingly beautiful. The acting, writing and music make up for whatever the film lacks in realism regarding the horse’s fantastical journey.
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