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Joe Goodhart (27 KP) rated X-Men: Supernovas in Books
Nov 30, 2020
Holy cow!! I read this back when it originally when it was published, back in '04. Or rather, I didn't read it, as it was at a time where I was starting to tire of the post-MESSIAH COMPLEX/SECOND COMING X-Men world. I felt Utopia was a good idea, but it never truly gelled in the same way that as the Mutant Nation that is Krakoa in Hickman's "Dawn of X". And dear God, I can stand most things to some degree, but I still <u>can not</u> accept Namor as a mutant! So, long story short (really?? now?? after all that??), re-visiting X-MEN: SUPERNOVA was a good read!
First thing I enjoyed was the fact that this was where the Children of the Vault first come into play! Such a cool-assed concept, so cool that, sixteen years later (oh come on, dear man, time doesn't even apply the Children of the Vault!), Jonathan Hickman brought them back in X-MEN #4! Brilliant!! And, seriously? I don't a number of X-fans really <b>abhor</b> the whole concept of the Children of the Vault and any appearances/re-appearances they show up in!
While I was not as much of a fan of Carey's X-Men contributions as I wanted to be (another reason I dropped X-Men in '04), I quite loved this collection, as the first half of the book is the 6-part "Supernovas" story, while the remainder was the next few issues in that run of Carey's that seemed to have nothing whatsoever to do with the Children of the Vault or anything <i>Supernova</i>ish! Yeah, sorry to anyone expecting this review to be about the whole book, but I checked out as soon as "Supernova" ended.
One of the things that really drew me back to this was how tight Chris Bachalo's art was for the "Supernova" story arc! He's one of those artists that I have found people either like or definitely <b>not</b> like his style! Me? I've liked him since his days during GENERATION X (man, I still love the way he drew Emma Frost!!) in the 90's!
I've seen some of his recent work, and while I don't love all of it, I still share a fondness for unique way he draws! And, as I said, I feel that this was some of his best! From his tricked out as hell action scenes to his capturing of the oddness and otherworldliness of the Children of the Vault, these pages do <u>not</u> disappoint visually!
Overall, a good read that was not bogged down by being set in and around Utopia or any of the usual bickering and <i>hot mess</i> was any of the X-books written at that time! Heck, you may enjoy the story in the second half of the book! And best case scenario, if you see it on sale (whether digitally or in print), pick it up for Bachalo's amazingly awesome art!
Ok, gang, Imma done! We can resume the craziness and hard-to-believe-it's-actually-happening that is the COVID-19 pandemic! Oh, and you're welcome for the distraction I provided..! :)
First thing I enjoyed was the fact that this was where the Children of the Vault first come into play! Such a cool-assed concept, so cool that, sixteen years later (oh come on, dear man, time doesn't even apply the Children of the Vault!), Jonathan Hickman brought them back in X-MEN #4! Brilliant!! And, seriously? I don't a number of X-fans really <b>abhor</b> the whole concept of the Children of the Vault and any appearances/re-appearances they show up in!
While I was not as much of a fan of Carey's X-Men contributions as I wanted to be (another reason I dropped X-Men in '04), I quite loved this collection, as the first half of the book is the 6-part "Supernovas" story, while the remainder was the next few issues in that run of Carey's that seemed to have nothing whatsoever to do with the Children of the Vault or anything <i>Supernova</i>ish! Yeah, sorry to anyone expecting this review to be about the whole book, but I checked out as soon as "Supernova" ended.
One of the things that really drew me back to this was how tight Chris Bachalo's art was for the "Supernova" story arc! He's one of those artists that I have found people either like or definitely <b>not</b> like his style! Me? I've liked him since his days during GENERATION X (man, I still love the way he drew Emma Frost!!) in the 90's!
I've seen some of his recent work, and while I don't love all of it, I still share a fondness for unique way he draws! And, as I said, I feel that this was some of his best! From his tricked out as hell action scenes to his capturing of the oddness and otherworldliness of the Children of the Vault, these pages do <u>not</u> disappoint visually!
Overall, a good read that was not bogged down by being set in and around Utopia or any of the usual bickering and <i>hot mess</i> was any of the X-books written at that time! Heck, you may enjoy the story in the second half of the book! And best case scenario, if you see it on sale (whether digitally or in print), pick it up for Bachalo's amazingly awesome art!
Ok, gang, Imma done! We can resume the craziness and hard-to-believe-it's-actually-happening that is the COVID-19 pandemic! Oh, and you're welcome for the distraction I provided..! :)
Gareth von Kallenbach (980 KP) rated The Wall (2017) in Movies
Jul 11, 2019
US Ranger Sniper, Staff Sargent Shane Matthews (John Cena), and his spotter, Sargent Allen “Eyes” Isaac, are investigating a distress call in the hot Iraqi desert above an oil pipeline construction area. From their camouflaged position they can see several dead bodies. They have waited close to 18 hours while sitting and observing the bodies and landscape, trying to determine what happened. Matthews decides the dead men below them must have been killed by a raid and after the hours of waiting he leaves the covered position to investigate up close. While Isaac believes that there is a chance this could be the work of a skilled sniper, he reluctantly agrees to let Matthews go.
As Isaac watches from cover Mathews surveys the carnage from up close and quickly realizes that Isaac must have been right. All of the men below were killed with skilled shots to the head. Before he can find cover or find where the shooter was positioned Mathews is shot in the stomach and falls to the ground. Isaac rushes to his aide but as soon as he gets close to his comrade he is shot in the knee. As shots rain down on him Isaac dives for cover behind a dilapidated wall. Now he is stuck behind fragile cover bleeding with his partner unable to move due to his wounds. Isaac scrabbles to radio for help but he only finds his radio antenna has been shot off. He has no idea where the shots came from only that he may be in the only safe place. Isaac is now suck behind a wall with no way to get to his severely wounded friend or call in reinforcements. Then over his short range two-way radio a voice can be heard and it’s not Matthews or help…it’s the enemy sniper.
The Wall is a suspense film directed by Doug Liman (Edge of Tomorrow, Fair Game and Mr. and Mrs. Smith). Overall the small cast gave good performances. I thought that John Cena did a good job in a limited role in this film. Aaron Taylor-Johnson did an adequate job, but since he was on screen by himself for the majority of the film I thought his performance was at times week. He was also really compelling at times which is why I think overall it was adequate. I think it was a good story but the build up to the end lacked the true suspense that could have made it a great story. I just didn’t have the ending that really made me sit on the edge of my seat. It felt like what was happening was inevitable. I commend the originality of the overall story. But when I am going to watch a suspenseful film I want just a little bit more. To me it lacked an edge and really captivating moment at the end. One of the things the film got right was how realistic it felt. The cinematography was gritty and fit the story really well.
Overall I came out of this film feeling good but thought that it was missing a little something. Worth a second viewing sometime in the future but probably save it for video or on demand.
As Isaac watches from cover Mathews surveys the carnage from up close and quickly realizes that Isaac must have been right. All of the men below were killed with skilled shots to the head. Before he can find cover or find where the shooter was positioned Mathews is shot in the stomach and falls to the ground. Isaac rushes to his aide but as soon as he gets close to his comrade he is shot in the knee. As shots rain down on him Isaac dives for cover behind a dilapidated wall. Now he is stuck behind fragile cover bleeding with his partner unable to move due to his wounds. Isaac scrabbles to radio for help but he only finds his radio antenna has been shot off. He has no idea where the shots came from only that he may be in the only safe place. Isaac is now suck behind a wall with no way to get to his severely wounded friend or call in reinforcements. Then over his short range two-way radio a voice can be heard and it’s not Matthews or help…it’s the enemy sniper.
The Wall is a suspense film directed by Doug Liman (Edge of Tomorrow, Fair Game and Mr. and Mrs. Smith). Overall the small cast gave good performances. I thought that John Cena did a good job in a limited role in this film. Aaron Taylor-Johnson did an adequate job, but since he was on screen by himself for the majority of the film I thought his performance was at times week. He was also really compelling at times which is why I think overall it was adequate. I think it was a good story but the build up to the end lacked the true suspense that could have made it a great story. I just didn’t have the ending that really made me sit on the edge of my seat. It felt like what was happening was inevitable. I commend the originality of the overall story. But when I am going to watch a suspenseful film I want just a little bit more. To me it lacked an edge and really captivating moment at the end. One of the things the film got right was how realistic it felt. The cinematography was gritty and fit the story really well.
Overall I came out of this film feeling good but thought that it was missing a little something. Worth a second viewing sometime in the future but probably save it for video or on demand.
James P. Sumner (65 KP) rated Ad Astra (2019) in Movies
Sep 18, 2019
Not quite (Inter)stellar...
Ad Astra is a discreet sci-fi film set in an unspecified near future, and is the claustrophobic, deliberate and tense story of Major Roy McBride (played intentionally one-dimensional by Brad Pitt), a soldier and an astronaut, recruited to a top secret mission revolving around the father he never knew, portrayed by Tommy Lee Jones.
This is one of those films where you start watching it and find yourself pleasantly surprised at how little the trailer actually gave away. The story makes a couple of significant changes in direction throughout the 122min runtime. It begins as a standard semi-sci-fi affair, similar in tone and approach to "Arrival (2016)". It's a slow build, yet has comfortable pacing. Then, it takes inspiration from "2001: A Space Odyssey (1968)", "Gravity (2013)" and even "Alien (1979)", when a deep space distress call provides a brief diversion and introduces some horror undertones. Finally, it settles in for the home run, turning into a 'one man against the clock' thriller.
Pitt does a nice job of establishing the character's mindset early on, which is a primary focus of the movie. It's never so much about what's happening as it is about how it's affecting him personally. A big deal is made about how he's this emotionless, unflappable super astronaut, which is perhaps a little unbelievable at times, but serves to amplify the significance of the character's inevitable struggle with how things play out in the final act.
The soundtrack is especially clever throughout, guiding your own emotions with the peaks and troughs of dramatic music, helping build the tension when it needed to.
What I liked about this was that it reminded me of how "Minority Report (2002)" was made, in that it's a sci-fi film, but it doesn't play on the fact it's a sci-fi film. It carries on as if the setting is everyone's normal, which allows you to focus on the story without the distraction of this fantastic, make-believe world going on around you.
However, for all the things I can say it did well, it ultimately fell short of being anything other than a poor imitation of those who have come before it. Inevitable comparisons will be made with "Interstellar (2014)", "The Martian (2015)", and even "Event Horizon (1997)". It took clear inspiration from these genre heavyweights, taking elements of each and making them its own, but never quite does anything as well as these movies did. A prime example of being the jack of all trades and the master of none.
There's never really a true attachment to the characters. Every word is uttered with morose. The locations look both beautiful and barren at the same time - perhaps an unintentional reflection of the movie itself.
This wasn't a particularly bad film. It was okay. It just suffered because it spent way too long trying to be like something else, but never quite figured out exactly what it wanted to be like. The result is a film that, much like the story, drifts aimlessly through a void it never quite understood how to fill. A movie to watch if you're in the mood for something that requires an investment of your time, but don't have access to anything better.
This is one of those films where you start watching it and find yourself pleasantly surprised at how little the trailer actually gave away. The story makes a couple of significant changes in direction throughout the 122min runtime. It begins as a standard semi-sci-fi affair, similar in tone and approach to "Arrival (2016)". It's a slow build, yet has comfortable pacing. Then, it takes inspiration from "2001: A Space Odyssey (1968)", "Gravity (2013)" and even "Alien (1979)", when a deep space distress call provides a brief diversion and introduces some horror undertones. Finally, it settles in for the home run, turning into a 'one man against the clock' thriller.
Pitt does a nice job of establishing the character's mindset early on, which is a primary focus of the movie. It's never so much about what's happening as it is about how it's affecting him personally. A big deal is made about how he's this emotionless, unflappable super astronaut, which is perhaps a little unbelievable at times, but serves to amplify the significance of the character's inevitable struggle with how things play out in the final act.
The soundtrack is especially clever throughout, guiding your own emotions with the peaks and troughs of dramatic music, helping build the tension when it needed to.
What I liked about this was that it reminded me of how "Minority Report (2002)" was made, in that it's a sci-fi film, but it doesn't play on the fact it's a sci-fi film. It carries on as if the setting is everyone's normal, which allows you to focus on the story without the distraction of this fantastic, make-believe world going on around you.
However, for all the things I can say it did well, it ultimately fell short of being anything other than a poor imitation of those who have come before it. Inevitable comparisons will be made with "Interstellar (2014)", "The Martian (2015)", and even "Event Horizon (1997)". It took clear inspiration from these genre heavyweights, taking elements of each and making them its own, but never quite does anything as well as these movies did. A prime example of being the jack of all trades and the master of none.
There's never really a true attachment to the characters. Every word is uttered with morose. The locations look both beautiful and barren at the same time - perhaps an unintentional reflection of the movie itself.
This wasn't a particularly bad film. It was okay. It just suffered because it spent way too long trying to be like something else, but never quite figured out exactly what it wanted to be like. The result is a film that, much like the story, drifts aimlessly through a void it never quite understood how to fill. A movie to watch if you're in the mood for something that requires an investment of your time, but don't have access to anything better.
Night Reader Reviews (683 KP) rated Outland Exile: Book 1 of Old Men and Infidels in Books
Jan 9, 2020
Honest Review for Free Copy of Book
Contains spoilers, click to show
Outland Exile Book 1: Old Men and Infidels by W. Clark Boutwell was very enjoyable to read after I got into it a bit. The book was somewhat confusing to start out but the author unfolds the story layer by layer to slowly explain the world that the main character lives in. The vocabulary in this book made me consult a dictionary a few different times to check words that were strange to me, an unusual occurrence for someone who reads frequently.
The main reason that it was hard for me to initially enjoy the book was because of the authors use of short phrases. These phrases made the reading feel choppy and prevented a nice even flow. I believe this was mainly a problem because it frequently took the immersion away from the story, and jarringly forced me back into the real world as I re-read a section to see if it made more sense. I feel that many readers enjoy the immersion in a fictional world when reading a good book, so this may be a bit of an issue for some.
W. Clark Boutwell also appears to have a very good education, possibly with a large focus on the English language. The reason that I think this might be the case is because of the vocabulary found in the book, some of which seemed unnecessary. Words such as “metaphoric” “adroitly” and “remonstrations” were used, much to my initial confusion. Then there was also “pantomimed”, “sere”, and “realpolitik” that had me searching for a dictionary. On top of the strange wording at times the author also used terms such as “snakelike” and “warlike” with frequency. The amount these words were used make them almost feel overused or like errors.
The amazing plot-line of the story also offers a few different lessons that many people will have to learn in their lives. The first of these lessons is the fact that not everyone, including the government, is not always operating in your best interest. It shows that often the people who are considered to be higher-ups are more worried about themselves and their advancement than the ‘little people’ that they hurt along the way. The book also shows that a simple life is often happier than a technology-filled one, proving that the technology that is supposed to be bringing us together is also causing us to lose touch with other people at the same time. Finally, it brings to light an idea that some might find difficult to accept. That fact would be that not everything you grow up believing is necessarily the truth and that history is almost always written by the winners and the loser’s voice gets lost.
During the course of the story Malila, a Lieutenant for the Unity is sent out to Sunprairie Station with a group of bodyguards in order to repair the station. She then finds herself in the hands of Jesse Johnstone and making her way to Kentucky and stopping at a village across the Ohio River. It is here that she starts to learn just how lacking her life in the Unity was. She also learns just how much of a captive she was in her “free” Unity and how much of her supposed life there was all just an illusion.
What I liked best was watching Malila expand and grow as an individual. The author’s writing made me feel like I actually knew the characters. When tragedy struck I felt real worry and concern for them and did not want to stop reading until I knew what happened to them. On the other side, I least liked the fact that I almost gave up on reading the book early because of how slow and choppy the writing felt. The use of the obscure words made me believe there were multiple misspellings only to find that the words were just typically unused.
The target readers for this story would be young adults, starting at about high school aged and older. Concepts of pleasure sex and a few mentions of rape make this book unsuitable for most younger readers. With all of this being said I would give this book the rating 3 out of 4 because even with it being hard to get into the story was very enjoyable. The plot-line is strong and the life lessons the Malila learns are things that most people should probably learn at some point in their lives. I look forward to reading the rest of the series as it comes out.
The main reason that it was hard for me to initially enjoy the book was because of the authors use of short phrases. These phrases made the reading feel choppy and prevented a nice even flow. I believe this was mainly a problem because it frequently took the immersion away from the story, and jarringly forced me back into the real world as I re-read a section to see if it made more sense. I feel that many readers enjoy the immersion in a fictional world when reading a good book, so this may be a bit of an issue for some.
W. Clark Boutwell also appears to have a very good education, possibly with a large focus on the English language. The reason that I think this might be the case is because of the vocabulary found in the book, some of which seemed unnecessary. Words such as “metaphoric” “adroitly” and “remonstrations” were used, much to my initial confusion. Then there was also “pantomimed”, “sere”, and “realpolitik” that had me searching for a dictionary. On top of the strange wording at times the author also used terms such as “snakelike” and “warlike” with frequency. The amount these words were used make them almost feel overused or like errors.
The amazing plot-line of the story also offers a few different lessons that many people will have to learn in their lives. The first of these lessons is the fact that not everyone, including the government, is not always operating in your best interest. It shows that often the people who are considered to be higher-ups are more worried about themselves and their advancement than the ‘little people’ that they hurt along the way. The book also shows that a simple life is often happier than a technology-filled one, proving that the technology that is supposed to be bringing us together is also causing us to lose touch with other people at the same time. Finally, it brings to light an idea that some might find difficult to accept. That fact would be that not everything you grow up believing is necessarily the truth and that history is almost always written by the winners and the loser’s voice gets lost.
During the course of the story Malila, a Lieutenant for the Unity is sent out to Sunprairie Station with a group of bodyguards in order to repair the station. She then finds herself in the hands of Jesse Johnstone and making her way to Kentucky and stopping at a village across the Ohio River. It is here that she starts to learn just how lacking her life in the Unity was. She also learns just how much of a captive she was in her “free” Unity and how much of her supposed life there was all just an illusion.
What I liked best was watching Malila expand and grow as an individual. The author’s writing made me feel like I actually knew the characters. When tragedy struck I felt real worry and concern for them and did not want to stop reading until I knew what happened to them. On the other side, I least liked the fact that I almost gave up on reading the book early because of how slow and choppy the writing felt. The use of the obscure words made me believe there were multiple misspellings only to find that the words were just typically unused.
The target readers for this story would be young adults, starting at about high school aged and older. Concepts of pleasure sex and a few mentions of rape make this book unsuitable for most younger readers. With all of this being said I would give this book the rating 3 out of 4 because even with it being hard to get into the story was very enjoyable. The plot-line is strong and the life lessons the Malila learns are things that most people should probably learn at some point in their lives. I look forward to reading the rest of the series as it comes out.
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Rob Bell's book wins on pathos and good intentions, but not on solid argumentation or exegesis. He has a heart for the lost and the suffering, which is admirable. But he has to turn the Bible into theological silly putty to make his case.
There are a few major errors in Love Wins, which leads to his making other more minor mistakes. The first error is giving precedence to certain biblical themes (to the exclusion of others) over clear and specific biblical teaching. Bell makes much of themes like restoration in Scripture, but ignores themes of final punishment. By dwelling on those themes, he can transition to reading them into texts where they don't belong without being found out by biblical illiterates, such as Jesus' claim that Sodom and Gomorrah will fare better on the day of judgement than cities which rejected the direct revelation of God in Jesus Christ. Instead of reading this in its obvious sense-- that there are degrees of punishment on the final day and those who reject direct revelation of Jesus will suffer most-- he understands Jesus to be saying that there is a great deal of hope for Sodom and Gomorrah's salvation-- that their punishment was corrective instead of destructive. Even though he doesn't get anywhere close to proving his case (certainly only God knows whether or not some in Sodom will be saved, but the story of Abraham bargaining would suggest otherwise), he seems to fall back on the emotionally-driven claim that God saving everyone is a "better story" than damning some and saving others.
On his overuse of the word "story," it is one example where Bell is obnoxiously post-modern and emergent. He uses the word "story/stories" in his short book 138 times. For a book of around 200 pages, large font, and constantly skipped lines/single words on their own lines*, that's an impressive display of post-modernism.
Another major error is that he conflates a strong exclusivism with eternal conscious punishment which has the effect that when he attacks one, he is in effect attacking the other, making his job easier. In addition, he ignores annihilationism as an alternative to eternal conscious torment, which also strengthens the emotional pull of his position, since it is contrasted with an eternal conscious punishment where God damns people for never being able to hear the name of Jesus. (note: while I am annoyed at Bell's misrepresentations of eternal conscious torment, I am myself an annihilationist)
Bell explains that God will eventually win everyone over, but it must be of their accord. However, he doesn't explain how it is that everyone will be saved of their own free will. For emotional effect, Bell criticizes the eternal conscious hell camp with having a God that would turn his back on people in hell who are repenting and turning to God. Of course, this assumes that sinners turn to God on their own instead of by His grace. Bell here appears to be a Pelagian, or else doesn't know enough about soteriology to make such distinctions (a terrifying prospect for a Pastor). In any case, this is another example where he is misrepresenting eternal conscious hell proponents (the first I mentioned was when he claimed they were all strict exclusivists), which makes his book far harder to take seriously.
One strange and interesting point that Rob Bell makes comes from making the afterlife analogous to the parable of the prodigal son. He claims that hell is not being cast out of "the party," (despite Jesus' parable about the marriage supper being like a party where people are cast out of) but being at the party but not enjoying it. "Hell is being at the party," Bell claims. The message to take from that is never go to one of Rob Bell's parties.
*Bell's book is filled with skipped lines and one word sentences sitting on their own lines. I suppose this is done for dramatic effect-- indicating places where Bell would pause if this were one of his Nooma videos. However, it tends to just look irritating and faux artsy. I mostly listened to the book on Kindle's text-to-speech feature, and I could still tell when he was doing it. Like,
You put a series of short sentences on their own lines to make a point?
Really?
You do that?
And it's repetitive?
Extremely?
And annoying?
There are a few major errors in Love Wins, which leads to his making other more minor mistakes. The first error is giving precedence to certain biblical themes (to the exclusion of others) over clear and specific biblical teaching. Bell makes much of themes like restoration in Scripture, but ignores themes of final punishment. By dwelling on those themes, he can transition to reading them into texts where they don't belong without being found out by biblical illiterates, such as Jesus' claim that Sodom and Gomorrah will fare better on the day of judgement than cities which rejected the direct revelation of God in Jesus Christ. Instead of reading this in its obvious sense-- that there are degrees of punishment on the final day and those who reject direct revelation of Jesus will suffer most-- he understands Jesus to be saying that there is a great deal of hope for Sodom and Gomorrah's salvation-- that their punishment was corrective instead of destructive. Even though he doesn't get anywhere close to proving his case (certainly only God knows whether or not some in Sodom will be saved, but the story of Abraham bargaining would suggest otherwise), he seems to fall back on the emotionally-driven claim that God saving everyone is a "better story" than damning some and saving others.
On his overuse of the word "story," it is one example where Bell is obnoxiously post-modern and emergent. He uses the word "story/stories" in his short book 138 times. For a book of around 200 pages, large font, and constantly skipped lines/single words on their own lines*, that's an impressive display of post-modernism.
Another major error is that he conflates a strong exclusivism with eternal conscious punishment which has the effect that when he attacks one, he is in effect attacking the other, making his job easier. In addition, he ignores annihilationism as an alternative to eternal conscious torment, which also strengthens the emotional pull of his position, since it is contrasted with an eternal conscious punishment where God damns people for never being able to hear the name of Jesus. (note: while I am annoyed at Bell's misrepresentations of eternal conscious torment, I am myself an annihilationist)
Bell explains that God will eventually win everyone over, but it must be of their accord. However, he doesn't explain how it is that everyone will be saved of their own free will. For emotional effect, Bell criticizes the eternal conscious hell camp with having a God that would turn his back on people in hell who are repenting and turning to God. Of course, this assumes that sinners turn to God on their own instead of by His grace. Bell here appears to be a Pelagian, or else doesn't know enough about soteriology to make such distinctions (a terrifying prospect for a Pastor). In any case, this is another example where he is misrepresenting eternal conscious hell proponents (the first I mentioned was when he claimed they were all strict exclusivists), which makes his book far harder to take seriously.
One strange and interesting point that Rob Bell makes comes from making the afterlife analogous to the parable of the prodigal son. He claims that hell is not being cast out of "the party," (despite Jesus' parable about the marriage supper being like a party where people are cast out of) but being at the party but not enjoying it. "Hell is being at the party," Bell claims. The message to take from that is never go to one of Rob Bell's parties.
*Bell's book is filled with skipped lines and one word sentences sitting on their own lines. I suppose this is done for dramatic effect-- indicating places where Bell would pause if this were one of his Nooma videos. However, it tends to just look irritating and faux artsy. I mostly listened to the book on Kindle's text-to-speech feature, and I could still tell when he was doing it. Like,
You put a series of short sentences on their own lines to make a point?
Really?
You do that?
And it's repetitive?
Extremely?
And annoying?
SunnyD (6 KP) rated Eleanor & Park in Books
Jun 15, 2018 (Updated Jun 16, 2018)
Realistic adolescent love (1 more)
Natural plot progression
Unrealistic conflict resolution (1 more)
So many questions
The feels, and then let down...
Contains spoilers, click to show
This books grabbed me right from the beginning. At first, I was really interested in Eleanor's life and how she'd gotten to where she was. I was heartbroken by the way she was made to live. Her circumstances really made me feel for her. Her growing relationship with Park was perfection. It was a sweet reminder of what it's like to fall in love as a teen. The development of their love was totally realistic.
I love that the book is narrated by both Eleanor and Park. I even loved that some of their parts were so short. The short parts really made a statement. This book is a great example of simplistic but powerful writing. I really fell in love with it.
I could not put it down as it lead up to it's climax. Unfortunately, it went a little downhill for me there. I can only explain with spoiling it. Park's father giving him the okay to drive Eleanor across state by himself in the middle of the night with Eleanor's abusive stepdad running looking like crazy for her when Park just barely got his license raised some questions for me. I'm not even sure that he knew Park's mom let him get his license without him knowing. And then Park's father tells him that he can do this for Eleanor on one condition: that he do so driving his manual transmission truck to prove that he can drive stick. This is where things got ridiculous. This was an emergency and these are young teenagers. Park proving he can finally drive stick so that he can take Eleanor to Minnesota felt out of place in this situation. The "sex scene" was not written with the same care as the rest of the book before they left home.
And then there's the ending. I'm conflicted by this. I actually understand why Eleanor might've wanted to cut connections off with Park. It was natural for Park to try to move on after a year of not hearing from her. The ending with the unknown three-word postcard from Eleanor left me wanting more. Not knowing what she said was also upsetting though. It was probably upsetting because I was upset with the conflict resolution.
I read an interview with the author where she stated that she may be thinking about writing for these characters again. I have hope that she may redeem the story but it's been a while.
I love that the book is narrated by both Eleanor and Park. I even loved that some of their parts were so short. The short parts really made a statement. This book is a great example of simplistic but powerful writing. I really fell in love with it.
I could not put it down as it lead up to it's climax. Unfortunately, it went a little downhill for me there. I can only explain with spoiling it. Park's father giving him the okay to drive Eleanor across state by himself in the middle of the night with Eleanor's abusive stepdad running looking like crazy for her when Park just barely got his license raised some questions for me. I'm not even sure that he knew Park's mom let him get his license without him knowing. And then Park's father tells him that he can do this for Eleanor on one condition: that he do so driving his manual transmission truck to prove that he can drive stick. This is where things got ridiculous. This was an emergency and these are young teenagers. Park proving he can finally drive stick so that he can take Eleanor to Minnesota felt out of place in this situation. The "sex scene" was not written with the same care as the rest of the book before they left home.
And then there's the ending. I'm conflicted by this. I actually understand why Eleanor might've wanted to cut connections off with Park. It was natural for Park to try to move on after a year of not hearing from her. The ending with the unknown three-word postcard from Eleanor left me wanting more. Not knowing what she said was also upsetting though. It was probably upsetting because I was upset with the conflict resolution.
I read an interview with the author where she stated that she may be thinking about writing for these characters again. I have hope that she may redeem the story but it's been a while.
Lyndsey Gollogly (2893 KP) rated The Best Horror of the Year Volume 1 in Books
Apr 30, 2021
56 of 250
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
Book
The Best Horror of the Year Volume 1
Edited by Ellen Datlow
Once read a review will be written via Smashbomb and link posted in comments!
I will post in comments a short comment on each story!
An Air Force Loadmaster is menaced by strange sounds within his cargo; a man is asked to track down a childhood friend... who died years earlier; doomed pioneers forge a path westward as a young mother discovers her true nature; an alcoholic strikes a dangerous bargain with a gregarious stranger; urban explorers delve into a ruined book depository, finding more than they anticipated; residents of a rural Wisconsin town defend against a legendary monster; a woman wracked by survivor's guilt is haunted by the ghosts of a tragic crash; a detective strives to solve the mystery of a dismembered girl; an orphan returns to a wicked witch's candy house; a group of smugglers find themselves buried to the necks in sand; an unanticipated guest brings doom to a high-class party; a teacher attempts to lead his students to safety as the world comes to an end around them...
What frightens us, what unnerves us? What causes that delicious shiver of fear to travel the lengths of our spines? It seems the answer changes every year. Every year the bar is raised; the screw is tightened. Ellen Datlow knows what scares us; the twenty-one stories and poems included in this anthology were chosen from magazines, webzines, anthologies, literary journals, and single author collections to represent the best horror of the year.
Legendary editor Ellen Datlow (Poe: New Tales Inspired by Edgar Allan Poe), winner of multiple Hugo, Bram Stoker, and World Fantasy awards, joins Night Shade Books in presenting The Best Horror of the Year, Volume One.
1. Cargo by E.Michael Lewis
So chilling and so sad! This is short I dedication to the families of those children in Jonestown and the men and women who brought the bodies home.
2. If Angels Fight by Richard Bowes
This is about a man searching for his friend who was possessed by an Angel. On this journey you see and find out that this Angel left his friend and left a trail behind him to follow. His family never gave up he managed to find his friend and Angel Michael and return him to his home one last time. Only question was did he bring him home to find his sister to posses or to say goodbye to his mother?.
3. The Clay Party by Steve Duffy
A group of settlers embark on a journey for a new life in California in 1846, the journey does not go as expected. I was a bit bored at the beginning but certainly had a twist at the end.
4. Penguins of the Apocalypse by William Browning Spencer
This is brilliant! A man fighting his personal battles with alcohol! Now is the pulka and penguin freedom movement real or a fragment of his imagination while under the influence? Either way it was entertaining!
5. Esmeralda by Glen Hirshberg
This is a very strange little story involving the end of all books,pens and paper! Very odd!
6. The Hodog by Trent Hergenrader
A good old fashioned urban legend!
7. Very Low Flying Aircraft by Nicholas Royle
Not one for me didnt really grip me.
8. When the Gentlemen Go By. By Margaret Ronald
This was a bit chilling and I would love to have read more about these “Gentlemen” who come at night to make bargains!
9. The Lagerstatte by Laird Barron
Grief does strange things to our minds and body! This was quite chilling.
10. Harry and the Monkey by Euan Harvey
This really plays on every fear a parent has when their kids go missing especially in a place and time where children are vanishing!
11 Dress Circle by Miranda Siemeinowicz
12. The Rising River. By Daniel Kaysen
This was strange and after reading it I’m still not sure what’s happening 😂😂
13 Loup-Garou by R.B. Russell
I enjoyed this strange litte story set in my hometown of Birmingham. A little french film causes a little drama in this mans life.
14. Girl in pieces by Graham Edwards
This was my favourite! So far fetched into a world of monsters a detective helps a Golum save a girl cut to pieces! So much fun
15 It washed up by Joe R. Lonsdale
Wow how to pack a punch in 2 pages! Loved it!
16 The Man from the Peak by Adam Golaski
Brilliant short full of mystery blood and gore! Very well written.
17. The Narrows by Simon Bestwick
This actually chilled me I’d hate sending my child to school and have something like this happen which of course is totally possible.
I loved this book of small tales and discovering those writers I wouldn’t normally be exposed too!
KalJ95 (25 KP) rated Marvel's Spider-Man in Video Games
Jun 19, 2020
All Round Performances Are Fantastic. (4 more)
Combat Is Arkham-esque.
New York Sandbox Is The Definition Of Fun.
Story Feels Fresh And Thrilling.
The Webswinging.
Frame Rate Issues. (1 more)
Few Missed Opportunities With The Story.
The Best Superhero Game Ever?
When I was nine years old, I fell thirty feet out of a tree on a British summers day. Coincidently, because of damp moss on a branch. I spent seven days in a hospital, recovering from a punctured lung, caused by impact on my ribs. In that week, I spent most of my time playing Spider-Man 2, a tie in with the Sam Raimi film, on a hospital owned PlayStation 2. Why am I telling you this story? Well, I spent quite a substantial amount of time playing that game, and it slowly made me realise the mechanics and skill that go into making a video game. Spider-Man wouldn't just shoot his web up in the sky and start swinging, like the Spider-Man game previous. Spider-Man would have to attach his webs to buildings he flew by, and this blew my mind and kept me occupied for hours and hours. For me, it encapsulated a feeling of being so immersed within a medium, you forget everything around you, and in my case it just so happened to be bed ridden in a hospital with a punctured lung. Spider-Man games have come and gone since that 2004 classic, but none have ever been as fun to play.
Marvel’s Spider-Man is the best Spider-Man game ever made, and an even bolder statement, it just might be the best superhero game ever made. Insomniac have crafted an original experience, whilst keeping the spirit and tone of Spidey the same of that from the comics. You can tell right from the opening cinematic, Insomniac have done their research extensively, from the witty dialogue of Peter Parker’s banter, to the wise cracks he makes as his alter ego when punching the pulp out of thugs and villains. The fundamental idea of what this game strives to be is fun, and this is the very definition.
The story is follows Peter, as he juggles the responsibility of being a superhero, with the very normal aspects of everyday life, like holding down an apartment, or retaining a relationship with his Aunt May and Mary Jane Watson. While this remains the core of the narrative, villainy is taking shape in the background, as multiple antagonists are preparing to take down the web-slinger, once and for all. Included in the story comes a variety of side missions, activities to complete, collectables to find, and costumes to unlock. The sheer amount of things to do in this game is unbelievable. The costumes alone ranks up to thirty eight (with DLC included), all in ridiculously beautiful detail. I specifically remember a moment when the rising sun over the Big Apple shone over the windows of a skyscraper, bouncing onto the red of Spider-Man’s suit. I was in awe. In fact, I was in awe over the entire map of New York City, which feels alive, even a character within itself. The major monuments all bring such authenticity to the overall feel of a city you can fully explore. Its a massive playground for Spider-Man, and I never felt the need to fast travel at all.
The characters make the story worth playing multiple times. Certain characters can’t be mentioned due to spoiling aspects of the narrative, but stand-out performances happen time and time again. This also brings a dynamic between characters that shines over the entire experience. Peter and MJ are partners, yet their relationship seems distanced from past troubles. We never find out specifically, but the seeds are planted from dialogue that we can only guess from an audiences’ perspective. It brings so much back story to the characters, making them seem so fleshed out and real. No Uncle Ben death scenes either, so that is a plus in my book.
The combat, at first, felt all to familiar with Rocksteady’s Arkham Series, which isn't a problem, but instead I wanted something a little new to engage with. Then a collection of gadgets are introduced, and this mixes everything up. Everything feels so fluid and silky smooth, from webbing thugs against a wall, or sending out a spiderdrone to fire rounds of electric bullets to incapacitate an opponent. Again, this never feels stale, even when I had collected every collectable and finished all activities, I spent hours just waiting for police calls so I could attend crimes an battle enemies. This is perhaps where Insomniac need to be commended most. Games are all too disposable at times, once its done you're done with it, but Marvel’s Spider-Man is so damn fun, even when everything is done. You feel the need to explore, the need to finish the side missions and activities, because every aspect is so well produced.
I do however have minor issues to mention. I did experience tiny pauses in gameplay whilst the city loaded more buildings, I don't know if this was down to playing on a standard PS4 rather than a Pro. The story does sometimes cut a few beats short in areas, and the DLC feels like it could of been included within the game, which ultimately feels like it was, and was decided to be DLC for an extra cost. But, these are little gripes for an overall fantastic package. I can’t wait to see what happens next.
Marvel’s Spider-Man is the best Spider-Man game ever made, and an even bolder statement, it just might be the best superhero game ever made. Insomniac have crafted an original experience, whilst keeping the spirit and tone of Spidey the same of that from the comics. You can tell right from the opening cinematic, Insomniac have done their research extensively, from the witty dialogue of Peter Parker’s banter, to the wise cracks he makes as his alter ego when punching the pulp out of thugs and villains. The fundamental idea of what this game strives to be is fun, and this is the very definition.
The story is follows Peter, as he juggles the responsibility of being a superhero, with the very normal aspects of everyday life, like holding down an apartment, or retaining a relationship with his Aunt May and Mary Jane Watson. While this remains the core of the narrative, villainy is taking shape in the background, as multiple antagonists are preparing to take down the web-slinger, once and for all. Included in the story comes a variety of side missions, activities to complete, collectables to find, and costumes to unlock. The sheer amount of things to do in this game is unbelievable. The costumes alone ranks up to thirty eight (with DLC included), all in ridiculously beautiful detail. I specifically remember a moment when the rising sun over the Big Apple shone over the windows of a skyscraper, bouncing onto the red of Spider-Man’s suit. I was in awe. In fact, I was in awe over the entire map of New York City, which feels alive, even a character within itself. The major monuments all bring such authenticity to the overall feel of a city you can fully explore. Its a massive playground for Spider-Man, and I never felt the need to fast travel at all.
The characters make the story worth playing multiple times. Certain characters can’t be mentioned due to spoiling aspects of the narrative, but stand-out performances happen time and time again. This also brings a dynamic between characters that shines over the entire experience. Peter and MJ are partners, yet their relationship seems distanced from past troubles. We never find out specifically, but the seeds are planted from dialogue that we can only guess from an audiences’ perspective. It brings so much back story to the characters, making them seem so fleshed out and real. No Uncle Ben death scenes either, so that is a plus in my book.
The combat, at first, felt all to familiar with Rocksteady’s Arkham Series, which isn't a problem, but instead I wanted something a little new to engage with. Then a collection of gadgets are introduced, and this mixes everything up. Everything feels so fluid and silky smooth, from webbing thugs against a wall, or sending out a spiderdrone to fire rounds of electric bullets to incapacitate an opponent. Again, this never feels stale, even when I had collected every collectable and finished all activities, I spent hours just waiting for police calls so I could attend crimes an battle enemies. This is perhaps where Insomniac need to be commended most. Games are all too disposable at times, once its done you're done with it, but Marvel’s Spider-Man is so damn fun, even when everything is done. You feel the need to explore, the need to finish the side missions and activities, because every aspect is so well produced.
I do however have minor issues to mention. I did experience tiny pauses in gameplay whilst the city loaded more buildings, I don't know if this was down to playing on a standard PS4 rather than a Pro. The story does sometimes cut a few beats short in areas, and the DLC feels like it could of been included within the game, which ultimately feels like it was, and was decided to be DLC for an extra cost. But, these are little gripes for an overall fantastic package. I can’t wait to see what happens next.
RəX Regent (349 KP) rated Pandora's Box (1929) in Movies
Feb 18, 2019
Pandora’s Box was one of the last films of the silent era, a period of transition to sound which I believe set the art of cinematography back a decade.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.
In short. Pandora’s Box looks stunning! Using the frame to its fullest, with a combination of wide framing and exploiting the art of the close up as Lulu herself, would the men around her, as well as driven by brilliant performances by most of the cast. But kudos needs to go to the star, Louise Brooks, as she portrays Lulu, the alluring flapper girl who can work her innocent, secutive magic on anyone, men and women alike.
But this is not limited to the narrative’s characters as her performance is subtle and underplayed, oozing out the silver screen and seducing the audience with same allure. If looks could kill, then this movie has them all.
With a sparse use of inter-titles, the film relies on both the physicality of the cast and imaginative cinematography to convey the seductive and danger of the events as they unfold over the two and bit hour runtime. Fritz Korner in particular rivals Brooks with the intensity of his performance as the ill fated husband of the girl about town.
And then there’s Alice Roberts, the Countess, who is widely thought to have the first lesbian to be seen on screen. Only Belgian actress’s second film in her short career, is played very Germanic, yet sympathetic as she too, has been drawn under Lulu’s spell.
This was made during the period in which German cinema was ruling, driving the art form from the nickelodeon to the theatre, but this was about to change in the 1930’s with advent of the sound and the golden age of American cinema. But as this film proves, you do not need sound to tell or show a good story.
Granted, the central story is pretty mediocre; a simple tale of a damaged woman who instinctively uses her allure to get her own way yet not as a diva, just an instinctive manipulator, casting her spell far and wide until that spell leads her into the hands London serial killer, Jack The Ripper (Gustav Diessl). But she is never portrayed as evil or scheming, just as herself as those around her are drawn to her aide.
There is little of the pantamine action or motives that you can expect from this genre even now, 90 years on.
But German director G.W. Pabst manages to create a multi-layered tale, deepened by psychological and social subtext, achieved as much because of the relationship he garnered with the star, Brookes, as he played on her natural talents to bring one of cinemas most defining roles to the screen. This would be the first of two collaborations between the director and the wayward starlet that year.
Pandora’s Box is yet another example of how German Cinema was leading the world back in the 1920’s; and even though the second world war may have brought this golden era to an abrupt end, it’s legacy lives on today with the styles, both in front and behind the camera, still being honoured by entire film industry now and hopefully for decades to come.