Search
Search results
Lyndsey Gollogly (2893 KP) rated Inseparable (Rise of the Iliri #4) in Books
Feb 4, 2021
17 of 250
Kindle
Inseparable ( Rise of Iliri book 4)
By Auryn Hadley
Once read a review will be written via Smashbomb and link posted in comments
DISASTER! THE BLACK BLADES DISBANDED, AN ALLIANCE IN TURMOIL...
The intersecting worlds of the iliri, grauori, and men collide when an alliance is declared, and the humans renege. In the midst of offering an olive branch to other races, they seem secretly hellbent on destroying them all - and they begin by putting Sal on trial and disbanding the Black Blades. Auryn Hadley offers up deft commentary on racism between communities - melded with fantastical action-adventure in a world at war, and passionate erotic romance in this fourth installment of the Rise of the Iliri.
True to its title, in Inseparable, on the world of Ogun, it's the connections between all beings - human and otherwise - that will save or destroy them.
Her recent mission a success, fearless (and irresistibly arousing) iliri warrior Lieutenant Salryc Luxx gets thanks in the form of imprisonment by the Conglomerate of Free Citizens. Sal's not even sure what she's accused of, but she suspects it's the color of her pale skin - not her actions - that's really on trial.
Kinetry, an old comrade and ally of the Black Blades now forced to hold Sal, warns her that a rash of anti-iliri sentiment is sweeping Parliament and the military. In fact, it seems men don't care for any race but their own. But Kinetry doesn't know that the King of Anglia is on his way to the military stronghold. Nor does he know the King is bringing with him thousands of grauori soldiers, members of a race of formerly hidden human-like wolves whose hunting and battle skills are unmatched.
If the King arrives before Sal's trial is resolved, he'll learn something in the courtroom that may destroy all hope of the intended alliance. Torn between truth and treason, Sal must navigate political sensitivities to hold the three races together. And just when she seems to get somewhere, the Conglomeration disbands the Black Blades.
Been a while since I caught up with the blades this book was the best so far and yes I say that after every book! Sal is brilliant. My first yay moment was Dom and amAnglia turning up with the army to pull Sal out of jail! Then finally Zep got the job done! I almost squealed when she got her crown finally in place!! The book is just ram packed with moments of about time and thank Gods! Those pups are just out of control cute too!! It almost got me at the end almost I’m so glad she pulled it back! Looking forward to the next book!
Kindle
Inseparable ( Rise of Iliri book 4)
By Auryn Hadley
Once read a review will be written via Smashbomb and link posted in comments
DISASTER! THE BLACK BLADES DISBANDED, AN ALLIANCE IN TURMOIL...
The intersecting worlds of the iliri, grauori, and men collide when an alliance is declared, and the humans renege. In the midst of offering an olive branch to other races, they seem secretly hellbent on destroying them all - and they begin by putting Sal on trial and disbanding the Black Blades. Auryn Hadley offers up deft commentary on racism between communities - melded with fantastical action-adventure in a world at war, and passionate erotic romance in this fourth installment of the Rise of the Iliri.
True to its title, in Inseparable, on the world of Ogun, it's the connections between all beings - human and otherwise - that will save or destroy them.
Her recent mission a success, fearless (and irresistibly arousing) iliri warrior Lieutenant Salryc Luxx gets thanks in the form of imprisonment by the Conglomerate of Free Citizens. Sal's not even sure what she's accused of, but she suspects it's the color of her pale skin - not her actions - that's really on trial.
Kinetry, an old comrade and ally of the Black Blades now forced to hold Sal, warns her that a rash of anti-iliri sentiment is sweeping Parliament and the military. In fact, it seems men don't care for any race but their own. But Kinetry doesn't know that the King of Anglia is on his way to the military stronghold. Nor does he know the King is bringing with him thousands of grauori soldiers, members of a race of formerly hidden human-like wolves whose hunting and battle skills are unmatched.
If the King arrives before Sal's trial is resolved, he'll learn something in the courtroom that may destroy all hope of the intended alliance. Torn between truth and treason, Sal must navigate political sensitivities to hold the three races together. And just when she seems to get somewhere, the Conglomeration disbands the Black Blades.
Been a while since I caught up with the blades this book was the best so far and yes I say that after every book! Sal is brilliant. My first yay moment was Dom and amAnglia turning up with the army to pull Sal out of jail! Then finally Zep got the job done! I almost squealed when she got her crown finally in place!! The book is just ram packed with moments of about time and thank Gods! Those pups are just out of control cute too!! It almost got me at the end almost I’m so glad she pulled it back! Looking forward to the next book!
Kristy H (1252 KP) rated Party of Two (The Wedding Date #5) in Books
Feb 18, 2021
An absolutely charming romance with lots of cake!
This is the sixteenth book in my #atozchallenge! I'm challenging myself to read a book from my shelves that starts with each letter of the alphabet. Let's clear those shelves and delve into that backlist!
When Olivia Monroe randomly chats with a handsome stranger at a hotel bar, she has no idea that they will wind up making a lasting connection. After her chance encounter, she learns that man was no other than Max Powell, a hotshot junior senator from California, where Olivia has just moved to start her own law firm. Olivia is focused on her firm--and she has no desire to date someone well-known--but when she and Max meet again, and he then sends her a cake, she can't help but be charmed. She finds she really likes Max, but not the scrutiny that comes with dating a high-profile figure. Olivia knows she and Max have something special, but is it worth all the other stuff?
This was my first book by Jasmine Guillory, but it will certainly not be my last. I found PARTY to be completely charming. I had no idea it was the fifth book in a series, and I'll definitely be going back and catching up on the previous books. That being said, this one seems to stand-alone.
PARTY is one of those romance books that just sweeps you off your feet from the beginning. It's incredibly fun and sexy and made me smile while reading it. Oh how I needed a book that made me smile. Olivia is smart and easy to identify with: I have a soft spot for skeptical workaholics. She also loves cake, and there are so many references to baked goods in this book. I was truly in heaven! (And hungry.) Max is handsome and a bit too perfect, but, yes, you learn, he too has flaws. And honestly, I was quite protective of my Olivia, so I only wanted the best for her anyway.
So sure, maybe this is a little predictable, but who cares, because it's so fun, and it made me laugh and tear up. Our couple is adorable, and the supporting cast is excellent (and, as far as I can tell, links to other books). I liked the references to politics and adored any and all mention of sweets. The book also touches on racism and the issues plaguing working women, so it's not just fluff. Overall, I loved basically every moment, and I can't wait to read the copy of THE WEDDING DATE I immediately bought upon finishing this book. 4.5 stars.
When Olivia Monroe randomly chats with a handsome stranger at a hotel bar, she has no idea that they will wind up making a lasting connection. After her chance encounter, she learns that man was no other than Max Powell, a hotshot junior senator from California, where Olivia has just moved to start her own law firm. Olivia is focused on her firm--and she has no desire to date someone well-known--but when she and Max meet again, and he then sends her a cake, she can't help but be charmed. She finds she really likes Max, but not the scrutiny that comes with dating a high-profile figure. Olivia knows she and Max have something special, but is it worth all the other stuff?
This was my first book by Jasmine Guillory, but it will certainly not be my last. I found PARTY to be completely charming. I had no idea it was the fifth book in a series, and I'll definitely be going back and catching up on the previous books. That being said, this one seems to stand-alone.
PARTY is one of those romance books that just sweeps you off your feet from the beginning. It's incredibly fun and sexy and made me smile while reading it. Oh how I needed a book that made me smile. Olivia is smart and easy to identify with: I have a soft spot for skeptical workaholics. She also loves cake, and there are so many references to baked goods in this book. I was truly in heaven! (And hungry.) Max is handsome and a bit too perfect, but, yes, you learn, he too has flaws. And honestly, I was quite protective of my Olivia, so I only wanted the best for her anyway.
So sure, maybe this is a little predictable, but who cares, because it's so fun, and it made me laugh and tear up. Our couple is adorable, and the supporting cast is excellent (and, as far as I can tell, links to other books). I liked the references to politics and adored any and all mention of sweets. The book also touches on racism and the issues plaguing working women, so it's not just fluff. Overall, I loved basically every moment, and I can't wait to read the copy of THE WEDDING DATE I immediately bought upon finishing this book. 4.5 stars.
Lee (2222 KP) rated Get Out (2017) in Movies
Jul 26, 2017
Amazingly, I managed to head into Get Out having not even seen the trailer. It had been appearing more and more frequently on my news feeds recently, usually accompanied by a lot of positive buzz, and usually featuring an image of lead character Chris, wide eyed and terrified, with a tear running down his cheek (note that I’ve continued this trend with my review!). Described as a racial satire/horror it just didn’t really feature high on my watch list, but I booked a ticket to go see it, wanting to see what all the buzz was about. I’m kind of glad that I went in relatively blind as to what to expect though, as I was absolutely blown away by it.
Daniel Kaluuya plays Chris, a young black man dating a white girl called Rose (Allison Williams). He’s preparing to go and meet her parents for the first time but he’s a bit unsure as to what they’re going to think about him, despite Rose assuring him that he’s got nothing to worry about. When they arrive at the huge house out in the country, her parents really are fine with Chris. And they take every opportunity during their conversations to be positive about race and to assure Chris that they’re fine with him too, to the point where Chris (and us) begin to feel a little bit uneasy. This unease isn’t helped by the fact that there are two black servants in the house, neither of whom have very much to say and both acting very strangely. At night, the housekeeper wanders quietly around the house while the groundsman sprints around outside in the dark!
Paranoia and tension continues when a large group of family friends arrives for a party and they all seem very keen to get to know Chris and bond with him. One of the guests even has a black ‘companion’ who is also acting strangely. Despite the assurances from all, things definitely are not OK…
Of the little I read about Get Out beforehand, one of the reviews that stuck with me most described it a little bit like From Dusk Til Dawn in the way that everything suddenly all goes to shit in a hugely enjoyable and unexpected twist. There are definitely no vampires or anything similar in this movie, but I felt that it was a pretty good comparison. The movie spends a long time putting you on the edge of your seat, building up the tension, providing plenty of food for thought on modern day racism and adding the odd bit of welcome comedy relief from Chris’ friend on the end of the phone trying to support him. It’s all hugely enjoyable and even though you can guess pretty early on what’s going on, it’s all still hugely satisfying when the truth finally is revealed and the violence and action take over.
Daniel Kaluuya plays Chris, a young black man dating a white girl called Rose (Allison Williams). He’s preparing to go and meet her parents for the first time but he’s a bit unsure as to what they’re going to think about him, despite Rose assuring him that he’s got nothing to worry about. When they arrive at the huge house out in the country, her parents really are fine with Chris. And they take every opportunity during their conversations to be positive about race and to assure Chris that they’re fine with him too, to the point where Chris (and us) begin to feel a little bit uneasy. This unease isn’t helped by the fact that there are two black servants in the house, neither of whom have very much to say and both acting very strangely. At night, the housekeeper wanders quietly around the house while the groundsman sprints around outside in the dark!
Paranoia and tension continues when a large group of family friends arrives for a party and they all seem very keen to get to know Chris and bond with him. One of the guests even has a black ‘companion’ who is also acting strangely. Despite the assurances from all, things definitely are not OK…
Of the little I read about Get Out beforehand, one of the reviews that stuck with me most described it a little bit like From Dusk Til Dawn in the way that everything suddenly all goes to shit in a hugely enjoyable and unexpected twist. There are definitely no vampires or anything similar in this movie, but I felt that it was a pretty good comparison. The movie spends a long time putting you on the edge of your seat, building up the tension, providing plenty of food for thought on modern day racism and adding the odd bit of welcome comedy relief from Chris’ friend on the end of the phone trying to support him. It’s all hugely enjoyable and even though you can guess pretty early on what’s going on, it’s all still hugely satisfying when the truth finally is revealed and the violence and action take over.
Lee (2222 KP) rated Last Christmas (2019) in Movies
Nov 16, 2019
I guess I’m not exactly the target audience for a Christmas rom-com, but I don’t usually mind them. Providing the leads have believable chemistry, there’s a good story behind it all, a few laughs and something that gives you that Christmas feel good feeling, I’m happy to watch them. Sadly though, for the most part, Last Christmas struggles to tick most of those boxes.
Emilia Clarke stars as Kate (short for Katerina, her original Yugoslav name), a 26 year old who’s struggling at life right now. Her nights are filled with one-night stands and sleeping over at friends houses, dragging her suitcase behind her the next morning as she either heads to work in a Covent Garden Christmas shop or off to an audition for a West end show. She’s also currently ignoring calls from her mum (Emma Thomson), disappointing her boss (Michelle Yeoh) and coming across as selfish and not really very likeable. It’s safe to say, she’s lost her way - “Why is my life so shit?!” she exclaims after yet another disaster happens.
And then one day, Kate notices a man gazing up at a bird outside the Christmas shop and goes outside to see what he’s doing. His name is Tom (Henry Golding) and he’s handsome and charming (but a bit wooden) and despite them turning out to have zero chemistry together, they strike up a relationship - because, y’know, this is a rom-com after all. Tom takes Kate on spontaneous walks down alleyways and into nearby pocket parks, making her look up regularly so that she can appreciate the world around her. He rides a bike everywhere, doesn’t have a mobile phone and disappears for days on end. Yet his presence and friendship appear to have a positive effect on Kate, who begins to start turning her life around.
The first half of the movie is just terrible. Badly written dialogue and characters in an attempt to try and recapture some kind of Love Actually spirit, but just failing. It even tries to cram in some Brexit references and a little bit of racism to highlight the plight of immigrants. Written by Emma Thomson and directed by Paul Feig, Last Christmas is said to be inspired by the music of George Michael although, aside from its namesake, not very much of it actually ends up featuring much in the movie.
If you’ve seen the trailer, then you may well have figured out the twist that comes towards the end of the movie. If not, then you’ll probably work it out pretty early on anyway. However, I’d be lying if I said that Last Christmas didn’t manage to hit me emotionally when the time came. It also managed to invoke some warm Christmas feels and spirit too, so not quite the complete disaster it started out as.
Emilia Clarke stars as Kate (short for Katerina, her original Yugoslav name), a 26 year old who’s struggling at life right now. Her nights are filled with one-night stands and sleeping over at friends houses, dragging her suitcase behind her the next morning as she either heads to work in a Covent Garden Christmas shop or off to an audition for a West end show. She’s also currently ignoring calls from her mum (Emma Thomson), disappointing her boss (Michelle Yeoh) and coming across as selfish and not really very likeable. It’s safe to say, she’s lost her way - “Why is my life so shit?!” she exclaims after yet another disaster happens.
And then one day, Kate notices a man gazing up at a bird outside the Christmas shop and goes outside to see what he’s doing. His name is Tom (Henry Golding) and he’s handsome and charming (but a bit wooden) and despite them turning out to have zero chemistry together, they strike up a relationship - because, y’know, this is a rom-com after all. Tom takes Kate on spontaneous walks down alleyways and into nearby pocket parks, making her look up regularly so that she can appreciate the world around her. He rides a bike everywhere, doesn’t have a mobile phone and disappears for days on end. Yet his presence and friendship appear to have a positive effect on Kate, who begins to start turning her life around.
The first half of the movie is just terrible. Badly written dialogue and characters in an attempt to try and recapture some kind of Love Actually spirit, but just failing. It even tries to cram in some Brexit references and a little bit of racism to highlight the plight of immigrants. Written by Emma Thomson and directed by Paul Feig, Last Christmas is said to be inspired by the music of George Michael although, aside from its namesake, not very much of it actually ends up featuring much in the movie.
If you’ve seen the trailer, then you may well have figured out the twist that comes towards the end of the movie. If not, then you’ll probably work it out pretty early on anyway. However, I’d be lying if I said that Last Christmas didn’t manage to hit me emotionally when the time came. It also managed to invoke some warm Christmas feels and spirit too, so not quite the complete disaster it started out as.
Joe Goodhart (27 KP) rated The Man Of Steel in Books
Nov 30, 2020
If you know me, you know that I have a strong dislike for the writing by Brian Michael Bendis. His last few years before his journey to DC Comics, the work he did on the X-titles, as well as GUARDIANS OF THE GALAXY, it was just rubbish! It was the end result of someone who clearly needed a change of scenery and a more focused editor! After reading this, I feel confident that what I just wrote, as well as feeling, is pretty close to the truth, as this, his first work for DC, was frikkin' A-MAZ-ING!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
Suswatibasu (1703 KP) rated Killers of the Flower Moon: The Osage Murder and the Birth of the FBI in Books
Nov 24, 2017 (Updated Nov 24, 2017)
Mind-blowing and a disconcerting read
I can say without a doubt, this is one of the best novels I've read this year. It is a disturbing and excellent real-life account of the plight of Native Americans who found themselves the unwitting beneficiaries of a financial boom in the 1920's after oil was discovered under the previously barren and worthless reservation they were moved to.
This fantastic book relates to a story covered in blood, racism and greed. Oil, black gold, made the Plains Osage tribe incredibly wealthy. By the 1890's, the remnants of this great people were in the scrub lands of Northern Oklahoma.
Their life was continually harsh, the soil poor. In the late 1890's, by chance, oil was struck in Osage County, flowing in abundance and in great demand. From 1918 to 1928, $202 million was paid to the tribe which by then numbered around 3000, transforming their lives. 680 barrels were obtained in a day in 1920 from a strike at Burbank, angering the whites and thus began the "Reign of Terror" in which hundreds of the Osage tribe members were subsequently killed in the most horrendous display of corruption.
The book itself begins in 1921 with an Osage woman who had a share of the mineral riches to be found under the Osage land. Mollie like others was subject to a law that treated her tribe as juveniles whose estates had to be administered by white guardians, that is local lawyers and businessmen, appointed by local courts.
Guardianship was unpoliced and few records were kept. Fraud was therefore prevalent and many of the local white community participated in corruption - murder was widespread as a result. Mollie's sister, Anna, was the first noticeable murder in which she was shot and killed, launching a major probe into similar killings in the area. Many other murders were committed over the following years, with poisoning as the most common method of killing. Essentially it was a covert form of genocide.
The locals refused to act, partly due to fear or involvement in this heinous plot, so J. Edgar Hoover, who was the first president of the FBI, became involved in the investigation. He sent a tall Texas Ranger called Tom White to scrutinise an epic series of murders in which even investigators were targets.
What follows is not only history but a riveting detective story and the book demonstrates yet again the enormous cost of American nationhood. It provides some fascinating insight into the early workings of the FBI (not least Hoover's nascent megalomania) for whom this was a celebrated case and a valuable reminder for folk who thought the persecution of American Indians ended in the late 19th century. Author and journalist David Grann does a superb job in collating all of the information with dozens of pages solely highlighting attributions and references - it is thorough and well-researched. Therefore it is hardly surprising that Hollywood has snapped up this book to turn it into a major motion picture - let's hope they don't whitewash history once again.
This fantastic book relates to a story covered in blood, racism and greed. Oil, black gold, made the Plains Osage tribe incredibly wealthy. By the 1890's, the remnants of this great people were in the scrub lands of Northern Oklahoma.
Their life was continually harsh, the soil poor. In the late 1890's, by chance, oil was struck in Osage County, flowing in abundance and in great demand. From 1918 to 1928, $202 million was paid to the tribe which by then numbered around 3000, transforming their lives. 680 barrels were obtained in a day in 1920 from a strike at Burbank, angering the whites and thus began the "Reign of Terror" in which hundreds of the Osage tribe members were subsequently killed in the most horrendous display of corruption.
The book itself begins in 1921 with an Osage woman who had a share of the mineral riches to be found under the Osage land. Mollie like others was subject to a law that treated her tribe as juveniles whose estates had to be administered by white guardians, that is local lawyers and businessmen, appointed by local courts.
Guardianship was unpoliced and few records were kept. Fraud was therefore prevalent and many of the local white community participated in corruption - murder was widespread as a result. Mollie's sister, Anna, was the first noticeable murder in which she was shot and killed, launching a major probe into similar killings in the area. Many other murders were committed over the following years, with poisoning as the most common method of killing. Essentially it was a covert form of genocide.
The locals refused to act, partly due to fear or involvement in this heinous plot, so J. Edgar Hoover, who was the first president of the FBI, became involved in the investigation. He sent a tall Texas Ranger called Tom White to scrutinise an epic series of murders in which even investigators were targets.
What follows is not only history but a riveting detective story and the book demonstrates yet again the enormous cost of American nationhood. It provides some fascinating insight into the early workings of the FBI (not least Hoover's nascent megalomania) for whom this was a celebrated case and a valuable reminder for folk who thought the persecution of American Indians ended in the late 19th century. Author and journalist David Grann does a superb job in collating all of the information with dozens of pages solely highlighting attributions and references - it is thorough and well-researched. Therefore it is hardly surprising that Hollywood has snapped up this book to turn it into a major motion picture - let's hope they don't whitewash history once again.
Phillip McSween (751 KP) rated The Hate U Give (2018) in Movies
Feb 11, 2019
Masterpiece, One of the Best of 2018
After witnessing a murder, black high school student Starr Carter (Amandla Stenberg) decides to stand up against racism while dealing with her own internal conflict of self-identity.
Acting: 10
Beginning: 8
The toughest part about critiquing is having to say something isn’t perfect, but not really having any ideas as to how to fix it. The beginning was…good. Characters are introduced as you meet the Carter family for the first time. It definitely could have been better, however. I felt it dragged on for slightly too long, but at the same time I understand director George Tillman Jr. was going for an emotional connection. While it could’ve been better, it is solid enough of a start to get you into the movie.
Characters: 10
The film revolves around Starr and her family. Each family member contributes to the overall dynamic of the story. You can see how Starr is shaped by her strong father Maverick (Russell Hornsby) who is all about standing up for what’s right and protecting the family at all costs. Her mother Lisa (Regina Hall) just wants Starr to have a better life than herself growing up. Starr recognizes that and tries to embrace it, but also feels guilty while doing so. It was therapeutic watching Starr evolve into a woman after feeling so powerless in the earlygoings of the film. All of these characters, even those outside of the Carter family, have depth and add value to the story.
Cinematography/Visuals: 10
Conflict: 10
Genre: 8
Memorability: 10
The Hate U Give is packed with twists and turns that you don’t expect or see coming. It really is a small world that we live in, too small to go around hating each other. The film succeeds by showing us just how small this world is. There are a number of memorable scenes that remain etched in my brain long after watching the movie. It’s one of those films that stays with you, leaving you with cause for much thought.
Pace: 9
There were a few spots where the build-up was a bit slow, but it’s not a major issue that impacts the movie as a whole. This goes back to what I was mentioning in the beginning. Not perfect, but I’m not sure how much I would have done differently than Tillman Jr. For the most part, the movie is highly entertaining and has a consistent flow.
Plot: 10
Resolution: 10
Ended just the way it should, not with some fairytale conclusion, but reality. Thank God for justice, but the movie leaves us with the full understanding that there is still work yet to be done. Very strong messaging.
Overall: 95
The Hate U Give is not your typical race war movie as it pushes for peace in coexistence and challenges the ideas of self-identification. The dynamics involved here are truly interesting as you see a black vs. white vs. hood life going on and what happens when lines cross. With a solid cast and story, it is not a surprise that this is one of my favorite films of 2018.
Acting: 10
Beginning: 8
The toughest part about critiquing is having to say something isn’t perfect, but not really having any ideas as to how to fix it. The beginning was…good. Characters are introduced as you meet the Carter family for the first time. It definitely could have been better, however. I felt it dragged on for slightly too long, but at the same time I understand director George Tillman Jr. was going for an emotional connection. While it could’ve been better, it is solid enough of a start to get you into the movie.
Characters: 10
The film revolves around Starr and her family. Each family member contributes to the overall dynamic of the story. You can see how Starr is shaped by her strong father Maverick (Russell Hornsby) who is all about standing up for what’s right and protecting the family at all costs. Her mother Lisa (Regina Hall) just wants Starr to have a better life than herself growing up. Starr recognizes that and tries to embrace it, but also feels guilty while doing so. It was therapeutic watching Starr evolve into a woman after feeling so powerless in the earlygoings of the film. All of these characters, even those outside of the Carter family, have depth and add value to the story.
Cinematography/Visuals: 10
Conflict: 10
Genre: 8
Memorability: 10
The Hate U Give is packed with twists and turns that you don’t expect or see coming. It really is a small world that we live in, too small to go around hating each other. The film succeeds by showing us just how small this world is. There are a number of memorable scenes that remain etched in my brain long after watching the movie. It’s one of those films that stays with you, leaving you with cause for much thought.
Pace: 9
There were a few spots where the build-up was a bit slow, but it’s not a major issue that impacts the movie as a whole. This goes back to what I was mentioning in the beginning. Not perfect, but I’m not sure how much I would have done differently than Tillman Jr. For the most part, the movie is highly entertaining and has a consistent flow.
Plot: 10
Resolution: 10
Ended just the way it should, not with some fairytale conclusion, but reality. Thank God for justice, but the movie leaves us with the full understanding that there is still work yet to be done. Very strong messaging.
Overall: 95
The Hate U Give is not your typical race war movie as it pushes for peace in coexistence and challenges the ideas of self-identification. The dynamics involved here are truly interesting as you see a black vs. white vs. hood life going on and what happens when lines cross. With a solid cast and story, it is not a surprise that this is one of my favorite films of 2018.
Movie Metropolis (309 KP) rated The Brothers Grimsby (2016) in Movies
Jun 11, 2019
It's grim in England (apparently)
It’s probably accurate to say that Sacha Baron Cohen’s sense of humour is a little like marmite, it’s a love or hate kind of affair. Offering up characters like Borat and Bruno to the unsuspecting public has proved beneficial to him over the years; with the outlandish antics of those personalities drawing in massive audiences.
His latest offering, English football hooligan Nobby Butcher, promises to be one of his most controversial roles to date, but does the corresponding film, simply titled Grimsby, push the boundaries a little too far?
Cohen’s beer-drinking, benefit-swindling character stars alongside his long-lost brother Sebastian, played by an incredibly wasted Mark Strong. It just so happens that Seb is a secret agent, on the run after an incident at a global health event. What ensues is a formulaic Cohen comedy that utilises every orifice known to the human body – this is definitely low-brow humour.
After getting over the truly horrific portrayal of life up north, and the appalling representation of a town that is no-where near as bad as is reflected, Grimsby is actually a reasonably funny spy caper – not in the league of last year’s Spy – but certainly better than say Johnny English: Reborn or to some extent, Get Smart.
A talented cast bolsters Cohen and Strong with Nobby’s girlfriend Dawn, played by Rebel Wilson, providing some of the film’s funniest moments, despite her lack of screen time.
Elsewhere, Penelope Cruz’s role is a wasted opportunity and she suffers the same fate here as she did in Zoolander 2. Isla Fisher, Ricky Tomlinson and Johnny Vegas are unfortunately all underused as Clash of the Titans director Louis Leterrier focuses on the main pair.
Leterrier’s work on big blockbusters also helps move Grimsby through its ridiculously swift run time. At less than 90 minutes, the story is stretched to the brink, though there are some clever scenes, including a brilliantly choreographed chase through tight urban streets at the beginning.
Unfortunately, the gags miss their targets more than they hit. Your individual views on toilet humour will ultimately decide whether or not Grimsby is funny and some of the comedic elements intermittently cross the line, an ill-timed HIV joke being one of them.
It’s fair to say you’ll be cringing one minute, and roaring with embarrassed laughter the next.
Nevertheless, Cohen has promised time and time again that he has no time for personal opinions on his films and with each new character; he continues to deliver on that promise. Whether or not his target audience is getting tired is another story completely.
Overall, Grimsby is a movie that is unapologetic with what it is trying to achieve. From homophobic comments, casual racism and a grim depiction of life in Northern England, it’s everything we should despise in modern film-making. However, there’s just something about Cohen’s brazen attitude that keeps us coming back for more.
If you’re reading this Sacha, don’t visit Grimsby for a while, there’s a bounty on your head.
https://moviemetropolis.net/2016/02/27/its-grim-in-england-apparently-grimsby-review/
His latest offering, English football hooligan Nobby Butcher, promises to be one of his most controversial roles to date, but does the corresponding film, simply titled Grimsby, push the boundaries a little too far?
Cohen’s beer-drinking, benefit-swindling character stars alongside his long-lost brother Sebastian, played by an incredibly wasted Mark Strong. It just so happens that Seb is a secret agent, on the run after an incident at a global health event. What ensues is a formulaic Cohen comedy that utilises every orifice known to the human body – this is definitely low-brow humour.
After getting over the truly horrific portrayal of life up north, and the appalling representation of a town that is no-where near as bad as is reflected, Grimsby is actually a reasonably funny spy caper – not in the league of last year’s Spy – but certainly better than say Johnny English: Reborn or to some extent, Get Smart.
A talented cast bolsters Cohen and Strong with Nobby’s girlfriend Dawn, played by Rebel Wilson, providing some of the film’s funniest moments, despite her lack of screen time.
Elsewhere, Penelope Cruz’s role is a wasted opportunity and she suffers the same fate here as she did in Zoolander 2. Isla Fisher, Ricky Tomlinson and Johnny Vegas are unfortunately all underused as Clash of the Titans director Louis Leterrier focuses on the main pair.
Leterrier’s work on big blockbusters also helps move Grimsby through its ridiculously swift run time. At less than 90 minutes, the story is stretched to the brink, though there are some clever scenes, including a brilliantly choreographed chase through tight urban streets at the beginning.
Unfortunately, the gags miss their targets more than they hit. Your individual views on toilet humour will ultimately decide whether or not Grimsby is funny and some of the comedic elements intermittently cross the line, an ill-timed HIV joke being one of them.
It’s fair to say you’ll be cringing one minute, and roaring with embarrassed laughter the next.
Nevertheless, Cohen has promised time and time again that he has no time for personal opinions on his films and with each new character; he continues to deliver on that promise. Whether or not his target audience is getting tired is another story completely.
Overall, Grimsby is a movie that is unapologetic with what it is trying to achieve. From homophobic comments, casual racism and a grim depiction of life in Northern England, it’s everything we should despise in modern film-making. However, there’s just something about Cohen’s brazen attitude that keeps us coming back for more.
If you’re reading this Sacha, don’t visit Grimsby for a while, there’s a bounty on your head.
https://moviemetropolis.net/2016/02/27/its-grim-in-england-apparently-grimsby-review/
Amy (7 KP) rated Goddess of Troy in Books
Jan 17, 2018 (Updated Jan 17, 2018)
Terrible. Total destruction.
Contains spoilers, click to show
The premise is one that P.C. Cast recycles throughout her work which is of taking modern women and dropping them into the worlds of myth and magic.
A brilliant idea, occasionally well done in her other novels...not unfortunately for this one.
The problem begins with the plot the goddesses send the women back to end the war...okay, but why not do it themselves? The flimsy excuses just don't hold up. The plot is weakly manipulated and transparently executed to make the neccessity of the modern women going back possible.
Problem 2-is the blatant racism of making the indipendant modern black woman into a white slave girl.
Problem 3- problematic sex scenes which read as thinly disguised rape scenes. A male character is hypnotises and the main female character has sex with him....this is made okay by him giving her consent afterwards. Which is not how consent works. This book being intended for young women just becoming sexual is at best concerning and at most incredibly damaging whilst promoting male rape under the guise of female empowerment.
The dialogue when more old fashioned from the warriors is charming and engaging...from the modern women we are forced to deal with censored cringy curse words, way too much teenage level gossip, and not a smidge of maturity in sight...from grown ass women.
For thirty plus successful women the character profiles should have engaged and fascinated, unfortunately those profiles were ignored during in-story application and replaced with twittering, childish teens who giggle over the word penis and lose their minds over the most vacuous and senseless things.
The plot centres around a boring, romance, and changes the original relationship of Achilles and Patroclus from its canonical implied romance to one of cousins...this at best is a misguided deviation from the canonical Iliad relationship they had.
It could easily be read as a blatant attack and hideous misuse of the original content, that could given the sheer overwhelming heteronormaty we are forced to endure be at its worst an erasure of rare LGBT representation from historical content.
The relationships are forced, and their happy endings so saccharine it hurts to read.
The siege of Troy is horrifically rewritten to make the main female lead the deciding factor that ensured victory and removed nearly all canonical battle events.
Throughout the novel not much happens, and by time something does you just want the novel over with.
It doesn't read as mythology inspired, the myths and characters are used as cheap prop and staging whilst removing the deep themes, and messages that ensured their endurance throughout time.
The vocabulary is below pre-teen level, the grammar is sub-par, and the pacing and plotting absolutely abysmal.
How this book ever made it to print in this state is a large and curious mystery for me.
I cannot urge you to skip this book enough, Margaret George's 'Helen of Troy' is a far more valuable use of your time if you are in want of mythology inspired fantasy...and does so without annihilating the entire original stories.
A brilliant idea, occasionally well done in her other novels...not unfortunately for this one.
The problem begins with the plot the goddesses send the women back to end the war...okay, but why not do it themselves? The flimsy excuses just don't hold up. The plot is weakly manipulated and transparently executed to make the neccessity of the modern women going back possible.
Problem 2-is the blatant racism of making the indipendant modern black woman into a white slave girl.
Problem 3- problematic sex scenes which read as thinly disguised rape scenes. A male character is hypnotises and the main female character has sex with him....this is made okay by him giving her consent afterwards. Which is not how consent works. This book being intended for young women just becoming sexual is at best concerning and at most incredibly damaging whilst promoting male rape under the guise of female empowerment.
The dialogue when more old fashioned from the warriors is charming and engaging...from the modern women we are forced to deal with censored cringy curse words, way too much teenage level gossip, and not a smidge of maturity in sight...from grown ass women.
For thirty plus successful women the character profiles should have engaged and fascinated, unfortunately those profiles were ignored during in-story application and replaced with twittering, childish teens who giggle over the word penis and lose their minds over the most vacuous and senseless things.
The plot centres around a boring, romance, and changes the original relationship of Achilles and Patroclus from its canonical implied romance to one of cousins...this at best is a misguided deviation from the canonical Iliad relationship they had.
It could easily be read as a blatant attack and hideous misuse of the original content, that could given the sheer overwhelming heteronormaty we are forced to endure be at its worst an erasure of rare LGBT representation from historical content.
The relationships are forced, and their happy endings so saccharine it hurts to read.
The siege of Troy is horrifically rewritten to make the main female lead the deciding factor that ensured victory and removed nearly all canonical battle events.
Throughout the novel not much happens, and by time something does you just want the novel over with.
It doesn't read as mythology inspired, the myths and characters are used as cheap prop and staging whilst removing the deep themes, and messages that ensured their endurance throughout time.
The vocabulary is below pre-teen level, the grammar is sub-par, and the pacing and plotting absolutely abysmal.
How this book ever made it to print in this state is a large and curious mystery for me.
I cannot urge you to skip this book enough, Margaret George's 'Helen of Troy' is a far more valuable use of your time if you are in want of mythology inspired fantasy...and does so without annihilating the entire original stories.
Gareth von Kallenbach (980 KP) rated Lincoln (2012) in Movies
Aug 7, 2019
The history of this country is steeped in mystery and intrigue, but it’s fuzzy on the details. We cling to heroes of the past because we are jaded by the present. Lincoln, a new film from Steven Spielberg, comes to us at a time when there seems to be even more political strife than usual. (Or perhaps that’s just me getting older and actually paying attention.) Either way, I think this movie’s arrival on the silver screen is very timely, given the recent election.
Daniel Day Lewis, a man revered for his choice of films and roles, as well as his ability to portray characters with so much emotion and conviction, has done it once again. As the title character for this film, Lewis portrays one of the U.S.A’s greatest leaders and pioneers in a way that few other men could. Surrounded by some of the best actors in Hollywood (including Tommy Lee Jones), this star-studded film has a laundry list of very recognizable faces from all corners of Hollywood. The red carpet was clearly rolled out for this film.
The story starts amid the death and destruction of the American Civil War, an event that is both a fixed point of the story and a constant backdrop. Seeing the fighting and killing made me wonder how gritty this movie would get, but as it turns out, they kept the level of gore pretty low.
The film goes on to set the stage for the final footsteps into the southern theater that was the Civil War. In tandem, it follows the highly controversial 13th amendment, which was barely passed at the time due to racism and the belief that one color of human should be slave to another color. The absurdity of this notion is highlighted, but it’s also familiar in the way it parallels issues we face today: legalizing pot, gay marriage, prostitution, the right to bear arms, etc. Perhaps our grandchildren will watch a film in the future about these struggles, and regard it as we do a film about the Civil War. As I sat and watched this movie, I was nearly in tears at the thought of how African-Americans were once regarded as lesser beings. Will our grandchildren cry at the ridiculousness of our beliefs?
The cinematography was amazingly crisp. Many of the characters are introduced in such a way that they have a grand entrance through the mystique created by camera angles. I have to truly applaud Spielberg for what might be his best film yet. The camera work was immensely effective, relying heavily on the contrast between shadow and light. Coupled with richly detailed sets, it made everything staggeringly realistic, and absolutely convincing.
I will say this for Lincoln: I haven’t been so moved and taken aback by a period film in my life. This is a must see for everyone.
The dialog is highly political, and sometimes goes along at quite a clip; be prepared to miss a few things the first time around. However, watching it a second time surely won’t be a sin. The humor alone merits a second viewing. There are many good laughs to be had.
Lincoln is a work of art.
Daniel Day Lewis, a man revered for his choice of films and roles, as well as his ability to portray characters with so much emotion and conviction, has done it once again. As the title character for this film, Lewis portrays one of the U.S.A’s greatest leaders and pioneers in a way that few other men could. Surrounded by some of the best actors in Hollywood (including Tommy Lee Jones), this star-studded film has a laundry list of very recognizable faces from all corners of Hollywood. The red carpet was clearly rolled out for this film.
The story starts amid the death and destruction of the American Civil War, an event that is both a fixed point of the story and a constant backdrop. Seeing the fighting and killing made me wonder how gritty this movie would get, but as it turns out, they kept the level of gore pretty low.
The film goes on to set the stage for the final footsteps into the southern theater that was the Civil War. In tandem, it follows the highly controversial 13th amendment, which was barely passed at the time due to racism and the belief that one color of human should be slave to another color. The absurdity of this notion is highlighted, but it’s also familiar in the way it parallels issues we face today: legalizing pot, gay marriage, prostitution, the right to bear arms, etc. Perhaps our grandchildren will watch a film in the future about these struggles, and regard it as we do a film about the Civil War. As I sat and watched this movie, I was nearly in tears at the thought of how African-Americans were once regarded as lesser beings. Will our grandchildren cry at the ridiculousness of our beliefs?
The cinematography was amazingly crisp. Many of the characters are introduced in such a way that they have a grand entrance through the mystique created by camera angles. I have to truly applaud Spielberg for what might be his best film yet. The camera work was immensely effective, relying heavily on the contrast between shadow and light. Coupled with richly detailed sets, it made everything staggeringly realistic, and absolutely convincing.
I will say this for Lincoln: I haven’t been so moved and taken aback by a period film in my life. This is a must see for everyone.
The dialog is highly political, and sometimes goes along at quite a clip; be prepared to miss a few things the first time around. However, watching it a second time surely won’t be a sin. The humor alone merits a second viewing. There are many good laughs to be had.
Lincoln is a work of art.