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Lee (2222 KP) rated Phineas and Ferb the Movie: Candace Against the Universe (2020) in Movies
Sep 2, 2020
Like being back with old friends....
Tenet? I’m sorry, no, THIS was actually the biggest movie release of last week. Well, it is when you’re currently having to isolate at home and cannot go to the cinema for a few weeks. Despite that, I was actually way more excited for this to hit Disney+ this morning than a man my age probably should have been, and I have been for sometime, since it was first announced. I even managed to convince my daughter to get up early and watch with me, recreating those wonderful days when we both used to get up bright and early on a Saturday morning and sit and watch back to back episodes.
For the uninitiated, Phineas and Ferb are two step-brothers who spend their summer holiday coming up with highly elaborate ways to occupy every day, usually resulting in some wacky adventures and an extremely frustrated sister, Candace. Candace is forever trying to bust the boys and get their mum to catch them in the act, only to fail every time as some last second incident conveniently erases any evidence. Oh, and they also have a pet platypus called Perry, who without their knowledge works as an agent for a secret animal organisation, trying each episode to thwart the latest evil scheme hatched by Dr Doofenshmirtz. It’s very funny, features some incredibly catchy songs, and is just an extremely well written show for both kids and adults to enjoy. Running for four seasons, and racking up over 200 episodes before ending in 2015, the show also spawned a number of crossover specials involving Marvel and Star Wars.
Candace against the universe is the second feature length Phineas and Ferb movie and opens with Candace, lamenting the sad fact that no matter what she does, she never manages to successfully bust her brothers. All of this is delivered in the form of a song, and acts as a nostalgic reminder of some of the crazy inventions and adventures the boys have been involved in over the course of the series. The song ends with another perfect chance for Candace to bust the boys, who are currently enjoying themselves with their friends in the back garden. But of course, she fails. After heading out to the front of the house, and meeting up with friend Vanessa, she spots an alien spaceship. Believing her brothers to be behind it somehow, she and Vanessa are sucked up inside, before taking off and shooting up into the sky.
The boys see Candace flying away in the ship, and after photographing the alien license plate, are able to quickly identify where she’s headed (as you do…). They round up the gang and quickly rustle up a portal in their back garden (as you do…), in order to jump to the planet where Candace is being taken. The portal takes them via Doofenshmirtz Evil Inc, where they pick up Heinz Doofenshmirtz and Perry the Platypus (unknowingly), before heading off in a spaceship of their own. When they do catch up with Candace, they discover that she is being hailed as ‘the chosen one’ by the alien race that captured her. But does the queen of the planet have a more sinister reason for bringing Candace all this way?
It’s fair to say that, unless you’re already a fan of the show, you’re unlikely to have any interest whatsoever in watching Candace Against the Universe. For fans of the show though, this is a wonderful trip down memory lane, unless you’ve already spent all of lockdown recently catching up on all of the episodes on Disney+, and it feels so good to be back in the company of such wonderful characters. There’s a lot of comfort to be had from the running gags and themes of the episode format of the show, and the only thing I found with this movie, and the crossover shows, is that they end up feeling like a dragged out episode at times, tending to sag a little around the middle.
It’s a very minor complaint though. The songs are as good as ever, including a song from Doofenshmirtz about ‘adulting’, and the humour is still smart and on point, although Buford does tend to get some of the funnier lines in my opinion. And when Buford gets ridiculed for bringing a canoe with him on their trip to the alien planet, and Doofenshmirtz gets laughed at for inventing something as stupid as a “Chicken Replace-inator” – basically a gun which swaps whatever you fire at with the nearest chicken – you just know they’re working on delivering us some great gags later on throughout the movie. And obviously, Perry the Platypus gets to save the day as usual, and without anyone even realising it. It’s like being back in the company of old friends. Fingers crossed that this isn’t the last we see of Phineas, Ferb and the gang.
For the uninitiated, Phineas and Ferb are two step-brothers who spend their summer holiday coming up with highly elaborate ways to occupy every day, usually resulting in some wacky adventures and an extremely frustrated sister, Candace. Candace is forever trying to bust the boys and get their mum to catch them in the act, only to fail every time as some last second incident conveniently erases any evidence. Oh, and they also have a pet platypus called Perry, who without their knowledge works as an agent for a secret animal organisation, trying each episode to thwart the latest evil scheme hatched by Dr Doofenshmirtz. It’s very funny, features some incredibly catchy songs, and is just an extremely well written show for both kids and adults to enjoy. Running for four seasons, and racking up over 200 episodes before ending in 2015, the show also spawned a number of crossover specials involving Marvel and Star Wars.
Candace against the universe is the second feature length Phineas and Ferb movie and opens with Candace, lamenting the sad fact that no matter what she does, she never manages to successfully bust her brothers. All of this is delivered in the form of a song, and acts as a nostalgic reminder of some of the crazy inventions and adventures the boys have been involved in over the course of the series. The song ends with another perfect chance for Candace to bust the boys, who are currently enjoying themselves with their friends in the back garden. But of course, she fails. After heading out to the front of the house, and meeting up with friend Vanessa, she spots an alien spaceship. Believing her brothers to be behind it somehow, she and Vanessa are sucked up inside, before taking off and shooting up into the sky.
The boys see Candace flying away in the ship, and after photographing the alien license plate, are able to quickly identify where she’s headed (as you do…). They round up the gang and quickly rustle up a portal in their back garden (as you do…), in order to jump to the planet where Candace is being taken. The portal takes them via Doofenshmirtz Evil Inc, where they pick up Heinz Doofenshmirtz and Perry the Platypus (unknowingly), before heading off in a spaceship of their own. When they do catch up with Candace, they discover that she is being hailed as ‘the chosen one’ by the alien race that captured her. But does the queen of the planet have a more sinister reason for bringing Candace all this way?
It’s fair to say that, unless you’re already a fan of the show, you’re unlikely to have any interest whatsoever in watching Candace Against the Universe. For fans of the show though, this is a wonderful trip down memory lane, unless you’ve already spent all of lockdown recently catching up on all of the episodes on Disney+, and it feels so good to be back in the company of such wonderful characters. There’s a lot of comfort to be had from the running gags and themes of the episode format of the show, and the only thing I found with this movie, and the crossover shows, is that they end up feeling like a dragged out episode at times, tending to sag a little around the middle.
It’s a very minor complaint though. The songs are as good as ever, including a song from Doofenshmirtz about ‘adulting’, and the humour is still smart and on point, although Buford does tend to get some of the funnier lines in my opinion. And when Buford gets ridiculed for bringing a canoe with him on their trip to the alien planet, and Doofenshmirtz gets laughed at for inventing something as stupid as a “Chicken Replace-inator” – basically a gun which swaps whatever you fire at with the nearest chicken – you just know they’re working on delivering us some great gags later on throughout the movie. And obviously, Perry the Platypus gets to save the day as usual, and without anyone even realising it. It’s like being back in the company of old friends. Fingers crossed that this isn’t the last we see of Phineas, Ferb and the gang.
Movie Metropolis (309 KP) rated Pacific Rim: Uprising (2018) in Movies
Jun 10, 2019
Absolutely Bonkers
2013’s Pacific Rim was one of the most underrated films of the year. Lumbered in the same category as the Transformers series for its seemingly simple premise about robots fighting giant monsters, it had a lukewarm performance at the box office.
For those movie buffs reading this, you’ll of course know the film was directed by the Oscar-winning Guillermo Del Toro and with that came his signature quirks and visual sense of style. Oh yes, Pacific Rim was much more than a mish-mash of action.
A sequel looked very unlikely given the mediocre reception it received and then Del Toro passed on the idea altogether, instead focusing on the film that earned him a Best Director award at this year’s Oscars, The Shape of Water. I’m not going to pretend that was the wrong decision because it clearly wasn’t.
Nevertheless, Universal and Legendary pictures, with help from Del Toro handpicked little-known director Steven S. DeKnight to helm this second instalment in the new series, Pacific Rim: Uprising. It’s taken five years and $150million to get here. Was it worth it?
Jake Pentecost (John Boyega) is a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous Kaiju. Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through cities and bring the world to its knees, Jake is given one last chance by his estranged sister, Mako Mori (Rinko Kikuchi), to live up to his father’s legacy.
Coming hot off the heels of his performance in Star Wars: The Last Jedi, John Boyega channels his franchise father, Idris Elba, reasonably well and his estranged relationship with the former jaeger pilot is discussed, albeit briefly. Boyega is still discovering himself as a leading star and it’s films like Pacific Rim and Star Wars that he continues to impress in.
Here, he plays a cocky, arrogant young man who has lost his way until he’s given a second chance by returnee Mako (Kikuchi). It’s nice to see her and both Charlie Day’s Newton Geiszler and Burn Gorman’s Hermann Gottlieb return to this new series.
The inclusion of the film’s previous stars doesn’t feel unnecessarily shoe-horned in and this is a welcome change to many other films that try the same trick. Gorman and Day in particular provide some decent comic relief throughout. The weakest link over the course of the film is Scott Eastwood’s Ranger Lambert. His forced backstory with Boyega’s Pentecost isn’t particularly engaging.
The finale is punch-the-air fun and beautifully filmed in and around Tokyo
Setting the action a decade after the events of the first film is a good way to freshen things up and Uprising feels all the better for it. The world is continuing to recover from the previous war and this change in atmosphere lends a new dynamic to the film. It certainly looks and sounds a lot like its predecessor, but Uprising is a very different beast, both in storytelling and the way it presents that story.
Where Pacific Rimwas a paint-by-numbers adventure transformed by Del Toro’s stunning visual acuity, Uprising is a well-plotted movie that lacks its previous director’s soft touch. Director Steven S. DeKnight rightly carves his own path with the visuals but sometimes this is at the cost of the charm that made the original such an unexpected delight. The plot is actually much better than that of its predecessor with numerous twists and turns that create a fun atmosphere for the audience, but with four writers working on it, you’d expect nothing less.
There are some Del-Toro-isms still present however and these remind us that this is very much more than a Michael Bay Transformers film. The special effects are excellent and with De Knight’s decision to film as much as possible during the day (a stark contrast to Del Toro) there really is nowhere to hide. The jaegers and Kaiju are all as detailed as you would expect from a movie costing $150million.
At 111 minutes, Pacific Rim: Uprising zips along briskly and rarely leaves you wanting. The finale is punch-the-air fun and beautifully filmed in and around Tokyo. It may be a cynical marketing ploy to set portions of the film in Japan and China in order to appease international audiences, but it does lend itself to some lovely scenery.
Overall, Pacific Rim: Uprising is a film that manages to build upon its predecessor’s strong foundations, yet still manages to feel very much part of its universe. Sequels, especially to films that don’t perform well are risky business as movie studios try to save as much cash as possible, but thankfully Uprising is a fully-realised and confidently filmed second instalment. It’s loud, brash and completely unashamed of what it tries to be, but sometimes that’s all you want from a visit to the cinema. Call it Classy Transformers and you won’t be far from spot on.
https://moviemetropolis.net/2018/03/24/pacific-rim-uprising-absolutely-bonkers/
For those movie buffs reading this, you’ll of course know the film was directed by the Oscar-winning Guillermo Del Toro and with that came his signature quirks and visual sense of style. Oh yes, Pacific Rim was much more than a mish-mash of action.
A sequel looked very unlikely given the mediocre reception it received and then Del Toro passed on the idea altogether, instead focusing on the film that earned him a Best Director award at this year’s Oscars, The Shape of Water. I’m not going to pretend that was the wrong decision because it clearly wasn’t.
Nevertheless, Universal and Legendary pictures, with help from Del Toro handpicked little-known director Steven S. DeKnight to helm this second instalment in the new series, Pacific Rim: Uprising. It’s taken five years and $150million to get here. Was it worth it?
Jake Pentecost (John Boyega) is a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous Kaiju. Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through cities and bring the world to its knees, Jake is given one last chance by his estranged sister, Mako Mori (Rinko Kikuchi), to live up to his father’s legacy.
Coming hot off the heels of his performance in Star Wars: The Last Jedi, John Boyega channels his franchise father, Idris Elba, reasonably well and his estranged relationship with the former jaeger pilot is discussed, albeit briefly. Boyega is still discovering himself as a leading star and it’s films like Pacific Rim and Star Wars that he continues to impress in.
Here, he plays a cocky, arrogant young man who has lost his way until he’s given a second chance by returnee Mako (Kikuchi). It’s nice to see her and both Charlie Day’s Newton Geiszler and Burn Gorman’s Hermann Gottlieb return to this new series.
The inclusion of the film’s previous stars doesn’t feel unnecessarily shoe-horned in and this is a welcome change to many other films that try the same trick. Gorman and Day in particular provide some decent comic relief throughout. The weakest link over the course of the film is Scott Eastwood’s Ranger Lambert. His forced backstory with Boyega’s Pentecost isn’t particularly engaging.
The finale is punch-the-air fun and beautifully filmed in and around Tokyo
Setting the action a decade after the events of the first film is a good way to freshen things up and Uprising feels all the better for it. The world is continuing to recover from the previous war and this change in atmosphere lends a new dynamic to the film. It certainly looks and sounds a lot like its predecessor, but Uprising is a very different beast, both in storytelling and the way it presents that story.
Where Pacific Rimwas a paint-by-numbers adventure transformed by Del Toro’s stunning visual acuity, Uprising is a well-plotted movie that lacks its previous director’s soft touch. Director Steven S. DeKnight rightly carves his own path with the visuals but sometimes this is at the cost of the charm that made the original such an unexpected delight. The plot is actually much better than that of its predecessor with numerous twists and turns that create a fun atmosphere for the audience, but with four writers working on it, you’d expect nothing less.
There are some Del-Toro-isms still present however and these remind us that this is very much more than a Michael Bay Transformers film. The special effects are excellent and with De Knight’s decision to film as much as possible during the day (a stark contrast to Del Toro) there really is nowhere to hide. The jaegers and Kaiju are all as detailed as you would expect from a movie costing $150million.
At 111 minutes, Pacific Rim: Uprising zips along briskly and rarely leaves you wanting. The finale is punch-the-air fun and beautifully filmed in and around Tokyo. It may be a cynical marketing ploy to set portions of the film in Japan and China in order to appease international audiences, but it does lend itself to some lovely scenery.
Overall, Pacific Rim: Uprising is a film that manages to build upon its predecessor’s strong foundations, yet still manages to feel very much part of its universe. Sequels, especially to films that don’t perform well are risky business as movie studios try to save as much cash as possible, but thankfully Uprising is a fully-realised and confidently filmed second instalment. It’s loud, brash and completely unashamed of what it tries to be, but sometimes that’s all you want from a visit to the cinema. Call it Classy Transformers and you won’t be far from spot on.
https://moviemetropolis.net/2018/03/24/pacific-rim-uprising-absolutely-bonkers/
Chris Sawin (602 KP) rated Alice in Wonderland (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
13 years have passed since Alice first visited Wonderland. She was just a little girl back then. A mad, little girl plagued by a nightmare. Now, almost 20, Alice finds herself thrust headfirst into adulthood yet continues to have the same dream for as long as she can remember. On the verge of being thrown into a marriage she's unsure of, Alice finds herself easily distracted by the simplest things. What would it be like to fly? What if women wore trousers and men wore dresses? Or the fact that wearing a corset is similar to wearing a codfish on your head. The White Rabbit eventually distracts Alice long enough to lead her back down the rabbit hole for a return visit to Wonderland, but Alice is still under the impression that it's all a dream and has no recollection of her first trip there. Since Alice's first visit, however, the Red Queen used the Jabberwocky to relinquish the crown from her sister, the White Queen, and now reigns supreme as the queen of Wonderland. As the creatures of Wonderland debate whether this Alice is the "right Alice" that is destined to kill the Jabberwocky and end the Red Queen's reign, Alice struggles with trying to wake up from this very realistic dream.
As a huge fan of Alice in Wonderland and Through the Looking Glass, I was seriously looking forward to this. The pairing of Tim Burton and Johnny Depp, whether you love it or hate it, has resulted in some fairly creative and successful works. At this point in his career, it's fairly easy to spot something that Tim Burton has done. Like most directors, he has a specific style and Burton's seems to revolve around things that are dark, grisly, and bizarre all rolled into one. So how would Burton's wonderfully grotesque style mesh with Lewis Carroll's delightfully imaginative Alice and her trip to Wonderland? To be blunt, beautifully.
The way Burton went about the subject matter is probably the best way to go. It's an original tale with characters that are already well-established and are admired by a mass audience. That thin line often tread in situations like this between homage and plagiarism isn't quite so thin anymore and mainly follows the homage path. Burton's style also sheds new light on Wonderland or casts a larger shadow on it depending on how you look at it. Beheadings are common, the monsters like the Bandersnatch and the Jabberwocky are gruesome, and the Dormouse has a thing about stabbing creatures in the eye. It's like if Lewis Carroll's vision met a bizarro, cracked out, Grimm's Fairy Tale version of itself.
The bizarre thing is that the secondary characters seem to be more interesting than the primary ones. I found myself drawn to characters like the Dodo Bird, the White Rabbit, the March Hare, the Cheshire Cat, the Executioner, the Red Queen's knights, and the Jabberwocky more than say Alice or the White Queen. That could be due to the fact that I'm drawn to the peculiar and I'm also an aficionado of the ridiculous. However, some characters seemed to be lacking interest (The White Queen) or enthusiasm (Alice) while secondary characters would fill that gap, so it seemed to balance out in the end.
I loved nearly everything about the film ranging from the Red Queen's outlandish reign to Johnny Depp's portrayal of The Mad Hatter to Tim Burton's version of Wonderland itself. Even Crispin Glover's role as the Knave of Hearts was exceptional. There are a few things about the film that didn't sit well with me or that seemed questionable. The addition of Bayard the Bloodhound being one of them. The addition isn't necessarily bad as the character gains sympathy from the audience rather effortlessly, but the character just didn't seem essential to the story like the other characters were. Maybe it's because it's a character Lewis Carroll didn't create. It wound up being something that wasn't good or bad, but leaves you scratching your head a bit. Alice rode Bayard across Wonderland. If you were going to introduce a character into an oddball world, wouldn't something more odd be the answer? Something like an ostrich or a roadrunner? What didn't sit well with me about the film can be summed up with one four syllable word; futterwhacken. What the hell was that? It was like if Regan from The Exorcist decided to start river dancing during a rather serious seizure. The concept wasn't a bad one, but its execution should have been something completely different.
I'm not sure if it was just the theater I was in or what, but it was hard to understand the characters at times. The Mad Hatter and the tea party scene, especially. Every other character was perfectly audible, the music was booming, and the battle scenes were exceptionally loud. The Mad Hatter's mumbling and the March Hare's ramblings are just hard to understand, which is unfortunate as they're two of the things you'll want to hear the most.
Tim Burton's Alice in Wonderland is frame-for-frame Burton's ghastly version of the tale everyone knows and loves. While his particular vision may appear to not be for everyone on the surface, if you're a fan of Burton's previous work, Johnny Depp, the original Alice in Wonderland, or even all three, then it's safe to say you're more than likely going to love this adaptation.
As a huge fan of Alice in Wonderland and Through the Looking Glass, I was seriously looking forward to this. The pairing of Tim Burton and Johnny Depp, whether you love it or hate it, has resulted in some fairly creative and successful works. At this point in his career, it's fairly easy to spot something that Tim Burton has done. Like most directors, he has a specific style and Burton's seems to revolve around things that are dark, grisly, and bizarre all rolled into one. So how would Burton's wonderfully grotesque style mesh with Lewis Carroll's delightfully imaginative Alice and her trip to Wonderland? To be blunt, beautifully.
The way Burton went about the subject matter is probably the best way to go. It's an original tale with characters that are already well-established and are admired by a mass audience. That thin line often tread in situations like this between homage and plagiarism isn't quite so thin anymore and mainly follows the homage path. Burton's style also sheds new light on Wonderland or casts a larger shadow on it depending on how you look at it. Beheadings are common, the monsters like the Bandersnatch and the Jabberwocky are gruesome, and the Dormouse has a thing about stabbing creatures in the eye. It's like if Lewis Carroll's vision met a bizarro, cracked out, Grimm's Fairy Tale version of itself.
The bizarre thing is that the secondary characters seem to be more interesting than the primary ones. I found myself drawn to characters like the Dodo Bird, the White Rabbit, the March Hare, the Cheshire Cat, the Executioner, the Red Queen's knights, and the Jabberwocky more than say Alice or the White Queen. That could be due to the fact that I'm drawn to the peculiar and I'm also an aficionado of the ridiculous. However, some characters seemed to be lacking interest (The White Queen) or enthusiasm (Alice) while secondary characters would fill that gap, so it seemed to balance out in the end.
I loved nearly everything about the film ranging from the Red Queen's outlandish reign to Johnny Depp's portrayal of The Mad Hatter to Tim Burton's version of Wonderland itself. Even Crispin Glover's role as the Knave of Hearts was exceptional. There are a few things about the film that didn't sit well with me or that seemed questionable. The addition of Bayard the Bloodhound being one of them. The addition isn't necessarily bad as the character gains sympathy from the audience rather effortlessly, but the character just didn't seem essential to the story like the other characters were. Maybe it's because it's a character Lewis Carroll didn't create. It wound up being something that wasn't good or bad, but leaves you scratching your head a bit. Alice rode Bayard across Wonderland. If you were going to introduce a character into an oddball world, wouldn't something more odd be the answer? Something like an ostrich or a roadrunner? What didn't sit well with me about the film can be summed up with one four syllable word; futterwhacken. What the hell was that? It was like if Regan from The Exorcist decided to start river dancing during a rather serious seizure. The concept wasn't a bad one, but its execution should have been something completely different.
I'm not sure if it was just the theater I was in or what, but it was hard to understand the characters at times. The Mad Hatter and the tea party scene, especially. Every other character was perfectly audible, the music was booming, and the battle scenes were exceptionally loud. The Mad Hatter's mumbling and the March Hare's ramblings are just hard to understand, which is unfortunate as they're two of the things you'll want to hear the most.
Tim Burton's Alice in Wonderland is frame-for-frame Burton's ghastly version of the tale everyone knows and loves. While his particular vision may appear to not be for everyone on the surface, if you're a fan of Burton's previous work, Johnny Depp, the original Alice in Wonderland, or even all three, then it's safe to say you're more than likely going to love this adaptation.
Chris Sawin (602 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Aug 11, 2019 (Updated Aug 11, 2019)
The monsters. (1 more)
Special effects - blend of CG and practical.
The Pale Lady. (2 more)
Basic rinse and repeat horror formula.
No emotional attachment to characters.
Fishing for Turds
Scary Stories to Tell in the Dark is probably considered the introduction to horror fiction for anyone who was in middle school in the mid to late 1990s. I distinctly remember checking out at least one of the books before I was a teenager, but the story that has stuck with me multiple decades later has and always will be, “The Red Spot.” The thing about the Scary Stories books is that they were just these random collections of creepy tales meant to make the reader anxious, uneasy, or even frightened, so the fact that somebody attempted to make a coherent film out of a jumbled mix of stories from all three books is kind of incredible.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
Janeeny (200 KP) rated How to Be Famous in Books
Jul 8, 2019
I’ve been ‘aware’ of Caitlin Moran’s work for a number of years. I think she first came to my attention in 2011. I worked in a bookshop and Morans book ‘How to be a Woman’ was in the charts. The cover art just seemed to exude a quirky confidence and it went straight into my ‘theoretical’ TBR pile.
As you can imagine, a booksellers TBR pile is a challenging Behemoth, so when ‘Raised by Wolves’ (a sitcom written by Caitlin Moran and her sister Caroline) came on the telly in 2013 I still hadn’t read ‘How to be a Woman’.
Happily, ‘Raised by Wolves’ was hilarious, putting Caitlin Moran well and truly on my radar as someone who had a lot of interesting and humorous opinions that I would really need to read about some day.
(On a little side note Alexa davies who plays Aretha in this is hilarious and worth keeping an eye on.)
Cut to 2019 Caitlin Moran has released 4 more books and I haven’t read a single one of them! So when NETgalley offered me a copy of ‘How to be famous’ in exchange for an honest review I had to say yes, as despite the fact that I actually own a copy of ‘How to be a girl’ I still haven’t read it, so I figured, if I have a deadline for a review that is going to spur me on to actually read this one!
It worked, I read it, and it was everything I thought it would be.
It had some definite laugh out loud moments, Morans humorous writing style comes through triumphantly.
So, the blurb . . .
“Johanna Morrigan (AKA Dolly Wilde) has it all: at eighteen, she lives in her own flat in London and writes for the coolest music magazine in Britain. But Johanna is miserable. Her best friend and man of her dreams John Kite has just made it big in 1994’s hot new BritPop scene. Suddenly John exists on another plane of reality: that of the Famouses.
Never one to sit on the sidelines, Johanna hatches a plan: she will Saint Paul his Corinthians, she will Jimmy his Pinocchio—she will write a monthly column, by way of a manual to the famous, analyzing fame, its power, its dangers, and its amusing aspects. In stories, girls never win the girl—they are won. Well, Johanna will re-write the stories, and win John, through her writing.
But as Johanna’s own star rises, an unpleasant one-night stand she had with a stand-up comedian, Jerry Sharp, comes back to haunt in her in a series of unfortunate consequences. How can a girl deal with public sexual shaming? Especially when her new friend, the up-and-coming feminist rock icon Suzanne Banks, is Jimmy Cricketing her?”
First off, despite the fact that this is the second book in a series, you don’t lose anything of the story by not having read the first one. If anything it makes you want to read the first one even more, as you want to know how Dolly got to where she is and the adventures she’s had on the way.
Secondly, the characters were just brilliant not a two-dimensional one among them, the dialogue just flows beautifully, and you’ll end the book wishing you were friends with them.
Thirdly, in my inexpert opinion its really well written, the story flows effortlessly and you are just grabbed by the collar and dragged along on this adventure.
I quite literally cannot find the words to say how much I admire Morans writing style, as I said before, this is so well written and the characters are so relatable. It’s full of many laugh out loud moments and some very frank and hilarious conversations about sex, and amongst the humour are actually some quite serious issues, like the clear displays of the inequality of women within the music industry (even though this was set in the 90s, I’m sure much of it is still true today)
And coming from somebody who never seems to get symbolism or messages from books, I took away a LOT from this one
One of my favourite moments was a letter that Dolly writes to her musician friend (Johnny) who is troubled by accusations of ‘selling out’
It basically addresses the scorn heaped on bands, with a predominantly teenage female following, by ‘Elitist’ fans and the music industry. She asks Johnny to appreciate his ‘screaming’ girls fans, as just because they’re louder, more emotional, younger, and haven’t been part of the fanbase since day one, doesn’t mean they don’t appreciate the music any less or feel any less. Yes, they are the ones putting money in your bank account, putting you in the charts, but just because they are part of the mass market doesn’t make their feelings any less valid.
Seeing as I’ve been both a ‘screaming girl fan’ and an ‘Elitist Fan’ I understand and appreciate what’s being said here.
There is so much to love bout this book, the strong female characters, the humour, the feminist message, and underneath it all a good old fashioned love story
As you can imagine, a booksellers TBR pile is a challenging Behemoth, so when ‘Raised by Wolves’ (a sitcom written by Caitlin Moran and her sister Caroline) came on the telly in 2013 I still hadn’t read ‘How to be a Woman’.
Happily, ‘Raised by Wolves’ was hilarious, putting Caitlin Moran well and truly on my radar as someone who had a lot of interesting and humorous opinions that I would really need to read about some day.
(On a little side note Alexa davies who plays Aretha in this is hilarious and worth keeping an eye on.)
Cut to 2019 Caitlin Moran has released 4 more books and I haven’t read a single one of them! So when NETgalley offered me a copy of ‘How to be famous’ in exchange for an honest review I had to say yes, as despite the fact that I actually own a copy of ‘How to be a girl’ I still haven’t read it, so I figured, if I have a deadline for a review that is going to spur me on to actually read this one!
It worked, I read it, and it was everything I thought it would be.
It had some definite laugh out loud moments, Morans humorous writing style comes through triumphantly.
So, the blurb . . .
“Johanna Morrigan (AKA Dolly Wilde) has it all: at eighteen, she lives in her own flat in London and writes for the coolest music magazine in Britain. But Johanna is miserable. Her best friend and man of her dreams John Kite has just made it big in 1994’s hot new BritPop scene. Suddenly John exists on another plane of reality: that of the Famouses.
Never one to sit on the sidelines, Johanna hatches a plan: she will Saint Paul his Corinthians, she will Jimmy his Pinocchio—she will write a monthly column, by way of a manual to the famous, analyzing fame, its power, its dangers, and its amusing aspects. In stories, girls never win the girl—they are won. Well, Johanna will re-write the stories, and win John, through her writing.
But as Johanna’s own star rises, an unpleasant one-night stand she had with a stand-up comedian, Jerry Sharp, comes back to haunt in her in a series of unfortunate consequences. How can a girl deal with public sexual shaming? Especially when her new friend, the up-and-coming feminist rock icon Suzanne Banks, is Jimmy Cricketing her?”
First off, despite the fact that this is the second book in a series, you don’t lose anything of the story by not having read the first one. If anything it makes you want to read the first one even more, as you want to know how Dolly got to where she is and the adventures she’s had on the way.
Secondly, the characters were just brilliant not a two-dimensional one among them, the dialogue just flows beautifully, and you’ll end the book wishing you were friends with them.
Thirdly, in my inexpert opinion its really well written, the story flows effortlessly and you are just grabbed by the collar and dragged along on this adventure.
I quite literally cannot find the words to say how much I admire Morans writing style, as I said before, this is so well written and the characters are so relatable. It’s full of many laugh out loud moments and some very frank and hilarious conversations about sex, and amongst the humour are actually some quite serious issues, like the clear displays of the inequality of women within the music industry (even though this was set in the 90s, I’m sure much of it is still true today)
And coming from somebody who never seems to get symbolism or messages from books, I took away a LOT from this one
One of my favourite moments was a letter that Dolly writes to her musician friend (Johnny) who is troubled by accusations of ‘selling out’
It basically addresses the scorn heaped on bands, with a predominantly teenage female following, by ‘Elitist’ fans and the music industry. She asks Johnny to appreciate his ‘screaming’ girls fans, as just because they’re louder, more emotional, younger, and haven’t been part of the fanbase since day one, doesn’t mean they don’t appreciate the music any less or feel any less. Yes, they are the ones putting money in your bank account, putting you in the charts, but just because they are part of the mass market doesn’t make their feelings any less valid.
Seeing as I’ve been both a ‘screaming girl fan’ and an ‘Elitist Fan’ I understand and appreciate what’s being said here.
There is so much to love bout this book, the strong female characters, the humour, the feminist message, and underneath it all a good old fashioned love story
Sophia (Bookwyrming Thoughts) (530 KP) rated Coral & Bone in Books
Jan 23, 2020
Coral & Bone was a waste of my time. An absolute waste, because I could have spent 2 days reading other books that are so much more amazing (and obviously, worth my attention).
When reading the synopsis and first starting out the book, I thought Coral & Bone would be promising Sirens! Mermaids are the bad guys! How cool is that!
Problem? Early on in the book, I could already tell like I can with most books this would not go very well. The writing feels a bit choppy.
<blockquote>She was going through bookstore withdrawals and losing her sanity at the same time. She would have to try and persuade her mom to take her to Portland soon. If she could just nestle between the aisles of books, get lost for few hours, she might be able to harness some of these crazy new feelings she had been experiencing.</blockquote>
Think of a river, or any type of water source. If the water is choppy, it doesn't really bear a good sign. But if the water flows, it's pretty calm. It's precisely how I felt with Duane's writing. It just didn't seem to go really well and I felt as though I were reading a sample from a grammar book. "Sophia did this. Sophia did that. Sophia flipped. Sophia pouted. Sophia expressed her dislike."
<img src="http://4.bp.blogspot.com/-O2UQC1S43r4/VCDMO-p0xiI/AAAAAAAAD3I/_ZPjiz-LnPs/s1600/Throw%2BOut%2Ba%2BWindow.gif"; border="0">
BORING. Thing is, I'm not exactly one to give up on a book when it's just 4%. In fact, I personally thought I was a bit drained out... especially from Puritan readings (it's quite the brain exercise if you ask me). Except... it gets worse.
It's CONFUSING. If there's one thing I really dislike, it's people not giving me clarification. Please. If a math teacher doesn't teach you clearly how to do a problem, how do you pass a math class with a passable grade? But goody gumdrops, does Duane confuse me.
<blockquote>She discovered, through meditation, that she was able to speak to her mom. Are you still there? Mom?</blockquote>
If her mom's throat got slit and she's dead, how is Tage able to speak to her mom, even if it's through meditation? Is her mom a ghost? Is Tage just thinking about what her mother would say if she were still alive?
<blockquote>"They took the bait."</blockquote>
What bait? You would think that as Tage and Daspar are working together toward a common goal, Daspar would reveal what the bait would be. He doesn't. What the heck?
<blockquote>"After he consumed Puras soul he was different."</blockquote>
Eh? Whoa whoa whoa. When did we enter sucking your soul out zone? How does one do that exactly, and why did Daspar do it? Protection? Did Pura sacrifice herself?
<blockquote>Remember I told you the Elosians didnt like sirens?</blockquote>
Wait a minute. Wait a minute. If Etlis is for shifters and humans stay on Earth, yet Elosians don't like Sirens, where do Sirens live? Are they immigrants? Migrants? The world building has a good start, but it's too confusing to be a fully developed world.
<blockquote>"When Natalie died
Went missing, Pepper chimed in.
Died, Catch said.
Halen looked to Dax. Is she dead or alive?
We dont know for sure. We havent found her body, but that doesnt mean the hunters didnt destroy it.</blockquote>
Goodness, even the characters are confused. "Where's Natalie? Where's Natalie? Where's Natalie?" "Oh, let's just throw Halen in and see how she does and go from there because we're not sure if Natalie's alive or not!" What happens if Natalie really is alive? Ping, pong, let's have a sister fight!
<img src="http://3.bp.blogspot.com/-rFkaK8GKFOE/VCDMTJnhFsI/AAAAAAAAD3Q/1Xq3NVQhCXM/s1600/i%2Bcan't.gif"; border="0" height="179" width="320">
And speaking of Halen, our main character, I have quite the complaint about her as a character.
For fun, I pretty much thought her name was Haden. Funny, because I actually read The Shadow Prince and what do you know? Haden's the main character (well, one of them).
It's probably even a coincidence they have similar personalities and are all mopey. "I can't do this! I give up! Blah blah blah!" It's all acceptable for the first book... usually. It becomes quite the problem if the character cries wolf quite loudly. Ahem... their bark is apparently bigger than their bite.
But here's one positive aspect: Halen isn't a quitter. Despite the fact she's completely frustrated all the time, she continues.
Unfortunately, it was pretty much the only thing about Coral & Bone I liked. When that happens, especially at around 60%, it pretty much means all hope is lost and I should move on.
With all that said, you don't really want to waste your time with Coral & Bone unless you're looking for a book that confuses you. Perhaps with major tweaks, Duane's latest work would certainly be one you wouldn't want to simply pass by. But no, that's not the case.
-----------------
Review copy provided by the author originally for the blog tour
Original Rating: 1.5 out of 5
Original review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/10/dnf-review-coral-and-bone-by-tiffany-duane.html">Bookwyrming Thoughts</a>
When reading the synopsis and first starting out the book, I thought Coral & Bone would be promising Sirens! Mermaids are the bad guys! How cool is that!
Problem? Early on in the book, I could already tell like I can with most books this would not go very well. The writing feels a bit choppy.
<blockquote>She was going through bookstore withdrawals and losing her sanity at the same time. She would have to try and persuade her mom to take her to Portland soon. If she could just nestle between the aisles of books, get lost for few hours, she might be able to harness some of these crazy new feelings she had been experiencing.</blockquote>
Think of a river, or any type of water source. If the water is choppy, it doesn't really bear a good sign. But if the water flows, it's pretty calm. It's precisely how I felt with Duane's writing. It just didn't seem to go really well and I felt as though I were reading a sample from a grammar book. "Sophia did this. Sophia did that. Sophia flipped. Sophia pouted. Sophia expressed her dislike."
<img src="http://4.bp.blogspot.com/-O2UQC1S43r4/VCDMO-p0xiI/AAAAAAAAD3I/_ZPjiz-LnPs/s1600/Throw%2BOut%2Ba%2BWindow.gif"; border="0">
BORING. Thing is, I'm not exactly one to give up on a book when it's just 4%. In fact, I personally thought I was a bit drained out... especially from Puritan readings (it's quite the brain exercise if you ask me). Except... it gets worse.
It's CONFUSING. If there's one thing I really dislike, it's people not giving me clarification. Please. If a math teacher doesn't teach you clearly how to do a problem, how do you pass a math class with a passable grade? But goody gumdrops, does Duane confuse me.
<blockquote>She discovered, through meditation, that she was able to speak to her mom. Are you still there? Mom?</blockquote>
If her mom's throat got slit and she's dead, how is Tage able to speak to her mom, even if it's through meditation? Is her mom a ghost? Is Tage just thinking about what her mother would say if she were still alive?
<blockquote>"They took the bait."</blockquote>
What bait? You would think that as Tage and Daspar are working together toward a common goal, Daspar would reveal what the bait would be. He doesn't. What the heck?
<blockquote>"After he consumed Puras soul he was different."</blockquote>
Eh? Whoa whoa whoa. When did we enter sucking your soul out zone? How does one do that exactly, and why did Daspar do it? Protection? Did Pura sacrifice herself?
<blockquote>Remember I told you the Elosians didnt like sirens?</blockquote>
Wait a minute. Wait a minute. If Etlis is for shifters and humans stay on Earth, yet Elosians don't like Sirens, where do Sirens live? Are they immigrants? Migrants? The world building has a good start, but it's too confusing to be a fully developed world.
<blockquote>"When Natalie died
Went missing, Pepper chimed in.
Died, Catch said.
Halen looked to Dax. Is she dead or alive?
We dont know for sure. We havent found her body, but that doesnt mean the hunters didnt destroy it.</blockquote>
Goodness, even the characters are confused. "Where's Natalie? Where's Natalie? Where's Natalie?" "Oh, let's just throw Halen in and see how she does and go from there because we're not sure if Natalie's alive or not!" What happens if Natalie really is alive? Ping, pong, let's have a sister fight!
<img src="http://3.bp.blogspot.com/-rFkaK8GKFOE/VCDMTJnhFsI/AAAAAAAAD3Q/1Xq3NVQhCXM/s1600/i%2Bcan't.gif"; border="0" height="179" width="320">
And speaking of Halen, our main character, I have quite the complaint about her as a character.
For fun, I pretty much thought her name was Haden. Funny, because I actually read The Shadow Prince and what do you know? Haden's the main character (well, one of them).
It's probably even a coincidence they have similar personalities and are all mopey. "I can't do this! I give up! Blah blah blah!" It's all acceptable for the first book... usually. It becomes quite the problem if the character cries wolf quite loudly. Ahem... their bark is apparently bigger than their bite.
But here's one positive aspect: Halen isn't a quitter. Despite the fact she's completely frustrated all the time, she continues.
Unfortunately, it was pretty much the only thing about Coral & Bone I liked. When that happens, especially at around 60%, it pretty much means all hope is lost and I should move on.
With all that said, you don't really want to waste your time with Coral & Bone unless you're looking for a book that confuses you. Perhaps with major tweaks, Duane's latest work would certainly be one you wouldn't want to simply pass by. But no, that's not the case.
-----------------
Review copy provided by the author originally for the blog tour
Original Rating: 1.5 out of 5
Original review posted at <a href="http://bookwyrming-thoughts.blogspot.com/2014/10/dnf-review-coral-and-bone-by-tiffany-duane.html">Bookwyrming Thoughts</a>
Ivana A. | Diary of Difference (1171 KP) rated Virgin River (Virgin River, #1) in Books
Feb 3, 2020
<a href="https://amzn.to/2Wi7amb">Wishlist</a>; | <a
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#1 <a href="https://www.goodreads.com/review/show/3099359251">Virgin River</a> - ★★★★
<img src="https://i0.wp.com/diaryofdifference.com/wp-content/uploads/2020/01/VirginRiverBlogTourBanner.jpg?resize=512%2C1024&ssl=1"/>;
I am so thankful to the team at Mills & Boon for letting me a part of this amazing blog tour. It is an honour, and a pleasure! <a href="https://diaryofdifference.com/2020/01/29/virgin-river-by-robyn-carr-blog-tour/ ">Click HERE to read the first chapter!</a>
<img src="https://diaryofdifference.com/wp-content/uploads/2020/01/Book-Review-Banner-18-1024x576.png"/>;
<i>When recently widowed Melinda sees an advert for a midwife in the quiet town of Virgin River, she decides this is the perfect place to escape her heartache and to revitalise the nursing career she loves.
However, her dreams are shattered as soon as she arrives. The cabin is uninhabitable, the roads are treacherous and the local doctor has nothing to do with her. But when a tiny baby is abandoned on a front porch, Mel needs to make a decision.
Helped by a local barman and former marine, Jack Sheridan, Mel has to face her past, and realises that there may be a future in Virgin River after all. </i>
<i><b>First Impression</b></i>
I don’t usually go for the drama romance stories. But I do love a bit of new town girl, and I also love watching medical shows, despite knowing close to nothing about medicine. Grey’s Anatomy, The Resident, Doctor House, The Good Doctor, ER, etc. fans - please let yourselves known! :)
I loved this book. It has a very good vibe about if from the beginning until the end. First of all, I fell in love with Virgin River. A lovely quiet place, with amazing selfless people living in it. I would love to live in a town like that! The author described the place so well, that it made me feel like I was there, in the pub, in the doctor’s office, by the river…
<i><b>Characters</b></i>
We found ourselves to have Mel as a main character, followed by Jack. However, we had a lot of side characters, who actually played a crucial role in the development of Mel and Jack and their story.
<i><b>Mel is a city girl, born and raised.</b></i>
Always lived in big cities, most recently in L.A. and she is used to all the poshy posh stuff that come along with such a lifestyle. She was married to Mark, an emergency doctor, who recently passed away. We never get to meet Mark, but we get to know him through Mel’s memories of him.
Wanting and needing change, she sells everything and moves to Virgin River, a promising quiet town, where she can start again. But things don’t go as planned. They never do. When struggling with challenges, she has to find a way to cope with her pain, then learn how to live with it, so she can move on and be happy in life.
<i><b>Then we have Jack, who owns a bar in Virgin River, and who is the person that helps everyone around.</b></i>
When Mel arrives, he is determined to make her stay and show her that this place is not so bad after all. But as a former marine, he also has his demons, and as much as he will help Mel, he also needs her to help him get over his pain as well.
From the side characters, I really loved Doc, the sassy old doctor, Preacher, Jack’s friend from the marines and Joey, Mel’s sister. Even though I hated Joey at the beginning, she started to grow on me as time passed by.
Very interesting story, a lot of dramatic events that change our characters and teach them something. The plot was predictable in the sense that I knew there would be a love story between Jack and Mel, but it was still adorable and cute to read how both of them grow by each other.
<i><b>The Netflix Show</b></i>
You might have heard, but now Virgin River also has a TV show as well. My plan was to read and watch them simultaneously, and I did watch the first few episodes. I love the show, and I will definitely continue watching. However, the plot is changed a lot and it is quite different from the book, so I suggest you read the book first before watching the TV show.
<i><b>Have you read this book? Have you read something similar? I would love to read your thoughts. :) </b></i>
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<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
#1 <a href="https://www.goodreads.com/review/show/3099359251">Virgin River</a> - ★★★★
<img src="https://i0.wp.com/diaryofdifference.com/wp-content/uploads/2020/01/VirginRiverBlogTourBanner.jpg?resize=512%2C1024&ssl=1"/>;
I am so thankful to the team at Mills & Boon for letting me a part of this amazing blog tour. It is an honour, and a pleasure! <a href="https://diaryofdifference.com/2020/01/29/virgin-river-by-robyn-carr-blog-tour/ ">Click HERE to read the first chapter!</a>
<img src="https://diaryofdifference.com/wp-content/uploads/2020/01/Book-Review-Banner-18-1024x576.png"/>;
<i>When recently widowed Melinda sees an advert for a midwife in the quiet town of Virgin River, she decides this is the perfect place to escape her heartache and to revitalise the nursing career she loves.
However, her dreams are shattered as soon as she arrives. The cabin is uninhabitable, the roads are treacherous and the local doctor has nothing to do with her. But when a tiny baby is abandoned on a front porch, Mel needs to make a decision.
Helped by a local barman and former marine, Jack Sheridan, Mel has to face her past, and realises that there may be a future in Virgin River after all. </i>
<i><b>First Impression</b></i>
I don’t usually go for the drama romance stories. But I do love a bit of new town girl, and I also love watching medical shows, despite knowing close to nothing about medicine. Grey’s Anatomy, The Resident, Doctor House, The Good Doctor, ER, etc. fans - please let yourselves known! :)
I loved this book. It has a very good vibe about if from the beginning until the end. First of all, I fell in love with Virgin River. A lovely quiet place, with amazing selfless people living in it. I would love to live in a town like that! The author described the place so well, that it made me feel like I was there, in the pub, in the doctor’s office, by the river…
<i><b>Characters</b></i>
We found ourselves to have Mel as a main character, followed by Jack. However, we had a lot of side characters, who actually played a crucial role in the development of Mel and Jack and their story.
<i><b>Mel is a city girl, born and raised.</b></i>
Always lived in big cities, most recently in L.A. and she is used to all the poshy posh stuff that come along with such a lifestyle. She was married to Mark, an emergency doctor, who recently passed away. We never get to meet Mark, but we get to know him through Mel’s memories of him.
Wanting and needing change, she sells everything and moves to Virgin River, a promising quiet town, where she can start again. But things don’t go as planned. They never do. When struggling with challenges, she has to find a way to cope with her pain, then learn how to live with it, so she can move on and be happy in life.
<i><b>Then we have Jack, who owns a bar in Virgin River, and who is the person that helps everyone around.</b></i>
When Mel arrives, he is determined to make her stay and show her that this place is not so bad after all. But as a former marine, he also has his demons, and as much as he will help Mel, he also needs her to help him get over his pain as well.
From the side characters, I really loved Doc, the sassy old doctor, Preacher, Jack’s friend from the marines and Joey, Mel’s sister. Even though I hated Joey at the beginning, she started to grow on me as time passed by.
Very interesting story, a lot of dramatic events that change our characters and teach them something. The plot was predictable in the sense that I knew there would be a love story between Jack and Mel, but it was still adorable and cute to read how both of them grow by each other.
<i><b>The Netflix Show</b></i>
You might have heard, but now Virgin River also has a TV show as well. My plan was to read and watch them simultaneously, and I did watch the first few episodes. I love the show, and I will definitely continue watching. However, the plot is changed a lot and it is quite different from the book, so I suggest you read the book first before watching the TV show.
<i><b>Have you read this book? Have you read something similar? I would love to read your thoughts. :) </b></i>
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Hadley (567 KP) rated The Other Mrs. in Books
Apr 4, 2020
Mental illness done correctly (1 more)
Addictive
Mental illness.
I've read a lot of horror books that cover this subject, watched horror movies covering this subject, listened to music covering this subject, but none of them have covered mental illness as well and correctly as Mary Kubica's "The Other Mrs.."
So, with that said, if you have any type of PTSD, this book may be hard for you to read. Otherwise, this novel is very addicting, filled with so many twists and turns that you won't be able to set it down for long. For me, someone who deals with C-PTSD, 'The Other Mrs.' by Mary Kubica has been a heartache to read, but also very fulfilling to finish.
Kubica is known for her best-selling novel 'the Good Girl' - - - a thriller following a mother and a detective in search of the the former's missing daughter that leads them down a twisted tale of family secrets. From highly acclaimed critics, 'the Other Mrs.' has out-done 'the Good Girl' as Kubica's best novel so far. Kubica sticks with her psychological thriller writing that she is known for in this newest novel. She keeps the reader guessing at what will happen next, and she plays out mental illnesses in a way that most who suffer can relate while winding in a mystery well enough that the reader won't be able to guess everything before the ending.
I can't give such a heavy review on this book because, to do so, would give away a lot of the ending, so I'll stick to talking about noteworthy characters that make up the novel. The main character is a woman named Sadie, whose family is being uprooted from Chicago and moved to a small island in Maine after her husband's sister dies, which leaves them with not only a house in the will, but a sixteen-year-old niece named Imogen.
Sadie is already a mother of two sons, both younger than sixteen, when she suddenly finds herself in-charge of the stereo-typical edgy teenager, Imogen. Sadie describes her the first time she sees Imogen: " But there she stands, a morose figure dressed in black. Black jeans, a black shirt, bare feet. Her hair is black, long with bangs that slant sideways across her face. Her eyes are outlined in a thick slash of black eyeliner. Everything black, aside from the white lettering on her shirt, which reads, I want to die. The septum of her nose is pierced. Her skin, in contrast to everything else, is white, pallid, ghostlike. She's thin. "
Early one morning when Sadie is heading off to work, she finds a word spelled on her car window. The word reads: "Die." Sadie, as most readers, quickly assumes that Imogen is responsibly for this, as she tries to explain: "I've tried to be understanding because of how awful the situation must be for her. Her life has been upended. She lost her mother and now must share her home with people she doesn't know. But that doesn't justify threatening me. Because Imogen doesn't mince words. She means just what she said. She wants me to die."
The next character that makes up a big part of this story is a confident, self-centered woman, whose name is Camille,and is also the 'other woman' in this story. Camille is a woman who gets what and who she wants, and won't let anyone get in her way, including Sadie, whose husband is someone Camille wants. I can't go much into the things that Camille's character does because it would give away a lot of the surprises in this novel - - - I can say though that there is murder and mystery throughout; the book will leave most readers guessing until the very end.
One other character who deserves mentioning is a little girl- - - with the nickname 'Mouse' - - - who finds herself suddenly dealing with a horrific stepmother, who abuses her physically and mentally unbeknownst to Mouse's father. One time, in which Mouse shows how smart she is to her the stepmother while being in front of her father (who Mouse likes to call 'Fake Mom'), later that night, when Mouse's father isn't looking, Fake Mom lets Mouse know how she felt about that:
" But later that night, when he father wasn't looking, Fake Mom got down into Mouse's face and told her if she ever made her look stupid again in front of her father, there would be hell to pay. Fake Mom's face got all red. She bared her teeth like a dog does when it's mad. A vein stuck out of her forehead. It throbbed. Fake Mom spit when she spoke, like she was so mad she couldn't stop herself from spitting. Like she was spitting mad. She spit on Mouse's face but Mouse didn't dare raise a hand to wipe it away."
Mental and physical abuse make up all that The Other Mrs. is about. So far, this is the best story I have read in a long time. My only problem with it is it's written like a YA novel, where it seems Kubica tried to keep that from happening by throwing in some heavy syllable words to make it more fitting for adults. But, luckily, she left out most of the wishy-washy elements that make up YA novels, so I believe most adults will enjoy this. I highly recommend this book to people who love murder mysteries!
I've read a lot of horror books that cover this subject, watched horror movies covering this subject, listened to music covering this subject, but none of them have covered mental illness as well and correctly as Mary Kubica's "The Other Mrs.."
So, with that said, if you have any type of PTSD, this book may be hard for you to read. Otherwise, this novel is very addicting, filled with so many twists and turns that you won't be able to set it down for long. For me, someone who deals with C-PTSD, 'The Other Mrs.' by Mary Kubica has been a heartache to read, but also very fulfilling to finish.
Kubica is known for her best-selling novel 'the Good Girl' - - - a thriller following a mother and a detective in search of the the former's missing daughter that leads them down a twisted tale of family secrets. From highly acclaimed critics, 'the Other Mrs.' has out-done 'the Good Girl' as Kubica's best novel so far. Kubica sticks with her psychological thriller writing that she is known for in this newest novel. She keeps the reader guessing at what will happen next, and she plays out mental illnesses in a way that most who suffer can relate while winding in a mystery well enough that the reader won't be able to guess everything before the ending.
I can't give such a heavy review on this book because, to do so, would give away a lot of the ending, so I'll stick to talking about noteworthy characters that make up the novel. The main character is a woman named Sadie, whose family is being uprooted from Chicago and moved to a small island in Maine after her husband's sister dies, which leaves them with not only a house in the will, but a sixteen-year-old niece named Imogen.
Sadie is already a mother of two sons, both younger than sixteen, when she suddenly finds herself in-charge of the stereo-typical edgy teenager, Imogen. Sadie describes her the first time she sees Imogen: " But there she stands, a morose figure dressed in black. Black jeans, a black shirt, bare feet. Her hair is black, long with bangs that slant sideways across her face. Her eyes are outlined in a thick slash of black eyeliner. Everything black, aside from the white lettering on her shirt, which reads, I want to die. The septum of her nose is pierced. Her skin, in contrast to everything else, is white, pallid, ghostlike. She's thin. "
Early one morning when Sadie is heading off to work, she finds a word spelled on her car window. The word reads: "Die." Sadie, as most readers, quickly assumes that Imogen is responsibly for this, as she tries to explain: "I've tried to be understanding because of how awful the situation must be for her. Her life has been upended. She lost her mother and now must share her home with people she doesn't know. But that doesn't justify threatening me. Because Imogen doesn't mince words. She means just what she said. She wants me to die."
The next character that makes up a big part of this story is a confident, self-centered woman, whose name is Camille,and is also the 'other woman' in this story. Camille is a woman who gets what and who she wants, and won't let anyone get in her way, including Sadie, whose husband is someone Camille wants. I can't go much into the things that Camille's character does because it would give away a lot of the surprises in this novel - - - I can say though that there is murder and mystery throughout; the book will leave most readers guessing until the very end.
One other character who deserves mentioning is a little girl- - - with the nickname 'Mouse' - - - who finds herself suddenly dealing with a horrific stepmother, who abuses her physically and mentally unbeknownst to Mouse's father. One time, in which Mouse shows how smart she is to her the stepmother while being in front of her father (who Mouse likes to call 'Fake Mom'), later that night, when Mouse's father isn't looking, Fake Mom lets Mouse know how she felt about that:
" But later that night, when he father wasn't looking, Fake Mom got down into Mouse's face and told her if she ever made her look stupid again in front of her father, there would be hell to pay. Fake Mom's face got all red. She bared her teeth like a dog does when it's mad. A vein stuck out of her forehead. It throbbed. Fake Mom spit when she spoke, like she was so mad she couldn't stop herself from spitting. Like she was spitting mad. She spit on Mouse's face but Mouse didn't dare raise a hand to wipe it away."
Mental and physical abuse make up all that The Other Mrs. is about. So far, this is the best story I have read in a long time. My only problem with it is it's written like a YA novel, where it seems Kubica tried to keep that from happening by throwing in some heavy syllable words to make it more fitting for adults. But, luckily, she left out most of the wishy-washy elements that make up YA novels, so I believe most adults will enjoy this. I highly recommend this book to people who love murder mysteries!
Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Emma @ The Movies (1786 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Jun 20, 2020
Why is this even prefaced everywhere with Fast & Furious? Apart from a couple of characters and the fact there are cars with a crapload of action they aren't really the same thing.
Hattie Shaw and her MI6 team have secured a virus that could threaten everyone if it gets into the wrong hands. In a surprise attacked by Brixton, an enhanced "bad guy", her entire team is killed and she has to make a quick decision.
As the story of the missing vial gets out handlers call in their top assets to retrieve it. The trouble is that they hate each other and working together isn't something that's going to work. Hobbs goes looking for Hattie on the streets and Shaw heads to her flat, both set some action they weren't expecting to, highlighting just what they're up against.
As an offshoot from the Fast & Furious franchise you expect the action, but Hobbs & Shaw takes a much bigger step towards comedy, which thankfully both Johnson and Statham are good at. Individually they'll get me to see a film, I might wish I hadn't when I come out of it, but you can pretty much guarantee that they'll give you a consistent result when it comes to the acting.
The two of them together are fun and they bounce off each other with impeccable timing, but there might be just a little bit too much insulting back and forth thrown into this one. It's not that it's bad, it's just that when it happens it can occasionally feel too long. It's almost as if they told them to improvise and they'd cut out a whole load of it and then never did. [One of my favourite bits of them together in the film is at the beginning of the trailer above.]
Vanessa Kirby as Shaw's sister Hattie is a bit more sensible than the leading men, that doesn't mean she's any less engaged in the action though. Right from the off they're showing her as tough and no-nonsense which fits in with the family characteristics. You get some great glimpses of the Shaw kids showing shared traits and it's really nice to see that link on the screen. Outside of the action and the family moments she sadly doesn't feel like a very well-formed character, there are several inconsistencies in her that I found to be confusing. You'd think one of those would be the age gap between her and Deckard, but honestly, until I saw some people mention it online I hadn't noticed it... it's a summer blockbuster... who's watching for those sorts of technicalities?!
Our bad guy Brixton, portrayed by Idris Elba is... yummy. I don't feel like there's much to say about Brixton, he kicks ass, he's got great tech and there's a good history with Shaw... but... he didn't really feel like a bad guy. Eteon certainly felt like an evil empire, but Brixton is just a minion in the grand scheme of things. I have my theories about Eteon, but that would mean major spoilers I'm afraid. I imagine we'll see more of them in the next one.
We get another wonderful pop up from Helen Mirren. Yeeeeeess, Queen! She's brilliant as always. There are a few cameos, and I'm impressed they managed to keep them secret. It was a fun discovery and definitely added to the humour of the whole thing, had you taken them out of the mix then you would have been left a much more "sensible" action film, but they went with it and it was certainly entertaining.
Obviously there's a lot of action, in a lot of different scenes. As ridiculous as it is, I did like the London chase that happens shortly after the jog down the building that you see in the trailer. It includes some good jaw-dropping moments and ends with a particularly satisfying moment. As fun as this sequence was, it does include the most dubious bit of CGI in the whole film... watch for that bike.
My other favourite scene is the finale, the whole thing is kind of long but specifically I'm thinking about Hobbs, Shaw and Brixton facing off. Even before going into the film you know exactly what needs to happen to get to the resolution, so when they get to that point you're sat going "about time!" As the storm sets in we get an amazing sequence with slow-mo of the three of them fighting in the rain. It was immense... some may say daft, but that's totally why I turned up for it. There's also some great glitching of Brixton's tech that I thought worked really well with everything. My only issue is that there's one moment where Jason Statham appears to genuinely smile and it feels completely out of character.
There are some things I want to mention before I finish.
- There feels like a lot of product placement happening throughout, including for things that aren't even real products.
- You do not... I repeat... DO NOT drive by a Greggs without stopping for a chicken bake.
Let's face it, if you even remotely enjoy action and comedy together then you're going to be enjoying this movie. You don't need to switch your brain on to watch this, it's just pure entertainment.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/08/hobbs-shaw-movie-review.html
Hattie Shaw and her MI6 team have secured a virus that could threaten everyone if it gets into the wrong hands. In a surprise attacked by Brixton, an enhanced "bad guy", her entire team is killed and she has to make a quick decision.
As the story of the missing vial gets out handlers call in their top assets to retrieve it. The trouble is that they hate each other and working together isn't something that's going to work. Hobbs goes looking for Hattie on the streets and Shaw heads to her flat, both set some action they weren't expecting to, highlighting just what they're up against.
As an offshoot from the Fast & Furious franchise you expect the action, but Hobbs & Shaw takes a much bigger step towards comedy, which thankfully both Johnson and Statham are good at. Individually they'll get me to see a film, I might wish I hadn't when I come out of it, but you can pretty much guarantee that they'll give you a consistent result when it comes to the acting.
The two of them together are fun and they bounce off each other with impeccable timing, but there might be just a little bit too much insulting back and forth thrown into this one. It's not that it's bad, it's just that when it happens it can occasionally feel too long. It's almost as if they told them to improvise and they'd cut out a whole load of it and then never did. [One of my favourite bits of them together in the film is at the beginning of the trailer above.]
Vanessa Kirby as Shaw's sister Hattie is a bit more sensible than the leading men, that doesn't mean she's any less engaged in the action though. Right from the off they're showing her as tough and no-nonsense which fits in with the family characteristics. You get some great glimpses of the Shaw kids showing shared traits and it's really nice to see that link on the screen. Outside of the action and the family moments she sadly doesn't feel like a very well-formed character, there are several inconsistencies in her that I found to be confusing. You'd think one of those would be the age gap between her and Deckard, but honestly, until I saw some people mention it online I hadn't noticed it... it's a summer blockbuster... who's watching for those sorts of technicalities?!
Our bad guy Brixton, portrayed by Idris Elba is... yummy. I don't feel like there's much to say about Brixton, he kicks ass, he's got great tech and there's a good history with Shaw... but... he didn't really feel like a bad guy. Eteon certainly felt like an evil empire, but Brixton is just a minion in the grand scheme of things. I have my theories about Eteon, but that would mean major spoilers I'm afraid. I imagine we'll see more of them in the next one.
We get another wonderful pop up from Helen Mirren. Yeeeeeess, Queen! She's brilliant as always. There are a few cameos, and I'm impressed they managed to keep them secret. It was a fun discovery and definitely added to the humour of the whole thing, had you taken them out of the mix then you would have been left a much more "sensible" action film, but they went with it and it was certainly entertaining.
Obviously there's a lot of action, in a lot of different scenes. As ridiculous as it is, I did like the London chase that happens shortly after the jog down the building that you see in the trailer. It includes some good jaw-dropping moments and ends with a particularly satisfying moment. As fun as this sequence was, it does include the most dubious bit of CGI in the whole film... watch for that bike.
My other favourite scene is the finale, the whole thing is kind of long but specifically I'm thinking about Hobbs, Shaw and Brixton facing off. Even before going into the film you know exactly what needs to happen to get to the resolution, so when they get to that point you're sat going "about time!" As the storm sets in we get an amazing sequence with slow-mo of the three of them fighting in the rain. It was immense... some may say daft, but that's totally why I turned up for it. There's also some great glitching of Brixton's tech that I thought worked really well with everything. My only issue is that there's one moment where Jason Statham appears to genuinely smile and it feels completely out of character.
There are some things I want to mention before I finish.
- There feels like a lot of product placement happening throughout, including for things that aren't even real products.
- You do not... I repeat... DO NOT drive by a Greggs without stopping for a chicken bake.
Let's face it, if you even remotely enjoy action and comedy together then you're going to be enjoying this movie. You don't need to switch your brain on to watch this, it's just pure entertainment.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/08/hobbs-shaw-movie-review.html