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Gareth von Kallenbach (980 KP) rated Miami Vice (2006) in Movies
Aug 14, 2019
In 1984 a show arrived on NBC that instantly became a media sensation and set new standards for television dramas, as well as for music and fashion as it soon became a cultural icon.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
The show was Miami Vice, and up until the final episode in 1989, legions of viewers tuned in every Friday night for a heady mix of action, music, color, and sex making series stars Philip Michael Thomas and Don Johnson some of the most identified and emulated celebrities in the world.
As time passed, the fickle television audience cooled on the show and it passed to television history, but not before leaving an indelible mark upon pop culture as to this day, the mere mention of the show unleashes a flood of memories and images from fans the world over.
Now close to two decades after the show went off the air, the creative talent behind the show, Michael Mann, has unleashed a cinematic version of his hit series, and it has arrived awash in the trademark neon colors, action, and style that made the series such a hit.
This time out, Oscar winner Jaime Foxx and Colin Farrell are Tubs and Crockett respectively, and they soon find themselves deep undercover posing as drug runners while trying to get to the bottom of a leak inside one of the law enforcement agencies. As troublesome as the leak, is, the fact that leaked information caused the deaths of undercover agents, by suspected white supremacists armed with the latest in high tech weaponry.
The deadly game of cloak and dagger unfolds as Tubbs and Crockett find themselves deep into a major criminal organization, and to add to the tension, Crockett finds himself drawn to an attractive member of the organization (Li Gong), who “belongs” to the head of the criminal plot.
As the plot unfolds, the danger of being discovered as well as becoming lost in the parts they are playing becomes a growing danger for Tubbs and Crockett, as they not only battle to keep their cover, but to stay alive and protect those closest to them.
The film has a plot that is a bit muddled at first, but like the world in which Tubbs and Crockett find themselves, there are not always clearly defines parameters as well as individuals. As simplistic as the basic plot may seem, the varying layers of characters, locales, and motivations keeps Miami Vice, a changing mystery, yet one that is lacking tension and deep drama.
The first hour of the film plods along with plenty of sex and setup, but surprisingly little action. I noted that there were five scenes of sex, and at least two more implied sex scenes before one of the lead characters even fired a weapon, which surprisingly came at 1 Hour and 40 minutes into the film.
While the film may take a while to get to the action, when it does come, it is surprisingly effective without falling victim to the usual Hollywood Traps of numerous gigantic explosions, car chases, stunts, and an abundance of C.G.I.
The violence in the film is also very graphic as there are numerous headshots, as well as splatter moments and gaping exit wounds. Despite this, it does not seem gratuitous but rather realistic as it portrays the brutality of the characters as well as the world in which they live and work.
The surprisingly effective finale confrontation satisfies and like any good director, Mann knows when to pull back, and when to go full out, without letting the action dominate the characters and the story.
Farrell and Foxx do a solid job with their characters without having the luxury of a deep back story. Mann’s script takes the approach that the viewers will know the characters and their history and omits things like Crockett’s ex wife, son, houseboat and pet alligator Elvis.
While this may seem trivial for a film that is over two hours in length, it does provide viewers with a better understanding of the characters and their actions and motivations, which I hope will be fully explored should a second film in the series be made.
That being said, despite the long setup, and a somewhat muddles plot, Miami Vice is a stylish and refreshing film, that should entertain fans of the original show.
Phil Leader (619 KP) rated Cruise the Storm (John McBride #2) in Books
Nov 12, 2019
A group of terrorist hijackers on board a cruise ship. An ex SAS soldier on board teaching watercolour painting. A huge storm bearing down on the ship.
This might sound like the plot of some Hollywood blockbuster full of explosions and witty one liners from the hero but Chilcott delivers something a lot more cerebral than that. The story and characters have a sense of reality and this is more like a game of chess between the chief hijacker and the crew, a game where the ship is the board and the pawns the passengers which the terrorists are only too willing to dispose of to meet their aims.
Keith Bourne is the founder and leader of the White Christian League, an extreme right wing terrorist organisation who specialise in violent demonstration and the odd mosque burning. Bourne wants cash to further his rather nasty aims and decides that hijacking a cruise liner will fit the bill nicely. MI5 have been watching him and manage to get one of their agents onto the boat in an attempt to thwart Bourne and his cronies.
John McBride is a watercolour artist of some renown who is drafted onto the cruise to teach any interested passengers how to paint in watercolours, the scenes in the various Mediterranean ports they will be visitng being ideal subjects. McBride also happens to be a former member of the elite SAS and when he is made aware of the plot to hijack the ship is able to advise the captain and MI5.
The tension cranks up nicely through the first half of the book, seen mostly from the point of view of Bourne and McBride as each becomes aware of each other and both their plans have to be changed by circumstance. Everything comes to a head on the night the storm hits the ship.
At this point, with everything poised on a knife edge of success or failure for both sides, Chilcott pulls a deft narrative twist and goes back and tells the story again from the point of view of the chairman of the cruise line and one of the passengers, once again building up to the crisis point. This has the nice effect of filling in details that were previously only mentioned but also did lose the momentum which took a while to get going again. It may have been better to tell the story purely sequentially but seeing events from different perspectives again was interesting.
The characters and situations are written with a real authenticity. There are no miraculous escapes, no amazing feats of marksmanship and this is a very real strength of Chilcott's writing. Everthing happens in a way that seems very authentic - and in the case of the actions of the hijackers, worryingly so. Every action and reaction of the characters is plausible and there are frequent points where the story could go one way or another just on a chance encounter or random event.
This realism also felt a little like a weakness to me. Some things happen which provide some dramatic tension at the time but ultimately don't really have a bearing on the eventual outcome. Although this is very much like real life, perhaps it is not what is expected in a thriller of this type. In particlar (and these aren't really spoilers) the ship is damaged in the storm but this doesn't really affect anything, and also what happens when events are told from the point of view of one of the passengers looks to be building to something interesting but ultimately fizzles away. I would have liked to see more of these sub plots carried forward to the end of the story.
Despite this, the book was a good and interesting read and I am looking forward to reading more of Chilcott's McBride novels. I would recommend this book to anyone who likes their thrillers character driven and cerebral rather than all action. Plus you will pick up some excellent tips on painting in watercolours as a bonus.
Rated: Some violence, language and sexual references
This might sound like the plot of some Hollywood blockbuster full of explosions and witty one liners from the hero but Chilcott delivers something a lot more cerebral than that. The story and characters have a sense of reality and this is more like a game of chess between the chief hijacker and the crew, a game where the ship is the board and the pawns the passengers which the terrorists are only too willing to dispose of to meet their aims.
Keith Bourne is the founder and leader of the White Christian League, an extreme right wing terrorist organisation who specialise in violent demonstration and the odd mosque burning. Bourne wants cash to further his rather nasty aims and decides that hijacking a cruise liner will fit the bill nicely. MI5 have been watching him and manage to get one of their agents onto the boat in an attempt to thwart Bourne and his cronies.
John McBride is a watercolour artist of some renown who is drafted onto the cruise to teach any interested passengers how to paint in watercolours, the scenes in the various Mediterranean ports they will be visitng being ideal subjects. McBride also happens to be a former member of the elite SAS and when he is made aware of the plot to hijack the ship is able to advise the captain and MI5.
The tension cranks up nicely through the first half of the book, seen mostly from the point of view of Bourne and McBride as each becomes aware of each other and both their plans have to be changed by circumstance. Everything comes to a head on the night the storm hits the ship.
At this point, with everything poised on a knife edge of success or failure for both sides, Chilcott pulls a deft narrative twist and goes back and tells the story again from the point of view of the chairman of the cruise line and one of the passengers, once again building up to the crisis point. This has the nice effect of filling in details that were previously only mentioned but also did lose the momentum which took a while to get going again. It may have been better to tell the story purely sequentially but seeing events from different perspectives again was interesting.
The characters and situations are written with a real authenticity. There are no miraculous escapes, no amazing feats of marksmanship and this is a very real strength of Chilcott's writing. Everthing happens in a way that seems very authentic - and in the case of the actions of the hijackers, worryingly so. Every action and reaction of the characters is plausible and there are frequent points where the story could go one way or another just on a chance encounter or random event.
This realism also felt a little like a weakness to me. Some things happen which provide some dramatic tension at the time but ultimately don't really have a bearing on the eventual outcome. Although this is very much like real life, perhaps it is not what is expected in a thriller of this type. In particlar (and these aren't really spoilers) the ship is damaged in the storm but this doesn't really affect anything, and also what happens when events are told from the point of view of one of the passengers looks to be building to something interesting but ultimately fizzles away. I would have liked to see more of these sub plots carried forward to the end of the story.
Despite this, the book was a good and interesting read and I am looking forward to reading more of Chilcott's McBride novels. I would recommend this book to anyone who likes their thrillers character driven and cerebral rather than all action. Plus you will pick up some excellent tips on painting in watercolours as a bonus.
Rated: Some violence, language and sexual references
Bob Mann (459 KP) rated First Man (2018) in Movies
Sep 28, 2021
He captured a feeling. Sky with no ceiling.
A memorable event
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
I am a child of the 60’s, born in 1961. The “Space Race” for me was not some historical concept but a pervasive backdrop to my childhood. I still recall, at the age of 8, being marched into my junior school’s assembly hall. We all peered at the grainy black-and-white pictures of Neil Armstrong as he spoke his famously fluffed line before stepping onto the lunar surface. The event happened at 3:54am UK time, so clearly my recollection of “seeing it live” is bogus. (I read that the BBC stayed on air until 10:30 in the morning, so it was probably a ‘final review’ of the night’s events I saw). It is probably lodged in my memory less for the historical event and more due to the fact that there was TELEVISION ON IN THE MORNING! (Kids, ask your grandparents!)
A very personal connection. My personal copy of Waddington’s “Blast Off” board game, briefly shown in the film.
The plot
But back to Damien Chazelle‘s film. We start early in the 60’s with America getting well and truly kicked up the proberbial by the Russians in the space race: they fail to get the first man in space; they fail to carry out the first spacewalk. So the Americans, following the famous JFK speech, set their sights on the moon. It’s the equivalent of making a mess of cutting your toenails but then deciding to have a go at brain surgery. NASA develop the Gemini programme to practice the essential docking manoevers required as a precursor for the seemingly impossible (‘two blackboard’) mission that is Apollo.
But the price paid for such ambition is high.
Ryan Gosling plays Neil Armstrong as a dedicated, prickly, professional; altogether not a terribly likeable individual. Claire Foy plays his long-suffering wife Janet, putting her support for her husband’s dangerous profession ahead of her natural fears of becoming a single mother.
Review
There is obviously little tension to be mined from a film that has such a well-known historical context. Those with even a subliminal knowledge of the subject will be aware of the key triumphs and tragedies along the way. The script (by Josh Singer, “The Post“; “Spotlight“) is very well done in developing a creeping dread of knowing what is shortly to come.
Even with these inherent spoilers, Chazelle still manages to evoke armrest-squeezing tension into the space flight sequences. A lot of this is achieved through disorientating camera movements and flashing images that may irritate some but I found to be highly effective. (Did anyone else flash back to that excellent “Mission Space” ride at Epcot during the launch sequences?) This hand-held cinematography by Linus Sandgren (Chazelle’s “La La Land” collaborator) is matched by some utterly drop-dead gorgeous shots – beautifully framed; beautifully lit – that would be worthy of a Kaminski/Spielberg collaboration.
Those expecting a rollercoaster thrill-ride of the likes of “Apollo 13” will be disappointed. The film has more of the slow-and-long-burn feeling of “The Right Stuff” in mood and, at 141 minutes, some might even find it quite boring. There is significant time, for example, spent within the family home. These scenes include turbulent events of which I wasn’t previously aware: events that form the cornerstone of the film’s drama. For me, the balance of the personal and the historical background was perfectly done. I found it curious though that with such a family-oriented drama Chazelle chose to ditch completely any cuts away to the earthbound onlookers during the tense lunar landing sequence. (Compare and contrast with Ron Howard‘s masterly inter-cutting in the re-entry scene of “Apollo 13”). With the outcome foretold, perhaps such tension building was considered unnecessary? I’m not suggesting it was wrong to ‘stay in the moment’ with the astronauts, but it’s a bold directorial move.
Overall, the foolhardiness of NASA trying to do what they did with the 60’s technology at their disposal is well-portrayed. If you’ve been lucky enough, as I have, to view the Apollo 11 capsule in the National Air and Space museum in Washington you can’t help but be impressed by the bravery of Armstong, Aldrin and Collins in getting in that bucket of bolts and putting their lives on the line. True American heroes.
On that topic, the “flag issue” has generated much self-righteous heat within the US media; that is regarding Chazelle not showing the American flag being planted. This seems fatuous to me. Not only is the flag shown on the moon, but the film ably demonstrates the American know-how and bravery behind the mission. If Clint Eastwood had been directing he would have probably gone there: but for me it certainly didn’t need any further patriotism rubbed in the viewer’s face.
The turns
Are Oscar nominations on the cards for Ryan Gosling and Claire Foy? For me, it would be staggering if they are not: this film has “Oscar nomination” written all over it. I’d also certainly not bet against Foy winning for Best Actress: her portrayal of a wife on the edge is nothing short of brilliant. And perhaps, just perhaps, this might be Gosling’s year too.
Elsewhere there are strong supporting performances from Kyle Chandler (as Deke Slayton), Corey Stoll (as the ‘tell it how it is’ Buzz Aldrin) and Jason Clarke (as Ed White). It’s also great to see Belfast-born Ciarán Hinds in another mainstream Hollywood release.
For me, another dead cert Oscar nomination will be Justin Hurwitz for the score which is breathtakingly brilliant, not just in its compelling themes but also in its orchestration: the use of the eerie theremin and melodic harp are just brilliant together. I haven’t heard a score this year that’s more fitting to the visuals: although it’s early in the Oscar season to be calling it, I’d be very surprised if this didn’t walk away with the statuette.
Summary
Loved this. Damien Chazelle – with “Whiplash“, “La La Land” and now “First Man” – has hit all of three out of the park in my book. It’s not really a film for thrill-seekers, who might get bored, but anyone, like me, with an interest in the history of space exploration will I think lap it up: for this was surely the most memorable decade in space history… so far.
On leaving the cinema I looked up at the rising moon and marvelled once more at the audacity of man. My eyes then drifted across to the red dot that was Mars. How long I wonder? And how many dramatic film biographies still to come?
Merissa (13389 KP) rated The Past Comes Homes (Ames Bridge #2) in Books
Oct 24, 2017
The Past Comes Home (Ames Bridge #2) by Silvia Violet
The Past comes Home is the second book in the Ames Bridge series, and we reunite with Pax, who we met in the first book when he supported Beck and Cal. In this book, we start off when he is a teenager. He is watching his older brother and his brother's best friend, and realises that what ticks his boxes is NOT the female anatomy. The years pass, and tragedy strikes Pax's family, but his feelings towards his brother's best friend remain the same. So when Brad comes back to town for a school reunion, Pax has to try and keep it cool being as Brad is straight... except that he isn't and he has had the same feelings for Pax and for pretty much the same amount of time.
With the same wonderful cast of characters, and yep, the not-so-wonderful are still there too, it was a pleasure to come back to this series. With a different set of circumstances and dilemmas, Pax and Brad's story is different from Beck and Cal, and I'm happy to announce that they show up in this one too.
One of the things that Silvia Violet does so well is to keep the tension and attraction going between her main males. The circumstances might not be right, but the attraction simmers. That means that when they DO get together, that attraction explodes into some of the steamiest, sensual, and sexy, reads I have had the pleasure of reading.
I was a fan of Silvia Violet's after reading Professional Distance (Thorne & Dash #1), and the Ames Bridge series has just compounded my love of her writing style. As expected, there were no editing or grammatical errors that disrupted my reading flow. I read this book in a single sitting - the world (and my children) having to wait until I had reached the end of Pax and Brad's story. An excellent addition to the series, and highly recommended by me.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
With the same wonderful cast of characters, and yep, the not-so-wonderful are still there too, it was a pleasure to come back to this series. With a different set of circumstances and dilemmas, Pax and Brad's story is different from Beck and Cal, and I'm happy to announce that they show up in this one too.
One of the things that Silvia Violet does so well is to keep the tension and attraction going between her main males. The circumstances might not be right, but the attraction simmers. That means that when they DO get together, that attraction explodes into some of the steamiest, sensual, and sexy, reads I have had the pleasure of reading.
I was a fan of Silvia Violet's after reading Professional Distance (Thorne & Dash #1), and the Ames Bridge series has just compounded my love of her writing style. As expected, there were no editing or grammatical errors that disrupted my reading flow. I read this book in a single sitting - the world (and my children) having to wait until I had reached the end of Pax and Brad's story. An excellent addition to the series, and highly recommended by me.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Haley Mathiot (9 KP) rated Lost Voices (Lost Voices, #1) in Books
Apr 27, 2018
I'm not particularly sure what I think about Lost Voices. Here's the basic rundown: Beautiful writing, interesting story, and gripping plot and pacing. Here's the problem: I didn't like most of the characters.
I liked the main character, Luce. She was smart and brave but a little sullen. And I couldn't figure out if I liked the queen of the mermaids. At first I hated her because I didn't trust her, and then at times I did like her, and she seemed bi-polar. Some of the other mermaid girls made me so mad I wanted to hit them. Especially the disloyal ones (There was a section where the girls started following someone else as their queen and she wasn't a good choice). Also on the loyalty aspect: I felt like out of all the girls (there had to be at least thirty by this section of the story) there had to be at least one besides Luce who was loyal to the other queen. It didn't make any sense. Those other mermaids frustrated me beyond all reason.
Back to the great side of the book, the writing was beautiful. It was enchanting and descriptive. There were parts that felt odd or out of place, and it would have been much better if it were from Luce's perspective (it was third person) but it was good and easy to read.
The book was addicting, and I couldn't stop thinking about it. The plot was interesting, the pacing was good, and there was tension all throughout the book. But the characters were frustrating. Maybe it was a good frustration, because I read it pretty quickly.
My only other complaint is the ending: It could have had a little more closure, or a little more promise. It was sort of like "oh, okay, so now it's over. now what? what happens next?" It reminded me a little of Cassandra Clare's endings (only it wasn't as horrible of a cliff-hanger).
Content/Recommendation: Some slightly emotionally disturbing references like rape, abuse, violence etc. but nothing explicit. No language. Ages 14+
I liked the main character, Luce. She was smart and brave but a little sullen. And I couldn't figure out if I liked the queen of the mermaids. At first I hated her because I didn't trust her, and then at times I did like her, and she seemed bi-polar. Some of the other mermaid girls made me so mad I wanted to hit them. Especially the disloyal ones (There was a section where the girls started following someone else as their queen and she wasn't a good choice). Also on the loyalty aspect: I felt like out of all the girls (there had to be at least thirty by this section of the story) there had to be at least one besides Luce who was loyal to the other queen. It didn't make any sense. Those other mermaids frustrated me beyond all reason.
Back to the great side of the book, the writing was beautiful. It was enchanting and descriptive. There were parts that felt odd or out of place, and it would have been much better if it were from Luce's perspective (it was third person) but it was good and easy to read.
The book was addicting, and I couldn't stop thinking about it. The plot was interesting, the pacing was good, and there was tension all throughout the book. But the characters were frustrating. Maybe it was a good frustration, because I read it pretty quickly.
My only other complaint is the ending: It could have had a little more closure, or a little more promise. It was sort of like "oh, okay, so now it's over. now what? what happens next?" It reminded me a little of Cassandra Clare's endings (only it wasn't as horrible of a cliff-hanger).
Content/Recommendation: Some slightly emotionally disturbing references like rape, abuse, violence etc. but nothing explicit. No language. Ages 14+
Haley Mathiot (9 KP) rated Blood Magic (The Blood Journals, #1) in Books
Apr 27, 2018
Books should capture you from the first page, right? They should cause you to want to read more and not be able to put it down. They should also have important interesting things happening in every scene.
This is the problem with Blood Magic. The very first chapter was interesting: beyond interesting. It felt like I'd opened up to the middle. It threw me into the story with no explanation, no development, and no mental preparation. Because I didn't know the character I was reading about, it felt out of place and I just didn't care. The excitement was gone: it could have been dramatic if it was in Chapter 7, but it wasn't, it was in Chapter 1. The pacing felt off.
Same with the romance between the two main characters: It was way too smooth, way to fast, and there was no chemistry. They kissed a lot, but there was no chemistry, because there wasn't enough time for the tension between them to build.
I felt like the story didn't really get started until halfway through the book. I kept wondering "what's the point of all this?" See, stuff was happening, but there was no real plot. A plot is the main point of the story, and events link together to form it. Blood Magic had lots of events, but they didn't start connecting until late, and by that time I was tired of lots of kissing and cutting and looking at each other with go-go eyes.
On the good side, I did like the female protagonist, Silla. Her personality and her character were fun, her responses and reactions were plausible. The blood magic she performs was intriguing, as all magic is to me, and I enjoyed reading about it (however gruesome cutting yourself to use your blood for magic potions is).
However I am terribly disappointed. I expected much more from a Randomhouse book. The concept of Blood Magic had so much potential… but I feel disappointed and annoyed after hitting the halfway point. And the thing about reading is, why read something disappointing when I could read something that will please me? So I'm moving on.
This is the problem with Blood Magic. The very first chapter was interesting: beyond interesting. It felt like I'd opened up to the middle. It threw me into the story with no explanation, no development, and no mental preparation. Because I didn't know the character I was reading about, it felt out of place and I just didn't care. The excitement was gone: it could have been dramatic if it was in Chapter 7, but it wasn't, it was in Chapter 1. The pacing felt off.
Same with the romance between the two main characters: It was way too smooth, way to fast, and there was no chemistry. They kissed a lot, but there was no chemistry, because there wasn't enough time for the tension between them to build.
I felt like the story didn't really get started until halfway through the book. I kept wondering "what's the point of all this?" See, stuff was happening, but there was no real plot. A plot is the main point of the story, and events link together to form it. Blood Magic had lots of events, but they didn't start connecting until late, and by that time I was tired of lots of kissing and cutting and looking at each other with go-go eyes.
On the good side, I did like the female protagonist, Silla. Her personality and her character were fun, her responses and reactions were plausible. The blood magic she performs was intriguing, as all magic is to me, and I enjoyed reading about it (however gruesome cutting yourself to use your blood for magic potions is).
However I am terribly disappointed. I expected much more from a Randomhouse book. The concept of Blood Magic had so much potential… but I feel disappointed and annoyed after hitting the halfway point. And the thing about reading is, why read something disappointing when I could read something that will please me? So I'm moving on.
Rachel King (13 KP) rated A Pointed Death in Books
Feb 11, 2019
I am not usually a fan of mysteries. They often seem like pre-scripted storylines with fill-in-the-blank characters and place names. Not so with this book. The mystery that Nola Billingsley finds herself in the midst of is set against a background of dot-com start-up corporations and the biotechnology industry. I was intrigued right away by the biotechnology aspects thanks to some education in biology myself. Russell often goes into the technical details of this thriving industry, which I think can slow a reader down who does not already understand much of this terminology.
Many of the characters are unique, if a bit cliche - such as Nola's southern belle mother, Janie Belle. I also found it odd that Nola mostly referred to her mother by her first name instead of simply calling her Mother or Mom. Nola's pointer dog, Skootch, often stole the show with his antics, but the plot seems to depend on Skootch's behavior for its progression.
Other parts of the book that I enjoyed for their own sake was the details that Russell used to bring the setting of San Francisco to life, such as the California cuisine. The polarization of Nola's choice of foods in comparison to her mother's southern cooking made for some interesting situations, and one scene at a crab festival had me salivating in jealousy. Russell is very good with details and descriptions across the board.
As for the plot, there was very little to disappoint. There was not much I could predict, no matter how many times I thought I knew what would happen next. The action was intense at times, but it was interspersed with bits of humor and romance to lighten the tension. Most of the subplots wrapped up nicely, with only a bit left over for a second book in the series to pick up. The only real question that I had that was never answered was what Nola's dot-com company actually did before it crashed. This likely was not relevant enough to the plot to be worth including.
On the whole, I was delighted that this book was a much better read than I expected it to be.
Many of the characters are unique, if a bit cliche - such as Nola's southern belle mother, Janie Belle. I also found it odd that Nola mostly referred to her mother by her first name instead of simply calling her Mother or Mom. Nola's pointer dog, Skootch, often stole the show with his antics, but the plot seems to depend on Skootch's behavior for its progression.
Other parts of the book that I enjoyed for their own sake was the details that Russell used to bring the setting of San Francisco to life, such as the California cuisine. The polarization of Nola's choice of foods in comparison to her mother's southern cooking made for some interesting situations, and one scene at a crab festival had me salivating in jealousy. Russell is very good with details and descriptions across the board.
As for the plot, there was very little to disappoint. There was not much I could predict, no matter how many times I thought I knew what would happen next. The action was intense at times, but it was interspersed with bits of humor and romance to lighten the tension. Most of the subplots wrapped up nicely, with only a bit left over for a second book in the series to pick up. The only real question that I had that was never answered was what Nola's dot-com company actually did before it crashed. This likely was not relevant enough to the plot to be worth including.
On the whole, I was delighted that this book was a much better read than I expected it to be.
RəX Regent (349 KP) rated Judgment at Nuremberg (1961) in Movies
Feb 19, 2019
“He that is without sin among you, let him cast the first stone at her.”
It has been over 20 years since I first saw this as teenager, but watching it again with little memory of the specifics, I was both a little disappointed but also very impressed.
With a title like “Judgement at Nuremberg,” you can be forgiven for expecting a film about the trial of the Concentration Camp guards or Hermann Goering, but instead we are given something much more subtle and subversive. This follows a fictionalised account of the “Judges Trial”.
Here, Spencer Tracey’s U.S. Judge leads a panel of three peers as they preside over a trial of four NAZI judges, the focus of their crimes is not of there actions during the war but those in the mid 1930’s and their perversions of justice in aiding Hitler’s NAZI’s to oppress their own people.
The film also asked a myriad of uncomfortable questions, not only taking aim at the long dead National Socialist movement, but the world as a whole, including the U.S.A. Sighting parallels from Allied nations who claim cultural superiority after winning the war yet only being a stone’s throw away from the same attitudes.
But this is not just subverting the perceptions of jurist prudence, it is a drama, a head to head between Tracey and his German counterpart in the doc, Bert Lancaster. It is also a vehicle for a host of Oscar worthy performances from an all star cast, ALL of which excel in their roles, some more subtly than others.
The standouts are Montgomery Cliff and Judy Garland, both of whom would pass away soon after this film was release at relatively young ages. Kramer’s cinematography is impressive too, as it keeps the camera moving around the courtroom through the lengthy cross-examination scenes, keeping the tension high and the interest alive through this three-hour drama.
With a healthy dose of melancholy, jaded and brutalised characters and foreshadowing the impending Cold War, this is a film which understands war and the often forgotten fact that even though Wars have a start and and end date, they take decades to build up and never really end.
With a title like “Judgement at Nuremberg,” you can be forgiven for expecting a film about the trial of the Concentration Camp guards or Hermann Goering, but instead we are given something much more subtle and subversive. This follows a fictionalised account of the “Judges Trial”.
Here, Spencer Tracey’s U.S. Judge leads a panel of three peers as they preside over a trial of four NAZI judges, the focus of their crimes is not of there actions during the war but those in the mid 1930’s and their perversions of justice in aiding Hitler’s NAZI’s to oppress their own people.
The film also asked a myriad of uncomfortable questions, not only taking aim at the long dead National Socialist movement, but the world as a whole, including the U.S.A. Sighting parallels from Allied nations who claim cultural superiority after winning the war yet only being a stone’s throw away from the same attitudes.
But this is not just subverting the perceptions of jurist prudence, it is a drama, a head to head between Tracey and his German counterpart in the doc, Bert Lancaster. It is also a vehicle for a host of Oscar worthy performances from an all star cast, ALL of which excel in their roles, some more subtly than others.
The standouts are Montgomery Cliff and Judy Garland, both of whom would pass away soon after this film was release at relatively young ages. Kramer’s cinematography is impressive too, as it keeps the camera moving around the courtroom through the lengthy cross-examination scenes, keeping the tension high and the interest alive through this three-hour drama.
With a healthy dose of melancholy, jaded and brutalised characters and foreshadowing the impending Cold War, this is a film which understands war and the often forgotten fact that even though Wars have a start and and end date, they take decades to build up and never really end.
Lee Richmond (19 KP) rated Eaten Alive (1977) in Movies
Mar 2, 2019 (Updated Mar 2, 2019)
He's out there and he's got murder on his mind!
When a films opening line, said with a southern drawl, is "My name is Buck and I'm rarin to fuck", you know you're in for a treat. The actor responsible for it's delivery is a pre Freddy Krueger, Robert Englund who's main aim is to screw women in a very uncomfortable place, and I don't mean in the back of a VW. This opening line obviously made an impression on Quentin Tarantino as he later stole it for the equally unpleasant coma rapist, Buck in Kill Bill Vol 1. Either that or he had overheard Harvey Weinstien whisper it to a pot plant.
Director Tobe Hooper once again sticks it to the southern redneck after having painted them as cannibal, inbred, power tool enthusiasts in his previous film, The Texas Chain Saw Massacre.
The basic premise of this movie is a guy who runs a B&B and isn't too fond of the local brothel and consequently likes to feed it's clients to his pet Crocodile. Yep you heard me. Crocodile, not alligator... Crocodile. And that really is it in a nutshell.
Unlike Texas Chain Saw which, while not especially gory but very gritty and full of moments of tension, (see the drawn out dinner table, hammer scene), this is more straight up gore flick and lacks almost everything that made Hoopers earlier film top of most people's 10 best horror movie list.
I'm not saying that this film isn't worth your time. It does have a silly charm all of its own and while pretty whacky I do tend to enjoy it. Robert Englund appears to be having fun building on that nasty streak that he will later put to such good use in A Nightmare on Elm Street. The film also stars Texas Chain Saw final girl Marilyn Burns.
Don't watch this expecting great things because this isn't Texas Chain Saw. It isn't even Texas Chain Saw 2, (that film had Leatherface and Dennis Hopper square off in a Chainsaw sword fight so I won't hear a bad word against it).
Not brilliant but certainly not bad so give it a watch.
Director Tobe Hooper once again sticks it to the southern redneck after having painted them as cannibal, inbred, power tool enthusiasts in his previous film, The Texas Chain Saw Massacre.
The basic premise of this movie is a guy who runs a B&B and isn't too fond of the local brothel and consequently likes to feed it's clients to his pet Crocodile. Yep you heard me. Crocodile, not alligator... Crocodile. And that really is it in a nutshell.
Unlike Texas Chain Saw which, while not especially gory but very gritty and full of moments of tension, (see the drawn out dinner table, hammer scene), this is more straight up gore flick and lacks almost everything that made Hoopers earlier film top of most people's 10 best horror movie list.
I'm not saying that this film isn't worth your time. It does have a silly charm all of its own and while pretty whacky I do tend to enjoy it. Robert Englund appears to be having fun building on that nasty streak that he will later put to such good use in A Nightmare on Elm Street. The film also stars Texas Chain Saw final girl Marilyn Burns.
Don't watch this expecting great things because this isn't Texas Chain Saw. It isn't even Texas Chain Saw 2, (that film had Leatherface and Dennis Hopper square off in a Chainsaw sword fight so I won't hear a bad word against it).
Not brilliant but certainly not bad so give it a watch.
Another smash hit by Jordan Peele
I am an avid horror fanatic. This being said, I have seen loads of horror/thriller movies and Us actually made me leave the theater feeling more creeped out than I have ever felt watching a movie in this genre.
The sound editing was on point. The song "I got 5 on it" by Luniz was used several times in the movie as the original song and sampled in various ways depending on the portion of the movie and it worked in all aspects. The slowed down version worked well during the heightened moments when it was needed to be sufficiently creepy.
Surprisingly there were a few funny moments in the movie. I wasn't expecting to be tickled in a horror movie but Mr Peele knows how to keep that balance between funny and scary. It had just enough to cut the tension in some moments but not so much that you felt like you were watching some garbage like Scary Movie or Paranormal Whacktivity.
Plotwise, it didn't feel like it was hard to get lost but, in the mark of a true horror director, just when you think you have things figured out. BAM!! Plot twist came out of left field and slapped me in the face making me realize that I had no idea what was even right in the first place.
The acting was well done for the main cast but I feel the secondary cast could have been portrayed better or even with better people. It wasn't bad but the minor characters were so one dimensional and lacked any kind of personality that made me care about them for the short time they were on screen multiple times.
Overall, really great movie. I give it a 9 inky because nothing is perfect, but that was very well done and I look forward to Jordan Peele helming the reboot of The Twilight Zone series later this year. If it's anything like his last 2 movies, we're in for a treat.
The sound editing was on point. The song "I got 5 on it" by Luniz was used several times in the movie as the original song and sampled in various ways depending on the portion of the movie and it worked in all aspects. The slowed down version worked well during the heightened moments when it was needed to be sufficiently creepy.
Surprisingly there were a few funny moments in the movie. I wasn't expecting to be tickled in a horror movie but Mr Peele knows how to keep that balance between funny and scary. It had just enough to cut the tension in some moments but not so much that you felt like you were watching some garbage like Scary Movie or Paranormal Whacktivity.
Plotwise, it didn't feel like it was hard to get lost but, in the mark of a true horror director, just when you think you have things figured out. BAM!! Plot twist came out of left field and slapped me in the face making me realize that I had no idea what was even right in the first place.
The acting was well done for the main cast but I feel the secondary cast could have been portrayed better or even with better people. It wasn't bad but the minor characters were so one dimensional and lacked any kind of personality that made me care about them for the short time they were on screen multiple times.
Overall, really great movie. I give it a 9 inky because nothing is perfect, but that was very well done and I look forward to Jordan Peele helming the reboot of The Twilight Zone series later this year. If it's anything like his last 2 movies, we're in for a treat.