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The World Ends with You: Solo Remix for iPad
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App
SUPPORTED DEVICES iOS 5.1.1 or later is required. Square Enix’s fresh-faced hit The New York...
VOR Tracker - IFR Procedure Trainer
Education and Reference
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VOR Tracker is a small but powerful training tool for pilots. It is the only one of its kind for the...
Kitten Sanctuary
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App
Rescue kittens from alien traps and keep them safe & happy in your kitten sanctuaries. Recommended...
Word Master Pro - Practical scrabble-like game
Games
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Advantages of the Pro version: **Ad-Free Experience** **7 additional board layouts** **Randomize the...
Foul Play on Words
Book
Between a kidnapping, a double booking, and a crew of hapless volunteers, Charlee is worried the...
Bob Mann (459 KP) rated Don't Breathe 2 (2021) in Movies
Aug 18, 2021
Nicely paced direction and non stop (bloody) action (1 more)
Madelyn Grace delivers a nice and professional performance
Not very original (1 more)
Should we be rooting for Norman at all?
That kid’ll need counselling for life!
I mean. If there was ever an opportunity to come up with a clever title for a sequel, this was it right? "Breathe Again"; "Hold it for a bit longer"; "Are You Turning Blue Yet?". But no... we just get a boring old "2" at the end!
Positives:
- Five years is an awfully long time to wait for a sequel! I have to admit I needed to read through my original review for "Don't Breathe" and the synopsis on IMDB before I went to see this. But, given that it is a fairly standard schlock-horror home-invasion movie, this is a nicely pieced together movie. Debut director Sayagues, who co-wrote the first film with original director Fede Alverez, moves the action along at a non-stop pace leaving you quite exhausted by the end of the (pleasantly short) 98 minutes.
- Stephen Lang nicely retreads his monster from the first movie as a besotted but anxious parent. But particularly good I thought was Madelyn Grace who plays the 11 year old Phoenix. I never once thought "there's a child actress doing a performance". Great job!
Negatives:
- It doesn't get many brownie points for originality: the blindness dice was already rolled in the original. So here we get some re-tread scenes of "the blind man being king", with red insecticide spray replacing the darkness.
- It never feels quite right that you are supposed to be cheering on Nordstrom: someone with virtually no redeeming features (other than a love for dogs).
- The original film had a decidedly icky moment with the whole baster thing. Here we have an equally icky, if ridiculous, plot-twist, taking us into a very dark place indeed. But what is supposed to be a shock-horror moment actually had me in fits of laughter, since all I could think of was a particular scene in "Monty Python and the Meaning of Life"!
Summary Thoughts on "Don't Breathe 2": We've been here so many times before that it's almost a (bloody) paint by numbers. But I have to admit that I thought this one was well done, and a cut above the norm. The first movie made $158M on a budget of just $10M. This one has a (restrained) $15M budget, and has already made that back. Good for them. The gore factor makes it not one for the illustrious Mrs Movie Man (who wisely didn't come). But for horror fans out for a nice gory little romp, this has its attractions.
And by the way, there is a 'monkey' (post-credit scene in One Mann's Movies speak) in this one. Well, Alvarez and Sayagues aren't going to dead-end their options for a "Don't Breathe 3" are they?
(For the full graphical review, please check out onemannsmovies on the web, Facebook and Tiktok. Thanks.)
Positives:
- Five years is an awfully long time to wait for a sequel! I have to admit I needed to read through my original review for "Don't Breathe" and the synopsis on IMDB before I went to see this. But, given that it is a fairly standard schlock-horror home-invasion movie, this is a nicely pieced together movie. Debut director Sayagues, who co-wrote the first film with original director Fede Alverez, moves the action along at a non-stop pace leaving you quite exhausted by the end of the (pleasantly short) 98 minutes.
- Stephen Lang nicely retreads his monster from the first movie as a besotted but anxious parent. But particularly good I thought was Madelyn Grace who plays the 11 year old Phoenix. I never once thought "there's a child actress doing a performance". Great job!
Negatives:
- It doesn't get many brownie points for originality: the blindness dice was already rolled in the original. So here we get some re-tread scenes of "the blind man being king", with red insecticide spray replacing the darkness.
- It never feels quite right that you are supposed to be cheering on Nordstrom: someone with virtually no redeeming features (other than a love for dogs).
- The original film had a decidedly icky moment with the whole baster thing. Here we have an equally icky, if ridiculous, plot-twist, taking us into a very dark place indeed. But what is supposed to be a shock-horror moment actually had me in fits of laughter, since all I could think of was a particular scene in "Monty Python and the Meaning of Life"!
Summary Thoughts on "Don't Breathe 2": We've been here so many times before that it's almost a (bloody) paint by numbers. But I have to admit that I thought this one was well done, and a cut above the norm. The first movie made $158M on a budget of just $10M. This one has a (restrained) $15M budget, and has already made that back. Good for them. The gore factor makes it not one for the illustrious Mrs Movie Man (who wisely didn't come). But for horror fans out for a nice gory little romp, this has its attractions.
And by the way, there is a 'monkey' (post-credit scene in One Mann's Movies speak) in this one. Well, Alvarez and Sayagues aren't going to dead-end their options for a "Don't Breathe 3" are they?
(For the full graphical review, please check out onemannsmovies on the web, Facebook and Tiktok. Thanks.)
A film with dodgy voices.
Catching up here with a review of a film I saw a couple of weeks ago.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
Bob Mann (459 KP) rated 47 Meters Down (2017) in Movies
Sep 29, 2021
Down Down, Deeper and Down.
It’s summer again; it’s a shark movie. Lisa and Kate are two sisters on holiday in Mexico with one grieving a lost relationship and the other looking for fun. Against their better judgement they go shark cage diving 5 metres below a vessel that looks like it should have been in the salvage yard 20 years ago. After a mechanical failure the cage plummets down to the sea bed….. (Go on, how deep? Have a guess. Go on, go on, go on …)
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
With sharks circling and air running low, will the girls survive their ordeal?
Last year, one of the surprise movies of the year for me was “The Shallows“, which I really enjoyed. A tense, well made yarn held together by a solid performance by Blake Lively and with a genuine escalation of tension (albeit let down by a poor ending).
“47 Metres Down” differs from that film in three major respects: B-movie acting, from Mandy Moore and Claire Holt (with Holt being significantly better than Moore); a screenplay by Johannes Roberts and Ernest Riera that is both ponderous and unbelievable; and dialogue that is at times truly execrable.
The film really takes its time to get to the ‘sharp end’ (as it were). Once there, the actions of the girls are so clinically stupid that they are deserving of Darwin Award nominations. Fortunately, the IQs of the sharks (well realised as CGI by Outpost VFX) are only marginally greater: the sharks will appear and then go away for ten minutes at a time, just so that the implausible plot can progress unmolested.
These films always need an escalator for the tension: in “The Shallows” it was the rising tide; in this film it is the air supply. This element works well and adds an additional element of claustrophobia to the film that is already at 11 on the scale (you surely don’t need me to tell you that claustrophobics need to avoid this film!).
Much of the dialogue is expository regarding what is going on in the darkness and is so repetitive (“We ARE going to get out of here Kate!”) that it would make a good drinking game. The worst dialogue award though goes to Matthew Modine (“Memphis Belle”) who’s repeated medical descriptions of “the bends” becomes mildly comical – I literally got a fit of the giggles at one point.
I’m not going to completely savage the film though, since there IS a nice twist to the ending, albeit one that’s heavily signposted. And instead of reaching constantly for the classic “Ben’s head in the boat” jump scare, the film occasionally teases the audience with set-ups that ultimately just feature murky water and nothing more.
My recommendation: if you’ve not yet seen “The Shallows”, check that out on DVD and give this one a miss.
Heather Cranmer (2721 KP) rated Serenade (The Dark Nocturne #1) in Books
Aug 1, 2022
I don't normally read young adult books anymore, but when I read the synopsis for Serenade by Morgan Shamy, I was intrigued. I decided to get the eBook, and I am happy I did because I ended up loving Serenade!
I felt as if the plot of Serenade by Morgan Shamy was very original. Yes, it does have some of the other elements of paranormal fantasy that others of the same genre have such as the evil supernatural and paranormal creatures, but Shamy uses all of that and changes it all around to form a very different narrative. Her background in music and dance really shines through throughout Serenade. Whilst reading this novel, I was kept on the edge of my seat waiting to see what would happen next to November and her school. I also enjoyed how Morgan Shamy is not afraid of killing off any character whether they are minor or major. It made the book that much more suspenseful. There was one major plot twist that I didn't see coming. Although Serenade is a series, there's no major cliff hanger which was a plus.
I loved each and every character in Serenade. Each was well fleshed out, and I felt as if I was reading about actual people instead of characters in a book. November was an awesome main character! While there were a few times, I felt as if she made the wrong decision, I could easily see why she chose to do/act the way she did. It was interesting to see her hatch her plan to take on the baddies of the book as well as how she would stand up for her cousin. There was something very endearing about April, and I think she was my favorite character. There was something so innocent and sweet about her. I wanted a friend like April. In fact, I think I kind of was like April in high school - low self-esteem and never quite fitting in. I never liked Cam, not because he wasn't written well, but I hated how assured of himself he was. I was always drawn to Vincent even if he was moody and broody a lot of the time. My favorite creatures in Serenade were definitely the sylphs. I loved how they could go from being beautiful and alluring to deadly quite suddenly.
Trigger warnings for Serenade include violence, death, and murder.
Overall, Serenade is an original take on the whole paranormal fantasy genre that's full of relatable characters and a plot that sucks you in from the very first page. Once you start reading this novel, you will struggle to put it down. It will have that affect on you. I would definitely recommend Serenade by Morgan Shamy to those aged 14+ who are after a book with a fresh new plot full of action, adventure, and some really cool monsters. I have already started reading Etude, the next book in The Dark Nocturne series by Morgan Shamy!
I felt as if the plot of Serenade by Morgan Shamy was very original. Yes, it does have some of the other elements of paranormal fantasy that others of the same genre have such as the evil supernatural and paranormal creatures, but Shamy uses all of that and changes it all around to form a very different narrative. Her background in music and dance really shines through throughout Serenade. Whilst reading this novel, I was kept on the edge of my seat waiting to see what would happen next to November and her school. I also enjoyed how Morgan Shamy is not afraid of killing off any character whether they are minor or major. It made the book that much more suspenseful. There was one major plot twist that I didn't see coming. Although Serenade is a series, there's no major cliff hanger which was a plus.
I loved each and every character in Serenade. Each was well fleshed out, and I felt as if I was reading about actual people instead of characters in a book. November was an awesome main character! While there were a few times, I felt as if she made the wrong decision, I could easily see why she chose to do/act the way she did. It was interesting to see her hatch her plan to take on the baddies of the book as well as how she would stand up for her cousin. There was something very endearing about April, and I think she was my favorite character. There was something so innocent and sweet about her. I wanted a friend like April. In fact, I think I kind of was like April in high school - low self-esteem and never quite fitting in. I never liked Cam, not because he wasn't written well, but I hated how assured of himself he was. I was always drawn to Vincent even if he was moody and broody a lot of the time. My favorite creatures in Serenade were definitely the sylphs. I loved how they could go from being beautiful and alluring to deadly quite suddenly.
Trigger warnings for Serenade include violence, death, and murder.
Overall, Serenade is an original take on the whole paranormal fantasy genre that's full of relatable characters and a plot that sucks you in from the very first page. Once you start reading this novel, you will struggle to put it down. It will have that affect on you. I would definitely recommend Serenade by Morgan Shamy to those aged 14+ who are after a book with a fresh new plot full of action, adventure, and some really cool monsters. I have already started reading Etude, the next book in The Dark Nocturne series by Morgan Shamy!
LeftSideCut (3776 KP) rated Day Shift (2022) in Movies
Oct 12, 2022
Vampires vs. The Bronx, Night Teeth, and now Day Shift. Someone over at Netflix really likes investing in vampire horror-comedies of varying quality. Day Shift, for the most part, is a competent and entertaining action flick, thanks in no small part to the cast. Jamie Foxx has shown time and again that he's more than capable of taking on lead duties, whether he's winning Oscars for music biopics, or kicking vampire ass up and down California. His chemistry with Dave Franco lays the foundation for much of the films humour, and introduces a kind of buddy cop dynamic into the mix. The cast is further bolstered with some smaller roles from industry veteran Peter Stormare, and living legend Snoop Dogg (patiently waiting for a Big John spin-off project).
The action scenes are a whole lot of fun. The vampires contort and twist in horrible ways, and are dispatched in equally horrible ways. There's plenty of blood and viscera, limbs flying about the place, decapitations. It's all well choreographed, fast paced, and hugely entertaining.
There's a lot going for Day Shift, but it does faulter at times. After an exciting opening scene, there's quite a lengthy dip in pacing. This leads to a lot of exposition dumps and world building. Crafting lore for a new IP is something that can be tricky to navigate, and Day Shift misses the mark in this instance. It's all well and good providing the audience with background information that would be everyday knowledge for these characters, but it's executed in a way that feels wayward and messy, and almost 100% through dialogue. And example of a film that does this kind of thing well would be Zombieland. Withing minutes, we know plenty of in-universe rules for surviving the zombie apocalypse, and it's done in a fun, breezy, and brisk manner. In contrast, Day Shift puts a pin in any sort of excitement to throw all sorts of exposition at us in a way that feels like it's relying on potential sequels for any kind of pay off. It's just a little deflating, and not even Foxx's charisma can keep it from becoming boring.
To add to the negative side of things, the villain of the piece is aggressively forgettable. There's a semi-clever reference to how estate realtors are evil, but other than that, she's just an uninspired bad guy that causes the protagonists mild peril. The narrative also suffers from the age old issue of characters doing stupid things to drive the plot forward. Some of the events that unfold don't make a huge amount of sense with what we've been told previously.
Despite these misgivings and a messy middle, Day Shift ends on a high note, with an entertaining final third, and ultimately manages to be a perfectly passable popcorn movie. What it lacks in substance, it's makes up for in style, and will surely leave most with a smile on their faces by the time the credits roll.
The action scenes are a whole lot of fun. The vampires contort and twist in horrible ways, and are dispatched in equally horrible ways. There's plenty of blood and viscera, limbs flying about the place, decapitations. It's all well choreographed, fast paced, and hugely entertaining.
There's a lot going for Day Shift, but it does faulter at times. After an exciting opening scene, there's quite a lengthy dip in pacing. This leads to a lot of exposition dumps and world building. Crafting lore for a new IP is something that can be tricky to navigate, and Day Shift misses the mark in this instance. It's all well and good providing the audience with background information that would be everyday knowledge for these characters, but it's executed in a way that feels wayward and messy, and almost 100% through dialogue. And example of a film that does this kind of thing well would be Zombieland. Withing minutes, we know plenty of in-universe rules for surviving the zombie apocalypse, and it's done in a fun, breezy, and brisk manner. In contrast, Day Shift puts a pin in any sort of excitement to throw all sorts of exposition at us in a way that feels like it's relying on potential sequels for any kind of pay off. It's just a little deflating, and not even Foxx's charisma can keep it from becoming boring.
To add to the negative side of things, the villain of the piece is aggressively forgettable. There's a semi-clever reference to how estate realtors are evil, but other than that, she's just an uninspired bad guy that causes the protagonists mild peril. The narrative also suffers from the age old issue of characters doing stupid things to drive the plot forward. Some of the events that unfold don't make a huge amount of sense with what we've been told previously.
Despite these misgivings and a messy middle, Day Shift ends on a high note, with an entertaining final third, and ultimately manages to be a perfectly passable popcorn movie. What it lacks in substance, it's makes up for in style, and will surely leave most with a smile on their faces by the time the credits roll.