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Night Reader Reviews (683 KP) rated A Deadly Education: Lesson One of the Scholomance in Books
Sep 22, 2021
Rough start for a new series but shows promise
A Deadly Education by Naomi Novik was given eighth place in the Goodreads choice awards for fantasy last year and has been nominated again this year. Unfortunately this book will not be receiving my vote although at this time I have not yet decided which book I will be voting for. This is the first book in a new series and I do have high hopes that future editions to the series will be better as it shows a lot of promise.
The basic idea here is that magical children are teleported away to The Scholomace for education and safety from the mals ( evil creatures attracted to the easy target of young magic user) though not all make it into the school. The school itself is dangerous as well yet even with the horde of mals waiting at the graduation gates to feast on everyone trying to leave the school once a year and the few who make it into the rest of the building the survival rate os those inside the school is still better than if they were left in the general magical population.
While completing school work is important it only because the school will attack those who don't complete their work the samation of alliances is almost more important. This is problematic thoug for those who don't come from an enclave and who are not interested n making friends in the first place.
What I liked about this book was that it is relatively unique. The fact that the main character actually goes through a very clear mental and maturity growth is a plus as well. She really improves as she learns about herself and her classmates. Unfortunately that is pretty much everything good I can say about this book. I enjoyed reading the book when I first started it but around halfway through it became clear that a lot of the book is repetitive. The book ended up becoming slow with the group just fighting off mals and not making much progress on the storyline for a while.it actually got to the point that I was about ready to put the book down.it is also rather predictable.
The ideal target audience for this book is teens to some young adults. I believe the book is too much for most readers younger than teens but at the same time it lacks the detail and depth needed to really capture the attention of older readers. I can only rate this book a 2 out of 5 at best with the hope that it is just a slow start to a good series.
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To see about having your book reviewed a message on any of the above platforms or email me at bookreviewsatnight@gmail.com
Thank you, Melissa
The basic idea here is that magical children are teleported away to The Scholomace for education and safety from the mals ( evil creatures attracted to the easy target of young magic user) though not all make it into the school. The school itself is dangerous as well yet even with the horde of mals waiting at the graduation gates to feast on everyone trying to leave the school once a year and the few who make it into the rest of the building the survival rate os those inside the school is still better than if they were left in the general magical population.
While completing school work is important it only because the school will attack those who don't complete their work the samation of alliances is almost more important. This is problematic thoug for those who don't come from an enclave and who are not interested n making friends in the first place.
What I liked about this book was that it is relatively unique. The fact that the main character actually goes through a very clear mental and maturity growth is a plus as well. She really improves as she learns about herself and her classmates. Unfortunately that is pretty much everything good I can say about this book. I enjoyed reading the book when I first started it but around halfway through it became clear that a lot of the book is repetitive. The book ended up becoming slow with the group just fighting off mals and not making much progress on the storyline for a while.it actually got to the point that I was about ready to put the book down.it is also rather predictable.
The ideal target audience for this book is teens to some young adults. I believe the book is too much for most readers younger than teens but at the same time it lacks the detail and depth needed to really capture the attention of older readers. I can only rate this book a 2 out of 5 at best with the hope that it is just a slow start to a good series.
For more reviews on popular books and independent authors check out these locations
https://www.facebook.com/nightreaderreviews
https://smashbomb.com/nightreader
https://nightreaderreviews.blogspot.com/
https://www.goodreads.com/user/show/40248897-melissa-espenschied
To see about having your book reviewed a message on any of the above platforms or email me at bookreviewsatnight@gmail.com
Thank you, Melissa
Gareth von Kallenbach (980 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jul 2, 2019
Ever since X-men First Class was released, Jean Gray one of the more pivotal characters in the X-Men universe has been surprisingly absent. Often portrayed at not only having psychic abilities that rivals Charles Xavier, but also attracted the admiration of both Cyclops and Wolverine. While she was a staple in the original film and subsequent sequels her first appearance in the newest series did not occur until X-Men Apocalypse. With the release of Dark Phoenix, we had hoped to finally get an opportunity to explore a bit of her background story and her transformation into Dark Phoenix.
Dark Phoenix begins on a small country road where a very young Jean Grey is arguing with her parents over what music to listen to. In traditional parent fashion, her mother reminds her that the driver is the one who chooses the music and when she is old enough to drive she can choose her own music. This small disagreement turns into a deadly confrontation, when the young Jean, unable to control her vast powers causes her mom to fall asleep at the wheel, resulting in a head on collision killing both her parents. The doctors are amazed that this young girl has survived without a single scratch and a young Charles Xavier arrives to take her to a place where she can be safe.
Fast Forward to the year 1992 where the space shuttle Endeavor, on a routine mission, encounters a cosmic entity that cripples it in space. The X-men, who are now looked at as heroes by most of the world are tasked to bring the astronauts safely home, it’s a dangerous mission, but one that Charles feels will further cement the hero status of his team and continue to grow trust between mutants and humans alike. The mission goes surprisingly without incident until Jean and Night Crawler attempt to rescue the final remaining astronaut from the doomed shuttle. Night Crawler quickly teleports the astronaut to safety, but Jean is caught by the full force of the cosmic entity, absorbing it completely and destroying the shuttle. The team scrambles to locate her, and with the help of Night Crawler are once again able to bring her back to the safety of the X-Jet. Relieved that she has somehow miraculously survived the encounter the team is unaware that Jean and themselves will never be the same again.
As we’ve come to expect from the previous X-men movies, a star-studded cast leads the way. Familiar cast members such as Jennifer Lawrence (Raven), Tye Sheridan (Cyclops) and James McAvoy (Charles Xavier) are joined once again by Sophie Turner as the iconic Jean Grey. Sophie does an incredible job at bringing out both the uncertainty in her character and the extreme anger and rage that flows through her. Unfortunately for such a major character the movie only briefly touches the surface of who Jean Grey really is. The movie, even from the start tends to focus on Jean as a dangerous and angry young lady, unable to control her emotions which will ultimately open the doorway to her alter ego Dark Phoenix. The movie unfortunately treats her as a one-off character and skips most of her back story choosing to focus only on her Dark Phoenix personality. This leaves the audience with no understanding of the person she was prior to the transformation, only seeing Jean as an uncontrollable child who has now become an uncontrollable adult with “off the chart” powers. While Charles and other members of the team try to assure those around them (and the audience seated in the theaters) that Jean is a good person, a person worth saving, there is very little in the movie that allows us to sympathize with her plight. It ultimately villainizes her and leaves much of the cast (and the audience) wondering whether destroying her is the right choice for all humankind.
Visually Dark Phoenix is a masterpiece, whether it’s the awe-inspiring deepness of space, or the incredible visual effects as the mutants square off against each other with their powers. Buildings topple, subway cars are pulled from underground and general mayhem takes the stage. This is certainly one of the more action-packed movies in the series and getting the opportunity to watch some of our favorite mutants square off against one another is enough to excite even the ones least interested in the franchise.
Dark Phoenix as one might expect is also one of the darkest of the x-men movies. Unlike its other Marvel film counterparts, there is no levity in the movie at all. There are scenes that are heartwarming, but the movie takes itself very seriously. Even in a similarly dark Marvel movie Endgame there were moments that would make you laugh regardless of how dire the situation was, Dark Phoenix is not like this at all. It carries a weight to it that ensures that not only the people on screen, but those in the audience understand how truly dire the situation is. It detracts a bit from the spirit of the source material it derives from and could potentially alienate its core audience. This is a very adult movie, that deals with some very adult themes and parents might want to think twice before taking their youngest to see this film. With the X-Men franchise finally joining the MCU, it’ll be interesting to see how movies down the road treat these characters.
Dark Phoenix represents the end of an X-Men era that has existed in both its original and First-Class installments for over twenty years. The acquisition of Fox by Disney now brings this venerable franchise to the MCU family along with its cast of seemingly endless characters. While the movie is certainly better than Apocalypse, it can’t quite reach the heights of either First-Class or Days of Futures Past. The Dark Phoenix storyline does a good job staying closer to its comic book roots than its previous outing but rushes the origin and character development of Jean far more than she deserves. It’s a fine ending to the series as a whole but can’t quite deliver in all the ways I hoped it would.
Dark Phoenix begins on a small country road where a very young Jean Grey is arguing with her parents over what music to listen to. In traditional parent fashion, her mother reminds her that the driver is the one who chooses the music and when she is old enough to drive she can choose her own music. This small disagreement turns into a deadly confrontation, when the young Jean, unable to control her vast powers causes her mom to fall asleep at the wheel, resulting in a head on collision killing both her parents. The doctors are amazed that this young girl has survived without a single scratch and a young Charles Xavier arrives to take her to a place where she can be safe.
Fast Forward to the year 1992 where the space shuttle Endeavor, on a routine mission, encounters a cosmic entity that cripples it in space. The X-men, who are now looked at as heroes by most of the world are tasked to bring the astronauts safely home, it’s a dangerous mission, but one that Charles feels will further cement the hero status of his team and continue to grow trust between mutants and humans alike. The mission goes surprisingly without incident until Jean and Night Crawler attempt to rescue the final remaining astronaut from the doomed shuttle. Night Crawler quickly teleports the astronaut to safety, but Jean is caught by the full force of the cosmic entity, absorbing it completely and destroying the shuttle. The team scrambles to locate her, and with the help of Night Crawler are once again able to bring her back to the safety of the X-Jet. Relieved that she has somehow miraculously survived the encounter the team is unaware that Jean and themselves will never be the same again.
As we’ve come to expect from the previous X-men movies, a star-studded cast leads the way. Familiar cast members such as Jennifer Lawrence (Raven), Tye Sheridan (Cyclops) and James McAvoy (Charles Xavier) are joined once again by Sophie Turner as the iconic Jean Grey. Sophie does an incredible job at bringing out both the uncertainty in her character and the extreme anger and rage that flows through her. Unfortunately for such a major character the movie only briefly touches the surface of who Jean Grey really is. The movie, even from the start tends to focus on Jean as a dangerous and angry young lady, unable to control her emotions which will ultimately open the doorway to her alter ego Dark Phoenix. The movie unfortunately treats her as a one-off character and skips most of her back story choosing to focus only on her Dark Phoenix personality. This leaves the audience with no understanding of the person she was prior to the transformation, only seeing Jean as an uncontrollable child who has now become an uncontrollable adult with “off the chart” powers. While Charles and other members of the team try to assure those around them (and the audience seated in the theaters) that Jean is a good person, a person worth saving, there is very little in the movie that allows us to sympathize with her plight. It ultimately villainizes her and leaves much of the cast (and the audience) wondering whether destroying her is the right choice for all humankind.
Visually Dark Phoenix is a masterpiece, whether it’s the awe-inspiring deepness of space, or the incredible visual effects as the mutants square off against each other with their powers. Buildings topple, subway cars are pulled from underground and general mayhem takes the stage. This is certainly one of the more action-packed movies in the series and getting the opportunity to watch some of our favorite mutants square off against one another is enough to excite even the ones least interested in the franchise.
Dark Phoenix as one might expect is also one of the darkest of the x-men movies. Unlike its other Marvel film counterparts, there is no levity in the movie at all. There are scenes that are heartwarming, but the movie takes itself very seriously. Even in a similarly dark Marvel movie Endgame there were moments that would make you laugh regardless of how dire the situation was, Dark Phoenix is not like this at all. It carries a weight to it that ensures that not only the people on screen, but those in the audience understand how truly dire the situation is. It detracts a bit from the spirit of the source material it derives from and could potentially alienate its core audience. This is a very adult movie, that deals with some very adult themes and parents might want to think twice before taking their youngest to see this film. With the X-Men franchise finally joining the MCU, it’ll be interesting to see how movies down the road treat these characters.
Dark Phoenix represents the end of an X-Men era that has existed in both its original and First-Class installments for over twenty years. The acquisition of Fox by Disney now brings this venerable franchise to the MCU family along with its cast of seemingly endless characters. While the movie is certainly better than Apocalypse, it can’t quite reach the heights of either First-Class or Days of Futures Past. The Dark Phoenix storyline does a good job staying closer to its comic book roots than its previous outing but rushes the origin and character development of Jean far more than she deserves. It’s a fine ending to the series as a whole but can’t quite deliver in all the ways I hoped it would.
Eilidh G Clark (177 KP) rated Dirt Road in Books
May 13, 2017
Kelman is an expert in understanding people
Kelman’s new novel Dirt Road is story that takes both characters and reader on a journey right from the outset, but the journey is more than it seems. The novel begins in the West coast of Scotland where we learn that Murdo - a sixteen-year-old boy - and his father Tom are mourning the death of their mother/wife and sister/daughter. Searching for solace, they embark on a journey to Alabama, U.S.A to spend time with Uncle John and Aunt Maureen. For Murdo, family is just a happy memory, a moment in time captured in a photograph, ‘The family was four and not just him and Dad’, whilst for Tom, family is the bond that holds them together. Throughout the journey, Tom strives to guide his son and keep him on ‘the right path’, yet Murdo, as we will learn, has a path of his own to find. Stifled by the fathers influence, the boy has a tendency to stray, thus when they reach Allentown Mississippi, Murdo stumbles upon a family of musicians led by Zydeco performer Queen Monzee-ay. Murdo is as drawn to music as his father is to family, the boy himself is an accomplished accordion player, and when he is offered an opportunity to play a set with Queen Monzee-ay in two weeks’ time, we watch as the road between father and son diverges and choice and risk becomes the key plot in the story.
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
While this may appear a simple story line, Kelman’s exploration into the fragmented relationship between father and son gives the reader an honest analysis of family and grief. The third person narrator, with bursts of free indirect discourse from Murdo, allows the reader both an internal and external insight into the constraints of family. This parallel leaves the reader feeling uncomfortable, yet with a conflicting heart. This is Kelman’s unique writing style at its best.
Dirt Road is more than a novel of grief and family relationships though; it is a novel of risk, of following new paths with uncertainties, about leaving behind the familiarities and safety of the past and following the heart. It is about deep connections; for Murdo this is through music and the feeling of freedom that he associates with music, whilst for the other characters it is about cultural connections and Scottish ancestry. Kelman’s clever use of parallels shows the reader the intensity of human connections whilst suggesting that change and progression is possible. This great novel will linger in your thoughts for weeks after you put it down, and it brings to mind a poem by Robert Frost, The Road Not Taken
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
For the full poem visit (https://www.poetryfoundation.org).
Dirt Road by James Kelman
Canongate Books (14 July 2016)
Hazel (1853 KP) rated Welcome to Nowhere in Books
May 24, 2017
Contemporary War
This ARC was provided by the publisher via NetGalley in exchange for an honest review
The eximious children’s author, Elizabeth Laird, is continuing with her magnificent streak of prize-worthy novels. Her soon to be published book Welcome to Nowhere will be eagerly consumed by fans and new-readers alike. With a contemporary setting and shocking truths, young readers will become more aware of the events happening near and far.
Omar is only twelve, yet has a life style that will seem alien to the majority of readers. Living in Syria, Omar works to earn a wage as well as attends school, whilst also helping to care for his Cerebral-Palsy-suffering brother and three other siblings. Although Omar’s life is not easy, it is preferable to the events he is soon about to witness.
In March 2011, Syria broke out in civil war after the daring behaviour of a couple of schoolboys. After these vandals scrawled the phrase “the people want the regime to change” onto a wall, the government decided to fight back. With shootings regularly occurring in the streets, and bombs falling on houses, Omar and his family flee their city home to live with family in the countryside. However, they cannot stay there for long before danger finds them again. Running from the enemy, Omar and family find themselves on the streets with thousands of other refugees. But, where can they go when they have nowhere to call home?
Although Welcome to Nowhere is set before the development of the extreme Muslim group, ISIS, Elizabeth Laird provides an accurate description of the lives of Syrians and refugees at this present moment. Most young readers, and possibly many adults, may not understand what caused the current refugee crisis and may even regard them as the enemy. This book will open hearts and minds after revealing the terror and destruction thousands of people have faced, their experience of refugee camps and their desperation to be able to live in safety.
As well as revealing truths about the situation in the Middle East, Welcome to Nowhere educates the reader on the customs and beliefs of average Muslim families. Although slightly antiquated – men dominate over women – they are not all that different to the Western world. Omar wants to become a successful businessman, whilst his sister is desperate to go to school and university. Laird also writes of scenarios that are not unique to Syrian citizens, in particular medical conditions such as Cerebral Palsy and the way these people are attacked by social stigmas.
Whilst not labeling this book as ‘exciting’, Welcome to Nowhere is a story that will engage the readers’ attention. As a book with both entertainment and educational value, Elizabeth Laird’s latest book is worthy of significant praise. It is not often that a writer will dare to reveal the gritty truth about the current situation in the world, and thus Laird must be commended for persevering with such a difficult, challenging story. Although targeted at young adults (ages 12+), older readers will also enjoy and learn from this exceptional novel.
The eximious children’s author, Elizabeth Laird, is continuing with her magnificent streak of prize-worthy novels. Her soon to be published book Welcome to Nowhere will be eagerly consumed by fans and new-readers alike. With a contemporary setting and shocking truths, young readers will become more aware of the events happening near and far.
Omar is only twelve, yet has a life style that will seem alien to the majority of readers. Living in Syria, Omar works to earn a wage as well as attends school, whilst also helping to care for his Cerebral-Palsy-suffering brother and three other siblings. Although Omar’s life is not easy, it is preferable to the events he is soon about to witness.
In March 2011, Syria broke out in civil war after the daring behaviour of a couple of schoolboys. After these vandals scrawled the phrase “the people want the regime to change” onto a wall, the government decided to fight back. With shootings regularly occurring in the streets, and bombs falling on houses, Omar and his family flee their city home to live with family in the countryside. However, they cannot stay there for long before danger finds them again. Running from the enemy, Omar and family find themselves on the streets with thousands of other refugees. But, where can they go when they have nowhere to call home?
Although Welcome to Nowhere is set before the development of the extreme Muslim group, ISIS, Elizabeth Laird provides an accurate description of the lives of Syrians and refugees at this present moment. Most young readers, and possibly many adults, may not understand what caused the current refugee crisis and may even regard them as the enemy. This book will open hearts and minds after revealing the terror and destruction thousands of people have faced, their experience of refugee camps and their desperation to be able to live in safety.
As well as revealing truths about the situation in the Middle East, Welcome to Nowhere educates the reader on the customs and beliefs of average Muslim families. Although slightly antiquated – men dominate over women – they are not all that different to the Western world. Omar wants to become a successful businessman, whilst his sister is desperate to go to school and university. Laird also writes of scenarios that are not unique to Syrian citizens, in particular medical conditions such as Cerebral Palsy and the way these people are attacked by social stigmas.
Whilst not labeling this book as ‘exciting’, Welcome to Nowhere is a story that will engage the readers’ attention. As a book with both entertainment and educational value, Elizabeth Laird’s latest book is worthy of significant praise. It is not often that a writer will dare to reveal the gritty truth about the current situation in the world, and thus Laird must be commended for persevering with such a difficult, challenging story. Although targeted at young adults (ages 12+), older readers will also enjoy and learn from this exceptional novel.
Acanthea Grimscythe (300 KP) rated Insidious (2010) in Movies
May 12, 2018
I finally have access to all the Insidious films. Because of this, I’m in the process of re-watching the first two – something I haven’t done since their initial release. I watched the first of the films yesterday and my thoughts are a bit mixed on it. Don’t get me wrong – I like the movie, but I think it’s PG-13 rating held it back a bit.
Dalton (Ty Simpkins) is, undoubtedly, the central figure of the story. His role throughout much of the movie is to lay comatose in a bed whilst demons fight for possession of his body. He’s got two siblings, a brother named Foster (I think I got that right) and a sister named Cali. His parents, Renai (Rose Byrne) and Josh (Patrick Wilson) are the supposed doting parents – Josh on the other hand could benefit from an actor that’s a bit more invested in his role. I could feel him rolling his eyes between scenes, he was so unenthused.
The plot of Insidious is fairly straightforward, though there is at least one glaring continuity issue that we encounter. For the most part it’s pretty standard haunting and possession, but somehow halfway through the movie (okay, maybe a little later than that) two characters vanish completely. Foster and Cali, the entire time we’re dealing with the Further – another plane of existence – are nowhere to be found. No one’s worried about their safety, no one’s trying to protect them. They’re just… gone. Unless I missed something critical in which they were sent off to a friend’s house or something, then we’ve got a glaring plot hole that gives this film a bit of a blemish when it comes to its polish.
PG-13 is the rating given to a horror film whose goal is to make money. The whole reason it doesn’t cross that boundary is so that all the teenagers can go to the theatre without their parents for what they hope will be a good scare. I learned this the hard way when I had to walk out of the Prom Night remake because kids wouldn’t shut up. (As a result, I rarely go to see a movie that is PG-13.) In Insidious we see the affects of this in the severity of the “hauntings.” Even the demons are downplayed – there’s a distinct lack of violence in the film that one might expect when a powerful entity is trying to take hold of a kid’s body. Sure, we’ve got a few bloody handprints, a little bit of poltergeist-like activity, but that’s it. It’s most stuff you’d expect to see in a scary movie directed at children, with the addition of a few jump-scares that rely heavily on auditory senses.
Needless to say, there are far worse movies than Insidious out there and I still intend to watch the other films. I’m a bit indecisive on how I want to rate this – I enjoyed watching it up until things get a bit silly toward the end, where the Further is involved. At the same time, I don’t dislike the movie. That said, I’ve decided to go with a three out of five.
Dalton (Ty Simpkins) is, undoubtedly, the central figure of the story. His role throughout much of the movie is to lay comatose in a bed whilst demons fight for possession of his body. He’s got two siblings, a brother named Foster (I think I got that right) and a sister named Cali. His parents, Renai (Rose Byrne) and Josh (Patrick Wilson) are the supposed doting parents – Josh on the other hand could benefit from an actor that’s a bit more invested in his role. I could feel him rolling his eyes between scenes, he was so unenthused.
The plot of Insidious is fairly straightforward, though there is at least one glaring continuity issue that we encounter. For the most part it’s pretty standard haunting and possession, but somehow halfway through the movie (okay, maybe a little later than that) two characters vanish completely. Foster and Cali, the entire time we’re dealing with the Further – another plane of existence – are nowhere to be found. No one’s worried about their safety, no one’s trying to protect them. They’re just… gone. Unless I missed something critical in which they were sent off to a friend’s house or something, then we’ve got a glaring plot hole that gives this film a bit of a blemish when it comes to its polish.
PG-13 is the rating given to a horror film whose goal is to make money. The whole reason it doesn’t cross that boundary is so that all the teenagers can go to the theatre without their parents for what they hope will be a good scare. I learned this the hard way when I had to walk out of the Prom Night remake because kids wouldn’t shut up. (As a result, I rarely go to see a movie that is PG-13.) In Insidious we see the affects of this in the severity of the “hauntings.” Even the demons are downplayed – there’s a distinct lack of violence in the film that one might expect when a powerful entity is trying to take hold of a kid’s body. Sure, we’ve got a few bloody handprints, a little bit of poltergeist-like activity, but that’s it. It’s most stuff you’d expect to see in a scary movie directed at children, with the addition of a few jump-scares that rely heavily on auditory senses.
Needless to say, there are far worse movies than Insidious out there and I still intend to watch the other films. I’m a bit indecisive on how I want to rate this – I enjoyed watching it up until things get a bit silly toward the end, where the Further is involved. At the same time, I don’t dislike the movie. That said, I’ve decided to go with a three out of five.
Movie Metropolis (309 KP) rated London Has Fallen (2016) in Movies
Jun 10, 2019
A disgusting attempt at film making
Executives down at Millennium Films must have been rubbing their hands together after the surprise success of their 2013 blockbuster, Olympus Has Fallen. After amassing a respectable $160million against a relatively small budget, a sequel was greenlit as soon as it rolled out of cinemas.
Fast-forward three years and its successor, London Has Fallen, starts off a busy Spring for the film industry. With much of the original cast reprising their roles, can lightning strike again? Or is this a shameless cash in?
Gerard Butler returns as secret agent Mike Banning, with Butler also in a producing role, assigned to protect President Benjamin Asher, Aaron Eckhart also reprising his role, in London as the pair attend the funeral of the British Prime Minister. Naturally, things taken a turn for the worse and both President Asher and Banning are caught in a deadly terrorist attack on the city.
The plot is downright ridiculous with Butler looking almost Terminator-like as he dispatches hundreds of vicious terrorists on the streets of London. Even the President gets in on the action, instead of you know, fleeing for safety like the leader of one of the biggest nations on Earth would do.
With the current climate, London Has Fallen is downright woeful, playing on our fears of urban terrorism like no film before it and after the shocking attacks in Paris last year, and for those still haunted by the memories of 7/7, it is in incredibly poor taste.
The dialogue and numerous plot holes only add salt to the wounds. If this was a serious drama, looking at the appalling ripples terrorism has across the world, then the central premise could be forgiven somewhat, but it isn’t and the uses of comedy throughout are truly dreadful, not once hitting the mark.
Elsewhere, the special effects are some of the worst ever put to film. A helicopter escape across London is laughable and the use of grainy stock footage is far too obvious. It’s clear that director Babak Najafi couldn’t film certain scenes on his tiny budget, instead deciding that dated archive footage was a reasonable substitute – it isn’t.
But by far the worst part of London Has Fallen is how it wastes its talented cast. Morgan Freeman, who stars as Vice President Allan Trumble, is leagues above the standard of this atrocity, and somehow manages to provide a sense of class throughout.
The cinematography is awful, especially towards the film’s sickly sweet finale, and many in the unsuspecting audience said it looked like a third-person video game as Gerard Butler somersaults his way around a poorly-lit construction site.
Overall, London Has Fallen is an appalling excuse for a film. As well as wasting a great cast, it continuously wields one of the world’s greatest fears like a child who’s found his dad’s gun, and for me, that is unforgivable. It may cram a lot of things into 99 minutes, but not a single one is done with any passion.
https://moviemetropolis.net/2016/03/06/a-disgusting-attempt-at-film-making-london-has-fallen-review/
Fast-forward three years and its successor, London Has Fallen, starts off a busy Spring for the film industry. With much of the original cast reprising their roles, can lightning strike again? Or is this a shameless cash in?
Gerard Butler returns as secret agent Mike Banning, with Butler also in a producing role, assigned to protect President Benjamin Asher, Aaron Eckhart also reprising his role, in London as the pair attend the funeral of the British Prime Minister. Naturally, things taken a turn for the worse and both President Asher and Banning are caught in a deadly terrorist attack on the city.
The plot is downright ridiculous with Butler looking almost Terminator-like as he dispatches hundreds of vicious terrorists on the streets of London. Even the President gets in on the action, instead of you know, fleeing for safety like the leader of one of the biggest nations on Earth would do.
With the current climate, London Has Fallen is downright woeful, playing on our fears of urban terrorism like no film before it and after the shocking attacks in Paris last year, and for those still haunted by the memories of 7/7, it is in incredibly poor taste.
The dialogue and numerous plot holes only add salt to the wounds. If this was a serious drama, looking at the appalling ripples terrorism has across the world, then the central premise could be forgiven somewhat, but it isn’t and the uses of comedy throughout are truly dreadful, not once hitting the mark.
Elsewhere, the special effects are some of the worst ever put to film. A helicopter escape across London is laughable and the use of grainy stock footage is far too obvious. It’s clear that director Babak Najafi couldn’t film certain scenes on his tiny budget, instead deciding that dated archive footage was a reasonable substitute – it isn’t.
But by far the worst part of London Has Fallen is how it wastes its talented cast. Morgan Freeman, who stars as Vice President Allan Trumble, is leagues above the standard of this atrocity, and somehow manages to provide a sense of class throughout.
The cinematography is awful, especially towards the film’s sickly sweet finale, and many in the unsuspecting audience said it looked like a third-person video game as Gerard Butler somersaults his way around a poorly-lit construction site.
Overall, London Has Fallen is an appalling excuse for a film. As well as wasting a great cast, it continuously wields one of the world’s greatest fears like a child who’s found his dad’s gun, and for me, that is unforgivable. It may cram a lot of things into 99 minutes, but not a single one is done with any passion.
https://moviemetropolis.net/2016/03/06/a-disgusting-attempt-at-film-making-london-has-fallen-review/
Gareth von Kallenbach (980 KP) rated The Amazing Spider-Man 2 (2014) in Movies
Jun 19, 2019
Life for Peter Parker, (Andrew Garfield), has become interesting to say the least. He is juggling the delicate and complex balance of being Spider-man as well as a high school senior and boyfriend to Gwen Stacy (Emma Stone).
His enthusiasm for his wall crawling alter ego is evident from the start as he still is as fast with a quip as he is with his webs and fists when taking down the bad guys of New York.
A chance encounter with an ultra nerdy yet brilliant Oscorp employee named Max (Jaime Foxx), puts a series of events into motion that will put the city and Spider-man on a collision with a severe danger.
When a freak accident transforms Max into a being capable of becoming and discharging pure electricity, the passive aggressive Max has an outlet for his pent up anger and hero worship and sets to make all those who ignored him pay.
At the same time, internal politics have left Oscorp in the hands of young Harry who learns he has limited time to solidify his position and legacy.
All of this would be enough for anyone to deal with but Peter is conflicted by his love for Gwen and his promise to her late father to stay away from her for her own safety.
Peter also has to content with his Aunt May (Sally Field) and unlocking the mystery of his parents who left him with his Aunt and Uncle years earlier never to return.
If this sounds a bit heady for a comic book based movie then you will not be surprised with the first ¾ of the film. It does contain some great 3D moments of Spider-man slinging his way around the city and some good moments of action but mostly the audience gets character introductions and plot expositions.
When it does get to the action, it does so in a very sleek and stylish way but one that is so obviously CGI created that it plays more like a video game.
For me the liberties taking with the characters and the history of the series were a bit much at first as what they came up with for Electro is not even close to the way he is portrayed in the comics.
Thankfully the final act of the film delivers and sets up future films in grand style even though the trailers tease content that is barely in the film and would have made for a great addition to the film.
Garfield and Stone have great chemistry with one another, and Foxx does his best despite in my opinion being very miscast for the role.
Director Marc Webb is clearly a fan of the source material and I am eager to see what he comes up with for future installments.
As it stands, “The Amazing Spider-man 2”, is an enjoyable summer film but not as good as the film that preceded it and could have been so much more.
http://sknr.net/2014/05/02/amazing-spider-man-2/
His enthusiasm for his wall crawling alter ego is evident from the start as he still is as fast with a quip as he is with his webs and fists when taking down the bad guys of New York.
A chance encounter with an ultra nerdy yet brilliant Oscorp employee named Max (Jaime Foxx), puts a series of events into motion that will put the city and Spider-man on a collision with a severe danger.
When a freak accident transforms Max into a being capable of becoming and discharging pure electricity, the passive aggressive Max has an outlet for his pent up anger and hero worship and sets to make all those who ignored him pay.
At the same time, internal politics have left Oscorp in the hands of young Harry who learns he has limited time to solidify his position and legacy.
All of this would be enough for anyone to deal with but Peter is conflicted by his love for Gwen and his promise to her late father to stay away from her for her own safety.
Peter also has to content with his Aunt May (Sally Field) and unlocking the mystery of his parents who left him with his Aunt and Uncle years earlier never to return.
If this sounds a bit heady for a comic book based movie then you will not be surprised with the first ¾ of the film. It does contain some great 3D moments of Spider-man slinging his way around the city and some good moments of action but mostly the audience gets character introductions and plot expositions.
When it does get to the action, it does so in a very sleek and stylish way but one that is so obviously CGI created that it plays more like a video game.
For me the liberties taking with the characters and the history of the series were a bit much at first as what they came up with for Electro is not even close to the way he is portrayed in the comics.
Thankfully the final act of the film delivers and sets up future films in grand style even though the trailers tease content that is barely in the film and would have made for a great addition to the film.
Garfield and Stone have great chemistry with one another, and Foxx does his best despite in my opinion being very miscast for the role.
Director Marc Webb is clearly a fan of the source material and I am eager to see what he comes up with for future installments.
As it stands, “The Amazing Spider-man 2”, is an enjoyable summer film but not as good as the film that preceded it and could have been so much more.
http://sknr.net/2014/05/02/amazing-spider-man-2/