Search
Search results
Ivana A. | Diary of Difference (1171 KP) rated The Dead Girls Club in Books
Feb 3, 2020
<a href="https://amzn.to/2Wi7amb">Wishlist</a>; | <a
<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>;
<img src="https://i0.wp.com/diaryofdifference.com/wp-content/uploads/2019/12/Book-Review-Banner-13.png?resize=768%2C432&ssl=1"/>;
The Dead Girls Club by Damien Angelica Walters left me unprepared for what I was about to read.
A perfect blend of mystery, spookiness, friendship and psychological trauma. This book will keep you away from social events until you are finished. And a few days after…
<i><b>Red Lady, Red Lady, show us your face…</b>
In 1991, Heather Cole and her friends were members of the Dead Girls Club. Obsessed with the macabre, the girls exchanged stories about serial killers and imaginary monsters, like the Red Lady, the spirit of a vengeful witch killed centuries before. Heather knew the stories were just that, until her best friend Becca began insisting the Red Lady was real – and she could prove it.
That belief got Becca killed.
It’s been nearly thirty years, but Heather has never told anyone what really happened that night–that Becca was right and the Red Lady was real. She’s done her best to put that fateful summer, Becca, and the Red Lady, behind her. Until a familiar necklace arrives in the mail, a necklace Heather hasn’t seen since the night Becca died.
The night Heather killed her.
Now, someone else knows what she did…and they’re determined to make Heather pay.</i>
From the beginning of the book, you can feel the intensity, the guilt and the mystery behind it, which was something I very much enjoy in my books. We get to see the life of Heather 30 years after the death of Becca, and we know from the very first chapter that Heather killed her.
But they were best friends. And Heather loves Becca, even now, with every atom of her body. They were those BFFs that were always together, and knew each other’s secrets. They both loved mystery and talking about serial killers. And then things somehow start to go wrong. They are slipping from the friendship slide, and they can’t do anything to stop it…
<i><b>The heart, the other half of which once hung around my neck, even after, is a cheap thing of nickel, stainless steel, or some inexpensive alloy. Originally affixed to a cardboard square and purchased by two girls who saved their allowance. Best Friends Forever. We meant it, she and I. We meant it with every bone in our bodies and every true and good thing in our souls. We didn’t know forever didn’t always last that long.</b></i>
This is one of the few stories where I rooted for a killer. I know how horrible it sounds, but I loved that perspective. The innocence behind a terrible act. The belief that what you did might have been wrong, but you still did it for the right reasons. The ultimate friendship and the boundaries.
I loved Heather, and I also loved Becca. I hated all the things that were standing between them, driving them further away from each other.
This is a book about a murder, and about a scary story becoming real. But this book is also about friendship, about psychological trauma, and about the force a person needs to get trough it. The crucial support this person requires to get through the rainy days. Heather was struggling, and there was no one beside her to help her. Everyone she knew and trusted suddenly abandoned her, and this tells a sad and realistic story about the reality people with mental health issues are facing. No one wants a damaged person in their lives, I get that. But when this person is your friend for life, when this person is your life companion, you know. You know how they were before it, and you should always be there to support them, and get them to become their healthy selves again. We all need a person in life that will push our boundaries and be there for us when we are not able to be there for ourselves.
The Dead Girls Club covers so many topics that warm and crush my heart. And I love it for it. If your book taste is similar to mine, I am sure you will love this book too, and I recommend it!
Huge thanks to Melissa and the team at Crooked Lane Books in the US, for sending me a paperback ARC copy in exchange for my honest review!
<a href="https://amzn.to/2Wi7amb">Wishlist</a>; | <a
<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>;
<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>;
<img src="https://i0.wp.com/diaryofdifference.com/wp-content/uploads/2019/12/Book-Review-Banner-13.png?resize=768%2C432&ssl=1"/>;
The Dead Girls Club by Damien Angelica Walters left me unprepared for what I was about to read.
A perfect blend of mystery, spookiness, friendship and psychological trauma. This book will keep you away from social events until you are finished. And a few days after…
<i><b>Red Lady, Red Lady, show us your face…</b>
In 1991, Heather Cole and her friends were members of the Dead Girls Club. Obsessed with the macabre, the girls exchanged stories about serial killers and imaginary monsters, like the Red Lady, the spirit of a vengeful witch killed centuries before. Heather knew the stories were just that, until her best friend Becca began insisting the Red Lady was real – and she could prove it.
That belief got Becca killed.
It’s been nearly thirty years, but Heather has never told anyone what really happened that night–that Becca was right and the Red Lady was real. She’s done her best to put that fateful summer, Becca, and the Red Lady, behind her. Until a familiar necklace arrives in the mail, a necklace Heather hasn’t seen since the night Becca died.
The night Heather killed her.
Now, someone else knows what she did…and they’re determined to make Heather pay.</i>
From the beginning of the book, you can feel the intensity, the guilt and the mystery behind it, which was something I very much enjoy in my books. We get to see the life of Heather 30 years after the death of Becca, and we know from the very first chapter that Heather killed her.
But they were best friends. And Heather loves Becca, even now, with every atom of her body. They were those BFFs that were always together, and knew each other’s secrets. They both loved mystery and talking about serial killers. And then things somehow start to go wrong. They are slipping from the friendship slide, and they can’t do anything to stop it…
<i><b>The heart, the other half of which once hung around my neck, even after, is a cheap thing of nickel, stainless steel, or some inexpensive alloy. Originally affixed to a cardboard square and purchased by two girls who saved their allowance. Best Friends Forever. We meant it, she and I. We meant it with every bone in our bodies and every true and good thing in our souls. We didn’t know forever didn’t always last that long.</b></i>
This is one of the few stories where I rooted for a killer. I know how horrible it sounds, but I loved that perspective. The innocence behind a terrible act. The belief that what you did might have been wrong, but you still did it for the right reasons. The ultimate friendship and the boundaries.
I loved Heather, and I also loved Becca. I hated all the things that were standing between them, driving them further away from each other.
This is a book about a murder, and about a scary story becoming real. But this book is also about friendship, about psychological trauma, and about the force a person needs to get trough it. The crucial support this person requires to get through the rainy days. Heather was struggling, and there was no one beside her to help her. Everyone she knew and trusted suddenly abandoned her, and this tells a sad and realistic story about the reality people with mental health issues are facing. No one wants a damaged person in their lives, I get that. But when this person is your friend for life, when this person is your life companion, you know. You know how they were before it, and you should always be there to support them, and get them to become their healthy selves again. We all need a person in life that will push our boundaries and be there for us when we are not able to be there for ourselves.
The Dead Girls Club covers so many topics that warm and crush my heart. And I love it for it. If your book taste is similar to mine, I am sure you will love this book too, and I recommend it!
Huge thanks to Melissa and the team at Crooked Lane Books in the US, for sending me a paperback ARC copy in exchange for my honest review!
<a href="https://amzn.to/2Wi7amb">Wishlist</a>; | <a
<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>;
Purple Phoenix Games (2266 KP) rated Go Extinct!: Stardust Catches the Carnivores in Tabletop Games
Mar 26, 2020
“Yo, uhh, got any sevens?” “Naw, go fish.” “Dag, yo.” “Hmm, got any Queens?” “Nope, go fish.” “*&%#@!!” While this may be many of us during the social distancing or self-isolation using meager playing cards, there is now another option – Go Extinct!: Stardust Catches the Carnivores. The title is long, but the playtime isn’t, and the Go Fish is there, but it is masked by an educational skin. Does this one make a case for our collection?
In Go Extinct!: Stardust Catches the Carnivores (which I will shorten to Go Extinct from here on out) players are attempting to score the most points at the end of the game by collecting runs(?) of animals within the same biological family, called “clades.” More points are gained by collecting families with more members, and the game has a known end timeline – when the players’ cards run out.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, but to give a feel for how the game generally plays. You are invited to back the game through the Kickstarter campaign running until April 16, 2020, purchase from your FLGS upon release, or through any retailers stocking it after fulfillment. -T
To setup, place the large board on the table for all to see. Follow the setup rules per player count listed in the rule book (because it’s different for three players and for 4+). Shuffle the cards and deal each player six cards. The rest of the deck becomes the central draw deck. You are now ready to begin!
A game of Go Extinct is played over several rounds where players are trying to collect and play complete clades of animals. Only clades played to the players’ personal score piles can be scored at the end of the game, and once in the score pile, can no longer be stolen (asked for) by other players – just like in Go Fish.
Go Extinct becomes a bit more distinct when asking for cards. A player can ask a specific player for a specific animal (Wolverine, Polar Bear, etc) or can ask for cards within the same family (a cub of Delicate Dog or Ancestor of Ursidae). If a player is given a specific animal species, the asking player may take another turn to ask for more animals or clade members. If the ask is unsuccessful, the asked player announces, “Go Extinct” to indicate that the asking player must hunt for animals elsewhere, namely, the draw pile. Redraw at the end of a turn to a hand size of six and the game continues with the next player.
Again, the game ends once all the cards are played, but when the draw deck runs out, a new rule enters play. When asked for a clade, the asked player must give up to three of their cards, if they have that many of that clade. Once a player runs out of cards in their hand, they are finished, and the game ends when every player is out of cards. Tally up the points per clade size, and determine who is the best at collecting animal clades!
Components. Again, we were provided a prototype copy of this game, which is on Kickstarter now, so the components may be different from what will be produced via a successful KS campaign. That said, the components we received are great! The cards are good quality with excellent card art depicting extinct and current animals. The graphic layout is good, and once you can read the cards, the board is no longer really necessary for play. That board. It is absolutely beautiful, though not overly ornate, and is also completely unnecessary for play. We did enjoy having it on the table while we played, but players never actually interact with it or use for anything other than reference. It is a nice touch, though.
Being a family man, myself, and having young children, this will be great for when my kids learn to read. Learning the names of ancestral animals and scientific nomenclature of current animals is something I cannot wait to teach my kids. I really see no reason for me to ever teach them Go Fish while I have Go Extinct in my collection, and I do believe I will keep it there for a long time. If you enjoy light games with a heavy dose of education and direct player interaction without conflict, then Go Extinct is for you. It may be too light for hardcore gamers, but those gamers are not the intended audience. If you are looking for games to bond with your kids over, then you simply must check out Go Extinct. Or if you just want to learn a little something yourself, go ahead and pick up a copy or three. I recommend it. Visit the Kickstarter campaign here and tell them Purple Phoenix Games sent you!
In Go Extinct!: Stardust Catches the Carnivores (which I will shorten to Go Extinct from here on out) players are attempting to score the most points at the end of the game by collecting runs(?) of animals within the same biological family, called “clades.” More points are gained by collecting families with more members, and the game has a known end timeline – when the players’ cards run out.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, but to give a feel for how the game generally plays. You are invited to back the game through the Kickstarter campaign running until April 16, 2020, purchase from your FLGS upon release, or through any retailers stocking it after fulfillment. -T
To setup, place the large board on the table for all to see. Follow the setup rules per player count listed in the rule book (because it’s different for three players and for 4+). Shuffle the cards and deal each player six cards. The rest of the deck becomes the central draw deck. You are now ready to begin!
A game of Go Extinct is played over several rounds where players are trying to collect and play complete clades of animals. Only clades played to the players’ personal score piles can be scored at the end of the game, and once in the score pile, can no longer be stolen (asked for) by other players – just like in Go Fish.
Go Extinct becomes a bit more distinct when asking for cards. A player can ask a specific player for a specific animal (Wolverine, Polar Bear, etc) or can ask for cards within the same family (a cub of Delicate Dog or Ancestor of Ursidae). If a player is given a specific animal species, the asking player may take another turn to ask for more animals or clade members. If the ask is unsuccessful, the asked player announces, “Go Extinct” to indicate that the asking player must hunt for animals elsewhere, namely, the draw pile. Redraw at the end of a turn to a hand size of six and the game continues with the next player.
Again, the game ends once all the cards are played, but when the draw deck runs out, a new rule enters play. When asked for a clade, the asked player must give up to three of their cards, if they have that many of that clade. Once a player runs out of cards in their hand, they are finished, and the game ends when every player is out of cards. Tally up the points per clade size, and determine who is the best at collecting animal clades!
Components. Again, we were provided a prototype copy of this game, which is on Kickstarter now, so the components may be different from what will be produced via a successful KS campaign. That said, the components we received are great! The cards are good quality with excellent card art depicting extinct and current animals. The graphic layout is good, and once you can read the cards, the board is no longer really necessary for play. That board. It is absolutely beautiful, though not overly ornate, and is also completely unnecessary for play. We did enjoy having it on the table while we played, but players never actually interact with it or use for anything other than reference. It is a nice touch, though.
Being a family man, myself, and having young children, this will be great for when my kids learn to read. Learning the names of ancestral animals and scientific nomenclature of current animals is something I cannot wait to teach my kids. I really see no reason for me to ever teach them Go Fish while I have Go Extinct in my collection, and I do believe I will keep it there for a long time. If you enjoy light games with a heavy dose of education and direct player interaction without conflict, then Go Extinct is for you. It may be too light for hardcore gamers, but those gamers are not the intended audience. If you are looking for games to bond with your kids over, then you simply must check out Go Extinct. Or if you just want to learn a little something yourself, go ahead and pick up a copy or three. I recommend it. Visit the Kickstarter campaign here and tell them Purple Phoenix Games sent you!
Lottie disney bookworm (1056 KP) rated A Frozen Heart in Books
Sep 20, 2020
Contains spoilers, click to show
It seems like adaptations of Frozen and Frozen 2 are everywhere right now: it must be so hard for an author to come up with a story that is different enough to draw readers in but still in-keeping with the story. Luckily, Elizabeth Rudnick’s skilled writing turns the typical Frozen tale on its head: telling it solely from the perspective of Anna and Hans.
It is this, seemingly simple, difference that gives “A Frozen Heart” it’s edge. The inclusion of Hans’ viewpoint allows us to witness his upbringing as the 13th Prince of The Southern Isles: we visit looming, black, inhospitable castle with it’s stern, hard-to-please King; an absent-minded, weak but loving Queen and the youngest Prince who has been bullied for his entire life.
Rudnick’s characterisation of Hans is nothing less than pure genius. It is difficult to feel anything but pity for Hans during his childhood: he is constantly disappointing his father and being physically and emotionally bullied by his brothers. The only family member whom Hans truly seems to love is his mother but she is portrayed as somewhat absent in her mental state. (As a mother I can only assume this is from having 13 sons! I struggle with 2!)
Even when Hans “plots” his way to Arendelle, it is purely an evacuation plan. He is so desperate to leave the Southern Isles that he believes Elsa, a social enigma of a future queen, is his best chance for a new life. Then, when Hans realises Elsa is a lost cause and goes off singing and dancing into the night with Anna, at first, the reader genuinely believes his intentions are good. It even reminded me of the fan theory that Hans is the real deal until the trolls sing “get the fiancé out of the way”.
Hans is never completely trustworthy though: he is too acutely aware of how others view him and his actions, as well as the relative power those onlookers have and whether they will support him with his next, calculated move.
Hans also seems to be of the opinion that a Queen needs a King and the King will rule. Apart from being adoringly archaic(!), it is likely that this could be an effect of the relationship between his parents: the brief insight we have into the King and Queen of the Southern Isles suggest Hans has never had a strong female role model in his life. Again, Rudnick’s writing and characters implying that Hans is not 100% to blame: perhaps he is merely a product of the harsh environment he was brought up in?
Unfortunately, the deep-rooted power complex instilled from his father wins out in the end and Hans can see no alternative life but one where he is ruler. Thus, the villain in him rises; constantly calculating and predicting how his actions will be judged by others and the tale with which we are so familiar plays out.
Anna’s story runs along similar parallels to Hans, with neglect and isolation from her closest family. However, the way this pain manifests in Anna could not be further than that of the Prince of the Southern Isles.
‘A Frozen Heart’ reflects Anna’s vulnerability in every sentence. As a young girl Anna lost her freedom as well as her best friend and sister; as a teenager she loses her parents and this has formed an extremely fragile, trusting, naïve young woman. Anna has lived the definition of a sheltered childhood: is it any wonder she falls in love with the first man who pays her attention? Anna’s even confesses to herself: “That is all I ever wanted. For someone to love me”.
Despite this, Anna does not present as a weak character. Yes, she is a hopeless romantic: all the best people are in my opinion! However, she is also strong-willed and is willing to go to any lengths to bring back her sister. Rudnick’s first-person perspective only highlights this strength in Anna: she completely accepts her faults and can see the error in her actions, particularly when it comes to Hans, but she can not and will not give up.
I really enjoyed the insight into Hans and Anna’s thoughts and particularly into Hans’ background. However, once this initial thrill was over, I felt that ‘A Frozen Heart’ merely followed along with the plot of the movie and, dare I say, became a bit lazy?
Please don’t misunderstand me, I did enjoy the book and Rudnick did an amazing job bringing to life our favourite characters on the page but I just needed a little bit more: perhaps an insight into Kristoff’s backstory? How does a young boy with a reindeer find himself adopted by trolls? Is Kristoff even an orphan? What has he experienced in order to consider the trolls love doctors?
‘A Frozen Heart’: an interesting concept but maybe played it a little too safe? Please let me know your thoughts.
It is this, seemingly simple, difference that gives “A Frozen Heart” it’s edge. The inclusion of Hans’ viewpoint allows us to witness his upbringing as the 13th Prince of The Southern Isles: we visit looming, black, inhospitable castle with it’s stern, hard-to-please King; an absent-minded, weak but loving Queen and the youngest Prince who has been bullied for his entire life.
Rudnick’s characterisation of Hans is nothing less than pure genius. It is difficult to feel anything but pity for Hans during his childhood: he is constantly disappointing his father and being physically and emotionally bullied by his brothers. The only family member whom Hans truly seems to love is his mother but she is portrayed as somewhat absent in her mental state. (As a mother I can only assume this is from having 13 sons! I struggle with 2!)
Even when Hans “plots” his way to Arendelle, it is purely an evacuation plan. He is so desperate to leave the Southern Isles that he believes Elsa, a social enigma of a future queen, is his best chance for a new life. Then, when Hans realises Elsa is a lost cause and goes off singing and dancing into the night with Anna, at first, the reader genuinely believes his intentions are good. It even reminded me of the fan theory that Hans is the real deal until the trolls sing “get the fiancé out of the way”.
Hans is never completely trustworthy though: he is too acutely aware of how others view him and his actions, as well as the relative power those onlookers have and whether they will support him with his next, calculated move.
Hans also seems to be of the opinion that a Queen needs a King and the King will rule. Apart from being adoringly archaic(!), it is likely that this could be an effect of the relationship between his parents: the brief insight we have into the King and Queen of the Southern Isles suggest Hans has never had a strong female role model in his life. Again, Rudnick’s writing and characters implying that Hans is not 100% to blame: perhaps he is merely a product of the harsh environment he was brought up in?
Unfortunately, the deep-rooted power complex instilled from his father wins out in the end and Hans can see no alternative life but one where he is ruler. Thus, the villain in him rises; constantly calculating and predicting how his actions will be judged by others and the tale with which we are so familiar plays out.
Anna’s story runs along similar parallels to Hans, with neglect and isolation from her closest family. However, the way this pain manifests in Anna could not be further than that of the Prince of the Southern Isles.
‘A Frozen Heart’ reflects Anna’s vulnerability in every sentence. As a young girl Anna lost her freedom as well as her best friend and sister; as a teenager she loses her parents and this has formed an extremely fragile, trusting, naïve young woman. Anna has lived the definition of a sheltered childhood: is it any wonder she falls in love with the first man who pays her attention? Anna’s even confesses to herself: “That is all I ever wanted. For someone to love me”.
Despite this, Anna does not present as a weak character. Yes, she is a hopeless romantic: all the best people are in my opinion! However, she is also strong-willed and is willing to go to any lengths to bring back her sister. Rudnick’s first-person perspective only highlights this strength in Anna: she completely accepts her faults and can see the error in her actions, particularly when it comes to Hans, but she can not and will not give up.
I really enjoyed the insight into Hans and Anna’s thoughts and particularly into Hans’ background. However, once this initial thrill was over, I felt that ‘A Frozen Heart’ merely followed along with the plot of the movie and, dare I say, became a bit lazy?
Please don’t misunderstand me, I did enjoy the book and Rudnick did an amazing job bringing to life our favourite characters on the page but I just needed a little bit more: perhaps an insight into Kristoff’s backstory? How does a young boy with a reindeer find himself adopted by trolls? Is Kristoff even an orphan? What has he experienced in order to consider the trolls love doctors?
‘A Frozen Heart’: an interesting concept but maybe played it a little too safe? Please let me know your thoughts.
Gareth von Kallenbach (971 KP) rated The Promise (2017) in Movies
Jul 11, 2019
Roughly a year ago, I found myself in a heated exchange with a friend about full and appropriate representation of people and history in films. I discussed the merits of expanding the scope beyond films about slavery and segregation with respect to African-Americans and stories of despair for other marginalized groups. It is, for me, demeaning to a people’s contributions in society and trivializes experiences. After engaging in what seemed to be an hour, my friend focused more on what she had to say that considering what I was addressing. It proved true when she stated “Well… at least black people have movies about slavery! You should be happy. We don’t even have a movie about the Armenian Genocide!” I was shocked, momentarily. I had never stated that one group deserved more of the spotlight or one’s history is more important that another, just that we need to have appropriate representation and inclusion of stories. All of our stories should be told and shared, especially the ones that are not widely known, understood, or even having a place within social studies courses in our public schools.
I knew of the Armenian Genocide and had a general understanding about the atrocities committed by the Ottoman Empire. There are several international films that address what took place or have the Genocide as part of the story. Even My Big Fat Greek Wedding makes reference to how Greeks were brutalized by the Turks during the period. What we were missing, at least in the realm of American Cinema, was a representation for US audiences to witness the horrors that these people fell victim to and, for some, were able to survive. In The Promise, audiences will get a history lesson about man’s inhumanity to man.
When I first heard that this film was in production, I was interesting in how it would pan out. Would it be truthful, as painful as it may be? Would they overdo certain aspects? How much would they play with the truth? The filmmakers faced the same problems as those who brought forth Schindler’s List, The Pianist, and Life is Beautiful: How do you approach telling the story of genocide? How do you draw people in to a story that they may not be familiar with? Are people ready?
Summaries of the film that I read online made it seem as though this would be an Armenian version of Pearl Harbor in that this was a love story in the foreground of a film that features violence in the background. The summaries were misleading, maybe by design or maybe by mistake. The Promise, stars Oscar Isaac (Star Wars: The Force Awakens) as a young Armenia medical student, and Christian Bale (The Dark Knight) as a journalist for the associated press reporting on developments in the Ottoman Empire as war breaks out. The film whose description touts a love triangle in the midst of the Great War is far from what this films discusses and presents. There is a love story, however, it is not what the film is about or what is able to get the attention of the viewers.
The film reveals the deep held animosity of Armenians and other minority groups in the Ottoman Empire. It demonstrates the depth of mistrust and mistreatment of people who cast as “the other.” It is not simplistic in approach nor relying on over-the-top examples of violence in order for those watching to feel something. The development of events and characters permits the audience to connect with each of the characters, their families, their circumstances, and look for any moment in which they can escape the violence that is being committed to them. In no way does this film minimize what the victims went through. It doesn’t trivialize their experience in order to gain one’s attention.
The Promise satisfies the need for a discussion to emerge allowing for a truer examination of the genocide’s place in world history and within the framing of World War I. It presents a more representative picture of what people bore witness to or experienced themselves. With history, we are continuously searching for the truth and ensuring that history itself does not remained buried or ignored. This films serves the purpose in ensuring that more people are aware of not only the Armenian genocide, but all of the moving pieces that come with people fighting against an injustice or violence that is committed upon them because they are seen as less than or undesirable. It is my hope that with this film, studios see the necessity of bringing more stories of struggle, survival, and the will of humanity to overcome hardship and violence to audiences. The Promise although highly overdue, is essential, poignant, timely, and necessary in order for all of us to see that people are not forgotten.
I knew of the Armenian Genocide and had a general understanding about the atrocities committed by the Ottoman Empire. There are several international films that address what took place or have the Genocide as part of the story. Even My Big Fat Greek Wedding makes reference to how Greeks were brutalized by the Turks during the period. What we were missing, at least in the realm of American Cinema, was a representation for US audiences to witness the horrors that these people fell victim to and, for some, were able to survive. In The Promise, audiences will get a history lesson about man’s inhumanity to man.
When I first heard that this film was in production, I was interesting in how it would pan out. Would it be truthful, as painful as it may be? Would they overdo certain aspects? How much would they play with the truth? The filmmakers faced the same problems as those who brought forth Schindler’s List, The Pianist, and Life is Beautiful: How do you approach telling the story of genocide? How do you draw people in to a story that they may not be familiar with? Are people ready?
Summaries of the film that I read online made it seem as though this would be an Armenian version of Pearl Harbor in that this was a love story in the foreground of a film that features violence in the background. The summaries were misleading, maybe by design or maybe by mistake. The Promise, stars Oscar Isaac (Star Wars: The Force Awakens) as a young Armenia medical student, and Christian Bale (The Dark Knight) as a journalist for the associated press reporting on developments in the Ottoman Empire as war breaks out. The film whose description touts a love triangle in the midst of the Great War is far from what this films discusses and presents. There is a love story, however, it is not what the film is about or what is able to get the attention of the viewers.
The film reveals the deep held animosity of Armenians and other minority groups in the Ottoman Empire. It demonstrates the depth of mistrust and mistreatment of people who cast as “the other.” It is not simplistic in approach nor relying on over-the-top examples of violence in order for those watching to feel something. The development of events and characters permits the audience to connect with each of the characters, their families, their circumstances, and look for any moment in which they can escape the violence that is being committed to them. In no way does this film minimize what the victims went through. It doesn’t trivialize their experience in order to gain one’s attention.
The Promise satisfies the need for a discussion to emerge allowing for a truer examination of the genocide’s place in world history and within the framing of World War I. It presents a more representative picture of what people bore witness to or experienced themselves. With history, we are continuously searching for the truth and ensuring that history itself does not remained buried or ignored. This films serves the purpose in ensuring that more people are aware of not only the Armenian genocide, but all of the moving pieces that come with people fighting against an injustice or violence that is committed upon them because they are seen as less than or undesirable. It is my hope that with this film, studios see the necessity of bringing more stories of struggle, survival, and the will of humanity to overcome hardship and violence to audiences. The Promise although highly overdue, is essential, poignant, timely, and necessary in order for all of us to see that people are not forgotten.
Bob Mann (459 KP) rated Manchester by the Sea (2016) in Movies
Sep 29, 2021
Wow! I’d heard all about the Oscar hype surrounding this film but to be honest, while I thought I would be seeing a solid and well-made indie film, I went into it without great expectations of having an ‘enjoyable’ time: the trailer had “angst” written all over it. And – sure – it is emotional and harrowing in places. However, I was completely knocked out by the depth, the intelligence and the humour of this masterpiece.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
Daniel Boyd (1066 KP) rated Big Little Lies - Season 1 in TV
Feb 8, 2019 (Updated Feb 8, 2019)
Rich White People Problems: The Show
As more news of Season 2 of this show seeps out, I decided to eventually get around to catching the first season of this highly praised and seemingly universally lauded show. I went in expecting greatness from this thing after reading all of the glowing critic's reviews. I am also a huge fan of many of the cast members involved in this project, so knowing nothing about the plot or subject matter the show is based on, I went in blind; excited to see what this series had in store.
The series opens with some ominous editing and vague hints that a major crime has been committed, which we eventually realise to be a murder. Then we are taken backwards tin time and are introduced to Reese Witherspoon's character Madeline, whom initially comes off as entitled and annoying, but you assume that this is going to have a purpose in her character's arc and she will grow on you. You are wrong to assume that as she is extremely irritating throughout the entire duration of the series, constantly interrupting other characters lines and sticking her oar in during group situations, just for the sake of clinging on to the spotlight and keeping herself at the centre of attention.
Thankfully, Nicole Kidman's character Celeste is less annoying and instead just a bit strange. We see pretty early on that she is a victim of domestic abuse at the hands of her much younger husband played by Alexander Skarsgard. At first this is pretty harrowing and sad to see, but for some reason, - and I don't want to kink shame anyone, - but it seems like she kind of likes it. The third main character we are introduced to is Jane, played by Shailene Woodley who immediately seems like damaged goods.
The "conflict," is then set up. After the first day at school we see a highly unrealistic scene play out as the most insensitive teacher in the world with zero foresight gathers all of the children in her class along with their parents outside the school gates. A girl has marks on her neck from being choked by one of the other kids. The teacher then asks the girl to point out the kid that did this to her (in front of the entire class and their parents!) and she points to Jane's son Ziggy. The boy denies any wrongdoing, but the girl who has been hurt's mother, (played by Laura Dern, whom I normally really like,) is a horrible, bitter bitch who responds to the situation by berating the accused boy in front of everyone, degrading his mother in the process for defending her child and not "making," him apologise.
*Insert Peter Griffin "Oh my God, who the hell cares?" meme here.*
Yeah, this is the kind of schoolyard bullshit that this show expects us to treat as a life or death issue. The whole thing is full of non-issues and petty whines centred around 'he said/she said,' nonsense. Then we are supposed to relate to these immature, venomous parents who don't do anything to help the situation whatsoever. Meanwhile the show treats domestic abuse, - something that is a very real and threatening issue, - as just a weird kink in this oddball couple's relationship.
It is clear that all of these parents clearly care far more about self-image than they do about their own children, which makes all of them extremely gross and off putting as characters. They constantly make up excuses as if to try and justify themselves and claim that the bitchy, conniving choices that they make towards each other is for the sake of their kids, when it is clearly just to one up each other in pathetic, petty social warfare and childish beefs.
Website theodysseyonline.com has an article called, '13 Reasons Why Big Little Lies Is So Powerful.' I truly fail to see what is apparently so powerful and ground-breaking about this series. I'm not even sure what it is trying to say; that domestic abuse and rape are bad things done by evil people? Wow, what a brave and unique stance to take! I also resent the idea that everyone that says anything remotely negative about this show is a women-hating misogynist. I consider myself a left-leaning liberal and a feminist, I am a strong supporter of equal rights amongst all genders and races and I do regular work for a women's mental health charity, but I can still spot an overrated, hollow waste of 7 hours when I see one.
Overall, even though this season only last 7 episodes, it is not worth your time. After watching the first 2 episodes I thought about giving up on it, but then I thought about all of the glowing reviews and thought, 'no, surely this must get better.' Let me save you seven hours of your time; it doesn't. This is a melodramatic glorified soap opera that doesn't handle any of the issues that it tries to tackle well and it is filled, - to the point it is bursting at the seams, - with small scope issues and minor annoyances treated as life threatening scenarios, all the while brushing off the genuinely scary and potentially life threatening scenario of domestic abuse.
The series opens with some ominous editing and vague hints that a major crime has been committed, which we eventually realise to be a murder. Then we are taken backwards tin time and are introduced to Reese Witherspoon's character Madeline, whom initially comes off as entitled and annoying, but you assume that this is going to have a purpose in her character's arc and she will grow on you. You are wrong to assume that as she is extremely irritating throughout the entire duration of the series, constantly interrupting other characters lines and sticking her oar in during group situations, just for the sake of clinging on to the spotlight and keeping herself at the centre of attention.
Thankfully, Nicole Kidman's character Celeste is less annoying and instead just a bit strange. We see pretty early on that she is a victim of domestic abuse at the hands of her much younger husband played by Alexander Skarsgard. At first this is pretty harrowing and sad to see, but for some reason, - and I don't want to kink shame anyone, - but it seems like she kind of likes it. The third main character we are introduced to is Jane, played by Shailene Woodley who immediately seems like damaged goods.
The "conflict," is then set up. After the first day at school we see a highly unrealistic scene play out as the most insensitive teacher in the world with zero foresight gathers all of the children in her class along with their parents outside the school gates. A girl has marks on her neck from being choked by one of the other kids. The teacher then asks the girl to point out the kid that did this to her (in front of the entire class and their parents!) and she points to Jane's son Ziggy. The boy denies any wrongdoing, but the girl who has been hurt's mother, (played by Laura Dern, whom I normally really like,) is a horrible, bitter bitch who responds to the situation by berating the accused boy in front of everyone, degrading his mother in the process for defending her child and not "making," him apologise.
*Insert Peter Griffin "Oh my God, who the hell cares?" meme here.*
Yeah, this is the kind of schoolyard bullshit that this show expects us to treat as a life or death issue. The whole thing is full of non-issues and petty whines centred around 'he said/she said,' nonsense. Then we are supposed to relate to these immature, venomous parents who don't do anything to help the situation whatsoever. Meanwhile the show treats domestic abuse, - something that is a very real and threatening issue, - as just a weird kink in this oddball couple's relationship.
It is clear that all of these parents clearly care far more about self-image than they do about their own children, which makes all of them extremely gross and off putting as characters. They constantly make up excuses as if to try and justify themselves and claim that the bitchy, conniving choices that they make towards each other is for the sake of their kids, when it is clearly just to one up each other in pathetic, petty social warfare and childish beefs.
Website theodysseyonline.com has an article called, '13 Reasons Why Big Little Lies Is So Powerful.' I truly fail to see what is apparently so powerful and ground-breaking about this series. I'm not even sure what it is trying to say; that domestic abuse and rape are bad things done by evil people? Wow, what a brave and unique stance to take! I also resent the idea that everyone that says anything remotely negative about this show is a women-hating misogynist. I consider myself a left-leaning liberal and a feminist, I am a strong supporter of equal rights amongst all genders and races and I do regular work for a women's mental health charity, but I can still spot an overrated, hollow waste of 7 hours when I see one.
Overall, even though this season only last 7 episodes, it is not worth your time. After watching the first 2 episodes I thought about giving up on it, but then I thought about all of the glowing reviews and thought, 'no, surely this must get better.' Let me save you seven hours of your time; it doesn't. This is a melodramatic glorified soap opera that doesn't handle any of the issues that it tries to tackle well and it is filled, - to the point it is bursting at the seams, - with small scope issues and minor annoyances treated as life threatening scenarios, all the while brushing off the genuinely scary and potentially life threatening scenario of domestic abuse.
Gareth von Kallenbach (971 KP) rated the PC version of Titanfall in Video Games
Jun 19, 2019
Much like Hollywood, the gaming industry is one built on hype and expectations. The nature of the game is to fan the flames of interest to ensure the best possible sales of a product and to encourage people to pre-order the title.
The rise of social media has only added to the frenzy as the race to get a title trending has publicists constantly in motion. Like many things though, the danger of hype and expectations being greater than the final product is always a constant threat.
TitanFall in many ways is the biggest release of 2014 to date and is one of the most watched, analyzed, and anticipated games in recent memory. Created by Respawn, the talents behind Infinity Ward and the Call of Duty series, a game mixing first person shooter and Mech combat with eye-popping graphics is one that was sure to grab attention.
When it was announced the game would be exclusive to the Xbox 360 and Xbox One consoles there was some concern from a gamer base eager to experience the game on as many platforms as they could. Thankfully the game was also released on PC and that is the platform in which conducted my review.
The game is online only and mixes live opponents with bots in a series of campaigns and matches where players not only try to eliminate as many enemy units as possible, but they also can battle to capture and hold strategic points and other objectives.
The game has a high degree of customization as players level up based on kills and in game achievements and leveling up allows access to new weapons, attachments, and abilities which really help the tide of battle.
The campaigns are told from two different perspectives and once players complete the Militia campaign they get to experience the same campaign from the other side of the conflict, The IMC Corporation. What you do or do not do does not really change the outcome of the story as the campaigns are essentially cut scenes as a level loads and do not really give a full explanation of the story. It almost seemed to me as if a full campaign was planned at one time and then scrapped, but elements were left in for the sake of ambiance.
Story aside, the action in the game is intense. Running at full settings on PC with an NVIDIA card, the action was fast, smooth, and amazing. On rare instances when I could look up safely, I saw ships overhead engaged in heated battles and the detail level of the cites and combat locales were great. I especially liked one that had dragon like creatures around while combat raged on.
Players have options for their Titans ranging from the Atlas, Styrder an Ogre which aside from missile and ballistic weapons have energy shields, temporary jet boosts and a devastating punch which can reduce enemy units to pulp.
Finding the right mix of speed, agility, power, and weapons is a matter of personal choice and being able to eject from a damaged unit or ride along on an allied unit is great fun. The best experience for me was jumping onto an enemy unit and blasting it down but hanging on and shooting into a control port.
As much fun as the Titan combat is, players will spend a good chunk of their time on foot. Getting up close and personal with a melee kill is great as is feasting on bots and other A.I. units. The challenge of taking on other pilots is tough, but highly enjoyable as when you take one down you have earned it. Players will have power ups known as Burn Cards which come in handy especially when two minutes is about what players can expect to wait for their Titan to arrive after they have lost one.
I enjoy using the personal cloak of my pilot to sneak up on an enemy unit and my new tactic is to dismount from my mech and set it in Guard or Follow mode. It will engage an enemy or another Titan which allows me to flank and attack from a cross fire.
Aside from some minor connection issues during the first two days, I was able to get into games with no issues and my lag was minimal as I was able to ping in the low 50s for most games.
While the campaigns were fairly short, the multitude of Deathmatch, Hardpoint, and last Titan Standing multiplay options ensures several hours of gaming ahead.
I have not really touched on the wall walking and double jump features as pilots can scale walls, buildings, and such with ease which brings a new dimension to combat and comes in very handy when running to catch your ride.
I hope that the developers will offer more maps in the near future and will work to tweak a few minor things such as play balance which saw me unload multiple machine gun rounds into an enemy yet see them able to withstand that and dispatch me with a single kick.
It is hard to find much to complain about the game as not only on PC is it a visual joy, but the fast paced action and highly satisfying and diverse combat options makes the game incredibly fun to play and an early contender for our Game of the Year Awards.
http://sknr.net/2014/03/12/titanfall/
The rise of social media has only added to the frenzy as the race to get a title trending has publicists constantly in motion. Like many things though, the danger of hype and expectations being greater than the final product is always a constant threat.
TitanFall in many ways is the biggest release of 2014 to date and is one of the most watched, analyzed, and anticipated games in recent memory. Created by Respawn, the talents behind Infinity Ward and the Call of Duty series, a game mixing first person shooter and Mech combat with eye-popping graphics is one that was sure to grab attention.
When it was announced the game would be exclusive to the Xbox 360 and Xbox One consoles there was some concern from a gamer base eager to experience the game on as many platforms as they could. Thankfully the game was also released on PC and that is the platform in which conducted my review.
The game is online only and mixes live opponents with bots in a series of campaigns and matches where players not only try to eliminate as many enemy units as possible, but they also can battle to capture and hold strategic points and other objectives.
The game has a high degree of customization as players level up based on kills and in game achievements and leveling up allows access to new weapons, attachments, and abilities which really help the tide of battle.
The campaigns are told from two different perspectives and once players complete the Militia campaign they get to experience the same campaign from the other side of the conflict, The IMC Corporation. What you do or do not do does not really change the outcome of the story as the campaigns are essentially cut scenes as a level loads and do not really give a full explanation of the story. It almost seemed to me as if a full campaign was planned at one time and then scrapped, but elements were left in for the sake of ambiance.
Story aside, the action in the game is intense. Running at full settings on PC with an NVIDIA card, the action was fast, smooth, and amazing. On rare instances when I could look up safely, I saw ships overhead engaged in heated battles and the detail level of the cites and combat locales were great. I especially liked one that had dragon like creatures around while combat raged on.
Players have options for their Titans ranging from the Atlas, Styrder an Ogre which aside from missile and ballistic weapons have energy shields, temporary jet boosts and a devastating punch which can reduce enemy units to pulp.
Finding the right mix of speed, agility, power, and weapons is a matter of personal choice and being able to eject from a damaged unit or ride along on an allied unit is great fun. The best experience for me was jumping onto an enemy unit and blasting it down but hanging on and shooting into a control port.
As much fun as the Titan combat is, players will spend a good chunk of their time on foot. Getting up close and personal with a melee kill is great as is feasting on bots and other A.I. units. The challenge of taking on other pilots is tough, but highly enjoyable as when you take one down you have earned it. Players will have power ups known as Burn Cards which come in handy especially when two minutes is about what players can expect to wait for their Titan to arrive after they have lost one.
I enjoy using the personal cloak of my pilot to sneak up on an enemy unit and my new tactic is to dismount from my mech and set it in Guard or Follow mode. It will engage an enemy or another Titan which allows me to flank and attack from a cross fire.
Aside from some minor connection issues during the first two days, I was able to get into games with no issues and my lag was minimal as I was able to ping in the low 50s for most games.
While the campaigns were fairly short, the multitude of Deathmatch, Hardpoint, and last Titan Standing multiplay options ensures several hours of gaming ahead.
I have not really touched on the wall walking and double jump features as pilots can scale walls, buildings, and such with ease which brings a new dimension to combat and comes in very handy when running to catch your ride.
I hope that the developers will offer more maps in the near future and will work to tweak a few minor things such as play balance which saw me unload multiple machine gun rounds into an enemy yet see them able to withstand that and dispatch me with a single kick.
It is hard to find much to complain about the game as not only on PC is it a visual joy, but the fast paced action and highly satisfying and diverse combat options makes the game incredibly fun to play and an early contender for our Game of the Year Awards.
http://sknr.net/2014/03/12/titanfall/
Gareth von Kallenbach (971 KP) rated V for Vendetta (2005) in Movies
Aug 14, 2019
On a dark and silent night, a young woman named Evey (Natalie Portman), treads carefully through the streets of London unaware of the direction her life is about to take. As an attractive young lady, sneaking out of her home after curfew is filled with peril, especially when she is confronted by a gang of local thugs who happen to work for the government. Despite her protests, the men set up Evey only to be confronted by a masked figure.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
Chris Sawin (602 KP) rated Sherlock Holmes (2009) in Movies
Jun 22, 2019
Sherlock Holmes (Robert Downey Jr) has developed a reputation for having one of the most brilliant crime solving minds of his time. Along with his partner, Dr. John Watson (Jude Law), there is rarely ever a time when a case goes unsolved or a suspect is able to get the best of the two of them. However, that very well may be the case this time around. Holmes and Watson were able to apprehend Lord Blackwood (Mark Strong), who is believed to be a master of black magic. Blackwood is hanged and that is thought to be the end of it until he returns from the grave. Somehow Irene Adler (Rachel McAdams), an adversary of Holmes who he not only has feelings for but has gotten the best of him on more than one occasion, is wrapped up in all of this. Not to mention that the Blackwood case was supposed to be Watson's last as he settles down to get married. So Holmes takes the case to try and solve Blackwood's resurrection, figure out how Irene is involved, and convince Watson to stay on as his partner. What he doesn't count on is walking away from this case with an adversary that's just as cunning and brilliant as he is.
As a fan of the majority of Guy Ritchie's previous works (Lock, Stock, and Two Smoking Barrels, Snatch, Revolver, RocknRolla) and the incredible streak Robert Downey Jr has of impressive performances that have turned him into one of the most entertaining and profitable leading actors of today, you could say the anticipation and expectations for this film were fairly high. Other reviews for the film seemed to be mixed as a lot of them mentioned the writing for the film being lackluster and most complained that Sherlock Holmes wasn't an action star, but the film still brought in around $65 million its opening weekend. So is Ritchie's version of Sherlock Holmes worth seeing? If you're looking for one final film to make you laugh, have hard-hitting action, have a great cast, and have a fairly well-written story, then look no further than Sherlock Holmes.
The chemistry between Robert Downey Jr and Jude Law is the main reason to see this film. Robert Downey Jr puts in another top notch performance as Sherlock Holmes. Despite Holmes being a rather selfish individual, you can't help but find his antics entertaining. It became easier to sympathize with him as the film went on since how much Watson means to him as a friend and as his partner is revealed in the latter half of the film. As impressive as Robert Downey Jr was, Jude Law as just as entertaining. The way Holmes and Watson argue with each other and the way Watson thinks Holmes guilts him into coming along on each case is pure delight to the audience. That's partially due to the impeccable comedic timing the two have, but also due to the fact that they're both extremely talented actors at the top of their game in this film.
One of the most interesting aspects of the film is the way the film seemed to allow its viewers inside the mind of Sherlock Holmes at times. There's two occasions where Holmes is dissecting the moves he's about to make in a fight before he makes them as he announces each blow and the damage each blow does to his opponent. As he's narrating, the film plays in slow motion. When he's done, we jump back to the moment before he started narrating and see the entire situation play out in real time. There were other times, like the time in the restaurant when he's waiting to meet Watson's fiancé, Mary Morstan (Kelly Reilly), and when he's sitting in Blackwood's jail cell where it seemed like Holmes heard absolutely everything that was going on. It was as if he was aware of everything that was going on around him. Those parts of the film established just how adept Holmes really was.
The one flaw the film may have may be tucked away in the storyline somewhere. It felt convoluted at times. It may just need a repeat viewing or two to process everything rationally. So while just about everything is explained in full by Sherlock Holmes and everything is wrapped up by the time the credits roll (other than the open-ended finale that leaves it wide open for a sequel), it did seem like the writers were trying too hard or that they were reaching out too far for explanations or something.
Sherlock Holmes is Guy Ritchie's biggest box office success to date and it's safe to say that Robert Downey Jr has jumpstarted another successful and entertaining franchise. If you're familiar with Ritchie's previous works, then this film almost feels like the Sherlock Holmes character being thrown into the same world Ritchie established in Lock, Stock, and Two Smoking Barrels and Snatch if they took place in the late nineteenth century. The film centers on Holmes' anti-social behavior, is inspired heavily by the martial art Bartitsu mentioned in the Sherlock Holmes story from 1901 entitled The Adventure of the Empty House, and focuses on Holmes' brilliant analytical mind. Sherlock Holmes is full of high octane-fueled action, entertaining comedy, and witty dialogue.
As a fan of the majority of Guy Ritchie's previous works (Lock, Stock, and Two Smoking Barrels, Snatch, Revolver, RocknRolla) and the incredible streak Robert Downey Jr has of impressive performances that have turned him into one of the most entertaining and profitable leading actors of today, you could say the anticipation and expectations for this film were fairly high. Other reviews for the film seemed to be mixed as a lot of them mentioned the writing for the film being lackluster and most complained that Sherlock Holmes wasn't an action star, but the film still brought in around $65 million its opening weekend. So is Ritchie's version of Sherlock Holmes worth seeing? If you're looking for one final film to make you laugh, have hard-hitting action, have a great cast, and have a fairly well-written story, then look no further than Sherlock Holmes.
The chemistry between Robert Downey Jr and Jude Law is the main reason to see this film. Robert Downey Jr puts in another top notch performance as Sherlock Holmes. Despite Holmes being a rather selfish individual, you can't help but find his antics entertaining. It became easier to sympathize with him as the film went on since how much Watson means to him as a friend and as his partner is revealed in the latter half of the film. As impressive as Robert Downey Jr was, Jude Law as just as entertaining. The way Holmes and Watson argue with each other and the way Watson thinks Holmes guilts him into coming along on each case is pure delight to the audience. That's partially due to the impeccable comedic timing the two have, but also due to the fact that they're both extremely talented actors at the top of their game in this film.
One of the most interesting aspects of the film is the way the film seemed to allow its viewers inside the mind of Sherlock Holmes at times. There's two occasions where Holmes is dissecting the moves he's about to make in a fight before he makes them as he announces each blow and the damage each blow does to his opponent. As he's narrating, the film plays in slow motion. When he's done, we jump back to the moment before he started narrating and see the entire situation play out in real time. There were other times, like the time in the restaurant when he's waiting to meet Watson's fiancé, Mary Morstan (Kelly Reilly), and when he's sitting in Blackwood's jail cell where it seemed like Holmes heard absolutely everything that was going on. It was as if he was aware of everything that was going on around him. Those parts of the film established just how adept Holmes really was.
The one flaw the film may have may be tucked away in the storyline somewhere. It felt convoluted at times. It may just need a repeat viewing or two to process everything rationally. So while just about everything is explained in full by Sherlock Holmes and everything is wrapped up by the time the credits roll (other than the open-ended finale that leaves it wide open for a sequel), it did seem like the writers were trying too hard or that they were reaching out too far for explanations or something.
Sherlock Holmes is Guy Ritchie's biggest box office success to date and it's safe to say that Robert Downey Jr has jumpstarted another successful and entertaining franchise. If you're familiar with Ritchie's previous works, then this film almost feels like the Sherlock Holmes character being thrown into the same world Ritchie established in Lock, Stock, and Two Smoking Barrels and Snatch if they took place in the late nineteenth century. The film centers on Holmes' anti-social behavior, is inspired heavily by the martial art Bartitsu mentioned in the Sherlock Holmes story from 1901 entitled The Adventure of the Empty House, and focuses on Holmes' brilliant analytical mind. Sherlock Holmes is full of high octane-fueled action, entertaining comedy, and witty dialogue.
Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.