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Purple Phoenix Games (2266 KP) rated Steam Park: Play Dirty in Tabletop Games
Aug 20, 2021
In the expansion review series, we take a look at a game expansion to discuss whether it is a necessary purchase/addition to one’s collection.
This breakdown is for the action dice-rolling and them park-building game Steam Park’s modular expansion, Play Dirty (as in dirt, not as in adult themes). Play Dirty is a modular expansion, so some modules may be added or left out depending on comfort level and enjoyment of each module.
One major module added to this expansion is the addition of a fifth player to Steam Park. As if Steam Park wasn’t frantic enough with four, go ahead and throw in a fifth set of hands going crazy at the table! Also included are gray “Stingy Visitors,” which act as wild visitor types for color, but provide one less Danari (currency in Steam Park) but create NO DIRT. Excellent! Play Dirty also includes a new set of five stands for robots to do business: Fountain, Hall of Mirrors, Office, Shooting Gallery, and Incinerator. Along with these new stands are a set of stand reference tiles to remind players what each stand actually does in the game. Very handy.
The biggest difference-makers in the expansion box are the Ride Extensions, Park Directors, and Espionage Dice. Ride Extensions do just that – extend existing rides in one’s park, but the two different colored extensions (golden and rusty) have their own rules that are triggered depending on colors of robots upon them. The Park Directors module adds a new twist that changes the rules for an aspect of the base game for all players throughout the entire game. These are very powerful changes, and one Park Director is chosen to be used at the beginning of each game. Espionage Dice are very special in that one is added to each player’s white dice and rolled as normal throughout the game. However, the Espionage Dice cost 4 Danari to activate after the Roll Phase. The power here is that the player using the die pays one Danari less to use it when matching the face of white dice in their opponent’s pig sitting to their right. For example, to use a Build Stand face on Espionage Die will cost four Danari normally. However, should the opponent on the right have four Build Stand symbols showing on their white dice, the Espionage Die activates for free!
Must you own the Play Dirty expansion to truly enjoy your plays of Steam Park? Not at all. I do very much enjoy several of the modules in the box though. I really enjoy the powerful Park Directors because it freshens up a rule from the base game or modifies it in interesting ways. I like the new Stands that come in the box as well for additional options during play, but you MUST use the reference tiles, especially if combining all 10 Stands. The other modules are fine, but I would have been happy with just the ones I mentioned here.
Official recommendation: I remember my first play of Steam Park and falling in love with it right away. I have never felt stagnation in my future plays, but adding Play Dirty certainly is a game-changer in every sense of the term. I say definitely pick it up if you are feeling the base game no longer gives you the excitement and frenzy it once did.
This breakdown is for the action dice-rolling and them park-building game Steam Park’s modular expansion, Play Dirty (as in dirt, not as in adult themes). Play Dirty is a modular expansion, so some modules may be added or left out depending on comfort level and enjoyment of each module.
One major module added to this expansion is the addition of a fifth player to Steam Park. As if Steam Park wasn’t frantic enough with four, go ahead and throw in a fifth set of hands going crazy at the table! Also included are gray “Stingy Visitors,” which act as wild visitor types for color, but provide one less Danari (currency in Steam Park) but create NO DIRT. Excellent! Play Dirty also includes a new set of five stands for robots to do business: Fountain, Hall of Mirrors, Office, Shooting Gallery, and Incinerator. Along with these new stands are a set of stand reference tiles to remind players what each stand actually does in the game. Very handy.
The biggest difference-makers in the expansion box are the Ride Extensions, Park Directors, and Espionage Dice. Ride Extensions do just that – extend existing rides in one’s park, but the two different colored extensions (golden and rusty) have their own rules that are triggered depending on colors of robots upon them. The Park Directors module adds a new twist that changes the rules for an aspect of the base game for all players throughout the entire game. These are very powerful changes, and one Park Director is chosen to be used at the beginning of each game. Espionage Dice are very special in that one is added to each player’s white dice and rolled as normal throughout the game. However, the Espionage Dice cost 4 Danari to activate after the Roll Phase. The power here is that the player using the die pays one Danari less to use it when matching the face of white dice in their opponent’s pig sitting to their right. For example, to use a Build Stand face on Espionage Die will cost four Danari normally. However, should the opponent on the right have four Build Stand symbols showing on their white dice, the Espionage Die activates for free!
Must you own the Play Dirty expansion to truly enjoy your plays of Steam Park? Not at all. I do very much enjoy several of the modules in the box though. I really enjoy the powerful Park Directors because it freshens up a rule from the base game or modifies it in interesting ways. I like the new Stands that come in the box as well for additional options during play, but you MUST use the reference tiles, especially if combining all 10 Stands. The other modules are fine, but I would have been happy with just the ones I mentioned here.
Official recommendation: I remember my first play of Steam Park and falling in love with it right away. I have never felt stagnation in my future plays, but adding Play Dirty certainly is a game-changer in every sense of the term. I say definitely pick it up if you are feeling the base game no longer gives you the excitement and frenzy it once did.
Keep Her Safe
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In the blink of an eye, she's gone. Maggie’s daughter Penny is her whole world… and she’d do...
Bob Mann (459 KP) rated King Arthur: Legend Of The Sword (2017) in Movies
Sep 29, 2021
The Arthurian legend: but with Cockneys.
So, bit difficult to describe this one… so I asked my bloke Alfie from Londinium to explain what’s it all about…
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
“‘Ere, OK bruv. So this is dun by that geezer Guy Ritchie – yer know, the one that dun that Sherlock Holmes with the Iron Man geezer Robert Junior Downey, that one. His new film is a rip-roarin’ acshun movie what retells da Arfurian legend in a novel new way.
That Hulk bloke Eric Bana is Arfur’s farfer an’ ‘e’s ‘avin’ a few problems wiv ‘is bruvver Vortigern (Jude Law, who’s a bi’ ov a cockney ‘imself, but ‘ere speaks like a posh bloke. Know what I mean?) So ‘e (Vortigern dat is) gets some magical ‘elp from some slippery watery bints in a puddle and so ‘is dad puts ‘is God Forbid in a boat an’ sends ‘im down da river ter The Smoke ter live wiv some prozzies.
But ‘e grows up big an’ strong an’ ‘andy wiv a sword. His friends tell ‘im ter get aaaht ov town as da King’s blokes are lookin’ fer da young geezer who would be king. An’ e says like “Scapa Flow sowf ov da river at dis time ov night. Are yew mad?”. So e gets caught like an’ gets tested by some famous football bloke ter pull a big sword aaaht ov just a random bi’ ov stone (nod, nod, wink wink, nice twist – ssshhh!).
The Vortigern bloke is very cross an’ tries to kill ‘im but ‘e gets rescued by some bird who can make birds, lol, an’ other fings do what she wants. So can Arfur beat ‘is uncle? Gawdon Bennet, I’m not gon’a tell yew da whole darn fing! Yer’ll ‘ave ter go an’ watch i’ ter find out.”
Thanks Alfie. Couldn’t have said it better myself!
The quirky style of Guy Ritchie isn’t one that you would think would translate well to the Arthurian setting, and as the film starts you tend to think you were right! But if you give it a chance it wears you down into acceptance and then – ultimately – a lot of enjoyment.
Jude Law is deliciously evil mixed with a heavy dose of mad, and delivers the goods.
Charlie Hunnam who plays Arthur (no, I hadn’t heard of him either but he was in the “Lost City of Z”) does a decent job as the medieval hunk, although he seems at time to have taken voice coaching in ‘Olde-English’ from Russell Crowe, since the lad’s Geordie accent seems to wander from Cockney through central southern England to Liverpudlian at one point (definitely channelling a young John Lennon)! Relative newcomer, the Spanish actress Astrid Bergès-Frisbey is effectively weird as the mage.
Particularly noteworthy (no pun intended) is the superb action soundtrack by Daniel Pemberton (“Steve Jobs“, “The Man from U.N.C.L.E.“) which propels the action really well and contains some standout moments.
Also a standout in the technical categories is the editing by James Herbert, who did both of Downey Junior’s “Sherlock Holmes” films (in a similar style) and also “Edge of Tomorrow“. The style is typified with Arthur’s growth to manhood in the streets of London which is stylishly done.
I saw the film in 3D – not a particularly favourite format – but quite well done, although falls into the “trying too hard” category at times with lots of drifting embers… you know the sort.
It’s not bloody Shakespeare. It’s not even the bloody Arthurian legend as you know it. But it is bloody good fun if you let it in.
Emma @ The Movies (1786 KP) rated Scream (2022) in Movies
Feb 5, 2022
The much anticipated new release, I was amazed that I managed to avoid seeing the trailer or spoilers (I even only vaguely saw the poster), and after seeing the film... I'm not sure that was entirely sensible, I should probably have knocked down my anticipation a bit by looking at all of it.
The Scream franchise has long been one of my favourites, the lighter kind of horror that isn't actually that horrific. (Maybe I'm just a little jaded.) Controversially, my favourite is Scream 4, I enjoyed the slightly updated concepts, and that's what gave me some hopes for this fifth instalment.
Woodsboro once again feels the weight of its history when Ghostface comes back to torment the locals, bringing home its most famous residents.
A young girl, Tara, has the typical Scream opener, setting off the latest spree. With all this happening it draws her estranged sister back to town, and she feels the need to investigate the recent incidents. But she needs help, so she enlists one of Woodsboro's experts who has seen his fair share of Ghostface. As the killer gets closer to their end game, Sydney and Gale are drawn back to try and end his legacy.
That's a tried and tested formula, so it's a reasonable decision to go with it, but the execution didn't hit right for me. There were too many points that just weren't believable, even with the suspension of belief for this type of film, and this was yet another film that really overegged the fact that it was trying to be clever.
While all four of the previous films we have some different aspect to them to set them apart from each other, here, while they do have a new twist, the rest is just a rehash. Which I get, that's the point, but that only works if it's executed well.
Our returning cast were as you would expect, great repeat performances for their characters. The new additions... well, I felt like they would have been better suited to a spoof than a "serious" horror movie. While I wasn't keen on their performances, the script also didn't help them much. The prospect of seeing any of them again in the next one (yes, Scream 6 has been greenlit) doesn't appeal.
Sam is our lead character, and she's no Sidney Prescott. While her backstory has potential, it's definitely not realised in this film. There's little chemistry on screen and a distinct lack of terror befitting someone in this role.
I did go and see it twice, I genuinely thought I must have missed something. This was a similar feeling to when I saw Endgame, initially I was not a happy bunny, but the second watch was a definite improvement. Here that sadly wasn't the case. There was that same feeling as the first time, no excitement to come back and see it again, and absolutely no love for the way the storyline unfolded.
The score for this is a little upsetting, it puts it at my least favourite of the franchise. The few bits I found enjoyable had no chance of outweighing the bad, this definitely won't make it out of fifth place in the series ranking. Will I watch it again? Sure. When it's streaming, and in a rewatch before 6... but apart from that, I will have to relegate it to the pit I threw Die Hard 5 into.
For added spoilers, check out the full review on my website: https://emmaatthemovies.blogspot.com/2022/02/scream-2022-spoiler-movie-review.html
The Scream franchise has long been one of my favourites, the lighter kind of horror that isn't actually that horrific. (Maybe I'm just a little jaded.) Controversially, my favourite is Scream 4, I enjoyed the slightly updated concepts, and that's what gave me some hopes for this fifth instalment.
Woodsboro once again feels the weight of its history when Ghostface comes back to torment the locals, bringing home its most famous residents.
A young girl, Tara, has the typical Scream opener, setting off the latest spree. With all this happening it draws her estranged sister back to town, and she feels the need to investigate the recent incidents. But she needs help, so she enlists one of Woodsboro's experts who has seen his fair share of Ghostface. As the killer gets closer to their end game, Sydney and Gale are drawn back to try and end his legacy.
That's a tried and tested formula, so it's a reasonable decision to go with it, but the execution didn't hit right for me. There were too many points that just weren't believable, even with the suspension of belief for this type of film, and this was yet another film that really overegged the fact that it was trying to be clever.
While all four of the previous films we have some different aspect to them to set them apart from each other, here, while they do have a new twist, the rest is just a rehash. Which I get, that's the point, but that only works if it's executed well.
Our returning cast were as you would expect, great repeat performances for their characters. The new additions... well, I felt like they would have been better suited to a spoof than a "serious" horror movie. While I wasn't keen on their performances, the script also didn't help them much. The prospect of seeing any of them again in the next one (yes, Scream 6 has been greenlit) doesn't appeal.
Sam is our lead character, and she's no Sidney Prescott. While her backstory has potential, it's definitely not realised in this film. There's little chemistry on screen and a distinct lack of terror befitting someone in this role.
I did go and see it twice, I genuinely thought I must have missed something. This was a similar feeling to when I saw Endgame, initially I was not a happy bunny, but the second watch was a definite improvement. Here that sadly wasn't the case. There was that same feeling as the first time, no excitement to come back and see it again, and absolutely no love for the way the storyline unfolded.
The score for this is a little upsetting, it puts it at my least favourite of the franchise. The few bits I found enjoyable had no chance of outweighing the bad, this definitely won't make it out of fifth place in the series ranking. Will I watch it again? Sure. When it's streaming, and in a rewatch before 6... but apart from that, I will have to relegate it to the pit I threw Die Hard 5 into.
For added spoilers, check out the full review on my website: https://emmaatthemovies.blogspot.com/2022/02/scream-2022-spoiler-movie-review.html
BankofMarquis (1832 KP) rated Knock at the cabin (2023) in Movies
Mar 31, 2023
Disappointing Ending
Writer/Director M. Night Shyamalan is a hit or miss film maker and that is because his films (usually) rely on a “twist” in the proceedings that make the movie you are watching turn into something different. Sometimes it works (the classic THE SIXTH SENSE), sometimes it doesn’t (THE HAPPENING). But, at least he has the courage of his convictions and you have to respect him for that. However, in KNOCK AT THE CABIN, Shyamalan is doing something that might undercut those twists – he’s beginning to pull his punches.
KNOCK AT THE CABIN opens with an interesting premise – a couple and their daughter are at a remote cabin (with, conveniently enough, no cell phone service) when 4 strangers show up and declare that the world will end unless one of the 3 is sacrificed to stop the upcoming carnage.
It’s a good idea that has, inherently, some moral complications and one quickly jumps onto the side of the 3 in the cabin, writing off the 4 strangers as insane, but as events transpire – and the seeming sincerity of the 4 strangers comes into focus – one starts to have doubts.
Shyamalan does a professional job of weaving the tension into the first ¾ of this film as the 3 in the cabin are trying to make logical sense out of the predicament they are in while the 4 strangers become more and more desperate in their attempts to convince the trio in the cabin to sacrifice one of themselves. This is a director sure of himself and slowly, strongly leading the audience to the ending.
He helps himself by casting some VERY good performers in a film that, basically, takes place in one room. Jonathan Groff (Broadway’s HAMILTON) and Ben Aldridge (Thomas Wayne in the TV Series PENNYWORTH) are convincing and believable as the besieged couple, while David Bautista (Drax in the GUARDIANS OF THE GALAXY films), Rupert Grint (yes, Ron Weasley from the HARRY POTTER films) and newcomer (at least to me) Abby Quinn (RADIUM GIRLS) counterbalance these two nicely. Special notice needs to be made of the 4th person knocking on the cabin, Nikki Amuka-Bird (THE OUTFIT) and youngster Kristen Cui – who both bring much needed pathos and humanity to a film that could have turned into an out-of-control testosterone fest, but ended up being grounded by these two.
So, all of this adds up to a very good time at the movie theater – providing that Shyamalan can stick the landing of this piece.
Alas, he does not. And he does something worse – he pulls his punches as the outcome of one of the characters is changed from what happens to them in the 2018 novel THE CABIN AT THE END OF THE WORLD by Paul Tremblay. Shyamalan could have delivered a gut punch to the audience to accentuate the past bit of time spent with these characters (kind of like what Frank Darabont did with THE MIST) but instead decides to play it safe and lands squarely in the middle of mediocrity-land.
Your enjoyment of this film will depend on how much you like how this film ends. For the BankofMarquis, it was ¾ of a good film with a bad ending.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
KNOCK AT THE CABIN opens with an interesting premise – a couple and their daughter are at a remote cabin (with, conveniently enough, no cell phone service) when 4 strangers show up and declare that the world will end unless one of the 3 is sacrificed to stop the upcoming carnage.
It’s a good idea that has, inherently, some moral complications and one quickly jumps onto the side of the 3 in the cabin, writing off the 4 strangers as insane, but as events transpire – and the seeming sincerity of the 4 strangers comes into focus – one starts to have doubts.
Shyamalan does a professional job of weaving the tension into the first ¾ of this film as the 3 in the cabin are trying to make logical sense out of the predicament they are in while the 4 strangers become more and more desperate in their attempts to convince the trio in the cabin to sacrifice one of themselves. This is a director sure of himself and slowly, strongly leading the audience to the ending.
He helps himself by casting some VERY good performers in a film that, basically, takes place in one room. Jonathan Groff (Broadway’s HAMILTON) and Ben Aldridge (Thomas Wayne in the TV Series PENNYWORTH) are convincing and believable as the besieged couple, while David Bautista (Drax in the GUARDIANS OF THE GALAXY films), Rupert Grint (yes, Ron Weasley from the HARRY POTTER films) and newcomer (at least to me) Abby Quinn (RADIUM GIRLS) counterbalance these two nicely. Special notice needs to be made of the 4th person knocking on the cabin, Nikki Amuka-Bird (THE OUTFIT) and youngster Kristen Cui – who both bring much needed pathos and humanity to a film that could have turned into an out-of-control testosterone fest, but ended up being grounded by these two.
So, all of this adds up to a very good time at the movie theater – providing that Shyamalan can stick the landing of this piece.
Alas, he does not. And he does something worse – he pulls his punches as the outcome of one of the characters is changed from what happens to them in the 2018 novel THE CABIN AT THE END OF THE WORLD by Paul Tremblay. Shyamalan could have delivered a gut punch to the audience to accentuate the past bit of time spent with these characters (kind of like what Frank Darabont did with THE MIST) but instead decides to play it safe and lands squarely in the middle of mediocrity-land.
Your enjoyment of this film will depend on how much you like how this film ends. For the BankofMarquis, it was ¾ of a good film with a bad ending.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
DaveySmithy (107 KP) rated Fight Club (1999) in Movies
Dec 3, 2024
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
Purple Phoenix Games (2266 KP) rated Tail Story in Tabletop Games
Jul 1, 2020
The saying goes, “If you can dream it, you can achieve it.” I know there were points in my life when I wanted to be a rock star, a zookeeper, or even a professional mascot. But who says that dreams only apply to people? Our beloved pets can dream too! Haven’t you ever seen a sleeping pup, legs twitching from an imaginary chase? Or caught your cat prowling around, as if on a secret mission? What do animals dream about? Well, Tail Story allows you to create dreams and achieve the impossible with your chosen pet!
Disclaimer: We were provided with a preview copy of Tail Story for the purposes of this review. Some of the components pictured are not final, and will be addressed in production. Also, I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and game flow. -L
Tail Story is a competitive card game in which players are racing to become the most memorable pet in history! How? By partaking in various events and gathering a total of 4 Achievements. Here’s how it works. To setup, each player takes a player mat, and randomly draws a Queue Card. Players then get to choose a Character card – a pet from either the Canine, Feline, or Rodent & Friends type. Shuffle the Event cards, deal 15 to each player, everyone draws 5 cards to their hand, and the game is ready to begin! The player who drew Queue Card 1 is the first player, and play continues in numerical order.
Each turn consists of 5 steps: Draw, Play, Bonus, Deck Check, and End of Turn. The first step is always to Draw 1 card from your deck. In the Play Step, you choose one action to perform. Each player has 2 Action Points (AP) per turn, and those are spent here in the Play Step. All Event cards require either 1 or 2 AP to play, and the other standard actions in the Play Step require either 0 or 1 AP to perform (Check out the Reference Cards pictured below to see the possible actions). After performing 1 action, you move to the Bonus Step, where a player may choose to activate a Bonus ability. The Deck Check step is next. All players count how many cards remain in their Draw piles. If all decks still have at least 1 card, you jump back to the Play Step and perform another action. If any deck is out of cards, that player reshuffles their discard pile, and places a card from their hand face-down on their player mat to signify that they have collected an Achievement. Even if another player collects an Achievement on your turn, play then returns to you, and you jump back to the Play Step again. The last step is the End of Turn – a player decides to be done and ends their turn, discarding their hand down to 5 cards. The game ends when a player has collected their 4th Achievement.
Here’s a neat twist though – whenever you play a card, any opponent can choose to play a Stop card to prevent you from performing that action! And then, if you have a Stop card too, you could play it to cancel out their Stop card. This twist adds a strategic and competitive element to the game that elevates it to the next level. There’s a fun little element of role-play too that encourages you to get into your animal character – I’ll leave that for you to discover on your own!
I know that seems like quite a lot, but once you get into the swing of things, Tail Story plays pretty quickly. One thing I particularly like about this game is that it requires a decent amount of strategy. Everyone is racing to get through their Draw decks and collect Achievements, while at the same time hindering the progress of their opponents. Are you willing to risk a valuable Stop card to cancel the action of an opponent and hope that they don’t play a Stop card back to you? Should you play a card that could activate your Bonus ability now or wait for your next action to pull a fast one over on your opponents? Your strategy has to be adjustable on the fly depending on what cards your opponents are playing. There is no single right strategy to win, and the riskiness makes the game more exciting and engaging.
Another thing I really like about Tail Story is that there are really only 4 different Event cards that can be played. Yes, the artwork may vary, but ultimately the actions are the same. They rely on key text and color coding to communicate their uses, and after a few rounds, recognizing those effects is easy. One thing I wish is that the reference cards had these effect explanation instead of only being listed in the rulebook. Just for a quick glance if you need a reminder instead of having to look back in the rules for the full text. The reference cards do have the Turn Steps and possible Actions on them, which are helpful – don’t get me wrong!
I would recommend Tail Story at the higher player counts for maximum enjoyment. With only 2 players, it feels like it drags on a bit because it is only a back-and-forth game. With 3-4 players, you have more opponents with which to interact, and playing cards against others doesn’t feel as targeted and keeps the game play more light-hearted than cut-throat.
Let’s talk about components. As I mentioned earlier, this is only a preview copy of the game, so some elements are still not finalized. The player mats are only paper right now, but I anticipate that they will be sturdier in final production. That being said, the information on the player mats is awesome. They provide enough information to understand where everything goes, while not being so wordy that they are confusing. I am excited to see what kind of color scheme they come up with for the player mats, to match the artwork of the cards. On to the cards – they are amazing. For starters, the cards are nice, sturdy, and thick. Definitely a game that will not easily succumb to bent corners or torn cards. The actual artwork of the cards is perfect. Each card is detailed, colorful, and appropriate for their respective card names. Probably the coolest part of the cards is that they all have a holographic finish on them. This really makes the artwork pop and makes you admire every card instead of just reading the text. That being said, the holographic finish makes the cards stick together a little more – not a huge detriment, but something to be aware of and careful with when drawing or playing cards! The game box is a cute little box with a magnet closure that is perfect for easy transportation.
Overall, I would say that I love Tail Story. It’s fun, fast-paced, strategic, and exciting. Being able to choose from 3 Character types (Canine, Feline, Rodent & Friends) gives you the opportunity to play a different game, with a different strategy, every time. With more plays, the special text of cards is engrained in your head, which means that it can play even faster and with no interruptions to check rules. It’s definitely a memorable game, and one that I can see myself pulling out often on game nights. I am excited to see this campaign launch, and for the sake of all animal dreams out there, you should check it out!
Disclaimer: We were provided with a preview copy of Tail Story for the purposes of this review. Some of the components pictured are not final, and will be addressed in production. Also, I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and game flow. -L
Tail Story is a competitive card game in which players are racing to become the most memorable pet in history! How? By partaking in various events and gathering a total of 4 Achievements. Here’s how it works. To setup, each player takes a player mat, and randomly draws a Queue Card. Players then get to choose a Character card – a pet from either the Canine, Feline, or Rodent & Friends type. Shuffle the Event cards, deal 15 to each player, everyone draws 5 cards to their hand, and the game is ready to begin! The player who drew Queue Card 1 is the first player, and play continues in numerical order.
Each turn consists of 5 steps: Draw, Play, Bonus, Deck Check, and End of Turn. The first step is always to Draw 1 card from your deck. In the Play Step, you choose one action to perform. Each player has 2 Action Points (AP) per turn, and those are spent here in the Play Step. All Event cards require either 1 or 2 AP to play, and the other standard actions in the Play Step require either 0 or 1 AP to perform (Check out the Reference Cards pictured below to see the possible actions). After performing 1 action, you move to the Bonus Step, where a player may choose to activate a Bonus ability. The Deck Check step is next. All players count how many cards remain in their Draw piles. If all decks still have at least 1 card, you jump back to the Play Step and perform another action. If any deck is out of cards, that player reshuffles their discard pile, and places a card from their hand face-down on their player mat to signify that they have collected an Achievement. Even if another player collects an Achievement on your turn, play then returns to you, and you jump back to the Play Step again. The last step is the End of Turn – a player decides to be done and ends their turn, discarding their hand down to 5 cards. The game ends when a player has collected their 4th Achievement.
Here’s a neat twist though – whenever you play a card, any opponent can choose to play a Stop card to prevent you from performing that action! And then, if you have a Stop card too, you could play it to cancel out their Stop card. This twist adds a strategic and competitive element to the game that elevates it to the next level. There’s a fun little element of role-play too that encourages you to get into your animal character – I’ll leave that for you to discover on your own!
I know that seems like quite a lot, but once you get into the swing of things, Tail Story plays pretty quickly. One thing I particularly like about this game is that it requires a decent amount of strategy. Everyone is racing to get through their Draw decks and collect Achievements, while at the same time hindering the progress of their opponents. Are you willing to risk a valuable Stop card to cancel the action of an opponent and hope that they don’t play a Stop card back to you? Should you play a card that could activate your Bonus ability now or wait for your next action to pull a fast one over on your opponents? Your strategy has to be adjustable on the fly depending on what cards your opponents are playing. There is no single right strategy to win, and the riskiness makes the game more exciting and engaging.
Another thing I really like about Tail Story is that there are really only 4 different Event cards that can be played. Yes, the artwork may vary, but ultimately the actions are the same. They rely on key text and color coding to communicate their uses, and after a few rounds, recognizing those effects is easy. One thing I wish is that the reference cards had these effect explanation instead of only being listed in the rulebook. Just for a quick glance if you need a reminder instead of having to look back in the rules for the full text. The reference cards do have the Turn Steps and possible Actions on them, which are helpful – don’t get me wrong!
I would recommend Tail Story at the higher player counts for maximum enjoyment. With only 2 players, it feels like it drags on a bit because it is only a back-and-forth game. With 3-4 players, you have more opponents with which to interact, and playing cards against others doesn’t feel as targeted and keeps the game play more light-hearted than cut-throat.
Let’s talk about components. As I mentioned earlier, this is only a preview copy of the game, so some elements are still not finalized. The player mats are only paper right now, but I anticipate that they will be sturdier in final production. That being said, the information on the player mats is awesome. They provide enough information to understand where everything goes, while not being so wordy that they are confusing. I am excited to see what kind of color scheme they come up with for the player mats, to match the artwork of the cards. On to the cards – they are amazing. For starters, the cards are nice, sturdy, and thick. Definitely a game that will not easily succumb to bent corners or torn cards. The actual artwork of the cards is perfect. Each card is detailed, colorful, and appropriate for their respective card names. Probably the coolest part of the cards is that they all have a holographic finish on them. This really makes the artwork pop and makes you admire every card instead of just reading the text. That being said, the holographic finish makes the cards stick together a little more – not a huge detriment, but something to be aware of and careful with when drawing or playing cards! The game box is a cute little box with a magnet closure that is perfect for easy transportation.
Overall, I would say that I love Tail Story. It’s fun, fast-paced, strategic, and exciting. Being able to choose from 3 Character types (Canine, Feline, Rodent & Friends) gives you the opportunity to play a different game, with a different strategy, every time. With more plays, the special text of cards is engrained in your head, which means that it can play even faster and with no interruptions to check rules. It’s definitely a memorable game, and one that I can see myself pulling out often on game nights. I am excited to see this campaign launch, and for the sake of all animal dreams out there, you should check it out!
Daniel Boyd (1066 KP) rated Sons of Anarchy - Season 1 in TV
Jul 21, 2017
The Sins of The Father Are Visited On The Sons…
When this show initially premiered I dismissed it entirely. I instantly assumed that it was just some manly, cheesy rubbish that wasn’t worth my time. How small minded of me. It was only after the caretaker in my work recommended that I give it a go that I went back to it. For the first few episodes, it seemed as though I was right. A bunch of leather clad manly bikers shooting up rival gangs and blowing stuff up, but stick with this show and you will see just how deep the rabbit hole really goes. The writing here is phenomenal, the show was created and co-written by Kurt Sutter, who also plays Otto in the show. He is clearly a literary genius, as he also penned The Shield, as well as the recent, brilliantly written Jake Gyllenhall boxing movie, Southpaw. The show follows a gang of bikers called SAMCRO, (the Sons of Anarchy Motorcycle Club Redwood Original,) loosely based on the real life biker gang, The Hell’s Angels, (a few of which’s members actually have cameo roles in the show,) our protagonist is a young man named Jackson Teller, he is the son of John Teller, the original founder of the biker gang. Soon after Jax was born, his father was killed in a traffic collision, although it is suspected that there is more to his death than just that. Since then his mother Gemma has remarried to the current President of the gang, a man called Clay Morrow, who was also John Teller’s best friend and who co-founded the gang along with JT. When the show begins Jax is Clay’s Vice president, or VP and when Clay begins to lead the club on what Jax sees as a more violent, destructive path, he opposes him and he seeks a way to maintain the club, without having to kill anyone or take part in any shady business. Clay sees Jax as an idealist and tells him so, but Jax is persistent in his ideals, as he believes that this is the way that his Father would have wanted the club to be ran. The supporting cast of characters also add a lot to the overarching plot and each have their own respective back stories. There is Tara, Jax’s ex girlfriend, whom he falls back in love with, Gemma, who is Jax’s mother and the matriarch of the club, then there is Tig, Clay’s triggerman initially, but as the show goes on we see that he has a softer side, then there is Opie, Jax’s best friend from a young age who initially wants to leave the biker life behind, but after certain events in the first season of the show unfold, circumstances force him to stay by Jax’s side. There is also Chibs, the Scotsman who doesn’t mess about when it comes to dealing with a problem, there is also Happy, an emotional psychopath who is also played brilliantly by a real life ex Hell’s Angel member. Then there is Juice, a young Latino man who struggles with his personal demons throughout the show and lastly there is Bobby Elvis, another older member of the group who may be a big softie on the cover, but can also handle himself if anyone tries to cross him. From after the first season, the plot begins to twist and turn as we witness several double crosses and multiple agendas come into play and one of my favourite things about this show is that even though Jax is clearly the protagonist, he isn’t always the good guy and he makes some questionable decisions when he is put under pressure. I don’t want to say much else as I’m worried that I will spoil the show, but it definitely is worth your time and I would definitely recommend this show to anyone who is interested in a good crime saga.
Haley Mathiot (9 KP) rated Primary Victim in Books
Apr 27, 2018
Primary Victim by Christopher Cihlar
Genre: Crime Fiction, Crime thriller
Rating: 4.5/5
Summary (from back of book): A serial killer whose victims don’t die. An innocent man who believes he is guilty. A police officer who may solve the crime but in doing so gives the killer exactly what he wants. A legal defense that challenges the very core ideals of justice.
Primary Victim is a thriller that tests both the psychological breaking point of an individual and the strength of the legal system governing society.
Review:
I’ll admit up front that I have a weakness for crime fiction—but this book was amazing. Words escape my mind as I try to explain how blown away I am by this book. I gasped and grinned and nearly cried and laughed at the surprises thrown at me through this stunning debut novel.
The psychological aspect of PRIMARY VICTIM was mainly found in the “Victim,” Brice. I won’t say what happens to him, but it amazed me as his mind began to twist and change through the course of the story.
The plot: PRIMARY VICTIM was full of twists and turns that I never expected, and it had me sitting on the edge of my seat the entire time. I couldn’t put it down! The viewpoint alternates between the criminal, the police officer, and the (living) victim, and switches back and forth at the most inconvenient places, forcing you to read on.
Characters: All the characters in PRIMARY VICTIM were strongly developed with real personalities. I hate books where people are just to perfect to be real (what I call “happyland syndrome”)—this book had the good guys and the bad guys, the the ones you hoped it all worked out for them, and the ones that you wished would be the next to die because they were such jerks (cough Nick cough).
By the end of the book I wasn’t sure what Michael (the criminal) was going to pull out of his hat, and was, from the very first page to the very last, impressed with Michael’s genius and creativity. At times I actually found myself almost cheering for him, but had to remind myself that he was the bad guy. It was almost hard to see him as the bad guy at times, because of his “work—” Michael considered himself a God in a world that needed one and didn’t have one, victimizing the people that he thought needed to be victimized.
Brice and Sarah were such a perfect yet sad couple, and for the sake of keeping the review spoiler-free, I won’t say anything… but I thought I was going to cry at one point.
Writing: The writing was the weakest point of this book. The prose itself seemed written in an unfamiliar style, minimizing comas in the sentences, and it made for a harder read. I caught myself occasionally re-reading sentences and paragraphs to understand what had happened. Aside from the prose, the vocabulary was broad enough and the pacing was good.
As of now, PRIMARY VICTIM is unedited, but there is only an occasional grammatical error, formatting error, or typo scattered through the book. However, all in all, it didn’t take away from the story.
Content: There was brief mention of sex between husband and wife (example: “they made love,” no other details, and the fact that they’re married made it that much better), and an occasional foul word from an angry officer, but other than that this book was refreshingly clean. I applaud Christopher for writing a crime thriller with low content—especially compared to some of the other crime thrillers out there. Maybe he can start a revolution. It’s true, people—you can have a good book without excessive sex and language!
Recommendation: Ages 14+ to lovers of Crime fiction, thrillers, and psychological thrillers.
Genre: Crime Fiction, Crime thriller
Rating: 4.5/5
Summary (from back of book): A serial killer whose victims don’t die. An innocent man who believes he is guilty. A police officer who may solve the crime but in doing so gives the killer exactly what he wants. A legal defense that challenges the very core ideals of justice.
Primary Victim is a thriller that tests both the psychological breaking point of an individual and the strength of the legal system governing society.
Review:
I’ll admit up front that I have a weakness for crime fiction—but this book was amazing. Words escape my mind as I try to explain how blown away I am by this book. I gasped and grinned and nearly cried and laughed at the surprises thrown at me through this stunning debut novel.
The psychological aspect of PRIMARY VICTIM was mainly found in the “Victim,” Brice. I won’t say what happens to him, but it amazed me as his mind began to twist and change through the course of the story.
The plot: PRIMARY VICTIM was full of twists and turns that I never expected, and it had me sitting on the edge of my seat the entire time. I couldn’t put it down! The viewpoint alternates between the criminal, the police officer, and the (living) victim, and switches back and forth at the most inconvenient places, forcing you to read on.
Characters: All the characters in PRIMARY VICTIM were strongly developed with real personalities. I hate books where people are just to perfect to be real (what I call “happyland syndrome”)—this book had the good guys and the bad guys, the the ones you hoped it all worked out for them, and the ones that you wished would be the next to die because they were such jerks (cough Nick cough).
By the end of the book I wasn’t sure what Michael (the criminal) was going to pull out of his hat, and was, from the very first page to the very last, impressed with Michael’s genius and creativity. At times I actually found myself almost cheering for him, but had to remind myself that he was the bad guy. It was almost hard to see him as the bad guy at times, because of his “work—” Michael considered himself a God in a world that needed one and didn’t have one, victimizing the people that he thought needed to be victimized.
Brice and Sarah were such a perfect yet sad couple, and for the sake of keeping the review spoiler-free, I won’t say anything… but I thought I was going to cry at one point.
Writing: The writing was the weakest point of this book. The prose itself seemed written in an unfamiliar style, minimizing comas in the sentences, and it made for a harder read. I caught myself occasionally re-reading sentences and paragraphs to understand what had happened. Aside from the prose, the vocabulary was broad enough and the pacing was good.
As of now, PRIMARY VICTIM is unedited, but there is only an occasional grammatical error, formatting error, or typo scattered through the book. However, all in all, it didn’t take away from the story.
Content: There was brief mention of sex between husband and wife (example: “they made love,” no other details, and the fact that they’re married made it that much better), and an occasional foul word from an angry officer, but other than that this book was refreshingly clean. I applaud Christopher for writing a crime thriller with low content—especially compared to some of the other crime thrillers out there. Maybe he can start a revolution. It’s true, people—you can have a good book without excessive sex and language!
Recommendation: Ages 14+ to lovers of Crime fiction, thrillers, and psychological thrillers.
Fun & engaging read
Allison and her family move to New York City from Dallas for her husband, Michael's, job. At first, Allison is excited--ready for the glitz and glamour of the city. Instead, she finds herself and her family (including her three children) living in a cramped small apartment within a high-rise building. She has no friends and no one to confide in and shortly after moving, she loses her job. Things go from bad to worse when she hits an empty parked car outside her son Jack's school--right in front of the judgemental eyes of all the other mothers. The note Allison leaves leads her to a fancy penthouse, which she finds occupied by young pop star, Carter Reid. Allison doesn't see Carter as a pop star, however: she sees an abandoned kid, friendless, without parents, and about to ruin his career by backing out of the Broadway musical in which he agreed to star. Somehow, Allison becomes involved in Carter's life and as she does, she finally finds a reason to embrace New York.
This was such a fun book and such an engaging read. Now, at first, Allison is adrift in New York and in the beginning of the book, I was so frustrated with the abuse she took from Carter that I was a bit annoyed with the story. But Poeppel gets you past that pretty quick. The entire book is humorous, as it's filled with funny moments with Allison, her family, and the cast of supporting characters. Howard, a security guard Allison helps tutor, particularly shines, as does Owen, Carter's butler. Poeppel is very adept at capturing the individual voice of each of her characters. I loved Allison's kids, too. I fell for her eldest daughter, Charlotte, because I could have been her 20 years ago (geez I'm old), but teenage Megan and funny, quirky Jack were awesome too. The characters truly become like family.
Even if Allison frustrated me at times, with her coddling of Carter, I certainly found her relatable. The fact that she wasn't a morning person, her love for her children yet inability to always know what was happening in their lives, and her closeness with her own mom. She comes across as a real person, and I was incredibly impressed at how well she handled Carter and the celebrity world. The theme of family runs across the book--not just Allison's family, but how the disparate characters in the novel become their own family, and you really find yourself rooting for Carter because of it.
And, indeed, the magic of the book is how it transforms Carter. In the beginning, I couldn't believe anyone would like this kid, but as you read on... well, let's just say you will be rooting for Carter Reid. Poeppel captures Carter so precisely--his mannerisms, his dialect, his voice--it's amazing. It's easy to picture him, and he grows on you, for sure. By the end of the novel, you may feel a little misty. Sure, it's sometimes easy to see where things may be going, but that's OK, because it is such a rather enjoyable ride to be on. Plus, you never know exactly what wrench Carter is going to throw in Allison's carefully laid plans.
Overall, I really enjoyed this one. It started off a little slow, and I was initially frustrated with Carter's behavior (and Allison's acceptance of it). However, the book then takes off, and I was quickly immersed in the well-written characters and the arc of the story. It's such a fun book in so many ways--and touching too--plus there's a celebrity aspect that gives it an enjoyable twist, and you often feel like you're in NYC on a Broadway set. Definitely an enjoyable read.
This was such a fun book and such an engaging read. Now, at first, Allison is adrift in New York and in the beginning of the book, I was so frustrated with the abuse she took from Carter that I was a bit annoyed with the story. But Poeppel gets you past that pretty quick. The entire book is humorous, as it's filled with funny moments with Allison, her family, and the cast of supporting characters. Howard, a security guard Allison helps tutor, particularly shines, as does Owen, Carter's butler. Poeppel is very adept at capturing the individual voice of each of her characters. I loved Allison's kids, too. I fell for her eldest daughter, Charlotte, because I could have been her 20 years ago (geez I'm old), but teenage Megan and funny, quirky Jack were awesome too. The characters truly become like family.
Even if Allison frustrated me at times, with her coddling of Carter, I certainly found her relatable. The fact that she wasn't a morning person, her love for her children yet inability to always know what was happening in their lives, and her closeness with her own mom. She comes across as a real person, and I was incredibly impressed at how well she handled Carter and the celebrity world. The theme of family runs across the book--not just Allison's family, but how the disparate characters in the novel become their own family, and you really find yourself rooting for Carter because of it.
And, indeed, the magic of the book is how it transforms Carter. In the beginning, I couldn't believe anyone would like this kid, but as you read on... well, let's just say you will be rooting for Carter Reid. Poeppel captures Carter so precisely--his mannerisms, his dialect, his voice--it's amazing. It's easy to picture him, and he grows on you, for sure. By the end of the novel, you may feel a little misty. Sure, it's sometimes easy to see where things may be going, but that's OK, because it is such a rather enjoyable ride to be on. Plus, you never know exactly what wrench Carter is going to throw in Allison's carefully laid plans.
Overall, I really enjoyed this one. It started off a little slow, and I was initially frustrated with Carter's behavior (and Allison's acceptance of it). However, the book then takes off, and I was quickly immersed in the well-written characters and the arc of the story. It's such a fun book in so many ways--and touching too--plus there's a celebrity aspect that gives it an enjoyable twist, and you often feel like you're in NYC on a Broadway set. Definitely an enjoyable read.