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Sophia (Bookwyrming Thoughts) (530 KP) rated Cruel Beauty in Books
Jan 23, 2020
I'm a sucker for fairy tales. I love retellings, myths, anything that's a complete spin from a well-known tale. I'm curious as to what authors come up with – problem is, Sleeping Beauty and Snow White needs a major upgrade or I might mentally blow a gasket one day. I promise it won't be pretty. No rants involved. Maybe a post about diversity in fairy tales instead (don't you take that post idea if no one's come up with it before o_o).
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Well, Cruel Beauty is the cruel version of our beloved Disney characters. At least, that's what I thought at the very end. It's also got mythology, in which some I researched and learned new things (verification purposes). About time I'm not staring at what I learned in middle school/early high school over and over again.
Truth is, I enjoyed the concept of Cruel Beauty, but I didn't really enjoy the story... not too much. What originally caught my attention was the very fact that "Belle" is destined to marry the "Beast" ever since she was young due to a bargain her father made (reminds me of another story I can't think of currently). What I thought was even more interesting is how Rosamund Hodge bases the novel on ancient civilizations and mythology, particularly Pandora's box. Actually, I thought it was genius. I also think I've spoken too much about the book with those two words.
What started to lose my attention was this particular sentence... when Nyx – "Belle" of the story – is first married to the Gentle Lord – "Beast" of the story – and makes her entrance into his castle.
<blockquote>“I’m here!” I shouted. “Your bride! Congratulations on your marriage!”</blockquote>
I was like, really? THAT'S how you would make your entrance inside a demon's castle? Me, I would actually start plotting ways OUT of the castle, ways to avoid the Gentle Lord, etc. etc. NOT announcing, "Oh hey! I'm here! Come and feast on me!" *waves big sign*
And the Gentle Lord, no matter how much I like his humor, made a very unimpressive entrance.
<blockquote>In one moment I realized that what tickled my neck was a tuft of black hair, the blankets were a warm body, and the Gentle Lord was draped over me like a lazy cat, his head resting on my shoulder.</blockquote>
His reason?
<blockquote>“I got so bored waiting that I fell asleep too."</blockquote>
And...
<blockquote>“You were a good pillow."</blockquote>
DUDE. Sleeping on your bride when you first meet her even though you're now married? What an impressive husband you make. He could have slept next to her and not on top of her. You know, if a stranger – homeless or not – slept on top of me, I may kick said person's butt until they get off and call it self defense. I suppose some are now worried about my future. I'm completely surprised Nyx didn't mention that he was heavy, sleeping on top of her like that. Instead, this is her response shortly after:
<blockquote>“I’m sorry ,” I said, staring at the floor. “I just, my father made me promise to bring a knife, and— and—” I stuttered, acutely aware that I was half-naked in front of him. “I’m your wife! I burn for your touch! I thirst for your love!”</blockquote>
No offense, but that was so cheesy, it was bleeping hilarious. It's really obvious later from the Gentle Lord's constant mocking that Nyx should just act like herself and not the way her family wants her to act, but Nyx is completely oblivious.
Nyx, in a nutshell, is just the darker version of Belle. The semi-evil twin of Belle I may say, and it's no wonder she's named after the Greek goddess of the Night.
<blockquote>But I was a girl who had broken her sister’s heart and— for a moment— liked it. I had left somebody in torment and liked it.</blockquote>
Rosamund Hodge also implies that Nyx is well... a bit indecisive. In a conflict is more accurate. She wants to please her family – to fit in and meet up to her father's expectations even though he prefers her sister Astraia. Yet at the same time, she doesn't want to kill Ignite or whatever the Gentle Lord calls himself (the book was an e-loan and I'm basing this review off of my notes because I'm too lazy to jump on the hold list yet again) because she's in love with him. I suppose it makes sense in a way, since she wants to go with her emotions yet she's been trained her entire life to kill this one evil guy who isn't actually evil...
<blockquote>“Of course he’s evil and unforgivable.” My voice felt like it was coming from the far end of a long tunnel. “But he is the only reason I ever honored Mother with a clean heart. And if I hadn’t learnt to be kind with him, I would never have come back to beg your forgiveness and choose you over him. So gloat all you want— you deserve to watch us both suffer— but don’t you dare say I will ever be free of him. Every kindness I show you, all the rest of your life, that’s because of him. And no matter how many times I betray him, I will love him still.” </blockquote>
I mean, Nyx is living with the Gentle Lord. She could have just made her decision to live with him always and never guess his name, right?
Cruel Beauty, as much as I like the entire idea behind it, is not one of those fairy tales I find very impressive. It's very much one of those books that I roll my eyes at, especially at how the romance played out (just because I never dated a soul doesn't mean I can't tell).
------------------------
Original Rating: 3.5 out of 5
Original Review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/09/review-cruel-beauty-by-rosamund-hodge.html">Bookwyrming Thoughts</a>
<a href="http://bookwyrming-thoughts.blogspot.com/"><img src="http://3.bp.blogspot.com/-cG5gfBqJVzk/VA5BIojjZ9I/AAAAAAAAD1g/7srLUfpAGEU/s1600/banner.png"; /></a>
Ivana A. | Diary of Difference (1171 KP) rated Romanov in Books
Oct 5, 2020
From the author of Fawkes comes a magical take on the story of Anastasia Romanov.
The history books say I died.
They don’t know the half of it.
Ever since I read Fawkes, I knew I loved Nadine’s writing, and when Romanov was announced, I couldn’t be happier. As I have spend my childhood and young adult life in the Balkans, whilst travelling across Europe, I have always admired Russia, and always enjoyed reading all the theories about the Romanov family.
As a child I would be told stories and fairy tales, I would watch the Disney adaptation of Anastasia, and as I was growing up, I would read history books and fiction on this very subject. When I got my hands on ‘’Romanov’’, I knew I would be up for an adventure, with lots of expectations, but what I never knew was that I would be blown away of how beautiful this book is!
This book is split into two main parts, before and after the Romanov’s execution, but it is also split into the first being the historical part, and the second being the fictional part. Both parts of the book are quite intense, and very different emotions come up to surface, but they are both very powerful throughout, and fitted together quite well.
In the first part, we are introduced to the Romanov family, and how they are kept as hostages by the Bolsheviks. It would’ve been much better if we had more details on the pre-hostage period, why the revolution began, why the king abducted the throne, who are the Bolsheviks and what they believed in. The book starts in the middle of this whole situation, and whilst I knew the beginning before, I am certain a lot of people wouldn’t have.
The history, as much accurate as it was, also had a personalized feeling that the author wanted to give. I have to admit, a lot of the details, especially around the family were quite accurate. The family did stick together and loved each other, they did have secrets and they did make friends with their captors. Anastasia’s brother did indeed had hemophilia and Rasputin was allegedly helping him. However, the author decided to put her personal feelings into the history as well. The king is presented as a wonderful leader that cares about the people. I understand that we see this story from Anastasia’s point of view, and as his daughter, she is supposed to see her father as the best figure in the world. But I still believe this part should be more objective, if not from Anastasia’s point of view, then at least by the king’s actions and dialogues. The other big element that bothered me was the portrayal of Rasputin. He is shown in this book as a family helper and a kind man, when in fact, he was far from that. In the history books, he is described as a madman, a creepy person, and the king was not happy of him coming in the house. The family’s secrecy and the queen’s silent domination over the king, together with Rasputin’s doings were the start of the revolution, and I believe that it one of the required truths that this books should have included, but didn’t. And that troubled me.
On top of this, is the Russian language used throughout this book. There were a lot of spelling errors, and misinterpretations. And whilst I can understand these words, many people can’t, and translation wasn’t provided in the book. Also, I really found this quote interesting, talking about the Russian culture, and how they don’t show emotions. Just a note – this is most of the time true, people won’t be nice to strangers, but actually, Russian people are quite friendly and emotional as well.
‘’We Russians weren’t required to share any amount of emotion we didn’t want to.’’
Apart from these few things that slightly bothered me, I really enjoyed this book. Anastasia is an amazing character, and through her we can see her love towards her family, her country, and even towards the people that wish her harm. We get to see her love, cry, be hurt, be afraid, forgive, and grow throughout the book, and her journey was magical.
‘’As I lay in the grass next to the spell that could rid me of heart pain, I realized that a part of forgiveness was accepting the things someone had done – and the pain that came with that – and moving on with love. Forgiveness was a personal battle that must always be fought in my heart.’’
I loved the beginning of the book the most. The setting was well-written, and I got the feel the same way as the Romanov family did. They tried to act as if everything was normal, when in fact, they were held captive, and moved out of their home. They weren’t allowed to go out in the garden often, and when they did have this opportunity, they enjoyed every single second of it. And they all had hope every single day. They kept smiling and stayed together.
There are number of scenes that will always stay close to my heart – the relationship between Zash and Anastasia (as unrealistic as it might be), always kept me on my toes, his desperation, and his guilt, and her ability to forgive and love regardless.
The brother’s illness, and his persistence through it. His motivation and his will to never give up. The love he holds for his family, and especially his sister Anastasia, and the toughness and not letting go. A few scenes were unrealistic with him, as I hardly believe anyone suffering from hemophilia can survive all those injuries mentioned in the book and the pools of blood, but above all – this character did achieve what he was meant to do – show hope where there is none.
A wonderful and magical tale, with a history behind it of a mysterious family, especially their end – this book brought tears on my eyes and made me think about the power of forgiveness and love. A true masterpiece.
Thank you to Nadine Brandes, for letting me be a part of her Ninja Team.
The history books say I died.
They don’t know the half of it.
Ever since I read Fawkes, I knew I loved Nadine’s writing, and when Romanov was announced, I couldn’t be happier. As I have spend my childhood and young adult life in the Balkans, whilst travelling across Europe, I have always admired Russia, and always enjoyed reading all the theories about the Romanov family.
As a child I would be told stories and fairy tales, I would watch the Disney adaptation of Anastasia, and as I was growing up, I would read history books and fiction on this very subject. When I got my hands on ‘’Romanov’’, I knew I would be up for an adventure, with lots of expectations, but what I never knew was that I would be blown away of how beautiful this book is!
This book is split into two main parts, before and after the Romanov’s execution, but it is also split into the first being the historical part, and the second being the fictional part. Both parts of the book are quite intense, and very different emotions come up to surface, but they are both very powerful throughout, and fitted together quite well.
In the first part, we are introduced to the Romanov family, and how they are kept as hostages by the Bolsheviks. It would’ve been much better if we had more details on the pre-hostage period, why the revolution began, why the king abducted the throne, who are the Bolsheviks and what they believed in. The book starts in the middle of this whole situation, and whilst I knew the beginning before, I am certain a lot of people wouldn’t have.
The history, as much accurate as it was, also had a personalized feeling that the author wanted to give. I have to admit, a lot of the details, especially around the family were quite accurate. The family did stick together and loved each other, they did have secrets and they did make friends with their captors. Anastasia’s brother did indeed had hemophilia and Rasputin was allegedly helping him. However, the author decided to put her personal feelings into the history as well. The king is presented as a wonderful leader that cares about the people. I understand that we see this story from Anastasia’s point of view, and as his daughter, she is supposed to see her father as the best figure in the world. But I still believe this part should be more objective, if not from Anastasia’s point of view, then at least by the king’s actions and dialogues. The other big element that bothered me was the portrayal of Rasputin. He is shown in this book as a family helper and a kind man, when in fact, he was far from that. In the history books, he is described as a madman, a creepy person, and the king was not happy of him coming in the house. The family’s secrecy and the queen’s silent domination over the king, together with Rasputin’s doings were the start of the revolution, and I believe that it one of the required truths that this books should have included, but didn’t. And that troubled me.
On top of this, is the Russian language used throughout this book. There were a lot of spelling errors, and misinterpretations. And whilst I can understand these words, many people can’t, and translation wasn’t provided in the book. Also, I really found this quote interesting, talking about the Russian culture, and how they don’t show emotions. Just a note – this is most of the time true, people won’t be nice to strangers, but actually, Russian people are quite friendly and emotional as well.
‘’We Russians weren’t required to share any amount of emotion we didn’t want to.’’
Apart from these few things that slightly bothered me, I really enjoyed this book. Anastasia is an amazing character, and through her we can see her love towards her family, her country, and even towards the people that wish her harm. We get to see her love, cry, be hurt, be afraid, forgive, and grow throughout the book, and her journey was magical.
‘’As I lay in the grass next to the spell that could rid me of heart pain, I realized that a part of forgiveness was accepting the things someone had done – and the pain that came with that – and moving on with love. Forgiveness was a personal battle that must always be fought in my heart.’’
I loved the beginning of the book the most. The setting was well-written, and I got the feel the same way as the Romanov family did. They tried to act as if everything was normal, when in fact, they were held captive, and moved out of their home. They weren’t allowed to go out in the garden often, and when they did have this opportunity, they enjoyed every single second of it. And they all had hope every single day. They kept smiling and stayed together.
There are number of scenes that will always stay close to my heart – the relationship between Zash and Anastasia (as unrealistic as it might be), always kept me on my toes, his desperation, and his guilt, and her ability to forgive and love regardless.
The brother’s illness, and his persistence through it. His motivation and his will to never give up. The love he holds for his family, and especially his sister Anastasia, and the toughness and not letting go. A few scenes were unrealistic with him, as I hardly believe anyone suffering from hemophilia can survive all those injuries mentioned in the book and the pools of blood, but above all – this character did achieve what he was meant to do – show hope where there is none.
A wonderful and magical tale, with a history behind it of a mysterious family, especially their end – this book brought tears on my eyes and made me think about the power of forgiveness and love. A true masterpiece.
Thank you to Nadine Brandes, for letting me be a part of her Ninja Team.
Purple Phoenix Games (2266 KP) rated Chronicles of Crime: 1400 in Tabletop Games
Oct 21, 2020
Isn’t that box cover just awesome? I never open a preview with a comment about components, but this one warranted it because the box art is so good. Anyway, it’s Paris in the year, well, 1400 AD, and now some strange things are afoot at le Cercle K.
Chronicles of Crime: 1400 (which I shall shorten to 1400 for the duration of this preview) is an app-assisted campaign, murder-infested, cooperative storytelling game for one to four players. If you are familiar with the original Chronicles of Crime, you already know how to play 1400. However, should ye be of the uninitiated, allow me to set the stage for this incredible gaming experience.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, place the Evidence Board in the middle of the table and the Home Location Board near. Keep all the decks of cards nearby (shuffled or unshuffled, whatever is your liking) as well as the alphabetically-labeled Location Boards. Fire up the Chronicles of Crime app, choose “1400,” and then choose the case you would like to play. The app will walk players through the additional setup steps for the case being played. For this solo preview I played through The Missing Pages case. Also, to be completely upfront I got a 95/110 for a final score, but no big deal.
How do I explain this game succinctly? Well, each of the cases will involve players traveling to different Location Boards and meeting Characters at these locations. Many cases will be involving several Special Items and, new for the 1400 version, Vision Cards that may assist players in putting the case into focus. These Vision Cards do not really give the story away or anything, but are merely a vague framework of possible factors.
By using the app and scanning the QR codes on the boards and cards players will be learning about the case, viewing the scene of the crime(s), inspecting items, chatting up locals for information, and also new for 1400: consulting with the goodest boi dog companion! The dog, Perceval, assists the knight (the players) in cases by sniffing items. A word of caution, though, when you play this game do NOT have Perceval sniff any items until you are completely done with a location because he may drag you to another completely different location right away before you were ready. Not that it happened to me, mind you… okay, it did.
Play will continue not so much in “rounds” but until the players have enough evidence and a good handle on the situation enough to return Home to report to their family members all the details of the crime(s) by scanning answers to their questions about the case. The app then assesses the accuracy of the answers and outputs a score. For reference, though I did receive 95/110 on my first play of 1400 I did only receive a 70/100 on my first runthrough of the original Chronicles of Crime, so playing this style of game several times seems to improve how one plays.
Components. As most items in the box of the game are card or cardboard-based, and all really great quality, I will speak on other component items. Firstly, the art and art style throughout the game is simply stunning. I mean look at that Perceval card! And I already raved about the box cover in my opening statement. This art really speaks to me and it says, “I’m gorgeous.”
The app. I have only great things to say about the app. It’s the same app that you would use for original Chronicles of Crime, and operates the exact same way. For me it has been flawless to use and just a joy to bring technology into the gaming world, even for a game set in the year 1400. I am obviously no purist game enthusiast, as I enjoy these hybrid model games. Once you play with the app you will see how ingenious a system it really is. The app coupled with the nondescript cards and other components in the game make for infinite storytelling possibilities that can only be limited by creativity and time constraints. I love the components in the box AND the marvelous app.
Gameplay for me is also just glorious. I love being able to sit down, setup the game, and let the app tell me what’s going on. So what should I do first? Oh, let’s mosey on down here to this Location Board and drum up some information. Ooh I found an Item! I should bring it back to my Family Location Board and ask my merchant sister about it. Hmm, it’s religious in nature? Okay then, my Monkle (monk uncle) will know something about it. Okay, time to go back to that location and speak with the other person who was in there. OH CRAP, I wasted too much (in game) time and now that other person is gone?! Uh oh, I better stop messing around here…
It’s just amazing, and I love this family of games. I am so stoked to delve more into 1400 and discover more shenanigans happening in Paris. Perceval and I are out to solve all the cases and beg for more. If you are looking for a game that uses a hybrid board game/app model, are a fan of this era in history, or just want to have a really great experience playing a game, I urge you to consider Chronicles of Crime: 1400. It has everything I love in a unique game and I just can’t get enough!
Chronicles of Crime: 1400 (which I shall shorten to 1400 for the duration of this preview) is an app-assisted campaign, murder-infested, cooperative storytelling game for one to four players. If you are familiar with the original Chronicles of Crime, you already know how to play 1400. However, should ye be of the uninitiated, allow me to set the stage for this incredible gaming experience.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, place the Evidence Board in the middle of the table and the Home Location Board near. Keep all the decks of cards nearby (shuffled or unshuffled, whatever is your liking) as well as the alphabetically-labeled Location Boards. Fire up the Chronicles of Crime app, choose “1400,” and then choose the case you would like to play. The app will walk players through the additional setup steps for the case being played. For this solo preview I played through The Missing Pages case. Also, to be completely upfront I got a 95/110 for a final score, but no big deal.
How do I explain this game succinctly? Well, each of the cases will involve players traveling to different Location Boards and meeting Characters at these locations. Many cases will be involving several Special Items and, new for the 1400 version, Vision Cards that may assist players in putting the case into focus. These Vision Cards do not really give the story away or anything, but are merely a vague framework of possible factors.
By using the app and scanning the QR codes on the boards and cards players will be learning about the case, viewing the scene of the crime(s), inspecting items, chatting up locals for information, and also new for 1400: consulting with the goodest boi dog companion! The dog, Perceval, assists the knight (the players) in cases by sniffing items. A word of caution, though, when you play this game do NOT have Perceval sniff any items until you are completely done with a location because he may drag you to another completely different location right away before you were ready. Not that it happened to me, mind you… okay, it did.
Play will continue not so much in “rounds” but until the players have enough evidence and a good handle on the situation enough to return Home to report to their family members all the details of the crime(s) by scanning answers to their questions about the case. The app then assesses the accuracy of the answers and outputs a score. For reference, though I did receive 95/110 on my first play of 1400 I did only receive a 70/100 on my first runthrough of the original Chronicles of Crime, so playing this style of game several times seems to improve how one plays.
Components. As most items in the box of the game are card or cardboard-based, and all really great quality, I will speak on other component items. Firstly, the art and art style throughout the game is simply stunning. I mean look at that Perceval card! And I already raved about the box cover in my opening statement. This art really speaks to me and it says, “I’m gorgeous.”
The app. I have only great things to say about the app. It’s the same app that you would use for original Chronicles of Crime, and operates the exact same way. For me it has been flawless to use and just a joy to bring technology into the gaming world, even for a game set in the year 1400. I am obviously no purist game enthusiast, as I enjoy these hybrid model games. Once you play with the app you will see how ingenious a system it really is. The app coupled with the nondescript cards and other components in the game make for infinite storytelling possibilities that can only be limited by creativity and time constraints. I love the components in the box AND the marvelous app.
Gameplay for me is also just glorious. I love being able to sit down, setup the game, and let the app tell me what’s going on. So what should I do first? Oh, let’s mosey on down here to this Location Board and drum up some information. Ooh I found an Item! I should bring it back to my Family Location Board and ask my merchant sister about it. Hmm, it’s religious in nature? Okay then, my Monkle (monk uncle) will know something about it. Okay, time to go back to that location and speak with the other person who was in there. OH CRAP, I wasted too much (in game) time and now that other person is gone?! Uh oh, I better stop messing around here…
It’s just amazing, and I love this family of games. I am so stoked to delve more into 1400 and discover more shenanigans happening in Paris. Perceval and I are out to solve all the cases and beg for more. If you are looking for a game that uses a hybrid board game/app model, are a fan of this era in history, or just want to have a really great experience playing a game, I urge you to consider Chronicles of Crime: 1400. It has everything I love in a unique game and I just can’t get enough!
Kara Skinner (332 KP) rated Beauty and The Beast in Books
Sep 10, 2019
Princess Callindra of Tempath is in for some trouble when she runs aways from her mother’s castle and gets kidnapped by a vampire demon who will sell her into slavery. Her only hope out of there is with the help of a mysterious and hairy demon named Brigg, who is not in the least happy to be helping a human. He has hated humans ever since his father was cursed by a human woman, who turned all of them into hairy beasts for life. But he was drawn to this woman, as vexing as she could be. Every part of him was drawn to her and yearned to protect her and make her his. His inner demon was sure that she was his mate. But that was impossible, wasn’t it? How could he have a human for a mate?
I’m a huge sucker for Beauty and Beast stories, as you probably know if you’ve read some of my other reviews. Seriously. You can win some girls over with chocolate and others over with hugs and kisses, but nothing does it for me like an insecure love interest and a woman who’s his salvation because of her unconditional love. (Okay, maybe I’m a little high maintenance). So of course I loved this story! Brigg was wonderfully sweet and conflicted, even though he needs to stop listening to his idiot brother. Cally is a fantastic damsel in distress even though sometimes she just needs to think of the obvious and frickin’ tell someone she doesn’t want to go back home because her mother’s a bitch and she’s part demon. But you know, aside from that, the characters are great.
It’s totally understandable why Brigg dislikes humans. I mean, the only real exposure he had of them was from Cally’s mom, who cursed him and his brother to be hairy beasts instead of the handsome, practically human-looking demons they really were. Frankly, I’d be pissed too. I also understand his confusion when he falls himself falling for Cally when he thinks she’s completely human, and the daughter of a crazy witch/queen to boot. Nevertheless, he still protects her. He saves her from slavery, risking the wrath of her kidnapper to do it, and he keeps her safe. He does this even though he doesn’t think she could ever love him in return.
She was a vision, an image plucked right from his dreams. Maybe a time– before the curse– he had imagined such a beauty being his…. But he was no longer that young Rain demon, that young demon with smooth skin and a face as human as hers. He was a beast, an ugly monster who didn’t deserve the look of interest Cally was flashing right now.
What can I say? I love the insecurities. They are as sexy as hell when done right.
But even though his intentions are good, Brigg is not the smartest demon in the hellhole. As soon as his brother Torc enters the scene, it takes Brigg all of two minutes to decide that Cally has placed a spell on him to use him to get home. This would make sense, except by this point both Brigg and Cally were safe. In a palace. As the guests of a prince. Who was giving her a lift home. She would need to continue on with the spell and the act because…. ?
Like I said, not that fast of a thinker. But Cally isn’t much better. More than anything she wants to avoid her old home, with her abusive mother who was going to put her into an arranged marriage which would only end badly for Cally. Now she’s in an impenetrable palace that’s owned by Sam, who has been nothing but kind to her. He thinks he’s still being kind when he arranges for her ride home. And Cally doesn’t bother to tell him she doesn’t want to go home! Clearly, she’s just being melodramatic. She’s not that desperate.
She had thought about telling Sam, considered asking for his help, but she had been such a burden since Brigg rescued her, Call was frightened of rejection.
You think Sam’s rejection is going to be worse than having your horns filed off again before getting married to a prince that will likely torture you for the rest of your life when he finds out you’re a demon. Clearly, you don’t have your priorities straight.
But seriously, I loved the characters! I’m telling you, it’s Beauty and the Beast! My standards might be a tad low with this story arc.
There was a lot of confusing things in the plot as well. Like what era does this take place in? Cally rides home in a carriage and Brigg and Torc use swords. But Cally also wears t-shirts and jeans and she uses an electric torch, aka flashlight. It’s difficult enough to learn all of the nooks and crannies of the world the author built. There shouldn’t be confusion like flashlights with swords as well. Also, I felt like there was a lot of potential for a longer, more developed story. The whole thing felt very short to me. We never find out why Brigg’s father got cursed to begin with, and I’d love to know more about Brigg’s past, like how did he go crazy and get everyone to be afraid of him? That was never explained. Also, I know it’s unlikely, but I really wished there was some confirmation that Brigg and Cally are not brother and sister. After all, we know Cally’s mom has a past with Brigg’s father, Cally’s own father is MIA, and her horns are the same color as Brigg’s. Probably not anything, but just enough to make me wonder.
I don’t know. I liked this story enough to read it twice– that’s a huge compliment from me– but after reading it a second time and writing this review I’m wondering how good it really was. Maybe I just read it at the right time but didn’t like it as much. I don’t know. So three out of five stars on this one?
I’m a huge sucker for Beauty and Beast stories, as you probably know if you’ve read some of my other reviews. Seriously. You can win some girls over with chocolate and others over with hugs and kisses, but nothing does it for me like an insecure love interest and a woman who’s his salvation because of her unconditional love. (Okay, maybe I’m a little high maintenance). So of course I loved this story! Brigg was wonderfully sweet and conflicted, even though he needs to stop listening to his idiot brother. Cally is a fantastic damsel in distress even though sometimes she just needs to think of the obvious and frickin’ tell someone she doesn’t want to go back home because her mother’s a bitch and she’s part demon. But you know, aside from that, the characters are great.
It’s totally understandable why Brigg dislikes humans. I mean, the only real exposure he had of them was from Cally’s mom, who cursed him and his brother to be hairy beasts instead of the handsome, practically human-looking demons they really were. Frankly, I’d be pissed too. I also understand his confusion when he falls himself falling for Cally when he thinks she’s completely human, and the daughter of a crazy witch/queen to boot. Nevertheless, he still protects her. He saves her from slavery, risking the wrath of her kidnapper to do it, and he keeps her safe. He does this even though he doesn’t think she could ever love him in return.
She was a vision, an image plucked right from his dreams. Maybe a time– before the curse– he had imagined such a beauty being his…. But he was no longer that young Rain demon, that young demon with smooth skin and a face as human as hers. He was a beast, an ugly monster who didn’t deserve the look of interest Cally was flashing right now.
What can I say? I love the insecurities. They are as sexy as hell when done right.
But even though his intentions are good, Brigg is not the smartest demon in the hellhole. As soon as his brother Torc enters the scene, it takes Brigg all of two minutes to decide that Cally has placed a spell on him to use him to get home. This would make sense, except by this point both Brigg and Cally were safe. In a palace. As the guests of a prince. Who was giving her a lift home. She would need to continue on with the spell and the act because…. ?
Like I said, not that fast of a thinker. But Cally isn’t much better. More than anything she wants to avoid her old home, with her abusive mother who was going to put her into an arranged marriage which would only end badly for Cally. Now she’s in an impenetrable palace that’s owned by Sam, who has been nothing but kind to her. He thinks he’s still being kind when he arranges for her ride home. And Cally doesn’t bother to tell him she doesn’t want to go home! Clearly, she’s just being melodramatic. She’s not that desperate.
She had thought about telling Sam, considered asking for his help, but she had been such a burden since Brigg rescued her, Call was frightened of rejection.
You think Sam’s rejection is going to be worse than having your horns filed off again before getting married to a prince that will likely torture you for the rest of your life when he finds out you’re a demon. Clearly, you don’t have your priorities straight.
But seriously, I loved the characters! I’m telling you, it’s Beauty and the Beast! My standards might be a tad low with this story arc.
There was a lot of confusing things in the plot as well. Like what era does this take place in? Cally rides home in a carriage and Brigg and Torc use swords. But Cally also wears t-shirts and jeans and she uses an electric torch, aka flashlight. It’s difficult enough to learn all of the nooks and crannies of the world the author built. There shouldn’t be confusion like flashlights with swords as well. Also, I felt like there was a lot of potential for a longer, more developed story. The whole thing felt very short to me. We never find out why Brigg’s father got cursed to begin with, and I’d love to know more about Brigg’s past, like how did he go crazy and get everyone to be afraid of him? That was never explained. Also, I know it’s unlikely, but I really wished there was some confirmation that Brigg and Cally are not brother and sister. After all, we know Cally’s mom has a past with Brigg’s father, Cally’s own father is MIA, and her horns are the same color as Brigg’s. Probably not anything, but just enough to make me wonder.
I don’t know. I liked this story enough to read it twice– that’s a huge compliment from me– but after reading it a second time and writing this review I’m wondering how good it really was. Maybe I just read it at the right time but didn’t like it as much. I don’t know. So three out of five stars on this one?
Lottie disney bookworm (1056 KP) rated The Beast Within: A Tale of Beauty's Prince (Villains #2) in Books
Aug 24, 2019
Beauty and the Beast is arguably one of my favourite Disney classics. I adored Tale as Old as Time and so the Beast’s version of the villain’s tale series had some pretty big boots to fill.
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
Bob Mann (459 KP) rated Mary Poppins Returns (2018) in Movies
Sep 28, 2021
A valiant attempt to recreate a masterpiece.
How do you repaint a masterpiece: the Mona Lisa of children’s fantasy cinema? Some would say “You shouldn’t try”.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
Lottie disney bookworm (1056 KP) rated What Once Was Mine in Books
Oct 25, 2021
𝑾𝒉𝒂𝒕 𝒊𝒇 𝑹𝒂𝒑𝒖𝒏𝒛𝒆𝒍’𝒔 𝒎𝒐𝒕𝒉𝒆𝒓 𝒅𝒓𝒂𝒏𝒌 𝒂 𝒑𝒐𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒘𝒓𝒐𝒏𝒈 𝒇𝒍𝒐𝒘𝒆𝒓?
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
Hadley (567 KP) rated Frankenstein in Books
Apr 30, 2019
Great main character (1 more)
Beautiful writing
Over usage of some words (1 more)
Secondary characters have hardly a back story
In the horror genre, I have very few favorite female writers, but Mary Shelley is one of them. The way she weaves environments with character defining scenes is beautifully done in 'Frankenstein.' At the tender age of 18, Shelley was able to convey grief and loss through a single story. She created a relatable 'creature' that many readers will have pity for, but also an obsessive young man that can hardly be hated. Some people may be intimidated by the more diverse English language from the early 1800's, but, in my opinion, the story would not have had the same impact if it had been written today.
Not just horror readers will enjoy 'Frankenstein,' but also those who like to read philosophy. Shelley brings up life discerning questions that even society meddles with today. It's amazing to think that a two century old book discusses problems we still deal with.
The book begins with a sea captain that picks up a stranger that was stranded on a raft of ice, and this man has a fascinating story to tell. The entire book is a letter written by the sea captain to his sister, which he details every bit of Victor Frankenstein's several year tale. Readers get to follow Frankenstein's life from the moment his 'creature' is made to the end of his days, which traverses the globe. When Shelley begins to lull over her love of environments, she quickly picks up with character or story development that keeps our attention from wandering.
'Frankenstein' focuses on the need to be loved and accepted to live a happy existence,as well as reaching our dreams, but Shelley shows how achieving such things can cause a crushing defeat in the latter pursuit: "Night was far advanced when I came to the halfway resting-place, and seated myself beside the fountain. The stars shone at intervals, as the clouds passed from over them; the dark pines rose before me, and every here and there a broken tree lay on the ground: it was a scene of wonderful solemnity, and stirred strange thoughts within me. I wept bitterly; and clasping my hands in agony, I exclaimed, 'Oh! stars, and clouds, and winds, ye are all about to mock me: if ye really pity me, crush sensation and memory; let me become as nought; but if not, depart, depart, and leave me in darkness.' "
There are other characters we read of, including Frankenstein's best friend, Henry, and his long time love interest, Elizabeth (both of who grew up with Frankenstein). Henry comes from a well-to-do merchant family, while Elizabeth was orphaned from a wealthy family, then adopted by the Frankensteins as a future wife for Victor. Unfortunately, we learn little about them or Victor's family, that when any of them do die, it's not felt personally by the reader. There are other characters that had major events in the story, but as with the friends, they weren't developed enough to bring up any emotion at their passing.
After Frankenstein sets out after his creation,we meet the 'creature' at the top of a mountain. He is devastated that his creator hates him, and that the other humans he has met also hated him. "I expected this reception,' said the demon. 'All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends.' "
The 'creature' gives Frankenstein an ultimatum: he either makes him a female companion or he will kill everyone Frankenstein loves and adores." 'What I ask of you is reasonable and moderate; I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I can receive,and it shall content me.' " Although, by this time, the 'creature' has already murdered Frankenstein's youngest brother, Victor agrees to make him a companion, but with serious regret soon after.
The majority of the story concerns Frankenstein trying fool-hardly to protect all those he loves while the 'creature' murders them one by one. The most surprising of the murders is Henry's. After Frankenstein changes his mind on making another creation, the 'creature' quickly finds Henry and kills him, but Frankenstein is accused of the murder and spends quite some time in prison for it. "But I was doomed to live; and, in two months, found myself as awaking from a dream, in a prison, stretched on a wretched bed, surrounded by gaolers, turnkeys, bolts, and all the miserable apparatus of a dungeon. "
Frankenstein is eventually released from prison when the evidence doesn't add up, and witnesses come forward, claiming to have seen Victor elsewhere at the time of the murder. Frankenstein is, at this time, in a drowning melancholy and madness, but this doesn't stop him from marrying Elizabeth. The 'creature' foretold Frankenstein that he would be with him on his wedding night, and Victor uses this to his advantage - arming himself with pistols and knives on the honeymoon. Yet, to no avail, Frankenstein is unable to outlive or outsmart the 'creature' at any turn.
'Frankenstein' is a must-read for all readers. Although many horror stories today pertain to a creature killing it's master, none of them can reach the grief stricken peaks as Shelley has. Every passage in this book reads like poetry. Every interaction between Frankenstein and his 'creature' is fascinating to the reader. And, before Frankenstein dies, he leaves the sea captain with words of wisdom that even readers could benefit from: "Seek happiness in tranquillity and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries."
Highly recommend!
Not just horror readers will enjoy 'Frankenstein,' but also those who like to read philosophy. Shelley brings up life discerning questions that even society meddles with today. It's amazing to think that a two century old book discusses problems we still deal with.
The book begins with a sea captain that picks up a stranger that was stranded on a raft of ice, and this man has a fascinating story to tell. The entire book is a letter written by the sea captain to his sister, which he details every bit of Victor Frankenstein's several year tale. Readers get to follow Frankenstein's life from the moment his 'creature' is made to the end of his days, which traverses the globe. When Shelley begins to lull over her love of environments, she quickly picks up with character or story development that keeps our attention from wandering.
'Frankenstein' focuses on the need to be loved and accepted to live a happy existence,as well as reaching our dreams, but Shelley shows how achieving such things can cause a crushing defeat in the latter pursuit: "Night was far advanced when I came to the halfway resting-place, and seated myself beside the fountain. The stars shone at intervals, as the clouds passed from over them; the dark pines rose before me, and every here and there a broken tree lay on the ground: it was a scene of wonderful solemnity, and stirred strange thoughts within me. I wept bitterly; and clasping my hands in agony, I exclaimed, 'Oh! stars, and clouds, and winds, ye are all about to mock me: if ye really pity me, crush sensation and memory; let me become as nought; but if not, depart, depart, and leave me in darkness.' "
There are other characters we read of, including Frankenstein's best friend, Henry, and his long time love interest, Elizabeth (both of who grew up with Frankenstein). Henry comes from a well-to-do merchant family, while Elizabeth was orphaned from a wealthy family, then adopted by the Frankensteins as a future wife for Victor. Unfortunately, we learn little about them or Victor's family, that when any of them do die, it's not felt personally by the reader. There are other characters that had major events in the story, but as with the friends, they weren't developed enough to bring up any emotion at their passing.
After Frankenstein sets out after his creation,we meet the 'creature' at the top of a mountain. He is devastated that his creator hates him, and that the other humans he has met also hated him. "I expected this reception,' said the demon. 'All men hate the wretched; how, then, must I be hated, who am miserable beyond all living things! Yet you, my creator, detest and spurn me, thy creature, to whom thou art bound by ties only dissoluble by the annihilation of one of us. You purpose to kill me. How dare you sport thus with life? Do your duty towards me, and I will do mine towards you and the rest of mankind. If you will comply with my conditions, I will leave them and you at peace; but if you refuse, I will glut the maw of death, until it be satiated with the blood of your remaining friends.' "
The 'creature' gives Frankenstein an ultimatum: he either makes him a female companion or he will kill everyone Frankenstein loves and adores." 'What I ask of you is reasonable and moderate; I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I can receive,and it shall content me.' " Although, by this time, the 'creature' has already murdered Frankenstein's youngest brother, Victor agrees to make him a companion, but with serious regret soon after.
The majority of the story concerns Frankenstein trying fool-hardly to protect all those he loves while the 'creature' murders them one by one. The most surprising of the murders is Henry's. After Frankenstein changes his mind on making another creation, the 'creature' quickly finds Henry and kills him, but Frankenstein is accused of the murder and spends quite some time in prison for it. "But I was doomed to live; and, in two months, found myself as awaking from a dream, in a prison, stretched on a wretched bed, surrounded by gaolers, turnkeys, bolts, and all the miserable apparatus of a dungeon. "
Frankenstein is eventually released from prison when the evidence doesn't add up, and witnesses come forward, claiming to have seen Victor elsewhere at the time of the murder. Frankenstein is, at this time, in a drowning melancholy and madness, but this doesn't stop him from marrying Elizabeth. The 'creature' foretold Frankenstein that he would be with him on his wedding night, and Victor uses this to his advantage - arming himself with pistols and knives on the honeymoon. Yet, to no avail, Frankenstein is unable to outlive or outsmart the 'creature' at any turn.
'Frankenstein' is a must-read for all readers. Although many horror stories today pertain to a creature killing it's master, none of them can reach the grief stricken peaks as Shelley has. Every passage in this book reads like poetry. Every interaction between Frankenstein and his 'creature' is fascinating to the reader. And, before Frankenstein dies, he leaves the sea captain with words of wisdom that even readers could benefit from: "Seek happiness in tranquillity and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries."
Highly recommend!
5 Minute Movie Guy (379 KP) rated 47 Meters Down: Uncaged (2019) in Movies
Aug 26, 2019
I love a good shark movie. Since as far back as I can remember, I have been fascinated by sharks. I think they’re some of the most interesting creatures on our planet. Even when I was a kid, I used to wear shark tooth necklaces because I thought they were so cool. Basically any time you’ve got sharks in a movie, I’m all in for it. Amusingly enough, that same sentiment does not apply to video games where I think they’re terrifying! (Jaws on the original Nintendo freaked-me-out as a child.) Having said all that, I was excited to see 47 Meters Down: Uncaged, even though I missed out on the original film back in 2017. Johannes Roberts, the director of the minimalistic first film, 47 Meters Down, returns for this sequel and brings back the great white sharks, but shakes up for the formula a bit by adding an underwater maze to the mix.
The sequel focuses on teenaged loner Mia (Sophie Nélisse) who has recently relocated to Mexico with her father and step-family. Her father Grant (John Corbett) scouts and maps out underwater locations for a living, and has recently discovered an ancient sunken Mayan city. With the help of his two assistants, he’s currently in the process of mapping out its maze-like design. One day, Mia joins her sister Sasha (Corinne Foxx) whose two friends, Alexa (Brianne Tju) and Nicole (Sistine Stallone), take them to a hidden local cove for a day of fun. This location turns out to be one of the entrances to the historic labyrinth that Mia’s father Grant has been exploring. Alexa, who once dated one of Grant’s assistants, had gone diving with this former boyfriend into the submerged city before. Upon finding enough extra scuba gear for all of them on a floating dock in this isolated cove, Alexa pressures her friends into joining her on a brief underwater tour that ends up being anything but.
This sunken Mayan labyrinth that the four girls go inside to explore is the setting for most of the film. They’re supposed to be following Alexa, who knows part of the maze well enough to navigate it without getting them lost, but their stubborn and defiant friend Nicole decides to venture off-course and winds up endangering them all. In the aftermath of Nicole’s senselessness, a pillar gets knocked over, creating a domino effect of destruction that causes the entrance they came in through to collapse and get sealed off. Now they’ll have to find another way out. With limited oxygen and even less light and visibility, the girls have to swim deeper into the maze to try to look for an exit.
Quickly the girls come to discover they’re not as alone in this labyrinth as they first thought, and they find themselves in the presence of great white sharks. These sharks, blind from living their whole lives in the darkness of this lost city, have their other senses heightened as a result, and they’re on the hunt for blood. The arrival of these sharks, however, opens up a big plot hole in the story. How is it that Mia’s father has never seen these deadly sharks nor made any reference to them when he’s already spent weeks, possibly even months, exploring this sunken city? I suppose it’s possible that in the collapse of the entrance, another passageway may have opened up that let the sharks in. However, that logic doesn’t hold up, because had they came in from outside, they wouldn’t be blind. These particular sharks evolved down here, so it’s hard to believe they were never noticed before, especially considering how violent and aggressive they are.
That’s far from being the only problem with these sharks, though. They also look flat out awful. The quality of their special effects in this film is simply pitiful. I’m not even exaggerating when I say they often reminded me of that infamously bad shark attack scene from Jaws 3D. They look so fake and unbelievable that instead of feeling any sense of fear when they randomly appeared, I couldn’t help but cringe. It literally looks almost as bad as the Sharknado movies, but the key difference is that unlike the intentionally campy Sharknado movies, 47 Meters Down: Uncaged is actually trying to take itself seriously. Plus it has even has double the budget to work with.
47 Meters Down: Uncaged takes a very lazy and bare-bones approach to filmmaking. The story lacks substance, the characters and dialogue lack depth, and the visuals throughout most of the film are muddied and unclear. It’s rough on the eyes because the visuals are so obscured and are shrouded in so much darkness that it’s hard to actually see what’s happening on screen. This is often exploited as a cheap tactic to create jump scares by having the sharks suddenly appear from literally out of nowhere, which seems especially hard to believe since it’s doubtful these large sharks could smoothly navigate most of these narrow passageways in the first place. Despite the restrictive maze design, the film fails to create a sense of claustrophobia, and instead just gave me a headache.
The story progression in the film mostly feels generic and expected. There are new complications that arise and circumstances that change, but it’s all pretty standard fare. The ending, however, sets up a decent scenario, but it ends up being ruined by how unrealistic it is. Besides, after wading through all of the garbage to get there, I couldn’t be bothered to care much at that point. The acting in the film is mostly poor, but truthfully they’re never given much to work with. It’s also difficult to keep track of who is who once they’re inside the maze anyway because the visuals are so muddled. The movie does feature its share of violence and death, but its light on the gore and to me it always felt unsatisfying.
In all, 47 Meters Down: Uncaged sinks right to the bottom of my rating list as the worst movie I’ve seen in 2019. It’s lazy and bland to the point of being exhausting. There’s ultimately not one single thing about it that I can sincerely commend. The only thing I’m probably going to remember this movie for is how dreadful it looks and the 90 minutes of boredom and disappointment it caused me.
The sequel focuses on teenaged loner Mia (Sophie Nélisse) who has recently relocated to Mexico with her father and step-family. Her father Grant (John Corbett) scouts and maps out underwater locations for a living, and has recently discovered an ancient sunken Mayan city. With the help of his two assistants, he’s currently in the process of mapping out its maze-like design. One day, Mia joins her sister Sasha (Corinne Foxx) whose two friends, Alexa (Brianne Tju) and Nicole (Sistine Stallone), take them to a hidden local cove for a day of fun. This location turns out to be one of the entrances to the historic labyrinth that Mia’s father Grant has been exploring. Alexa, who once dated one of Grant’s assistants, had gone diving with this former boyfriend into the submerged city before. Upon finding enough extra scuba gear for all of them on a floating dock in this isolated cove, Alexa pressures her friends into joining her on a brief underwater tour that ends up being anything but.
This sunken Mayan labyrinth that the four girls go inside to explore is the setting for most of the film. They’re supposed to be following Alexa, who knows part of the maze well enough to navigate it without getting them lost, but their stubborn and defiant friend Nicole decides to venture off-course and winds up endangering them all. In the aftermath of Nicole’s senselessness, a pillar gets knocked over, creating a domino effect of destruction that causes the entrance they came in through to collapse and get sealed off. Now they’ll have to find another way out. With limited oxygen and even less light and visibility, the girls have to swim deeper into the maze to try to look for an exit.
Quickly the girls come to discover they’re not as alone in this labyrinth as they first thought, and they find themselves in the presence of great white sharks. These sharks, blind from living their whole lives in the darkness of this lost city, have their other senses heightened as a result, and they’re on the hunt for blood. The arrival of these sharks, however, opens up a big plot hole in the story. How is it that Mia’s father has never seen these deadly sharks nor made any reference to them when he’s already spent weeks, possibly even months, exploring this sunken city? I suppose it’s possible that in the collapse of the entrance, another passageway may have opened up that let the sharks in. However, that logic doesn’t hold up, because had they came in from outside, they wouldn’t be blind. These particular sharks evolved down here, so it’s hard to believe they were never noticed before, especially considering how violent and aggressive they are.
That’s far from being the only problem with these sharks, though. They also look flat out awful. The quality of their special effects in this film is simply pitiful. I’m not even exaggerating when I say they often reminded me of that infamously bad shark attack scene from Jaws 3D. They look so fake and unbelievable that instead of feeling any sense of fear when they randomly appeared, I couldn’t help but cringe. It literally looks almost as bad as the Sharknado movies, but the key difference is that unlike the intentionally campy Sharknado movies, 47 Meters Down: Uncaged is actually trying to take itself seriously. Plus it has even has double the budget to work with.
47 Meters Down: Uncaged takes a very lazy and bare-bones approach to filmmaking. The story lacks substance, the characters and dialogue lack depth, and the visuals throughout most of the film are muddied and unclear. It’s rough on the eyes because the visuals are so obscured and are shrouded in so much darkness that it’s hard to actually see what’s happening on screen. This is often exploited as a cheap tactic to create jump scares by having the sharks suddenly appear from literally out of nowhere, which seems especially hard to believe since it’s doubtful these large sharks could smoothly navigate most of these narrow passageways in the first place. Despite the restrictive maze design, the film fails to create a sense of claustrophobia, and instead just gave me a headache.
The story progression in the film mostly feels generic and expected. There are new complications that arise and circumstances that change, but it’s all pretty standard fare. The ending, however, sets up a decent scenario, but it ends up being ruined by how unrealistic it is. Besides, after wading through all of the garbage to get there, I couldn’t be bothered to care much at that point. The acting in the film is mostly poor, but truthfully they’re never given much to work with. It’s also difficult to keep track of who is who once they’re inside the maze anyway because the visuals are so muddled. The movie does feature its share of violence and death, but its light on the gore and to me it always felt unsatisfying.
In all, 47 Meters Down: Uncaged sinks right to the bottom of my rating list as the worst movie I’ve seen in 2019. It’s lazy and bland to the point of being exhausting. There’s ultimately not one single thing about it that I can sincerely commend. The only thing I’m probably going to remember this movie for is how dreadful it looks and the 90 minutes of boredom and disappointment it caused me.
Bob Mann (459 KP) rated Wonder Woman (2017) in Movies
Sep 29, 2021
“What first attracted you Dr Mann to the movie with the scantily-clad Amazonians?”
Amazonians deliver! And how. The much anticipated new Wonder Woman movie is with us, and for once the film lives up to the wall-to-wall marketing hype.
With a heavy dose of mythology, Diana is growing up as the cossetted daughter of Hippolyta (Connie Nielsen, “Gladiator”), the Queen of the Amazons, on the hidden paradise island of Themyscira. Trained up as a warrior by Hippolyta’s sister, General Antiope (Robin Wright of “House of Cards”), Diana is clearly something special. Her ego is reinforced by the knowledge that she was made of clay with life breathed into her by the God Zeus. It’s enough to turn a girl’s head!
It’s 1917 and the man-free paradise is shaken up when an American spy by the name of Steve Trevor (Chris Pine, “Star Trek: Beyond“) crash-lands in the waters off Themyscira. (And yes… you didn’t mishear me… this film genuinely features a hero with both the names “Steve” and ‘Trevor”). Prince Eric – no, sorry, wrong film – is saved and awakened on the beach by Diana as the others arrive. “Thank God!”, say the Amazonians. “At last, someone to process the 200 year backlog of washing and ironing”!
But Steve (an “above average specimen”, LOL) is not long for paradise as he needs to return to the war with the results of his spy-work: a chemistry book stolen from the gorgeously deformed Dr Maru (Elena Anaya), gas-developer for the evil General Ludendorff (Danny Huston). Seeing Ludendorff to be her God-like nemesis Ares, Diana returns with Steve to the WW1 battlefields with the intent of killing the God of War and so ending the ‘war to end all wars’.
Much ‘fish out of water’ fun is had with Diana meeting civilised London society, although perhaps this section of the film doesn’t quite live up to its full potential: having ice cream for the first time, without any sign of surprise, all she can come up with is an amusing but rather lame “You must be very proud”.
But where the film really accelerates into awesomeness is when Diana reaches ‘The Front’. She emerges from the trenches like some shimmering vision of hotness, to set male and lesbian hearts a flutter. Its the most memorable trench-exit since the finale of “Black Adder 4”, and the subsequent scenes of Diana single-handedly facing the German guns is for me one of the most compelling and enjoyable scenes in any recent DC or Marvel movie.
Holding all this together is the ex-Israeli army-trainer Gal Gadot in the title role. And man oh man, what a Gal! Statuesque, athletic but also sweet, charming and emotionally fragile she completely owns this role from beginning to end. Gadot made a memorable entry in the otherwise poor “Batman v Superman: Dawn of Justice” (#marthagate #neverforget #neverforgive) but nothing prepares you for just how great she is in this outing. In fact, I’ll go as far as saying that this film, although having a UK 12 certificate, is a film of immense danger to heterosexual teenagers of any age (#humor):
All boys will be cast into a lifetime of misery, never able to find a woman that can possibly live up to the impossibly perfect vision of Diana Prince, tearing up the German army with fists and whip!;
All girls WILL BECOME LESBIANS AFTER WATCHING THIS FILM!
Parents: you have been warned! 🙂
Chris Pine – the thinking women’s Chris Pratt – once again proves himself as a talented actor who manages to successfully morph to inhabit the role he plays. Much as he did in the excellent “Hell or High Water“, not once did I equate him to be James Tiberius Kirk after the first 5 minutes.
Effective in supporting roles are David Thewlis (“Harry Potter”) as a ‘helpful’ army bod and an almost unrecognisable Lucy Davis (“The Office”) as Etta, Steve’s comedic secretary. Steve’s rather unlikely sidekicks of Sameer (Said Taghmaoui, “American Hustle“), Charlie (Ewen Bremner, “Trainspotting”) and ‘The Chief’ (Eugene Brave Rock “The Revenant“) all rather fade into the woodwork by comparison.
I saw the film in 3D (“careful now… you could take an eye out with those things”) and very good it was too. Aside from some rather unnecessary Amazonian arrows, its never feels overdone, and elements of it were extremely effective.
Another star of the show is the superb Wonder Woman theme by Hans Zimmer, here rolled out by the film’s composer Rupert Gregson-Williams (“Hacksaw Ridge“). Unfortunately, the rest of the soundtrack is not particularly memorable.
The film shifts into more traditional yawn-worthy ‘superhero finale’ mode in the last twenty minutes, which is a bit of a shame. It’s also really curious that for such a sexually charged film there is an almost complete absence of ‘lurrve’ on show. The one love scene coquettishly fades to a view of the outside window. Was this to protect the film’s family friendly rating (probably) or that the director didn’t want to show her heroine in a remotely submissive position (possibly)? More frustratingly, the morning after there is no mention of it at all! (“Move along, nothing to see here”). I at least wanted some sort of recognition that a human/God liaison had taken place: Steve grimacing a bit when he sits down; or Diana on the blower to Themyscira saying “Yes, you were right Mum. 5 minutes in, and it just snapped clean off!”
I know my friend David Moody (of markanddave vblog fame, and a big DC/Marvel fan) was generally disappointed with the film. Conversely, Amy Andrews from the ever-excellent Oh That Film Blog loved it. I’m with Amy on this one, and greatly enjoyed it as a well-constructed action rollercoaster. The nearly two and a half hours sped by. By the way (and I took one for the team here) there is no “monkey” at the end of the film’s credit to hang on for.
Patty Jenkins (“Monster”) directs and knows the audience she is aiming to please. One can only imagine the empowering impact this film will have on young girls, crossing their wrists to ‘THAT’ music and, in their imagination, casting terrorists into the hell that they should be consigned to. In this week of yet more Isis atrocity in London, Wonder Woman is a role-model we could all stand and salute: “I believe in love” too.
With a heavy dose of mythology, Diana is growing up as the cossetted daughter of Hippolyta (Connie Nielsen, “Gladiator”), the Queen of the Amazons, on the hidden paradise island of Themyscira. Trained up as a warrior by Hippolyta’s sister, General Antiope (Robin Wright of “House of Cards”), Diana is clearly something special. Her ego is reinforced by the knowledge that she was made of clay with life breathed into her by the God Zeus. It’s enough to turn a girl’s head!
It’s 1917 and the man-free paradise is shaken up when an American spy by the name of Steve Trevor (Chris Pine, “Star Trek: Beyond“) crash-lands in the waters off Themyscira. (And yes… you didn’t mishear me… this film genuinely features a hero with both the names “Steve” and ‘Trevor”). Prince Eric – no, sorry, wrong film – is saved and awakened on the beach by Diana as the others arrive. “Thank God!”, say the Amazonians. “At last, someone to process the 200 year backlog of washing and ironing”!
But Steve (an “above average specimen”, LOL) is not long for paradise as he needs to return to the war with the results of his spy-work: a chemistry book stolen from the gorgeously deformed Dr Maru (Elena Anaya), gas-developer for the evil General Ludendorff (Danny Huston). Seeing Ludendorff to be her God-like nemesis Ares, Diana returns with Steve to the WW1 battlefields with the intent of killing the God of War and so ending the ‘war to end all wars’.
Much ‘fish out of water’ fun is had with Diana meeting civilised London society, although perhaps this section of the film doesn’t quite live up to its full potential: having ice cream for the first time, without any sign of surprise, all she can come up with is an amusing but rather lame “You must be very proud”.
But where the film really accelerates into awesomeness is when Diana reaches ‘The Front’. She emerges from the trenches like some shimmering vision of hotness, to set male and lesbian hearts a flutter. Its the most memorable trench-exit since the finale of “Black Adder 4”, and the subsequent scenes of Diana single-handedly facing the German guns is for me one of the most compelling and enjoyable scenes in any recent DC or Marvel movie.
Holding all this together is the ex-Israeli army-trainer Gal Gadot in the title role. And man oh man, what a Gal! Statuesque, athletic but also sweet, charming and emotionally fragile she completely owns this role from beginning to end. Gadot made a memorable entry in the otherwise poor “Batman v Superman: Dawn of Justice” (#marthagate #neverforget #neverforgive) but nothing prepares you for just how great she is in this outing. In fact, I’ll go as far as saying that this film, although having a UK 12 certificate, is a film of immense danger to heterosexual teenagers of any age (#humor):
All boys will be cast into a lifetime of misery, never able to find a woman that can possibly live up to the impossibly perfect vision of Diana Prince, tearing up the German army with fists and whip!;
All girls WILL BECOME LESBIANS AFTER WATCHING THIS FILM!
Parents: you have been warned! 🙂
Chris Pine – the thinking women’s Chris Pratt – once again proves himself as a talented actor who manages to successfully morph to inhabit the role he plays. Much as he did in the excellent “Hell or High Water“, not once did I equate him to be James Tiberius Kirk after the first 5 minutes.
Effective in supporting roles are David Thewlis (“Harry Potter”) as a ‘helpful’ army bod and an almost unrecognisable Lucy Davis (“The Office”) as Etta, Steve’s comedic secretary. Steve’s rather unlikely sidekicks of Sameer (Said Taghmaoui, “American Hustle“), Charlie (Ewen Bremner, “Trainspotting”) and ‘The Chief’ (Eugene Brave Rock “The Revenant“) all rather fade into the woodwork by comparison.
I saw the film in 3D (“careful now… you could take an eye out with those things”) and very good it was too. Aside from some rather unnecessary Amazonian arrows, its never feels overdone, and elements of it were extremely effective.
Another star of the show is the superb Wonder Woman theme by Hans Zimmer, here rolled out by the film’s composer Rupert Gregson-Williams (“Hacksaw Ridge“). Unfortunately, the rest of the soundtrack is not particularly memorable.
The film shifts into more traditional yawn-worthy ‘superhero finale’ mode in the last twenty minutes, which is a bit of a shame. It’s also really curious that for such a sexually charged film there is an almost complete absence of ‘lurrve’ on show. The one love scene coquettishly fades to a view of the outside window. Was this to protect the film’s family friendly rating (probably) or that the director didn’t want to show her heroine in a remotely submissive position (possibly)? More frustratingly, the morning after there is no mention of it at all! (“Move along, nothing to see here”). I at least wanted some sort of recognition that a human/God liaison had taken place: Steve grimacing a bit when he sits down; or Diana on the blower to Themyscira saying “Yes, you were right Mum. 5 minutes in, and it just snapped clean off!”
I know my friend David Moody (of markanddave vblog fame, and a big DC/Marvel fan) was generally disappointed with the film. Conversely, Amy Andrews from the ever-excellent Oh That Film Blog loved it. I’m with Amy on this one, and greatly enjoyed it as a well-constructed action rollercoaster. The nearly two and a half hours sped by. By the way (and I took one for the team here) there is no “monkey” at the end of the film’s credit to hang on for.
Patty Jenkins (“Monster”) directs and knows the audience she is aiming to please. One can only imagine the empowering impact this film will have on young girls, crossing their wrists to ‘THAT’ music and, in their imagination, casting terrorists into the hell that they should be consigned to. In this week of yet more Isis atrocity in London, Wonder Woman is a role-model we could all stand and salute: “I believe in love” too.