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Purple Phoenix Games (2266 KP) rated Tutankhamun in Tabletop Games
Jul 9, 2021
Tutankhamun (per dictionary.com, the pronunciation is as such: [ toot-ahng-kah-muhn ]) is regularly shortened and often referred to as “King Tut.” My real question is that if the first syllable is “toot,” why do we not call him King Toot? I have a 5 year old boy and a 2 year old girl at the time of this writing, so I can tell you EXACTLY why we don’t call him King Toot, but that’s for another discussion. Never having played the original version, will I enjoy this new version of the game by world-renowned designer Dr. Reiner Knizia?
In Tutankhamun, players take on the roles of Egyptian priests attempting to cleanse their souls by gifting the sarcophagus with relics found along the Nile River. The priest who can cleanse their soul quickest will be proclaimed the next High Priest and winner of the game!
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, place the King Tut sarcophagus on the table somewhere inside the box bottom. From this starting place (or you could place these components last I suppose), begin the laborious job of creating the Nile from the trapezoidal Relic TIles. This part took me a good several minutes each game. Place out the Underworld Mat near the start of the Nile, and place upon it the two Guardian Statue standees. From there give every player a reference card, have them choose a player color, place their boats at the start of the Nile, and Canopic Jar scoring markers on the appropriate space along the box bottom score track. The game may now begin!
Tutankhamun is played in turns starting with the starting player and proceeding clockwise. The starting player will choose ANY Relic Tile to collect and move their boat to that location. Once collected, the player will check to make sure there are still matching Relics along the Nile. If so, then play continues to the next player. If the active player had collected the last Relic of that type still active in the game, then the Relic type is scored.
Each Relic Tile features art of a Relic, a God, or a Scarab Ring. Relics come in sets, and when the final Relic of its type is collected, scoring immediately follows. Whichever player possesses the most Relic Tiles of the one being scored will earn points (or rather, negative points, as the priests are trying to cleanse their souls down to the winning score of zero) equal to the number printed on the tile. That number stands for the score earned as well as the number of Relics of that type in the game. The player with the second most Relics of the scored type will score half the number printed on the tile. All others do not score.
God Tiles feature art of one of five ancient Egyptian Gods: Osiris, Isis, Ra, Thoth, and Horus. Each of these Gods provide the collecting player with special powers to be used during the turn, and are always positive for the player.
Finally, Scarab Ring tiles are special in that they feature no number upon them. There are 10 tiles in the game, and as soon as a player collects one they immediately score one point (or one negative point). These tiles are not thrown into the box bottom, as the other scoring tiles are once scored, but are kept with the players to be scored at the end of the game. The player holding the most Scarab Tiles scores five negative points.
Any tile along the Nile that has been passed by all players is deposited onto the Underworld Mat and not added to the box bottom with the King Tut sarcophagus. Tiles may still be collected from the Underworld by permission of the Gods being collected in-game. Whichever priest is able to dwindle down their points and cleanse their soul first will win the game and become the next High Priest of Egypt!
Components. I am more and more becoming a fan of everything 25th Century Games is putting out. This is certainly no exception. I have seen photos of the original versions of this game, entitled Tutankhamen (with an E at the end instead of a U) and this game was certainly begging for a renovation. All the components have updated art, more vibrant colors, and the game even includes luxurious (and completely unnecessary) components. These are the very cool, but very unnecessary King Tut sarcophagus, and the Guardian Statue standees that add nothing to the gameplay but definitely help set the mood and theme. That all said, this version looks amazing on the table and has nearly infinite setup configurations!
What I like most about the game is the fact that on a player’s turn they can literally move forward to ANYWHERE along the Nile to gather whatever Relic they wish. They can pass up a tile or twelve along the way to snatch exactly what they want. However, the quicker a player reaches the sarcophagus does not automatically make them the winner. No, they still need to reduce their soul spirit score to zero in order to win (or be closest by the time all players reach the final spot). Conversely, dilly-dallying along the River just picking up every available tile also will not guarantee a victory. Specializing in a select few items may be the ticket to a victory, or setting oneself to win a couple types and win runner-up on the remainder may be a great path to victory.
Unlike many other games with this lazy race mechanic, the player furthest back does NOT get to keep taking turns to catch up (I’m looking at you, Tokaido), but rather just means that player has many more options ahead of themselves than the other players have. This is very interesting to me, and definitely something worth exploring more. It makes for tough turns when players have to really crunch which options are best for them: take the tile right ahead of them, diversify vs bolster the collection, or hate block another player by taking what you know they need. Ahh, so beautiful are the choices given!
At the end of the day (and this review), Purple Phoenix Games gives this one an Obama-meme-where-he-is-drinking-a-beer-and-giving-a-thumbs-up 5 / 6. I would certainly not have purchased this game in its original form had I seen it in a game store. However, with the changes made to make it more pretty, I would have given it a chance. I am so very glad I have the opportunity to play this a lot, as I can see this getting to the table allllllll the time. It is right up my alley, and I place it high among other Knizia games. Long live King Toot!!
In Tutankhamun, players take on the roles of Egyptian priests attempting to cleanse their souls by gifting the sarcophagus with relics found along the Nile River. The priest who can cleanse their soul quickest will be proclaimed the next High Priest and winner of the game!
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, place the King Tut sarcophagus on the table somewhere inside the box bottom. From this starting place (or you could place these components last I suppose), begin the laborious job of creating the Nile from the trapezoidal Relic TIles. This part took me a good several minutes each game. Place out the Underworld Mat near the start of the Nile, and place upon it the two Guardian Statue standees. From there give every player a reference card, have them choose a player color, place their boats at the start of the Nile, and Canopic Jar scoring markers on the appropriate space along the box bottom score track. The game may now begin!
Tutankhamun is played in turns starting with the starting player and proceeding clockwise. The starting player will choose ANY Relic Tile to collect and move their boat to that location. Once collected, the player will check to make sure there are still matching Relics along the Nile. If so, then play continues to the next player. If the active player had collected the last Relic of that type still active in the game, then the Relic type is scored.
Each Relic Tile features art of a Relic, a God, or a Scarab Ring. Relics come in sets, and when the final Relic of its type is collected, scoring immediately follows. Whichever player possesses the most Relic Tiles of the one being scored will earn points (or rather, negative points, as the priests are trying to cleanse their souls down to the winning score of zero) equal to the number printed on the tile. That number stands for the score earned as well as the number of Relics of that type in the game. The player with the second most Relics of the scored type will score half the number printed on the tile. All others do not score.
God Tiles feature art of one of five ancient Egyptian Gods: Osiris, Isis, Ra, Thoth, and Horus. Each of these Gods provide the collecting player with special powers to be used during the turn, and are always positive for the player.
Finally, Scarab Ring tiles are special in that they feature no number upon them. There are 10 tiles in the game, and as soon as a player collects one they immediately score one point (or one negative point). These tiles are not thrown into the box bottom, as the other scoring tiles are once scored, but are kept with the players to be scored at the end of the game. The player holding the most Scarab Tiles scores five negative points.
Any tile along the Nile that has been passed by all players is deposited onto the Underworld Mat and not added to the box bottom with the King Tut sarcophagus. Tiles may still be collected from the Underworld by permission of the Gods being collected in-game. Whichever priest is able to dwindle down their points and cleanse their soul first will win the game and become the next High Priest of Egypt!
Components. I am more and more becoming a fan of everything 25th Century Games is putting out. This is certainly no exception. I have seen photos of the original versions of this game, entitled Tutankhamen (with an E at the end instead of a U) and this game was certainly begging for a renovation. All the components have updated art, more vibrant colors, and the game even includes luxurious (and completely unnecessary) components. These are the very cool, but very unnecessary King Tut sarcophagus, and the Guardian Statue standees that add nothing to the gameplay but definitely help set the mood and theme. That all said, this version looks amazing on the table and has nearly infinite setup configurations!
What I like most about the game is the fact that on a player’s turn they can literally move forward to ANYWHERE along the Nile to gather whatever Relic they wish. They can pass up a tile or twelve along the way to snatch exactly what they want. However, the quicker a player reaches the sarcophagus does not automatically make them the winner. No, they still need to reduce their soul spirit score to zero in order to win (or be closest by the time all players reach the final spot). Conversely, dilly-dallying along the River just picking up every available tile also will not guarantee a victory. Specializing in a select few items may be the ticket to a victory, or setting oneself to win a couple types and win runner-up on the remainder may be a great path to victory.
Unlike many other games with this lazy race mechanic, the player furthest back does NOT get to keep taking turns to catch up (I’m looking at you, Tokaido), but rather just means that player has many more options ahead of themselves than the other players have. This is very interesting to me, and definitely something worth exploring more. It makes for tough turns when players have to really crunch which options are best for them: take the tile right ahead of them, diversify vs bolster the collection, or hate block another player by taking what you know they need. Ahh, so beautiful are the choices given!
At the end of the day (and this review), Purple Phoenix Games gives this one an Obama-meme-where-he-is-drinking-a-beer-and-giving-a-thumbs-up 5 / 6. I would certainly not have purchased this game in its original form had I seen it in a game store. However, with the changes made to make it more pretty, I would have given it a chance. I am so very glad I have the opportunity to play this a lot, as I can see this getting to the table allllllll the time. It is right up my alley, and I place it high among other Knizia games. Long live King Toot!!
Purple Phoenix Games (2266 KP) rated Evolution in Tabletop Games
Sep 12, 2019
I very much have a science-based mind. I like facts, figures, data, charts, timelines, etc. Yes, I can be a dreamer, too, but at the end of the day, I need verification to really believe in something. That’s why I’ve always been on Team Evolution vs. Team Creationism. It fascinates me how these huge beings like dinosaurs (oh yeah, I love dinosaurs a lot, too) could be preserved in time well past their deaths. But it leads to questions like, “What happened to them? Why couldn’t they make it in the end?” And the game Evolution by North Star Games attempts to answer those.
Disclaimer: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. Furthermore, I do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. – B
You start the game in control of one species of animal. One non-descript, traitless species that you will slowly (or maybe quickly) build up to be something bigger and better. You evolve it. (Huh.) You’ll start each round by contributing plant food to the watering hole. Each card in your hand is worth a certain amount of plant food. Once that food is in the watering hole, it’s fair game for anyone to eat. Depending on your strategy, you may want a lot of food in that watering hole, or you may want to starve your opponents out (some cards are even worth negative food!). Once all the food is in the watering hole, it’s time to evolve your critters. The cards in your hand have unique traits on them. To imbue your species with that trait, simply place the card next to your species’ gameboard and voila! You now have horns, or intelligence, or the ability to forage, or many other possibilities. You may also take this opportunity to evolve your creature into a carnivore (more on that later). At this point in the game, you may also discard cards in order to increase the population of your species, or to increase the body size of your cute little guys. This will be important later. You can also discard a card to create a whole new species. There’s no limit to how many species you can have, but there is a limit to the available food, so be wise with the number of species you create.
After everyone has evolved, it’s time to feed! You’ll take turns taking plant food from the watering hole. Yummy! You want to eat enough food to sustain your whole population size (1 piece of food per population). If not, your population size will decrease, meaning your species is dying. If you are unable to sustain the last remaining member of your species, that species will become extinct for eternity. Sad face. But don’t worry. You’ll get a new species for free at the beginning of your next turn. Once everyone is fed and happy, the round is over and you start a new round. The winner of the game goes to whoever has eaten the most food because, just like in real life, the success of your population is based on its ability to sustain itself, which, in this case, means eating the proper amount of food.
It SOUNDS simple, but I haven’t told you about all the curveballs yet. As stated before, you may choose to make your species a carnivore, which means that you will no longer take plant food from the watering hole. In order to eat, you have to attack another species! You can only attack other species who have smaller body sizes than you (I told you body size would be important. It’s your first means of defense against predators!). But some of those smaller species might have evolved some defensive traits, like a hard shell or the ability to burrow underground or to climb trees and taunt their predators from on high. This is the beauty of the game. How well can you evolve your herbivore creature in order to keep it well-fed and also free from predators? If you’re a carnivore, how well can you adapt to your surroundings and your ever-evolving prey before you can no longer feed on them? (I should also mention that you may find yourself in the truly depressing situation where all of your opponents have out-evolved your carnivores and the only other option left to feed them is to attack one of YOUR other species. The rules clearly state that every species MUST feed if able to, so you may have to sacrifice your other friends. VERY sad face.)
Components: Evolution comes in a standard cardboard box containing lots of high-quality trait cards, plant and meat food tokens and a large watering hole token (on which you put the plant food tokens). It also comes with cardboard food screens so you can conceal how much food your little (or maybe not so little) critters have eaten. You’ll get a stack of thick, double-sided species boards for you to keep track of your body size and population. I love that they’re double-sided because it gives you the flexibility to change their orientation (portrait or landscape) to save on table space. Body size and population are tracked using little brown and green cubes, which fit nicely in little holes on your species board. And to top it all off, the first player token is a a very large dinosaur-shaped meeple. Adorbs. The cards do tell you how to use them, but the rulebook has extra clarification for each card in case you need it. The cards are even color-coded so you’ll know if the trait is used for defense or eating, or maybe only usable by carnivores. Everything is very top-notch quality and the artwork is quite beautiful, creating new creatures and using bright, vivid colors. The artwork alone drew me to the box in the first place.
I really love this game. The theme is very on-brand for me, but I also really like that it’ll take a bit of luck (by hopefully drawing usable cards) and a ton of strategy to try to outwit your opponents. It’ll never be played the same way twice. Evolution is so spot-on, in fact, that it’s actually been used in the evolutionary biology department of the University of Oxford, so come on. It’s fun AND educational. I’ve also downloaded and quickly become obsessed with the mobile version, which is available on Google Play, in the App Store and on Steam. As of this writing, there are two expansions available: Flight and Climate, but there’s also a Climate stand-alone game, and an Evolution: The Beginning game, which is suitable for our younger friends. I own the Flight expansion but have yet to play it and I can’t wait to change that! Give this game a go. You’ll be happy you did. In the words of esteemed Dr. Ian Malcolm, “Life, uh, finds a way.” Purple Phoenix Games gives this one a (r)evolutionary 13 / 18.
Disclaimer: There are several expansions to this game, but we are not reviewing them at this time. Should we review them in the future we will either update this review or post a link to the new material here. Furthermore, I do not intend to cover every single rule included in the rule book, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy from the publisher directly or from your FLGS. – B
You start the game in control of one species of animal. One non-descript, traitless species that you will slowly (or maybe quickly) build up to be something bigger and better. You evolve it. (Huh.) You’ll start each round by contributing plant food to the watering hole. Each card in your hand is worth a certain amount of plant food. Once that food is in the watering hole, it’s fair game for anyone to eat. Depending on your strategy, you may want a lot of food in that watering hole, or you may want to starve your opponents out (some cards are even worth negative food!). Once all the food is in the watering hole, it’s time to evolve your critters. The cards in your hand have unique traits on them. To imbue your species with that trait, simply place the card next to your species’ gameboard and voila! You now have horns, or intelligence, or the ability to forage, or many other possibilities. You may also take this opportunity to evolve your creature into a carnivore (more on that later). At this point in the game, you may also discard cards in order to increase the population of your species, or to increase the body size of your cute little guys. This will be important later. You can also discard a card to create a whole new species. There’s no limit to how many species you can have, but there is a limit to the available food, so be wise with the number of species you create.
After everyone has evolved, it’s time to feed! You’ll take turns taking plant food from the watering hole. Yummy! You want to eat enough food to sustain your whole population size (1 piece of food per population). If not, your population size will decrease, meaning your species is dying. If you are unable to sustain the last remaining member of your species, that species will become extinct for eternity. Sad face. But don’t worry. You’ll get a new species for free at the beginning of your next turn. Once everyone is fed and happy, the round is over and you start a new round. The winner of the game goes to whoever has eaten the most food because, just like in real life, the success of your population is based on its ability to sustain itself, which, in this case, means eating the proper amount of food.
It SOUNDS simple, but I haven’t told you about all the curveballs yet. As stated before, you may choose to make your species a carnivore, which means that you will no longer take plant food from the watering hole. In order to eat, you have to attack another species! You can only attack other species who have smaller body sizes than you (I told you body size would be important. It’s your first means of defense against predators!). But some of those smaller species might have evolved some defensive traits, like a hard shell or the ability to burrow underground or to climb trees and taunt their predators from on high. This is the beauty of the game. How well can you evolve your herbivore creature in order to keep it well-fed and also free from predators? If you’re a carnivore, how well can you adapt to your surroundings and your ever-evolving prey before you can no longer feed on them? (I should also mention that you may find yourself in the truly depressing situation where all of your opponents have out-evolved your carnivores and the only other option left to feed them is to attack one of YOUR other species. The rules clearly state that every species MUST feed if able to, so you may have to sacrifice your other friends. VERY sad face.)
Components: Evolution comes in a standard cardboard box containing lots of high-quality trait cards, plant and meat food tokens and a large watering hole token (on which you put the plant food tokens). It also comes with cardboard food screens so you can conceal how much food your little (or maybe not so little) critters have eaten. You’ll get a stack of thick, double-sided species boards for you to keep track of your body size and population. I love that they’re double-sided because it gives you the flexibility to change their orientation (portrait or landscape) to save on table space. Body size and population are tracked using little brown and green cubes, which fit nicely in little holes on your species board. And to top it all off, the first player token is a a very large dinosaur-shaped meeple. Adorbs. The cards do tell you how to use them, but the rulebook has extra clarification for each card in case you need it. The cards are even color-coded so you’ll know if the trait is used for defense or eating, or maybe only usable by carnivores. Everything is very top-notch quality and the artwork is quite beautiful, creating new creatures and using bright, vivid colors. The artwork alone drew me to the box in the first place.
I really love this game. The theme is very on-brand for me, but I also really like that it’ll take a bit of luck (by hopefully drawing usable cards) and a ton of strategy to try to outwit your opponents. It’ll never be played the same way twice. Evolution is so spot-on, in fact, that it’s actually been used in the evolutionary biology department of the University of Oxford, so come on. It’s fun AND educational. I’ve also downloaded and quickly become obsessed with the mobile version, which is available on Google Play, in the App Store and on Steam. As of this writing, there are two expansions available: Flight and Climate, but there’s also a Climate stand-alone game, and an Evolution: The Beginning game, which is suitable for our younger friends. I own the Flight expansion but have yet to play it and I can’t wait to change that! Give this game a go. You’ll be happy you did. In the words of esteemed Dr. Ian Malcolm, “Life, uh, finds a way.” Purple Phoenix Games gives this one a (r)evolutionary 13 / 18.
okletmereviewit (4 KP) rated Boo! A Madea Halloween (2016) in Movies
May 11, 2018
good comedy movie for halloween
Contains spoilers, click to show
Hellur!!! OK so if you are looking for a good comedy movie for halloween (I know not typically a genre that you look for this time of year) then look no further. If you are a Tyler Perry fan or a fan of Madea you are going to be pleasantly surprised that this movie isn't a flop like (in my humble opinion) A Madea Christmas. Now since the early days I have loved the Madea character and the good wholesome values that Mr. Perry brings to the big screen. Sometimes they can "reach" and other times its just good fun.
In this movie, we find a grown 17yr old Tiffany (played by Diamond White) Brian's Daughter who we first met in Diary of a Mad Black Woman as a little girl (played by Tiffany Evens) and some girlfriends walking home from school, where they come across a Frat House with overly douchey College guys who are cat calling the young high school girls as they walk past their house.
They all try to talk to them and of course they only have one thing on their mind while talking to the girls. They invite them to a Halloween bash that they hold every year and about that time a very angry Brian pulls up and has a verbal confrontation with these guys. Embarrassed by the incident Tiffany is angry and talks back to Brian in front of her girlfriends and the Frat boys. Later we find Tiffany and her friend Aday (played by Liz Koshy) scheming in Tiffany's room about how they are going to sneak out after Brian leaves for work for the weekend.
Brian after finding out that his daughter is going to be meeting up with the boys later, calls Madea to come by and stay with the girls so that she can keep them in line. Well Madea, Joe, Aunt Bam, and Hattie, all show up to the house, where they witness the disrespectful nature in which Tiffany speaks to Brian and how she "throws shade" at the "old people" who are there to thwart her plans to go to the college frat party. Antics ensue as Tiffany decides to play a prank on Madea, Joe, Bam, and Hattie, and tell them a spooky story about how their house is haunted and that the only way to be safe is to go to bed before 10pm. After this the girls sneak out of the house to attend the party. Madea, goes to check up on the girls after some time has passed, and discovers that they are not in bed. Madea rallies up the troop (Bam and Hattie) and heads down to the frat party. When they pull up Madea is accosted by some frat boys on the front steps and after quickly putting them in place, she begins to search the party for Tiffany and Aday. When their friends find out that Tiffany's aunt is looking for her, they are quickly taken outside and Madea is hoisted up by a bunch of angry and drunk party goers and is thrown out the door.
"Mad as hell" Madea returns to Brian's house and calls the cops on the party and has it shut down. The frat boys take it on themselves to get back at Madea. Meanwhile, Tiffany comes downstairs and confronts Madea about what was going on acting like she had been upstairs sleeping in her dad's room the whole time. The frat boys begin messing with Madea, Joe, Bam, and Hattie, scaring them. At which point a couple of the guys, dress up like clowns and stalk Madea, Bam, and Hattie through out the house, eventually causing them to get in Madea's car and flee.
As they head down a dark road Madea's car breaks down. Madea and Hattie get out to try and see what is wrong with the car. About that time shadowy figures begin to appear in the woods surrounding them, and begin chasing them. Madea kicks it into high gear and leaves everyone in the dust and runs into the church where Aday's father the Reverend (Javon Johnson) is the preacher at, asking to be saved from the "demons and clowns and monkeys" and stuff that were chasing her. Aday comes out and tells Madea and the others that it was all just a prank that the frat boys were pulling and that none of it was real. Madea then decides to have some "hullerween" fun of her own by pulling a fast one on the boys. The film ends with a positive message about love, trust, and respect, and Madea running from "the po po".
You are in for a fun time and a good belly laugh. I hope you all take time to get out to see this great movie that is sure to become a family holiday classic.
In this movie, we find a grown 17yr old Tiffany (played by Diamond White) Brian's Daughter who we first met in Diary of a Mad Black Woman as a little girl (played by Tiffany Evens) and some girlfriends walking home from school, where they come across a Frat House with overly douchey College guys who are cat calling the young high school girls as they walk past their house.
They all try to talk to them and of course they only have one thing on their mind while talking to the girls. They invite them to a Halloween bash that they hold every year and about that time a very angry Brian pulls up and has a verbal confrontation with these guys. Embarrassed by the incident Tiffany is angry and talks back to Brian in front of her girlfriends and the Frat boys. Later we find Tiffany and her friend Aday (played by Liz Koshy) scheming in Tiffany's room about how they are going to sneak out after Brian leaves for work for the weekend.
Brian after finding out that his daughter is going to be meeting up with the boys later, calls Madea to come by and stay with the girls so that she can keep them in line. Well Madea, Joe, Aunt Bam, and Hattie, all show up to the house, where they witness the disrespectful nature in which Tiffany speaks to Brian and how she "throws shade" at the "old people" who are there to thwart her plans to go to the college frat party. Antics ensue as Tiffany decides to play a prank on Madea, Joe, Bam, and Hattie, and tell them a spooky story about how their house is haunted and that the only way to be safe is to go to bed before 10pm. After this the girls sneak out of the house to attend the party. Madea, goes to check up on the girls after some time has passed, and discovers that they are not in bed. Madea rallies up the troop (Bam and Hattie) and heads down to the frat party. When they pull up Madea is accosted by some frat boys on the front steps and after quickly putting them in place, she begins to search the party for Tiffany and Aday. When their friends find out that Tiffany's aunt is looking for her, they are quickly taken outside and Madea is hoisted up by a bunch of angry and drunk party goers and is thrown out the door.
"Mad as hell" Madea returns to Brian's house and calls the cops on the party and has it shut down. The frat boys take it on themselves to get back at Madea. Meanwhile, Tiffany comes downstairs and confronts Madea about what was going on acting like she had been upstairs sleeping in her dad's room the whole time. The frat boys begin messing with Madea, Joe, Bam, and Hattie, scaring them. At which point a couple of the guys, dress up like clowns and stalk Madea, Bam, and Hattie through out the house, eventually causing them to get in Madea's car and flee.
As they head down a dark road Madea's car breaks down. Madea and Hattie get out to try and see what is wrong with the car. About that time shadowy figures begin to appear in the woods surrounding them, and begin chasing them. Madea kicks it into high gear and leaves everyone in the dust and runs into the church where Aday's father the Reverend (Javon Johnson) is the preacher at, asking to be saved from the "demons and clowns and monkeys" and stuff that were chasing her. Aday comes out and tells Madea and the others that it was all just a prank that the frat boys were pulling and that none of it was real. Madea then decides to have some "hullerween" fun of her own by pulling a fast one on the boys. The film ends with a positive message about love, trust, and respect, and Madea running from "the po po".
You are in for a fun time and a good belly laugh. I hope you all take time to get out to see this great movie that is sure to become a family holiday classic.
BankofMarquis (1832 KP) rated Anatomy of a Murder (1959) in Movies
Nov 30, 2018
One of the Best Courtroom Dramas of all Time
I have to admit, that (at times) the fun part of going to "SECRET MOVIE NIGHT" is the anticipation of not knowing what the film is. Sometimes the film is "good, not great" (like THE BLUES BROTHERS, BODY HEAT and A FACE IN THE CROWD) and other times it is a CLASSIC (Like CITIZEN KANE, THE APARTMENT and NETWORK). I am happy to report that this month's installment IS a classic, our old pal Jimmy Stewart in 1959's ANATOMY OF MURDER.
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated Batman Gotham Knight (2008) in Movies
Jun 18, 2019
Batman: Gotham Knight was originally advertised as an animated feature that bridged the gap between Batman Begins and The Dark Knight, but it’s more of a Batman in his early stages becoming the legendary crime fighting vigilante he’s known as today. There are six segments in total with each segment having a different production studio.
The first segment is entitled, “Have I Got a Story For You,” and it’s written by Josh Olson (A History of Violence) and animated by Studio 4°C (Berserk: Golden Age Arc, Mind Game). The segment follows a boy who is waiting for his friends to arrive. Once they do, each of them tells a different story relating to what incredible Batman incident they witnessed that day. Each retelling is farfetched in its own way as this story capitalizes on teenagers stretching the truth and having overactive imaginations. Their day doesn’t seem to be finished though as the fight they all witnessed makes its way to their local hangout; the skate park.
“Crossfire” is written by Greg Rucka (Gotham, Jessica Jones) and animated by Production I.G. (FLCL, Ghost in the Shell: Stand Alone Complex). This segment focuses on Chris and Anna being a part of Lieutenant Gordon’s MCU (Major Crime Unit). Chris thinks Batman is a vigilante that takes the law into his hands while Anna is still unsure about him and is just thankful that good cops that know how to do their job are actually being respected now that Batman has become part of the picture. After taking a recent Arkham escapee back to the asylum, Chris and Anna soon realize that they’re stuck in the middle of a gang war between Sal Maroni and The Russian.
“Field Test” is written by Jordan Goldberg (Westworld) and animated by Bee Train (.hack//Sign, Blade of the Immortal). Lucius Fox is showing Bruce Wayne some new gadgets. Amongst them is a harness equipped with an electromagnetic pulse strong enough to deflect bullets. Batman decides to test it out with Maroni, The Russian, and his goons. Everything seems to be going well until Batman encounters a glitch.
“In Darkness Dwells” is written by David S. Goyer (the Blade franchise, Man of Steel) and animated by Madhouse (One Punch Man, Death Note). Everyone is hunting Killer Croc. For this story, Croc is a former patient of Jonathan Crane/The Scarecrow and one of the reasons he was admitted to Dr. Crane was for his fear of bats.
“Working Through Pain” is written by Brian Azzarello (Batman: The Killing Joke) and animated by Studio 4°C. Batman is injured on what seems like any other night he puts his mask on. His tenacity takes center stage as you witness how often he struggles with nightly injuries. There are also flashbacks to his past that illustrate the difference between exterior and interior pain. There’s a way to put pain in its place and this is how Bruce Wayne found out how.
“Deadshot” is written by Alan Burnett (Batman: Mask of the Phantasm) and animated by Madhouse. Deadshot has returned to Gotham and has set his sights on Jim Gordon, but he looks to have ulterior motives. You also learn about how Bruce Wayne feels about guns.
Gotham Knight is superbly animated and has an accessible flow to it despite its various stories and alternating casts. The animation is fantastic as everything moves crisply and smoothly. The artistic style may change from story to story, but the voice cast is the same throughout. While each individual story has its own narrative to tell, everything is connected in some way that flows together nicely. This was one of the first times Kevin Conroy returned to voice Batman and his voice has become the iconic Batman voice for anyone who grew up watching Batman: The Animated Series. Hearing Conroy as Batman is like a homecoming in so many ways.
Whether you’re an anime fan, a Batman fan, or you’re looking for something new to catch your eye, Gotham Knight is worthwhile for animation and comic book fans alike. The animation is beautiful and the stories are enticing enough to keep you interested throughout. Kevin Conroy is the real drawing point here, but the rest of the voice cast is solid, as well. The Batman Begins/The Dark Knight connections are mostly hogwash as the animated feature adds nothing to Christopher Nolan’s Batman universe, but is an entertaining way to spend 76-minutes nevertheless.
Batman: Gotham Knight is available to stream on Amazon Prime, YouTube, Vudu, and Google Play for $2.99 and iTunes for $3.99. The Multi-Format Blu-ray is available on Amazon for $7.32 and as a double feature Blu-ray with Batman: Year One for $17.97. The Gotham Knight/Year One Blu-ray is $9.08 on eBay and the Multi-Format Blu-ray is $6.99; both are in brand new condition and both have free shipping.
The first segment is entitled, “Have I Got a Story For You,” and it’s written by Josh Olson (A History of Violence) and animated by Studio 4°C (Berserk: Golden Age Arc, Mind Game). The segment follows a boy who is waiting for his friends to arrive. Once they do, each of them tells a different story relating to what incredible Batman incident they witnessed that day. Each retelling is farfetched in its own way as this story capitalizes on teenagers stretching the truth and having overactive imaginations. Their day doesn’t seem to be finished though as the fight they all witnessed makes its way to their local hangout; the skate park.
“Crossfire” is written by Greg Rucka (Gotham, Jessica Jones) and animated by Production I.G. (FLCL, Ghost in the Shell: Stand Alone Complex). This segment focuses on Chris and Anna being a part of Lieutenant Gordon’s MCU (Major Crime Unit). Chris thinks Batman is a vigilante that takes the law into his hands while Anna is still unsure about him and is just thankful that good cops that know how to do their job are actually being respected now that Batman has become part of the picture. After taking a recent Arkham escapee back to the asylum, Chris and Anna soon realize that they’re stuck in the middle of a gang war between Sal Maroni and The Russian.
“Field Test” is written by Jordan Goldberg (Westworld) and animated by Bee Train (.hack//Sign, Blade of the Immortal). Lucius Fox is showing Bruce Wayne some new gadgets. Amongst them is a harness equipped with an electromagnetic pulse strong enough to deflect bullets. Batman decides to test it out with Maroni, The Russian, and his goons. Everything seems to be going well until Batman encounters a glitch.
“In Darkness Dwells” is written by David S. Goyer (the Blade franchise, Man of Steel) and animated by Madhouse (One Punch Man, Death Note). Everyone is hunting Killer Croc. For this story, Croc is a former patient of Jonathan Crane/The Scarecrow and one of the reasons he was admitted to Dr. Crane was for his fear of bats.
“Working Through Pain” is written by Brian Azzarello (Batman: The Killing Joke) and animated by Studio 4°C. Batman is injured on what seems like any other night he puts his mask on. His tenacity takes center stage as you witness how often he struggles with nightly injuries. There are also flashbacks to his past that illustrate the difference between exterior and interior pain. There’s a way to put pain in its place and this is how Bruce Wayne found out how.
“Deadshot” is written by Alan Burnett (Batman: Mask of the Phantasm) and animated by Madhouse. Deadshot has returned to Gotham and has set his sights on Jim Gordon, but he looks to have ulterior motives. You also learn about how Bruce Wayne feels about guns.
Gotham Knight is superbly animated and has an accessible flow to it despite its various stories and alternating casts. The animation is fantastic as everything moves crisply and smoothly. The artistic style may change from story to story, but the voice cast is the same throughout. While each individual story has its own narrative to tell, everything is connected in some way that flows together nicely. This was one of the first times Kevin Conroy returned to voice Batman and his voice has become the iconic Batman voice for anyone who grew up watching Batman: The Animated Series. Hearing Conroy as Batman is like a homecoming in so many ways.
Whether you’re an anime fan, a Batman fan, or you’re looking for something new to catch your eye, Gotham Knight is worthwhile for animation and comic book fans alike. The animation is beautiful and the stories are enticing enough to keep you interested throughout. Kevin Conroy is the real drawing point here, but the rest of the voice cast is solid, as well. The Batman Begins/The Dark Knight connections are mostly hogwash as the animated feature adds nothing to Christopher Nolan’s Batman universe, but is an entertaining way to spend 76-minutes nevertheless.
Batman: Gotham Knight is available to stream on Amazon Prime, YouTube, Vudu, and Google Play for $2.99 and iTunes for $3.99. The Multi-Format Blu-ray is available on Amazon for $7.32 and as a double feature Blu-ray with Batman: Year One for $17.97. The Gotham Knight/Year One Blu-ray is $9.08 on eBay and the Multi-Format Blu-ray is $6.99; both are in brand new condition and both have free shipping.
Mothergamer (1546 KP) rated BEYOND: Two Souls in Video Games
Jun 21, 2019
I had never played Beyond: Two Souls and I got the game for free with my Playstation Plus subscription. I decided to check it out. Right from the start of the game, the story hooks you in with an introduction to a young woman (played by Ellen Page) sitting in a sheriff's office looking grim. This is where Beyond really begins. It's an intriguing way to start a story and I found myself wanting to know who this young woman was and how she got to this point.
As the story progresses, you learn that the young woman's name is Jodie and she has a psychic connection with an entity known as Aiden. Jodie can communicate and work with Aiden to use telepathic abilities such as moving objects or possessing people's minds. This is where the game has time jumps between Jodie's childhood, her teen years, and adulthood. It seems the story does this on purpose, showing that memories in Jodie's mind are jumbled so there are frequent time jumps back and forth. It can be a little confusing at times, but it seems to meld well with the story.
You can adjust the difficulty settings in the game from easy to normal depending on your play style which is nice. Since this was my first time playing the game, I went with the easy setting so I could get a feel for things and just enjoy the story. As the story switched back and forth in the timeline you get to see the things Jodie went through as a kid with Aiden and how she came to be with the lead scientist of the paranormal department, Nathan who is played by Willem Dafoe. Throughout Jodie's childhood, Nathan is a constant presence and a bit of a father figure to her as they run tests to see how strong Jodie's abilities are as well as testing her connection to Aiden. This is where the game introduces you to the controls and the quick action button events.
You can also switch views between Jodie and Aiden. There are many points in the game where Jodie relies on Aiden for certain parts of the story in order to move objects, possess people, or fight enemies. This is where the quick action controls come in. Honestly, I did not like the quick action controls because for me it detracted from the story immersion and often felt like a chore to do especially if I missed it the first time. There were times where it was vital that I not miss the quick action moment and it could be very frustrating when I did miss it.
The aspect of Jodie and Aiden learning and growing together as the story progresses is definitely interesting. There are great emotional moments in the story with Jodie as she is trying to navigate what it means to be herself while trying to adjust and separate herself from Aiden. You also get to see how her relationships change with people like Nathan as she grows. The time skips through the fifteen year span of Jodie's life fill in some of the gaps in the story, but there are times where it feels a bit muddled because in some aspects it takes away the player control and just takes you along for the ride. That is not necessarily a bad thing, because Ellen Page does a phenomenal job as Jodie and I found myself caring a lot about this character and wanting to protect her from all the people who were trying to control or manipulate her.
There are multiple endings to Beyond depending on choices you make as Jodie, but it doesn't always seem like there are a ton of choices because you are basically there to see Jodie's story unfold and see how she came to be where she is. The voice acting and motion capture of the game is incredible and everyone did a fantastic job telling this story. That's not to say Beyond isn't flawed. As I said before, I did not like the quick action event sequences. I felt this detracted from the story a bit. I also felt there were a couple of writing choices that could have been done better and in a more thoughtful manner such as a troubling scene in one of Jodie's teen years memories. I also felt the ending could have been stronger because it took an odd cliffhanger turn. That being said, I did enjoy Beyond: Two Souls because of the great casting and the story. Ellen Page as Jodie is the real deal bringing a great sincerity to the character that made me care genuinely about Jodie and wanting her to be okay. That is the sign of some good storytelling. Beyond is definitely worth playing through at least once to see the story unfold through Jodie's eyes.
As the story progresses, you learn that the young woman's name is Jodie and she has a psychic connection with an entity known as Aiden. Jodie can communicate and work with Aiden to use telepathic abilities such as moving objects or possessing people's minds. This is where the game has time jumps between Jodie's childhood, her teen years, and adulthood. It seems the story does this on purpose, showing that memories in Jodie's mind are jumbled so there are frequent time jumps back and forth. It can be a little confusing at times, but it seems to meld well with the story.
You can adjust the difficulty settings in the game from easy to normal depending on your play style which is nice. Since this was my first time playing the game, I went with the easy setting so I could get a feel for things and just enjoy the story. As the story switched back and forth in the timeline you get to see the things Jodie went through as a kid with Aiden and how she came to be with the lead scientist of the paranormal department, Nathan who is played by Willem Dafoe. Throughout Jodie's childhood, Nathan is a constant presence and a bit of a father figure to her as they run tests to see how strong Jodie's abilities are as well as testing her connection to Aiden. This is where the game introduces you to the controls and the quick action button events.
You can also switch views between Jodie and Aiden. There are many points in the game where Jodie relies on Aiden for certain parts of the story in order to move objects, possess people, or fight enemies. This is where the quick action controls come in. Honestly, I did not like the quick action controls because for me it detracted from the story immersion and often felt like a chore to do especially if I missed it the first time. There were times where it was vital that I not miss the quick action moment and it could be very frustrating when I did miss it.
The aspect of Jodie and Aiden learning and growing together as the story progresses is definitely interesting. There are great emotional moments in the story with Jodie as she is trying to navigate what it means to be herself while trying to adjust and separate herself from Aiden. You also get to see how her relationships change with people like Nathan as she grows. The time skips through the fifteen year span of Jodie's life fill in some of the gaps in the story, but there are times where it feels a bit muddled because in some aspects it takes away the player control and just takes you along for the ride. That is not necessarily a bad thing, because Ellen Page does a phenomenal job as Jodie and I found myself caring a lot about this character and wanting to protect her from all the people who were trying to control or manipulate her.
There are multiple endings to Beyond depending on choices you make as Jodie, but it doesn't always seem like there are a ton of choices because you are basically there to see Jodie's story unfold and see how she came to be where she is. The voice acting and motion capture of the game is incredible and everyone did a fantastic job telling this story. That's not to say Beyond isn't flawed. As I said before, I did not like the quick action event sequences. I felt this detracted from the story a bit. I also felt there were a couple of writing choices that could have been done better and in a more thoughtful manner such as a troubling scene in one of Jodie's teen years memories. I also felt the ending could have been stronger because it took an odd cliffhanger turn. That being said, I did enjoy Beyond: Two Souls because of the great casting and the story. Ellen Page as Jodie is the real deal bringing a great sincerity to the character that made me care genuinely about Jodie and wanting her to be okay. That is the sign of some good storytelling. Beyond is definitely worth playing through at least once to see the story unfold through Jodie's eyes.
Heather Cranmer (2721 KP) rated The Caretakers in Books
Apr 6, 2020
As soon as I read the synopsis for The Caretakers by Eliza Maxwell, I was instantly hooked. I knew it was a book that I had to read. It's like it was calling out to me saying "read me...read me." What a wild ride The Caretakers had in store for me!
Tessa Shepard made a documentary that helped free a man that she thought was framed for murder. However, when it seems he's killed the police chief's daughter, Tessa's life becomes upended. Around the same time, Tessa and her twin sister inherit a large estate named Fallbrook. There she meets two old ladies who are the caretakers of Fallbrook that have their own crazy story about the past when it comes to Fallbrooks history. With danger lurking around every corner, Tessa must try to survive and figure out the two old ladies' story.
I could not fault the plot of The Caretakers at all. It was absolutely solid from beginning to end. With The Caretakers, I felt like I was sort of getting two stories in one which was great! The first story is Tessa's. The narrative follows Tessa as she deals with her conscience about freeing a man from prison who may have actually been guilty. She's also dealing with the fallout between her and her twin sister Margot. With Tessa's reputation in tatters, Tessa tries to stay out of the spotlight and deal with what's going on in her personal life, but it doesn't turn out to be that easy. The second narrative belongs to the two old ladies and caretakers of Fallbrook, Kitty and Deidre. Their story was the most interesting to read about. Kitty and Deidre remember two different accounts of what actually befell Fallbrook when they were children. It was traumatizing for both of them, and at least one of the sisters has blocked out the actual memories of the horrible event that happened there. I found myself trying to guess which events were the true ones. Kudos to Eliza Maxwell for adding so many plot twists to The Caretakers that I never saw coming! I absolutely was thrilled that there were so many plot twists. Just when I thought I had the story figured out, a curve ball was thrown at me making me have to start my guess work all over again. However, all cliff hangers and questions are answered by the end of the book.
The characters in The Caretakers were all written fantastically! All were fleshed out appropriately even the minor characters. It was easy to empathize with everything Tessa was going through. She had so much bad stuff going on at one time. Learning her back story, it was easy to see why she thought the way she did. I liked Margot as well. While she's not a main character, she does play a fairly important role in Tessa's life. Sometimes I felt like Margot was a little too closed off when it came to Tessa and her husband, Ben. This wasn't due to bad writing, but quite the opposite. I felt like this was a character flaw that even real life people struggle with. I enjoyed Oliver's character. He made for a fantastic antagonist. Oliver was the one who Tessa freed from prison due to her documentary. Through fantastic storytelling, it was easy to see why Oliver went off the deep end after he was released. I felt bad for him actually. Deidre was an interesting character, and I came to understand why she was wary of strangers meddling in hers and Kitty's business. Kitty was my all time favorite character in The Caretakers though. I was sucked up in her childlike way of acting. She seemed to trust everyone and came across as such a sweet person. It seemed like she was too nice to be unkind towards anyone. I felt like Kitty had the most interesting backstory out of all the characters. The Cooke family, who had previously lived in Fallbrook before it became derelict, had the most intriguing story out of everyone. I really enjoyed reading about them.
Trigger warnings for The Caretakers include profanity, murder, violence, drinking, and police corruption.
To say I was blown away by The Caretakers is an understatement. Seriously, this book gave me goosebumps and a severe book hangover. That's how great it was! With intriguing plot lines and fantastic characters, it was such a fantastic read. I would most definitely recommend The Caretakers by Eliza Maxwell to those aged 17+. I really believe readers of all genres will really enjoy this book!
--
(A special thank you to Lone Star Literary Life and Eliza Maxwell for sending me a paperback and Netgalley for an eBook of The Caretakers in exchange for an honest and unbiased review.)
Tessa Shepard made a documentary that helped free a man that she thought was framed for murder. However, when it seems he's killed the police chief's daughter, Tessa's life becomes upended. Around the same time, Tessa and her twin sister inherit a large estate named Fallbrook. There she meets two old ladies who are the caretakers of Fallbrook that have their own crazy story about the past when it comes to Fallbrooks history. With danger lurking around every corner, Tessa must try to survive and figure out the two old ladies' story.
I could not fault the plot of The Caretakers at all. It was absolutely solid from beginning to end. With The Caretakers, I felt like I was sort of getting two stories in one which was great! The first story is Tessa's. The narrative follows Tessa as she deals with her conscience about freeing a man from prison who may have actually been guilty. She's also dealing with the fallout between her and her twin sister Margot. With Tessa's reputation in tatters, Tessa tries to stay out of the spotlight and deal with what's going on in her personal life, but it doesn't turn out to be that easy. The second narrative belongs to the two old ladies and caretakers of Fallbrook, Kitty and Deidre. Their story was the most interesting to read about. Kitty and Deidre remember two different accounts of what actually befell Fallbrook when they were children. It was traumatizing for both of them, and at least one of the sisters has blocked out the actual memories of the horrible event that happened there. I found myself trying to guess which events were the true ones. Kudos to Eliza Maxwell for adding so many plot twists to The Caretakers that I never saw coming! I absolutely was thrilled that there were so many plot twists. Just when I thought I had the story figured out, a curve ball was thrown at me making me have to start my guess work all over again. However, all cliff hangers and questions are answered by the end of the book.
The characters in The Caretakers were all written fantastically! All were fleshed out appropriately even the minor characters. It was easy to empathize with everything Tessa was going through. She had so much bad stuff going on at one time. Learning her back story, it was easy to see why she thought the way she did. I liked Margot as well. While she's not a main character, she does play a fairly important role in Tessa's life. Sometimes I felt like Margot was a little too closed off when it came to Tessa and her husband, Ben. This wasn't due to bad writing, but quite the opposite. I felt like this was a character flaw that even real life people struggle with. I enjoyed Oliver's character. He made for a fantastic antagonist. Oliver was the one who Tessa freed from prison due to her documentary. Through fantastic storytelling, it was easy to see why Oliver went off the deep end after he was released. I felt bad for him actually. Deidre was an interesting character, and I came to understand why she was wary of strangers meddling in hers and Kitty's business. Kitty was my all time favorite character in The Caretakers though. I was sucked up in her childlike way of acting. She seemed to trust everyone and came across as such a sweet person. It seemed like she was too nice to be unkind towards anyone. I felt like Kitty had the most interesting backstory out of all the characters. The Cooke family, who had previously lived in Fallbrook before it became derelict, had the most intriguing story out of everyone. I really enjoyed reading about them.
Trigger warnings for The Caretakers include profanity, murder, violence, drinking, and police corruption.
To say I was blown away by The Caretakers is an understatement. Seriously, this book gave me goosebumps and a severe book hangover. That's how great it was! With intriguing plot lines and fantastic characters, it was such a fantastic read. I would most definitely recommend The Caretakers by Eliza Maxwell to those aged 17+. I really believe readers of all genres will really enjoy this book!
--
(A special thank you to Lone Star Literary Life and Eliza Maxwell for sending me a paperback and Netgalley for an eBook of The Caretakers in exchange for an honest and unbiased review.)
Lottie disney bookworm (1056 KP) rated Go the Distance: A Twisted Tale in Books
Jun 17, 2021
What if Meg had to become a Greek God?
Following on immediately from the end of the much loved Hercules film, Jen Calonita is back with a twisted tale starring our favourite D.I.D: Damsel in Distress.
Now, I LOVE sarcasm and sass so Meg has always been a firm favourite of mine. I was thrilled when I heard she would finally be getting her own story and did Calonita disappoint? No she did not!
Go The Distance is told entirely from Meg’s point of view: immersing the reader immediately in her thoughts and feelings whilst ascending to Mount Olympus with Hercules. I loved how in tune Jen Calonita was with her protagonist, right from the first few pages: there is literally SO much pomp and circumstance surrounding Meg, she is stood on a cloud for goodness sake! But does that stop her doubting herself? Doubting the budding relationship with Herc? Not a chance!
It will come as no surprise to regular readers of twisted tale novels that Calonita quickly tanks our hopes of a happy ending (makes sense- we’re only in the first few pages) as Zeus refuses Hercules’ request to be with Meg on Earth: the lightning-wielding god and his wife have waited too long for their son to re-join them, to lose him this easily. However, Hera can see how happy this mortal makes her son and so makes Meg a once-in-a-lifetime offer, complete a hero’s quest in 10 days and stay with Herc on Mount Olympus as a god for eternity.
Obviously Meg accepts- it would be a short story if she passed this opportunity up- and embarks upon an adventure like no other. As well as having to navigate the underworld, negotiate with Hades and face her ex, Meg battles monsters, befriends Gods and learns her most important lesson: that love is a strength, not a weakness.
Joining Meg on her journey are characters we know and love, such as Phil, Pegasus and Hades. It would be so easy for Jen Calonita to play it safe with these iconic characters but I am pleased to say that these guys get their own little developments too: particularly Hades as we see the character of Persephone and her impact upon his life.
Calonita also introduces us to a host of new characters, two of which are pivotal to both the reader understanding how key events in her life have created this tough armour that Meg wears so well. These are Thea, Meg’s mother and Aegeus, the man who Meg gave up her soul for. Aegeus is a bit wet in my opinion (he’s no Wonder Boy!) but the relationship Calonita creates between Meg and Thea is something precious: the reader can see the struggles faced by both women and can immediately identify where Meg got her fiery nature from.
But of course our heroine is the one who shines in this twisted tale: Meg was already a brilliant character but Calonita opens her up a little bit more and manages to break down some of her walls: along her quest Meg almost embraces her vulnerability, she learns to trust and learns that it is not a weakness to ask for and accept help. After that her quest seems to become easier- which is saying a lot in the underworld!
I also really admired that Meg doesn’t go weak at the knees at the prospect of spending eternity with Hercules, in fact she isn’t sure she wants eternity, she just wants the chance to find out! This made the underlying love story real rather than fairytale. Herc and Meg argue, they say things they regret but ultimately, they show up for each other and that’s what is important in the end.
I have seen other reviewers slating the character of Meg, saying that she is too rash and hot-headed in this twisted tale and bears little resemblance to the animated character we love. I have to say I completely disagree with these views: yes, as her quest nears its deadline then Meg becomes increasingly rash but hello, the girl gave up her soul to Hades! You can’t tell me she doesn’t have previous form for diving head-first into a situation?!
Go The Distance is an adorable novel about embracing your vulnerability and trusting those who want to help you. It teaches us that independence does not necessarily mean facing everything alone, love does not necessarily come from one stand-out moment and that it is never too late to forgive. This twisted tale is not as dark as other retellings in the series but Jen Calonita is an expert in middle-grade literature and so this is not a surprise nor a criticism.
“Two thumbs, way way up for our leading lady!”
Following on immediately from the end of the much loved Hercules film, Jen Calonita is back with a twisted tale starring our favourite D.I.D: Damsel in Distress.
Now, I LOVE sarcasm and sass so Meg has always been a firm favourite of mine. I was thrilled when I heard she would finally be getting her own story and did Calonita disappoint? No she did not!
Go The Distance is told entirely from Meg’s point of view: immersing the reader immediately in her thoughts and feelings whilst ascending to Mount Olympus with Hercules. I loved how in tune Jen Calonita was with her protagonist, right from the first few pages: there is literally SO much pomp and circumstance surrounding Meg, she is stood on a cloud for goodness sake! But does that stop her doubting herself? Doubting the budding relationship with Herc? Not a chance!
It will come as no surprise to regular readers of twisted tale novels that Calonita quickly tanks our hopes of a happy ending (makes sense- we’re only in the first few pages) as Zeus refuses Hercules’ request to be with Meg on Earth: the lightning-wielding god and his wife have waited too long for their son to re-join them, to lose him this easily. However, Hera can see how happy this mortal makes her son and so makes Meg a once-in-a-lifetime offer, complete a hero’s quest in 10 days and stay with Herc on Mount Olympus as a god for eternity.
Obviously Meg accepts- it would be a short story if she passed this opportunity up- and embarks upon an adventure like no other. As well as having to navigate the underworld, negotiate with Hades and face her ex, Meg battles monsters, befriends Gods and learns her most important lesson: that love is a strength, not a weakness.
Joining Meg on her journey are characters we know and love, such as Phil, Pegasus and Hades. It would be so easy for Jen Calonita to play it safe with these iconic characters but I am pleased to say that these guys get their own little developments too: particularly Hades as we see the character of Persephone and her impact upon his life.
Calonita also introduces us to a host of new characters, two of which are pivotal to both the reader understanding how key events in her life have created this tough armour that Meg wears so well. These are Thea, Meg’s mother and Aegeus, the man who Meg gave up her soul for. Aegeus is a bit wet in my opinion (he’s no Wonder Boy!) but the relationship Calonita creates between Meg and Thea is something precious: the reader can see the struggles faced by both women and can immediately identify where Meg got her fiery nature from.
But of course our heroine is the one who shines in this twisted tale: Meg was already a brilliant character but Calonita opens her up a little bit more and manages to break down some of her walls: along her quest Meg almost embraces her vulnerability, she learns to trust and learns that it is not a weakness to ask for and accept help. After that her quest seems to become easier- which is saying a lot in the underworld!
I also really admired that Meg doesn’t go weak at the knees at the prospect of spending eternity with Hercules, in fact she isn’t sure she wants eternity, she just wants the chance to find out! This made the underlying love story real rather than fairytale. Herc and Meg argue, they say things they regret but ultimately, they show up for each other and that’s what is important in the end.
I have seen other reviewers slating the character of Meg, saying that she is too rash and hot-headed in this twisted tale and bears little resemblance to the animated character we love. I have to say I completely disagree with these views: yes, as her quest nears its deadline then Meg becomes increasingly rash but hello, the girl gave up her soul to Hades! You can’t tell me she doesn’t have previous form for diving head-first into a situation?!
Go The Distance is an adorable novel about embracing your vulnerability and trusting those who want to help you. It teaches us that independence does not necessarily mean facing everything alone, love does not necessarily come from one stand-out moment and that it is never too late to forgive. This twisted tale is not as dark as other retellings in the series but Jen Calonita is an expert in middle-grade literature and so this is not a surprise nor a criticism.
“Two thumbs, way way up for our leading lady!”
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Daniel Boyd (1066 KP) rated Glass (2019) in Movies
Feb 1, 2019 (Updated Feb 1, 2019)
First 2 acts are interesting (1 more)
MacAvoy is great
A Textbook Example On How Not To End A Trilogy
Contains spoilers, click to show
Glass is the 3rd movie in M. Night Shyamalan's pseudo superhero trilogy following Unbreakable and Split. Unfortunately it is probably the worst movie out of the three and doesn't live up to the twenty years of build-up it has had going into it. Full spoilers will be present through this review as it's kind of hard to discuss the film without spoiling anything.
The movie opens with what is essentially a condensed version of both Unbreakable and Split. We see Bruce Willis' Dennis Dunn stalking criminals in his poncho and we see James MacAvoy's Kevin Wendell Crumb keeping four young girls captured in an abandoned warehouse. The old 'unstoppable force meets immovable object,' trope plays out and the two of them wind up getting caught by Sarah Paulson and her team, who apparently specialise in investigating those who have delusions about having superhuman powers.
She brings the two of them to a mental hospital where she is keeping Samuel L Jackson's Mr Glass. Sarah Paulson's character then spends the next chunk of the movie trying to convince the three that the powers that they believe they possess is actually in their heads and there is a real-world, logical explanation to everything that they can do. This part of the film is actually pretty interesting in the ideas that it poses and I liked where the film was going at this point.
Then the third act happens and we are reminded why Shyamalan so desperately needs an editor to keep his ideas in check. There is this huge build up that takes place teasing an epic fight between Dunn and The Beast at the top of some huge brand new building in the middle of the city. Unfortunately we never get there and instead we just get some mediocre action choreography in a medium sized car park between the two. The whole thing ends with the fairly contrived retcon twist that Kevin's dad was in the same train crash that Dunn survived and Mr Glass caused, thus making Mr Glass the 'creator,' of both superheroes. Then the three characters die in an extremely anticlimactic fashion. The Beast breaks a couple of Mr Glass' bones and he falls out of his wheelchair and dies, (even though this is something that we have seen happen to him in Unbreakable and he survived it.) Then a sniper randomly shoots Kevin even though the beast is tamed by the appearance of Anya Taylor-Joy's character, Casey from Split. He just gets shot once and dies with hardly any fanfare. Then David Dunn is drowned in a puddle as Sarah Paulson explains that she is part of a secret organisation that hunts people who believe that they are superheroes, determines whether or not they really are superheroes through a pretty drawn-out process and then proceeds to kill them if they do in fact possess superpowers. We also see that for some reason this group apparently only meets in crowded public restaurants in the middle of the city centre in broad daylight and have to wait until any non members of this super secret club, (that just killed 3 people in a public car park in broad daylight in front of cops and family members,) have left the restaurant before they can discuss business. Then it turns out that Mr Glass leaked the footage from the hospital security cameras online so that people would see that superheroes really do exist.
If you are someone that hasn't seen the movie and doesn't care about spoilers so you just read this review anyway; your brain is probably falling out of your ear after reading my description of the third act and that's because on paper this whole sequence of events is absolutely ludicrous and the fact that no one pointed this out during the movie's production is mind-boggling.
What a waste after two solid movies and a decent two first acts worth of build up...
There are some positives I took away though. It is as much of an absolute joy to watch James MacAvoy play so many totally different characters convincingly in one scene as it was in Split, maybe even more so here as we get to see even more personalities emerge and in even quicker succession. He is an utterly phenomenal actor. It is also cool to see Mr Glass and David Dunn after twenty years to see where they are at in their lives and how they have been spending their time since the events of Unbreakable. There are also some nice shots and camera angles in the film, (more so in the first two acts of the story,) and some nice colour scheme aesthetics going on in certain compositions that made some shots more interesting to look at.
Overall, this movie could have been so much more and in the end it throws away some really potentially interesting plot threads in favour for a few tacked on twists and gives us nothing more than a half arsed conclusion to an otherwise solid trilogy.
The movie opens with what is essentially a condensed version of both Unbreakable and Split. We see Bruce Willis' Dennis Dunn stalking criminals in his poncho and we see James MacAvoy's Kevin Wendell Crumb keeping four young girls captured in an abandoned warehouse. The old 'unstoppable force meets immovable object,' trope plays out and the two of them wind up getting caught by Sarah Paulson and her team, who apparently specialise in investigating those who have delusions about having superhuman powers.
She brings the two of them to a mental hospital where she is keeping Samuel L Jackson's Mr Glass. Sarah Paulson's character then spends the next chunk of the movie trying to convince the three that the powers that they believe they possess is actually in their heads and there is a real-world, logical explanation to everything that they can do. This part of the film is actually pretty interesting in the ideas that it poses and I liked where the film was going at this point.
Then the third act happens and we are reminded why Shyamalan so desperately needs an editor to keep his ideas in check. There is this huge build up that takes place teasing an epic fight between Dunn and The Beast at the top of some huge brand new building in the middle of the city. Unfortunately we never get there and instead we just get some mediocre action choreography in a medium sized car park between the two. The whole thing ends with the fairly contrived retcon twist that Kevin's dad was in the same train crash that Dunn survived and Mr Glass caused, thus making Mr Glass the 'creator,' of both superheroes. Then the three characters die in an extremely anticlimactic fashion. The Beast breaks a couple of Mr Glass' bones and he falls out of his wheelchair and dies, (even though this is something that we have seen happen to him in Unbreakable and he survived it.) Then a sniper randomly shoots Kevin even though the beast is tamed by the appearance of Anya Taylor-Joy's character, Casey from Split. He just gets shot once and dies with hardly any fanfare. Then David Dunn is drowned in a puddle as Sarah Paulson explains that she is part of a secret organisation that hunts people who believe that they are superheroes, determines whether or not they really are superheroes through a pretty drawn-out process and then proceeds to kill them if they do in fact possess superpowers. We also see that for some reason this group apparently only meets in crowded public restaurants in the middle of the city centre in broad daylight and have to wait until any non members of this super secret club, (that just killed 3 people in a public car park in broad daylight in front of cops and family members,) have left the restaurant before they can discuss business. Then it turns out that Mr Glass leaked the footage from the hospital security cameras online so that people would see that superheroes really do exist.
If you are someone that hasn't seen the movie and doesn't care about spoilers so you just read this review anyway; your brain is probably falling out of your ear after reading my description of the third act and that's because on paper this whole sequence of events is absolutely ludicrous and the fact that no one pointed this out during the movie's production is mind-boggling.
What a waste after two solid movies and a decent two first acts worth of build up...
There are some positives I took away though. It is as much of an absolute joy to watch James MacAvoy play so many totally different characters convincingly in one scene as it was in Split, maybe even more so here as we get to see even more personalities emerge and in even quicker succession. He is an utterly phenomenal actor. It is also cool to see Mr Glass and David Dunn after twenty years to see where they are at in their lives and how they have been spending their time since the events of Unbreakable. There are also some nice shots and camera angles in the film, (more so in the first two acts of the story,) and some nice colour scheme aesthetics going on in certain compositions that made some shots more interesting to look at.
Overall, this movie could have been so much more and in the end it throws away some really potentially interesting plot threads in favour for a few tacked on twists and gives us nothing more than a half arsed conclusion to an otherwise solid trilogy.