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Ivana A. | Diary of Difference (1171 KP) rated Warcross in Books
Dec 13, 2018
Full review can be found on my blog: www.diaryofdifference.com
A fantasy of a virtual world, and a game that brings people together. A story of a girl that struggles to pay her rent, and her ability to hack the most important game of the year - Warcross. And when the creator of Warcross hires her, needing her help - she begins her adventure.
From the first moment that I read the synopsis of Warcross, I knew I wanted to have this book on my shelf and read it immediately. A couple of reasons stand behind this story:
* A girl is a main character, and a fierce one. As boring it might seem, I love a book with brave characters, especially if it’s a teen girl. I think when girls are featured as brave and fearless in books, it gives encouragement to a lot of girls reading the book, that are struggling through their teenage years.
* I am a vivid video games player. I play a lot of games, and this is something you might not have known about me. Feel free to ask me anything in the comments. I love the gaming community, and I believe that if it weren’t for the video games, I wouldn’t be who I am today.
* If you haven’t read it, you have all probably heard about Ready Player One. I absolutely loved it, and watched the movie, and I am still in love with it. And when book reviewers started comparing Warcross to Ready Player One, I had to see if this was true. I just had to check for myself.
And then, I got this book as a birthday gift from my boyfriend. So here we are, a few reasons after, me having read this book and telling you all what I thought.
Firstly, I feel like I need to say this - Warcross is nothing like Ready Player One.
Yes, we have a virtual world, and (surprise) virtual characters in the world. And yes, there is a game and the creator of the game is involved. But the whole plot and story are so much different in so many ways.
The descriptions of the virtual world, the story lines, the dialogues, the way the story flows, the romance - it is all unique and original.
And for you out there that compare this to Ready Player One - it is as if you are comparing Romeo and Juliet and Tristan and Isolde, only because they both have a plot of romance and forbidden love. It is ridiculous, let me tell you.
Even though the Warcross game as its own was brilliantly explained and described, I felt like we didn’t see much of the rest of the virtual world. I loved the way Marie Lu would talk about the world - so much passion in each chapter.
The discussion opens on virtual reality and the worlds that could be created. It is not a matter of whether it will happen, but when? I keep thinking I might be alive when we will live in a world of ''virtuality''. Would we be happier? Would we be smarter? Or would this just be another tool for people to get richer, by using its users? Is the future scary? Should it be?
Emika is a character I think many girls will relate to. Brave and fierce, even though she is afraid inside. A strong, young woman, that stands for what she believes in, even when this might mean losing the people she loves the most.
The story flows so quickly, and each end of the chapter begs you to start another one, and before you know it, it’s 4am and you keep reading, unable to stop. This book has some strange power right there!
The twists were interesting, even though some of them were predictable. Even with the knowledge of this, I would always miss something amazing, and even knowing what will happen, the experience was always pleasant.
I am so glad I got to read this book, and I am so excited to read Wildcard soon as well. I am definitely recommending this to all of you - I am sure you will enjoy it.
If you have read it, let me know what you think in the comments - I would love to discuss it!
A fantasy of a virtual world, and a game that brings people together. A story of a girl that struggles to pay her rent, and her ability to hack the most important game of the year - Warcross. And when the creator of Warcross hires her, needing her help - she begins her adventure.
From the first moment that I read the synopsis of Warcross, I knew I wanted to have this book on my shelf and read it immediately. A couple of reasons stand behind this story:
* A girl is a main character, and a fierce one. As boring it might seem, I love a book with brave characters, especially if it’s a teen girl. I think when girls are featured as brave and fearless in books, it gives encouragement to a lot of girls reading the book, that are struggling through their teenage years.
* I am a vivid video games player. I play a lot of games, and this is something you might not have known about me. Feel free to ask me anything in the comments. I love the gaming community, and I believe that if it weren’t for the video games, I wouldn’t be who I am today.
* If you haven’t read it, you have all probably heard about Ready Player One. I absolutely loved it, and watched the movie, and I am still in love with it. And when book reviewers started comparing Warcross to Ready Player One, I had to see if this was true. I just had to check for myself.
And then, I got this book as a birthday gift from my boyfriend. So here we are, a few reasons after, me having read this book and telling you all what I thought.
Firstly, I feel like I need to say this - Warcross is nothing like Ready Player One.
Yes, we have a virtual world, and (surprise) virtual characters in the world. And yes, there is a game and the creator of the game is involved. But the whole plot and story are so much different in so many ways.
The descriptions of the virtual world, the story lines, the dialogues, the way the story flows, the romance - it is all unique and original.
And for you out there that compare this to Ready Player One - it is as if you are comparing Romeo and Juliet and Tristan and Isolde, only because they both have a plot of romance and forbidden love. It is ridiculous, let me tell you.
Even though the Warcross game as its own was brilliantly explained and described, I felt like we didn’t see much of the rest of the virtual world. I loved the way Marie Lu would talk about the world - so much passion in each chapter.
The discussion opens on virtual reality and the worlds that could be created. It is not a matter of whether it will happen, but when? I keep thinking I might be alive when we will live in a world of ''virtuality''. Would we be happier? Would we be smarter? Or would this just be another tool for people to get richer, by using its users? Is the future scary? Should it be?
Emika is a character I think many girls will relate to. Brave and fierce, even though she is afraid inside. A strong, young woman, that stands for what she believes in, even when this might mean losing the people she loves the most.
The story flows so quickly, and each end of the chapter begs you to start another one, and before you know it, it’s 4am and you keep reading, unable to stop. This book has some strange power right there!
The twists were interesting, even though some of them were predictable. Even with the knowledge of this, I would always miss something amazing, and even knowing what will happen, the experience was always pleasant.
I am so glad I got to read this book, and I am so excited to read Wildcard soon as well. I am definitely recommending this to all of you - I am sure you will enjoy it.
If you have read it, let me know what you think in the comments - I would love to discuss it!
Hazel (1853 KP) rated A Library of Lemons in Books
Dec 17, 2018
<i>This ebook was provided by the publisher via NetGalley in exchange for an honest review
A Library of Lemons</i> is the most recent novel by children’s author Jo Cotterill. It is a moving story about a child’s perception of a life heavily affected by loss and grief, and the impact a positive friendship can bring. Calypso is only ten years old but has the reading age of someone much older. In fact she loves books so much that she prefers them to interacting with other people. Since her mother’s death five years previously, Calypso’s father has distanced himself from the world, focusing on writing and reading in his study, and has encouraged his only daughter to do the same: “be your own best friend.” However, a new girl at school causes Calypso to question and change the way she views the world.
Despite never having had a friend at school, Calypso quickly develops a strong friendship with Mae who also has a passion for reading. The difference is Mae lets herself feel emotion and is happy to let other people into her life, a concept that is initially alien to Calypso. As time goes on Calypso realizes she is the happiest she has ever been and that Mae has filled a gap she did not know was there. Regrettably, her newfound contentment is shattered on discovering that something is wrong with her father, and that he has developed an unhealthy obsession with lemons…
From the very beginning the reader is shown how difficult Calypso’s life is. She often comes home to a cold, dark house where she has to fix herself her own dinner from a very limited supply of food. Yet until Calypso meets Mae, she does not realize that there is anything wrong with this. Once Calypso learns that her father is suffering with depression – something that older readers will already have guessed – she sees how unfair life is for her and notices that she is very different from other children her age. This is a heartbreaking situation for readers to imagine, but Calypso’s strength as a young carer is admirable – similarly to characters in some of her favourite books, such as<i> Anne of Green Gables</i>.
There are so many well-known novels referenced in <i>A Library of Lemons</i>, which emphasizes Calypso’s love of literature. Although Cotterill has included children’s classics amongst these titles, it is doubtful that young readers will be familiar with them all. This poses the problem that certain allusions to characters or storylines will be lost, however if the youngsters are just as passionate about reading as Calypso is, they may be inspired to seek out these famous works.
I was initially drawn to <i>A Library of Lemons</i> because I had loved Cotterill’s previous novel, <i>Looking at the Stars</i>. I was not aware at first that this novel tackled mental illness – which was not a problem as I often read books of that genre – but I was expecting something powerful and moving. And that is what I got. I much preferred <i>Looking at the Stars</i>, which I thought was a lot more emotional and shocking – a refugee camp in a third world country – however <i>A Library of Lemons</i> is still a beautiful story with deep and quotable prose.
Before I finish this review I would like to praise Cotterill for the way she dealt with the taboo subject of mental illness. Often illnesses of this nature are either glamourized or stigmatized, neither of which occurred in this novel. Cotterill’s portrayal of depression and its affects on both sufferer and child are extremely realistic. The way that the book ends is also true-to-life. There is no happy ever after, no amazing cure – but there is hope, a glimpse of recovery and a better future.
Although Calypso is ten, her advanced reading age and the difficult subject matter result in a book that is more suitable for young teenagers. Young and old adults will also enjoy it too, especially those who can relate to certain situations Calypso has to deal with. <i>A Library of Lemons</i> is definitely a story to read if you are a lover of books - a bookworm. You will not be disappointed.
A Library of Lemons</i> is the most recent novel by children’s author Jo Cotterill. It is a moving story about a child’s perception of a life heavily affected by loss and grief, and the impact a positive friendship can bring. Calypso is only ten years old but has the reading age of someone much older. In fact she loves books so much that she prefers them to interacting with other people. Since her mother’s death five years previously, Calypso’s father has distanced himself from the world, focusing on writing and reading in his study, and has encouraged his only daughter to do the same: “be your own best friend.” However, a new girl at school causes Calypso to question and change the way she views the world.
Despite never having had a friend at school, Calypso quickly develops a strong friendship with Mae who also has a passion for reading. The difference is Mae lets herself feel emotion and is happy to let other people into her life, a concept that is initially alien to Calypso. As time goes on Calypso realizes she is the happiest she has ever been and that Mae has filled a gap she did not know was there. Regrettably, her newfound contentment is shattered on discovering that something is wrong with her father, and that he has developed an unhealthy obsession with lemons…
From the very beginning the reader is shown how difficult Calypso’s life is. She often comes home to a cold, dark house where she has to fix herself her own dinner from a very limited supply of food. Yet until Calypso meets Mae, she does not realize that there is anything wrong with this. Once Calypso learns that her father is suffering with depression – something that older readers will already have guessed – she sees how unfair life is for her and notices that she is very different from other children her age. This is a heartbreaking situation for readers to imagine, but Calypso’s strength as a young carer is admirable – similarly to characters in some of her favourite books, such as<i> Anne of Green Gables</i>.
There are so many well-known novels referenced in <i>A Library of Lemons</i>, which emphasizes Calypso’s love of literature. Although Cotterill has included children’s classics amongst these titles, it is doubtful that young readers will be familiar with them all. This poses the problem that certain allusions to characters or storylines will be lost, however if the youngsters are just as passionate about reading as Calypso is, they may be inspired to seek out these famous works.
I was initially drawn to <i>A Library of Lemons</i> because I had loved Cotterill’s previous novel, <i>Looking at the Stars</i>. I was not aware at first that this novel tackled mental illness – which was not a problem as I often read books of that genre – but I was expecting something powerful and moving. And that is what I got. I much preferred <i>Looking at the Stars</i>, which I thought was a lot more emotional and shocking – a refugee camp in a third world country – however <i>A Library of Lemons</i> is still a beautiful story with deep and quotable prose.
Before I finish this review I would like to praise Cotterill for the way she dealt with the taboo subject of mental illness. Often illnesses of this nature are either glamourized or stigmatized, neither of which occurred in this novel. Cotterill’s portrayal of depression and its affects on both sufferer and child are extremely realistic. The way that the book ends is also true-to-life. There is no happy ever after, no amazing cure – but there is hope, a glimpse of recovery and a better future.
Although Calypso is ten, her advanced reading age and the difficult subject matter result in a book that is more suitable for young teenagers. Young and old adults will also enjoy it too, especially those who can relate to certain situations Calypso has to deal with. <i>A Library of Lemons</i> is definitely a story to read if you are a lover of books - a bookworm. You will not be disappointed.
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Eleanor Luhar (47 KP) rated Nothing Tastes as Good in Books
Jun 24, 2019
I happened to see this book by chance, in my local library. I was drawn to it because it's cover, it's title - I'm anorexic, and I happen to be drawn to things relating to mental health. It doesn't expressly say on it that it's about anorexia, but the cover made it pretty obvious to me. A warning to anyone that wants to read it: it's hard. If you suffer from something like this, like me, then you will probably have difficulty reading something so close to home. Especially if you're recovering. But it gets better. (I mean the book; I'm not using that "life gets better" crap.)
So Annabel is dead. I'm studying The Lovely Bones at school so the whole beyond-death narration isn't that special to me now. But Hennessy does it pretty differently to Sebold.
We don't know much about Annabel, not at first. But we begin to learn about her while she helps her assigned "soul-in-need" - The Boss (definitely not God) has promised her a final communication with her family if she helps Julia. And this looks easy, at first - Julia is from Annabel's old school, with a loving family and good grades. Everything is fine, except she's fat. Annabel thinks this should be easy - after all, she's an expert in weight loss. She lost weight until she died.
But Annabel soon finds out that Julia's issues are a whole lot more complex than her weight. At first, losing weight helps. But then her old scars come back to haunt her, and Annabel realises that maybe losing weight isn't going to fix all her problems.
Aside from the obvious issue, this book does talk about a lot of important topics. It covers friendships and relationships, like most YA novels do, but it also combats ideas on feminism, affairs with older men, and people all having their own hidden demons.
At first, I wasn't keen on Annabel. I wanted to like her - I felt I should, because I could relate to her story so much. But she was a bitch. She wanted other people to be like her, and rather than encouraging recovery and health and happiness, she shared tipped on weight loss. It really did hurt to read. Her ideas on "perfection" and being weak for eating just really hit a nerve for me. Not because it was wrong (though I'd never encourage an eating disorder in someone else), but because it's exactly how I'd think about myself. Her behaviours, her worries, her anger - they were so real.
But Annabel, despite being dead, grows alongside Julia. Yes, she tells Julia to starve herself and run on an empty stomach and hate herself, but eventually she starts to feel for her. She wants Julia to combat her issues, to actually be happy. And she realises, despite having been so upset with her old friends for recovering, that maybe she wasted her life. Maybe she could have been something more, rather than striving to be less.
I found this really emotional. Annabel's love for her sister, the sister she neglected for years while she was focused on her goals, and the future she cut short. The way Julia's life changed when her passion for writing and journalism was overtaken by her obsession with food, calories, exercise. It's so real and so sad. And the ending isn't "happily ever after" - Annabel's still dead, Julia's in counselling - but it's real. It gives hope that things can change, that Julia can really achieve happiness.
At first, I didn't like this that much. I know Annabel is just a character, but I just didn't like her. She was one of those girls that makes anorexia sound like a choice, a lifestyle, and I hated that. But later she realises she is sick, and I actually felt sorry for her. I was sorry that she had been brainwashed by her illness into believing she was doing what was right.
The only reason I'm giving just 4.5 stars to this book is because Annabel was a bitch. Yes, she is a character, and yes, she grows considerably throughout the novel, but her encouragement of EDs just drove me insane. Personal pet peeve, I guess.
So Annabel is dead. I'm studying The Lovely Bones at school so the whole beyond-death narration isn't that special to me now. But Hennessy does it pretty differently to Sebold.
We don't know much about Annabel, not at first. But we begin to learn about her while she helps her assigned "soul-in-need" - The Boss (definitely not God) has promised her a final communication with her family if she helps Julia. And this looks easy, at first - Julia is from Annabel's old school, with a loving family and good grades. Everything is fine, except she's fat. Annabel thinks this should be easy - after all, she's an expert in weight loss. She lost weight until she died.
But Annabel soon finds out that Julia's issues are a whole lot more complex than her weight. At first, losing weight helps. But then her old scars come back to haunt her, and Annabel realises that maybe losing weight isn't going to fix all her problems.
Aside from the obvious issue, this book does talk about a lot of important topics. It covers friendships and relationships, like most YA novels do, but it also combats ideas on feminism, affairs with older men, and people all having their own hidden demons.
At first, I wasn't keen on Annabel. I wanted to like her - I felt I should, because I could relate to her story so much. But she was a bitch. She wanted other people to be like her, and rather than encouraging recovery and health and happiness, she shared tipped on weight loss. It really did hurt to read. Her ideas on "perfection" and being weak for eating just really hit a nerve for me. Not because it was wrong (though I'd never encourage an eating disorder in someone else), but because it's exactly how I'd think about myself. Her behaviours, her worries, her anger - they were so real.
But Annabel, despite being dead, grows alongside Julia. Yes, she tells Julia to starve herself and run on an empty stomach and hate herself, but eventually she starts to feel for her. She wants Julia to combat her issues, to actually be happy. And she realises, despite having been so upset with her old friends for recovering, that maybe she wasted her life. Maybe she could have been something more, rather than striving to be less.
I found this really emotional. Annabel's love for her sister, the sister she neglected for years while she was focused on her goals, and the future she cut short. The way Julia's life changed when her passion for writing and journalism was overtaken by her obsession with food, calories, exercise. It's so real and so sad. And the ending isn't "happily ever after" - Annabel's still dead, Julia's in counselling - but it's real. It gives hope that things can change, that Julia can really achieve happiness.
At first, I didn't like this that much. I know Annabel is just a character, but I just didn't like her. She was one of those girls that makes anorexia sound like a choice, a lifestyle, and I hated that. But later she realises she is sick, and I actually felt sorry for her. I was sorry that she had been brainwashed by her illness into believing she was doing what was right.
The only reason I'm giving just 4.5 stars to this book is because Annabel was a bitch. Yes, she is a character, and yes, she grows considerably throughout the novel, but her encouragement of EDs just drove me insane. Personal pet peeve, I guess.
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Bob Mann (459 KP) rated Halloween (2018) in Movies
Sep 28, 2021
“He’s waited for me; I’ve waited for him”.
A blood-soaked history.
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
There’s such a familiarity with the content of these films that it’s difficult to put yourself back in 1978 for Jamie Lee Curtis‘s original battle with Michael Myers when the teen-slasher genre was in its infancy. Arguably “The Texas Chain Saw Massacre” four years earlier booted the 70’s/80’s genre; but thanks to its huge success John Carpenter’s “Halloween” opened the flood-gates… or should I say, blood-gates.
The plot.
40 years after the terrifying events of Halloween night in Haddonfield, Illinois, Michael Myers is still mute and incarcerated in a psychiatric unit being studied by Dr Sartain (Haluk Bilginer). He is joined by two investigative journalists – Aaron Korey (Jefferson Hall) and Dana Haines (Basingstoke’s-own Rhian Rees: “Where are your loos?”… classic!). They are keen to reunite Myers with his nemesis Laurie Strode (Jamie Lee Curtis) to watch the fireworks.
Strode is unfortunately damaged goods: still mentally traumatised and with failed marriages and a child taken into care, she lives in a fortified home in the middle of the woods. But she knows she has a date with destiny. As Halloween 2018 approaches, an ‘incident’ puts Myers on a collision course with Haddonfield’s teenage population all over again.
The turns.
Wow… you forget what an effective actress Jamie Lee Curtis is and here she absolutely owns every single scene she’s in, bringing enormous energy to the screen as the paranoid but ever-prepared hunter-in-waiting. The original Halloween was Lee Curtis’s movie debut and the film that made her a household name, and it almost feels like this is a passion-project for her to say “thanks for all the fish” for her career. Impressive.
As her eye-rolling daughter, Judy Greer rather pales in comparison (I found her character is a bit whiny and annoying), but the acting stakes pick up again with Andi Matichak as the granddaughter Allyson.
Of the other teens, Virginia Gardner is particularly effective as Vicky: the cute “favourite” babysitter who you can’t help but empathise with.
The review.
It’s very easy to make a very bad slasher movie, but this isn’t such a movie. Although having a wonderfully retro feel (when is the last time you saw “traditional” opening titles like this?) and despite mining every horror cliché known to man (ALWAYS look in the back seat when you get in a car!) it’s all obviously been done with loving care by the director David Gordon Green.
Above all, the director knows that what’s more scary than seeing violent murders is what your imagination can visualise happening off-screen. Don’t get me wrong, there is some SERIOUS gore meted out, with a few ‘cover your eyes’ moments. However, a good proportion of the violence is not shown, and very effective that is too, supported by Carpenter’s classic and insistent theme and some kick-ass foley work to add spice to your imagination!
The script (by the writing team of David Gordon Green, Danny McBride and Jeff Fradley) also wickedly plays with your darkest fear of where the plot *could* go if it wanted to: in a brilliant piece of misdirection (you’ll know the scene) your “OMG surely not” nerves twang and then un-twang with relief.
The script also works well to help you care about the teens on the menu, in much the same way as “Jaws” did with the tourists to Amity Beach.
Where the plot nearly lost me was in a rather daft twist before the final reel (which actually made more sense of what happened in the first reel, but was still hugely improbable). The ship rights itself fairly quickly (if messily) and normal order is resumed for the finale it deserves.
Final thoughts.
I’m not really a “horror nut” but this was popcorn horror of the best sort and I enjoyed it. Reverential to the original classic, it made for some entertaining reactions in the sparsely populated showing I attended: I imagine if seen in a packed auditorium on a Saturday night (or perhaps tomorrow night!) it would literally be a scream.
One’s thing for sure: when I got into my car in the dark cinema car park, I did take a sneaky look into the back seat!
Movie Metropolis (309 KP) rated Justice League (2017) in Movies
Jun 10, 2019
Hoorah, it's not a total dud
The entire production of Justice League has been enveloped in the tragedy surrounding director Zack Snyder’s sudden departure from the project in March this year.
After losing his daughter, Autumn, to suicide, the DC regular decided to hand over the reins of his passion project to Avengers director Joss Whedon so that he could spend time with his family. Whedon came on board and decided to undertake costly reshoots in order to get the film finished on time.
In that respect, it’s a miracle we’ve even got a Justice League movie in the first place. What’s even more of a miracle is that it turns out to be not rubbish – unfortunately that’s probably the biggest compliment I can give this frequently entertaining but messy outing for our favourite selection of DC Comic superheroes.
Fuelled by his restored faith in humanity and inspired by Superman’s (Henry Cavill) act of selflessness, Bruce Wayne (Ben Affleck) enlists newfound ally Diana Prince (Gal Gadot) to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against their newly awakened enemy, Steppenwolf. Despite the formation of an unprecedented league of heroes — Batman, Wonder Woman, Aquaman (Jason Momoa), Cyborg (Ray Fisher) and the Flash (Ezra Miller) – it may be too late to save the planet from an assault of catastrophic proportions.
This year’s Wonder Woman proved that the DC Universe can be at least a passable alternative to the might of Marvel and Batman v Superman: Dawn of Justice was an entertaining, if entirely forgettable mash up of the two titular heroes. Justice League sits somewhere in between – it’s not as much of an ordeal as BvS, but it’s also not as interesting as Wonder Woman. The less said about Suicide Squad, the better.
Acting wise, it’s a good start for the League. Ben Affleck is a cracking Bruce Wayne, but his Batman is lacking the gritty humanity of Christian Bale’s turn as the caped crusader. Ezra Miller, Jason Momoa and Ray Fisher all perform well with the former in particular being a highlight, but their rushed introductions do them no favours. However, the standout once again is the wonderful Gal Gadot. Her selfless Diana Prince really is magnificent and her increased screen-time in Justice League when compared to Batman v Superman is more than welcome.
Justice League is a film with a bit of an identity crisis as it frequently feels like a mishmash of scenes put together to make a film.
The main villain, Steppenwolf, voiced well by Ciarán Hinds is less successful. Masked behind walls of at-times poor CGI, his threat never feels truly realised and poor Hinds is wasted in a role reminiscent of the dreadful work 20th Century Fox did on Oscar Issac in X-Men: Apocalypse. He gets some good lines however, and makes for a decent, if unremarkable antagonist.
Amy Adams and Diane Lane are once again side-lined in their roles as Lois Lane and Martha Kent respectively. These incredible actresses really are wasted in roles that have little-to-no outcome to the plot. And this is a problem that has blighted the DCEU from the get-go. The calibre of actors used in these films is frankly, astounding and each one of them deserves better than the overly expositional and cringe worthy dialogue they continue to be lumped with.
The final act, like so many films before it, is a mess of ugly CGI that spoils a very decent middle section that has some truly poignant moments. The return of Superman (that isn’t a spoiler if you’ve been following the marketing for Justice League) is handled well and the moment he is reunited with his mother is touching and well-acted.
Justice League is a film with a bit of an identity crisis as it frequently feels like a mishmash of scenes put together to make a film. It’s also painfully obvious where Snyder’s very ‘operatic’ filming style is replaced with Joss Whedon’s trademark wit and this doesn’t sit well all of the time. It’s clear that a turbulent production has created a film that’s biggest merit is that it even managed to exist in the first place, and that’s a real shame. Entertaining? Yes. But entertainment can’t mask a film that reeks of mediocrity.
https://moviemetropolis.net/2017/11/19/justice-league-review/
After losing his daughter, Autumn, to suicide, the DC regular decided to hand over the reins of his passion project to Avengers director Joss Whedon so that he could spend time with his family. Whedon came on board and decided to undertake costly reshoots in order to get the film finished on time.
In that respect, it’s a miracle we’ve even got a Justice League movie in the first place. What’s even more of a miracle is that it turns out to be not rubbish – unfortunately that’s probably the biggest compliment I can give this frequently entertaining but messy outing for our favourite selection of DC Comic superheroes.
Fuelled by his restored faith in humanity and inspired by Superman’s (Henry Cavill) act of selflessness, Bruce Wayne (Ben Affleck) enlists newfound ally Diana Prince (Gal Gadot) to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against their newly awakened enemy, Steppenwolf. Despite the formation of an unprecedented league of heroes — Batman, Wonder Woman, Aquaman (Jason Momoa), Cyborg (Ray Fisher) and the Flash (Ezra Miller) – it may be too late to save the planet from an assault of catastrophic proportions.
This year’s Wonder Woman proved that the DC Universe can be at least a passable alternative to the might of Marvel and Batman v Superman: Dawn of Justice was an entertaining, if entirely forgettable mash up of the two titular heroes. Justice League sits somewhere in between – it’s not as much of an ordeal as BvS, but it’s also not as interesting as Wonder Woman. The less said about Suicide Squad, the better.
Acting wise, it’s a good start for the League. Ben Affleck is a cracking Bruce Wayne, but his Batman is lacking the gritty humanity of Christian Bale’s turn as the caped crusader. Ezra Miller, Jason Momoa and Ray Fisher all perform well with the former in particular being a highlight, but their rushed introductions do them no favours. However, the standout once again is the wonderful Gal Gadot. Her selfless Diana Prince really is magnificent and her increased screen-time in Justice League when compared to Batman v Superman is more than welcome.
Justice League is a film with a bit of an identity crisis as it frequently feels like a mishmash of scenes put together to make a film.
The main villain, Steppenwolf, voiced well by Ciarán Hinds is less successful. Masked behind walls of at-times poor CGI, his threat never feels truly realised and poor Hinds is wasted in a role reminiscent of the dreadful work 20th Century Fox did on Oscar Issac in X-Men: Apocalypse. He gets some good lines however, and makes for a decent, if unremarkable antagonist.
Amy Adams and Diane Lane are once again side-lined in their roles as Lois Lane and Martha Kent respectively. These incredible actresses really are wasted in roles that have little-to-no outcome to the plot. And this is a problem that has blighted the DCEU from the get-go. The calibre of actors used in these films is frankly, astounding and each one of them deserves better than the overly expositional and cringe worthy dialogue they continue to be lumped with.
The final act, like so many films before it, is a mess of ugly CGI that spoils a very decent middle section that has some truly poignant moments. The return of Superman (that isn’t a spoiler if you’ve been following the marketing for Justice League) is handled well and the moment he is reunited with his mother is touching and well-acted.
Justice League is a film with a bit of an identity crisis as it frequently feels like a mishmash of scenes put together to make a film. It’s also painfully obvious where Snyder’s very ‘operatic’ filming style is replaced with Joss Whedon’s trademark wit and this doesn’t sit well all of the time. It’s clear that a turbulent production has created a film that’s biggest merit is that it even managed to exist in the first place, and that’s a real shame. Entertaining? Yes. But entertainment can’t mask a film that reeks of mediocrity.
https://moviemetropolis.net/2017/11/19/justice-league-review/
Phillip McSween (751 KP) rated The Godfather (1972) in Movies
Dec 3, 2018
Epic Indeed
What makes a film stand the test of time? How do you create a movie that will have the same impact today as it will fifty years from now? That’s almost how long it’s been since The Godfather was released. Can you believe that? It was a classic then and still remains to be so. It follows the story of the Corleone family, a prominent mob family in New York. Michael (Al Pacino), youngest son of Godfather Vito (Marlon Brando), is trying to stay away from the “family business” but finds himself thrust right in the middle after a mob war erupts.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.
Acting: 10You couldn’t ask for a better cast than within that of The Godfather. Brando captures your attention from jump, smooth yet broiling with passion. He comes off as the type that can handle any situation but doesn’t need to do so to prove himself.
Pacino is phenomenal in his role as Michael. You can feel the weight of his innocence as he finds himself in the middle of things he vowed to stay away from. One of my favorite scenes involves him having to kill someone in a restaurant. When he goes to the bathroom to grab the gun (where it’s stashed in a stall), he is pacing and nervous. As a viewer, you can sense his struggle. He knows that once he does this, there is no going back. It’s incredible to watch his transformation over time as he ascends to power. You can see him becoming what his father was.
Beginning: 10
Characters: 10
Vito and Michael are just a taste of the rich characters that keep the film fresh even to this day. You’ve got Sonny the firstborn, quick to drop a hit or do whatever it takes to protect his family. You find out exactly what that means when he confronts his sister’s abusive husband in the streets threatening to blow his head off.
Then you have a guy like Tom Hagen, the soft-spoken consigliere of the family. He brings a voice of reason to the chaos surrounding the Corleone family. He wants badly to be an official part of the family but can’t because of his Irish descent. As a result, it makes him work twice as hard.
These characters aren’t just one-dimensional, but they carry enough layers to singlehandedly move their own story. Through each of these characters you understand what it means to be a Corleone and how each of them play a specific part to complete the whole.
Cinematography/Visuals: 10
Conflict: 10
If the characters are what enhance the movie, conflict is what ultimately drives it. Sometimes the intensity is subtle while other times it’s loud and boisterous. It’s always there because you understand as a viewer that lives are always on the line, always at stake. The mafia families are playing for power and, most importantly, they are playing for keeps. There are so many great action sequences that stick out in my mind. There is no shortage of death and every death in this film comes with a meaning and a price.
Genre: 10
Memorability: 10
Pace: 10
When a movie is pushing three hours or goes 3+, I’m usually thinking how they could have shortened things. Not only was the runtime necessary here, but The Godfather runs at a consistent smooth pace. It manages itself by keeping you on high alert in some scenes then reining you back in for the next scene.
I remember watching one intense scene where Michael was protecting his father in the hospital. I remember thinking, “Thank God the entire movie is not like this! I would have a heartattack.” Though the film is long, I would have gladly watched another hour if it had been tacked on.
Plot: 9
Enough of the love fest. Time for my one itty bitty gripe. There were a couple of occasions where I found it difficult to keep up with the families, in some cases the Corleones themselves. The plot tripped me up in spots but it was nothing close to ruining an amazing experience.
Resolution: 10The ending of this film is one for the ages, a powerful scene that will stand out in your mind for a long time. It’s the passing of a torch, but the way is unfolds is just so damn cool! I don’t want to ruin it for those that haven’t seen, but for those that have, you know exactly what I mean.
Overal: 99
Classic. I can’t believe it took me this long to watch it. I have to say, it was well worth the wait.