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Lottie disney bookworm (1056 KP) rated Rebel Rose (The Queen's Council #1) in Books
Dec 29, 2020
Contains spoilers, click to show
Set against the backdrop of revolutionary France, ‘Rebel Rose’ continues the story of Beauty and the Beast after the curse is broken. Belle and her Prince now have to find a way to navigate married life, rank, politics and explain a 10-year absence from the French Court of Versailles.
Controversially, Emma Theriault baits the hardcore Disney fans straight out of the gates by naming her Prince Lio (Lio, Lion, beast, gettit?) rather than Adam. In the grand scheme of things this can easily be forgiven but it still seems a strange choice. Maybe Adam was too English for a French Prince?
However, the use of first person perspective ensures that our protagonist remains firmly in Belle. Belle has refused the title of Princess upon marriage in order to stay true to her roots but is constantly hiding her true self: even referring to a trip around Europe as “one last adventure before the walls of the castle close around her”. When Belle witnesses the revolutionary sparks within the city this divides her further: how can she be part of the nobility these people rally against and an avid “commoner” at the same time?
In truth, Belle as a character divided me as well. Belle has always been my favourite Disney Princess (possibly to do with that massive library) and, in the most part, I feel Theriault wrote her well and stayed true to the character. However, in the early pages Belle felt very spoilt and selfish to me: preferring to disguise herself and explore Paris rather than support Lio in explaining his decade-long disappearing act to King Louis.
I was intrigued to know what my fellow reviewers thought and was unsurprised to see a LOT of criticism of our heroine, her shunning of the title of Princess and her lack of enthusiasm to be a leader. However, I almost felt that this made the story more realistic. Just because she broke a curse and married a Prince doesn’t mean she can automatically feel ready and comfortable leading a kingdom! Maybe she just has a fondness for hairy men?
Belle’s reluctance and tentativeness to lead also fed very nicely into her passion to improve the lives of the residents of the kingdom of Aveyon. This is common sense to her and therefore doesn’t feel like ruling. Indeed, it is not seen by any of the main characters as ruling but in the end it saves them all from a revolution of their own.
I would have liked Lio to be a little bit more developed than he was. The fact that he harboured an element of PTSD from the curse was really interesting but not explored any further than his nightmares and aversion towards roses. There was undoubtedly chemistry between him and Belle but it was just a bit lacklustre in my opinion. This may be due to his absence for a lot of the book but I felt the reader could have loved him a lot more than we did.
Lio’s cousin Bastien is the slimy villain of the tale and I would have liked a bit more mystery and suspense within his character. I appreciated that Belle didn’t like him initially as he was a powdered, wig wearing noble who was close to King Louis, basically as far away from Belle as possible. Bastien is also quite snobby towards Belle in his earliest chapters so you can’t blame her for disliking him.
However, by using language to plainly show that Belle distrusts her husband’s cousin, Theriault instantly creates a flashing neon “villain” sign above his head. This would have been fine in a middle-grade book but within YA I think the reader could have been afforded to be misled a couple of times before uncovering Bastien’s real intentions.
**This section contains spoilers**
I also believe that Bastien’s eventual story arc was a tad unbelievable. At first I thought his revolutionary sympathies and further plots with various goons was a ruse in order to gain the throne for himself, particularly once he had established himself firmly with the advisory. Emma Theriault’s decision to keep Bastien true to the revolution seemed rushed, and a bit odd to be honest. This is a noble who lives in the lap of luxury and attends to King Louis himself but who then turns on his own kind after basically forcing the kingdom of Aveyon to break away from France? It didn’t seem plausible to me.
Rebel Rose is an easy to read continuation of one of our favourite Disney tales. It reintroduces us to old favourites such as Mrs Potts and Lumiere as well as introducing new characters such as Marguerite and Bastien. Belle’s journey to staying true to herself and following her gut is one anyone can empathise with and her discovery that she does not have to appease to outsider’s expectations will never cease to be important.
The magic contained within this novel is a perfect springboard for the rest of the novels within the Queen’s Council series: the next one is based on Mulan and will be written by Livia Blackburne before Jasmine’s story by Alexandra Monir follows in 2022. The majority of the action within this novel does take place towards the end so it can be a little slow paced and politics focused but I enjoyed seeing Belle and Lio break free of their fairytale life and become a little more real.
Although this isn’t my favourite Disney novel, I do appreciate the break away from the retelling genre and the move towards bringing these well-known characters into the real world. For a debut novel I think Emma Theriault should be immensely proud: the research for the historical context alone must have been a mission!
Controversially, Emma Theriault baits the hardcore Disney fans straight out of the gates by naming her Prince Lio (Lio, Lion, beast, gettit?) rather than Adam. In the grand scheme of things this can easily be forgiven but it still seems a strange choice. Maybe Adam was too English for a French Prince?
However, the use of first person perspective ensures that our protagonist remains firmly in Belle. Belle has refused the title of Princess upon marriage in order to stay true to her roots but is constantly hiding her true self: even referring to a trip around Europe as “one last adventure before the walls of the castle close around her”. When Belle witnesses the revolutionary sparks within the city this divides her further: how can she be part of the nobility these people rally against and an avid “commoner” at the same time?
In truth, Belle as a character divided me as well. Belle has always been my favourite Disney Princess (possibly to do with that massive library) and, in the most part, I feel Theriault wrote her well and stayed true to the character. However, in the early pages Belle felt very spoilt and selfish to me: preferring to disguise herself and explore Paris rather than support Lio in explaining his decade-long disappearing act to King Louis.
I was intrigued to know what my fellow reviewers thought and was unsurprised to see a LOT of criticism of our heroine, her shunning of the title of Princess and her lack of enthusiasm to be a leader. However, I almost felt that this made the story more realistic. Just because she broke a curse and married a Prince doesn’t mean she can automatically feel ready and comfortable leading a kingdom! Maybe she just has a fondness for hairy men?
Belle’s reluctance and tentativeness to lead also fed very nicely into her passion to improve the lives of the residents of the kingdom of Aveyon. This is common sense to her and therefore doesn’t feel like ruling. Indeed, it is not seen by any of the main characters as ruling but in the end it saves them all from a revolution of their own.
I would have liked Lio to be a little bit more developed than he was. The fact that he harboured an element of PTSD from the curse was really interesting but not explored any further than his nightmares and aversion towards roses. There was undoubtedly chemistry between him and Belle but it was just a bit lacklustre in my opinion. This may be due to his absence for a lot of the book but I felt the reader could have loved him a lot more than we did.
Lio’s cousin Bastien is the slimy villain of the tale and I would have liked a bit more mystery and suspense within his character. I appreciated that Belle didn’t like him initially as he was a powdered, wig wearing noble who was close to King Louis, basically as far away from Belle as possible. Bastien is also quite snobby towards Belle in his earliest chapters so you can’t blame her for disliking him.
However, by using language to plainly show that Belle distrusts her husband’s cousin, Theriault instantly creates a flashing neon “villain” sign above his head. This would have been fine in a middle-grade book but within YA I think the reader could have been afforded to be misled a couple of times before uncovering Bastien’s real intentions.
**This section contains spoilers**
I also believe that Bastien’s eventual story arc was a tad unbelievable. At first I thought his revolutionary sympathies and further plots with various goons was a ruse in order to gain the throne for himself, particularly once he had established himself firmly with the advisory. Emma Theriault’s decision to keep Bastien true to the revolution seemed rushed, and a bit odd to be honest. This is a noble who lives in the lap of luxury and attends to King Louis himself but who then turns on his own kind after basically forcing the kingdom of Aveyon to break away from France? It didn’t seem plausible to me.
Rebel Rose is an easy to read continuation of one of our favourite Disney tales. It reintroduces us to old favourites such as Mrs Potts and Lumiere as well as introducing new characters such as Marguerite and Bastien. Belle’s journey to staying true to herself and following her gut is one anyone can empathise with and her discovery that she does not have to appease to outsider’s expectations will never cease to be important.
The magic contained within this novel is a perfect springboard for the rest of the novels within the Queen’s Council series: the next one is based on Mulan and will be written by Livia Blackburne before Jasmine’s story by Alexandra Monir follows in 2022. The majority of the action within this novel does take place towards the end so it can be a little slow paced and politics focused but I enjoyed seeing Belle and Lio break free of their fairytale life and become a little more real.
Although this isn’t my favourite Disney novel, I do appreciate the break away from the retelling genre and the move towards bringing these well-known characters into the real world. For a debut novel I think Emma Theriault should be immensely proud: the research for the historical context alone must have been a mission!
Hadley (567 KP) rated Hell House in Books
Sep 3, 2020
" 'It's the Mount Everest of haunted houses, you might say. There were two attempts to investigate it, one in 1931, the other in 1940. Both were disasters. Eight people involved in those attempts were killed, committed suicide, or went insane. Only one survived, and I have no idea how sound he is- - -Benjamin Fischer, one of the two who'll be with me.' " Barrett, our main character, explains before setting out to investigate the Belasco House in the paranormal novel, Hell House.
At the beginning of the book, Barrett is speaking to a rich man named Deutsch, who is on his death bed, and wanting to know if life exists after death:
" 'It isn't lies I want,' Deutsch told him. 'I'll buy the answer, either way. So long as it's definitive.'
Barrett felt a roil of despair. 'How can I convince you, either way?' He was compelled to say it.
'By giving me facts,' Deutsch answered irritably.
'Where am I to find them? I'm a physicist. In the twenty years I've studied parapsychology, I've yet to - - -'
'If they exist,' Deutsch interrupted,' you'll find them in the only place on earth I know of where survival has yet to be refuted. The Belasco house in Maine.' "
Along with Barrett and Fischer a well-known medium named Florence and Barrett's wife, Edith join them on their trip to the Belasco house. Fischer is also a medium, who gets prodded at by Florence for refusing to use his 'gift:'
" 'You were the most powerful physical medium this country has ever known, Ben.'
'Still am, Florence. Just a little bit more careful now, that's all. I suggest the same approach for you. You're walking around this house like an open nerve. When you really do hit something, it'll tear your insides out. This place isn't called Hell House for nothing, you know. It intends to kill every one of us, so you'd damn well better learn to protect yourself until you're ready. Or you'll just be one more victim on the list.' "
Florence's need to prove that spirits exist to Barrett, the skeptic of the group, permeates throughout the entire book. She allows him to subject her to entirely naked pat-downs and the use of all sorts of instruments while she becomes possessed by spirits in the house. She slowly begins to lose her patience with Barrett every time she speaks with him about the possibility of ghosts existing until one day she becomes so infuriated with him that the entire dining area becomes a minefield of seemingly unaided flying dishes.
Even after this incident, Barrett refuses to believe that the Belasco house is haunted and that spirits exist. As the reader continues on through the story, Barrett's skepticism becomes a little annoying with the amount of paranormal things that happen, especially how he has a scientific reasoning for everything: " 'Making use of the power in the room,' he[Barrett] said. 'Converting it to poltergeist-type phenomena directed at me.' " As Fischer and Florence continue to find evidence of paranormal activity, Barrett stays focused on a machine that he invented to arrive soon, which he states will prove his theory of energy causing the 'hauntings,' rather than spirits, while avoiding all evidence that may prove otherwise.
Early on, Florence becomes preoccupied with a spirit in the house, who she believes to be the son of Belasco (the man who owned the house). After coming in contact with this spirit, physical harm starts to come to Florence, one such incident is of something in the night biting her breasts hard enough to leave teeth marks. Barrett and the others find her, crying in bed during this, where she states that Belasco is punishing her for finding and communicating with his son.
During all of this, Edith seems to come under an influence at the house, which causes her to start to drink heavily although she's never touched a drop of alcohol in her life due to an alcoholic father. One incident with a drunk Edith, she comes onto Fischer in a way that makes the reader question whether or not this is a spirit taking her over, or if this is what Edith is like when she's drunk. When Fischer confronts Barrett about his wife and her possible possession by the house, Barrett refuses to see it as that:
" 'Irrelevant?' Fischer looked amazed. 'What the hell do you mean, irrelevant? Whatever's going on is getting to your wife. It's gotten to Florence, and it's gotten to you. Or maybe you haven't noticed.'
Barrett regarded him in silence, his expression hard. 'I've noticed a number of things, Mr. Fischer,' he finally said. 'One of which is that Mr. Deutsch is wasting approximately a third of his money.' "
Although Hell House has all of the great paranormal tropes in it, it objectifies women almost to an extreme, and to a point that it isn't believable at all to the reader: the Belasco house is one of depravity, including sexual interactions, but Belasco's guests were both female and male, yet only sexual things (albeit crude) only happen to Florence and Edith, neither Barrett or Fischer are affected. Hell House is a great story with an even greater villain, but Matheson really ruined the story with his crude fantasies about women. I absolutely think this book is better than the Haunting of Hill House because the scares are better while Haunting lacked a lot of them. If you can get past a horny man's fantasies, then the book is very enjoyable.
At the beginning of the book, Barrett is speaking to a rich man named Deutsch, who is on his death bed, and wanting to know if life exists after death:
" 'It isn't lies I want,' Deutsch told him. 'I'll buy the answer, either way. So long as it's definitive.'
Barrett felt a roil of despair. 'How can I convince you, either way?' He was compelled to say it.
'By giving me facts,' Deutsch answered irritably.
'Where am I to find them? I'm a physicist. In the twenty years I've studied parapsychology, I've yet to - - -'
'If they exist,' Deutsch interrupted,' you'll find them in the only place on earth I know of where survival has yet to be refuted. The Belasco house in Maine.' "
Along with Barrett and Fischer a well-known medium named Florence and Barrett's wife, Edith join them on their trip to the Belasco house. Fischer is also a medium, who gets prodded at by Florence for refusing to use his 'gift:'
" 'You were the most powerful physical medium this country has ever known, Ben.'
'Still am, Florence. Just a little bit more careful now, that's all. I suggest the same approach for you. You're walking around this house like an open nerve. When you really do hit something, it'll tear your insides out. This place isn't called Hell House for nothing, you know. It intends to kill every one of us, so you'd damn well better learn to protect yourself until you're ready. Or you'll just be one more victim on the list.' "
Florence's need to prove that spirits exist to Barrett, the skeptic of the group, permeates throughout the entire book. She allows him to subject her to entirely naked pat-downs and the use of all sorts of instruments while she becomes possessed by spirits in the house. She slowly begins to lose her patience with Barrett every time she speaks with him about the possibility of ghosts existing until one day she becomes so infuriated with him that the entire dining area becomes a minefield of seemingly unaided flying dishes.
Even after this incident, Barrett refuses to believe that the Belasco house is haunted and that spirits exist. As the reader continues on through the story, Barrett's skepticism becomes a little annoying with the amount of paranormal things that happen, especially how he has a scientific reasoning for everything: " 'Making use of the power in the room,' he[Barrett] said. 'Converting it to poltergeist-type phenomena directed at me.' " As Fischer and Florence continue to find evidence of paranormal activity, Barrett stays focused on a machine that he invented to arrive soon, which he states will prove his theory of energy causing the 'hauntings,' rather than spirits, while avoiding all evidence that may prove otherwise.
Early on, Florence becomes preoccupied with a spirit in the house, who she believes to be the son of Belasco (the man who owned the house). After coming in contact with this spirit, physical harm starts to come to Florence, one such incident is of something in the night biting her breasts hard enough to leave teeth marks. Barrett and the others find her, crying in bed during this, where she states that Belasco is punishing her for finding and communicating with his son.
During all of this, Edith seems to come under an influence at the house, which causes her to start to drink heavily although she's never touched a drop of alcohol in her life due to an alcoholic father. One incident with a drunk Edith, she comes onto Fischer in a way that makes the reader question whether or not this is a spirit taking her over, or if this is what Edith is like when she's drunk. When Fischer confronts Barrett about his wife and her possible possession by the house, Barrett refuses to see it as that:
" 'Irrelevant?' Fischer looked amazed. 'What the hell do you mean, irrelevant? Whatever's going on is getting to your wife. It's gotten to Florence, and it's gotten to you. Or maybe you haven't noticed.'
Barrett regarded him in silence, his expression hard. 'I've noticed a number of things, Mr. Fischer,' he finally said. 'One of which is that Mr. Deutsch is wasting approximately a third of his money.' "
Although Hell House has all of the great paranormal tropes in it, it objectifies women almost to an extreme, and to a point that it isn't believable at all to the reader: the Belasco house is one of depravity, including sexual interactions, but Belasco's guests were both female and male, yet only sexual things (albeit crude) only happen to Florence and Edith, neither Barrett or Fischer are affected. Hell House is a great story with an even greater villain, but Matheson really ruined the story with his crude fantasies about women. I absolutely think this book is better than the Haunting of Hill House because the scares are better while Haunting lacked a lot of them. If you can get past a horny man's fantasies, then the book is very enjoyable.
Daniel Boyd (1066 KP) rated The Dark Knight (2008) in Movies
Oct 31, 2017 (Updated Oct 31, 2017)
A stone cold classic at this point (2 more)
Nolan's direction
Fantastic performances all around
The Movie That Comic Book Fans Deserve
Contains spoilers, click to show
Almost 10 years on from the original release of this film, it is still the best superhero film ever made up until this point. While a few movies, such as Logan and Winter Soldier, have came close to the quality of TDK, nothing has surpassed it in the last decade. There is so much to love here, whether it is Nolan's deliberate and effective direction, Hans Zimmer's uplifting yet melancholy score, the beautifully epic cinematography provided by Wally Pfister and of course Heath Ledger's incredible, electrifying performance as the Clown Prince Of Crime.
The movie starts as it means to go on, with an awesome opening sequence introducing the Joker. It plays out like a short film that could even be viewed independently of the rest of the movie and still make complete sense. We see a group of criminals dressed in clown masks robbing a bank and offing each other one by one after they complete their part of the heist. This all builds up to the reveal of the enigmatic Joker, complete with an awesome Cesar Romero reference in the Joker's mask as well. The sequence works so well, because it shows even those who aren't comic book fans or aren't familiar with these characters, exactly what kind of villain we are dealing with.
On the other hand though, there is a lot here for long time fans of Batman comics as well. A good amount of plot elements in the movie were taken from one of my favourite Batman stories ever written: The Long Halloween. Things such as the Harvey Dent working with Jim Gordon and Batman to prevent crime to then go on to show his eventual transformation into the totally unhinged Two-Face. The character design for the characters is also clearly inspired by a comic by Brian Azzarello and Lee Bermejo, simply titled: Joker. Lastly, the ending of the movie shares similar elements to the ending of The Dark Knight Returns graphic novel, in that they both end with Batman being framed for a murder he didn't commit and having to go into hiding and retire from crime fighting.
Overall, this is a perfect movie in my opinion. It is an astonishing achievement for a comic book movie and it is a great crime epic in its own right as well. The performances across the board are great, with Heath Ledger being the obvious standout and absolutely stealing every single scene that he appears in. The technical elements of the movie are great and it is just a fantastic cinematic experience all around. I first saw the movie in IMAX and that definitely was the premium way to initially experience this movie, but no matter what format you watch it on, its hard to deny that it is a masterpiece.
The movie starts as it means to go on, with an awesome opening sequence introducing the Joker. It plays out like a short film that could even be viewed independently of the rest of the movie and still make complete sense. We see a group of criminals dressed in clown masks robbing a bank and offing each other one by one after they complete their part of the heist. This all builds up to the reveal of the enigmatic Joker, complete with an awesome Cesar Romero reference in the Joker's mask as well. The sequence works so well, because it shows even those who aren't comic book fans or aren't familiar with these characters, exactly what kind of villain we are dealing with.
On the other hand though, there is a lot here for long time fans of Batman comics as well. A good amount of plot elements in the movie were taken from one of my favourite Batman stories ever written: The Long Halloween. Things such as the Harvey Dent working with Jim Gordon and Batman to prevent crime to then go on to show his eventual transformation into the totally unhinged Two-Face. The character design for the characters is also clearly inspired by a comic by Brian Azzarello and Lee Bermejo, simply titled: Joker. Lastly, the ending of the movie shares similar elements to the ending of The Dark Knight Returns graphic novel, in that they both end with Batman being framed for a murder he didn't commit and having to go into hiding and retire from crime fighting.
Overall, this is a perfect movie in my opinion. It is an astonishing achievement for a comic book movie and it is a great crime epic in its own right as well. The performances across the board are great, with Heath Ledger being the obvious standout and absolutely stealing every single scene that he appears in. The technical elements of the movie are great and it is just a fantastic cinematic experience all around. I first saw the movie in IMAX and that definitely was the premium way to initially experience this movie, but no matter what format you watch it on, its hard to deny that it is a masterpiece.
Sensitivemuse (246 KP) rated Our Dark Duet in Books
Dec 13, 2017
Great Sequel !
***Possible spoilers below. You’ve been warned***
The plot was off to a pretty slow start in this one. Before I start, I’d have to recommend you read This Savage Song before going to this book. You would need the foundation that was set up in This Savage Song to really benefit and enjoy reading Our Dark Duet.
As mentioned before, the plot was off to a slow start. Kate and August are on both different ends of the spectrum but have changed drastically. They’ve definitely ‘grown up’ so to speak. Kate becomes monster hunter extraordinaire. August leads his own squad in the FTF. Kate’s part of the story was definitely more interesting. Despite trying hard not to warm up to people she manages to have her small group of friends (but of course, shuns them anyway despite one of them trying to reach out to her numerous times). I love this quality in Kate. It makes her so much more realistic and puts her way from the group of those ‘stone cold butt kickers that apparently have no soul’.
That being said about Kate. Oh. Lord. That ending. Kate dying with August nearby got my stomach into knots and twists. I can’t believe it. It was beautifully written though and a suitable ending for her. Kate was pretty much a pariah and a lone wolf. August was one of the few that was able to get to know Kate at a more deeper level. It was only fitting that she meets her end with that one person by her side. Beautifully done.
I didn’t really think the romance scene between Kate and August was necessary. It was a minor filler that didn’t need to be added. I never saw August and Kate that way. They were too different and didn’t have that nice ongoing chemistry together. Fighting partners, yes. Partners in love? No I don’t think so.
So more about characters dying. Am I the only one that felt a punch to the gut when Ilsa died? Ilsa was a character I really loved in these two books. She went down in a blaze of glory though (albeit, a shocked blaze of glory.)
You have to admit, Sloan is one of the better villains I have read in a long while. I like him teaming up with Alice even though villains they are, they are looking out for themselves. He’s creepy, malicious, calculating, and cunning. He’s a perfect villain.
The last half of the book, which was filled with action, blood, explosions and all the good stuff set the pace for the great ending to a wonderfully written duology. I know fans out there are asking for more, as it’s not the end of the adventures for August and Soro. For me, it’s just enough and it’s a perfect ending. Well done Ms Schwab! Now I’m off to read your other works!
The plot was off to a pretty slow start in this one. Before I start, I’d have to recommend you read This Savage Song before going to this book. You would need the foundation that was set up in This Savage Song to really benefit and enjoy reading Our Dark Duet.
As mentioned before, the plot was off to a slow start. Kate and August are on both different ends of the spectrum but have changed drastically. They’ve definitely ‘grown up’ so to speak. Kate becomes monster hunter extraordinaire. August leads his own squad in the FTF. Kate’s part of the story was definitely more interesting. Despite trying hard not to warm up to people she manages to have her small group of friends (but of course, shuns them anyway despite one of them trying to reach out to her numerous times). I love this quality in Kate. It makes her so much more realistic and puts her way from the group of those ‘stone cold butt kickers that apparently have no soul’.
That being said about Kate. Oh. Lord. That ending. Kate dying with August nearby got my stomach into knots and twists. I can’t believe it. It was beautifully written though and a suitable ending for her. Kate was pretty much a pariah and a lone wolf. August was one of the few that was able to get to know Kate at a more deeper level. It was only fitting that she meets her end with that one person by her side. Beautifully done.
I didn’t really think the romance scene between Kate and August was necessary. It was a minor filler that didn’t need to be added. I never saw August and Kate that way. They were too different and didn’t have that nice ongoing chemistry together. Fighting partners, yes. Partners in love? No I don’t think so.
So more about characters dying. Am I the only one that felt a punch to the gut when Ilsa died? Ilsa was a character I really loved in these two books. She went down in a blaze of glory though (albeit, a shocked blaze of glory.)
You have to admit, Sloan is one of the better villains I have read in a long while. I like him teaming up with Alice even though villains they are, they are looking out for themselves. He’s creepy, malicious, calculating, and cunning. He’s a perfect villain.
The last half of the book, which was filled with action, blood, explosions and all the good stuff set the pace for the great ending to a wonderfully written duology. I know fans out there are asking for more, as it’s not the end of the adventures for August and Soro. For me, it’s just enough and it’s a perfect ending. Well done Ms Schwab! Now I’m off to read your other works!
Haley Mathiot (9 KP) rated Fade to Black (Rojan Dizon, #1) in Books
Apr 27, 2018
Imagine a combination of 1984, The Hunger Games, and a James Patterson mystery novel. That is the best way I can sum up Fade to Black. A world so intriguing, mysterious, and exciting that you want to live in it, and yet then again, maybe you don’t. A plot that never stops moving and throwing stuff at you, and with every page you become more and more wrapped up in it. Characters that you want to be, or be friends with, or take a good swing at. I am so excited about this novel, guys. I can’t recommend it enough.
First, the characters/narrator. I love Jake. I love Pacha. I love Rojan. I love them all. I love the way they talk to each other (or don’t talk to each other) and argue with each other. And the narrator, Rojan, is awesome. There are three things that makes Rojan a fantastic character, and a new favorite of mine.
First, he’s different. He’s not the “guy who wants to be a hero,” or the “I want to prove myself” or “I’m looking for my one-true-love” kind of guy. No, Rojan just wants to finish his damn job and get on with his damn life. He doesn’t want to be a hero or a villain: he just wants to get paid, go home, and find a new girl to chase. He’s the reluctant hero.
Second, the word “loyal” is not in Rojan’s repertoire. He specifically admits to enjoying the chase more than the catch, and for some reason, that’s really attractive! And of course, the girl he falls for is so perfect for him that it’s not even funny… in fact, if she’d come to terms with the idea, he might actually manage not to cheat on her. At the very end after he’s managed to kill the bad guys, save the planet, and rescue the girl, the only thing he was focused on was getting into the nurses pants.
Third, his personality is just fantastic. He’s such a pessimist, and admits to being a cynic. He makes the most absurdly snarky comments about everything, to the point that even in a tense scene there’s comic relief because he’s such a clever bastard (as a matter of fact, I think he actually calls himself that at least once).
The ending was wonderful, and left me feeling satisfied and complete, even though I can’t wait for the next book: not because it had a cliff-hanger, but because it was just so good!
Only thing I hate: It’s book 1 in a 3-book series, and the other two aren’t published… This happened to me while reading Daughter of Smoke and Bone, and The Better Part of Darkness. Gah! So annoying!
Content/Recommendation: Language and violence and dark humor. Mention of rape and sex. This is an adult book, maybe older teens, ages 18+. It’s totally worth the read. It’s also hilarious.
First, the characters/narrator. I love Jake. I love Pacha. I love Rojan. I love them all. I love the way they talk to each other (or don’t talk to each other) and argue with each other. And the narrator, Rojan, is awesome. There are three things that makes Rojan a fantastic character, and a new favorite of mine.
First, he’s different. He’s not the “guy who wants to be a hero,” or the “I want to prove myself” or “I’m looking for my one-true-love” kind of guy. No, Rojan just wants to finish his damn job and get on with his damn life. He doesn’t want to be a hero or a villain: he just wants to get paid, go home, and find a new girl to chase. He’s the reluctant hero.
Second, the word “loyal” is not in Rojan’s repertoire. He specifically admits to enjoying the chase more than the catch, and for some reason, that’s really attractive! And of course, the girl he falls for is so perfect for him that it’s not even funny… in fact, if she’d come to terms with the idea, he might actually manage not to cheat on her. At the very end after he’s managed to kill the bad guys, save the planet, and rescue the girl, the only thing he was focused on was getting into the nurses pants.
Third, his personality is just fantastic. He’s such a pessimist, and admits to being a cynic. He makes the most absurdly snarky comments about everything, to the point that even in a tense scene there’s comic relief because he’s such a clever bastard (as a matter of fact, I think he actually calls himself that at least once).
The ending was wonderful, and left me feeling satisfied and complete, even though I can’t wait for the next book: not because it had a cliff-hanger, but because it was just so good!
Only thing I hate: It’s book 1 in a 3-book series, and the other two aren’t published… This happened to me while reading Daughter of Smoke and Bone, and The Better Part of Darkness. Gah! So annoying!
Content/Recommendation: Language and violence and dark humor. Mention of rape and sex. This is an adult book, maybe older teens, ages 18+. It’s totally worth the read. It’s also hilarious.
RəX Regent (349 KP) rated Wall Street (1987) in Movies
Feb 19, 2019
When looking to review a film like this, there are two distinct points of view to take in to a account:
The first being the contemporary context. That being that this was made in 1987, at the height of the Wall Street boom and that, at the time, this must have been a revelation for so many people, who still had either faith or ignorance about the financial institutions which had metamorphosed into the corrupt capitalist cancer which we all know today.
The later half of the 80’s was to herald the fall of the Gordon Gecco’s and this film, whilst reflecting its time, was also ushering in an era of doom for Wall Street, as well as the continuing propagation of this corruption which would lead to the 2008 crash which are still reeling from today.
So given that like so many films which have essentially whistle blown in there own time, Psycho (1960) also springs to mind, the impact is lessened by thirty years of dilution, in which case it would be unfair to judge the film harshly on the fact that it does not really tell us anything new today.
But when it comes to judging how well the film was made, that is surly timeless.
And considering that Oliver Stone put this together, I was disappointed. The characters where not only dislikable, which I am sure was intentional, they were also poorly written. People just come and go throughout and with the exceptions of Michael Douglas’ Gorden Gecco, Charlie Sheen’s Bud Fox and his real life father, Martin Sheen as Bud’s blue collar dad, the rest of the cast seemed to be wasted.
The plot was all over the place, inconstant and littered with goofs and continuity errors right from the get-go. In fact, it only took a few minutes before I was aghast that a film which begins in 1985 made a reference to Gecco’s ruthlessness by stating that he made money out of the Challenger disaster, which did not occur until January 1986!
Charlie Sheen’s character is difficult to sympathise with, not only because he is trying to be the villain, yet of course he finds his soul by the end, but that he is so utterly naive that it is beyond belief!
It is never clear how much money is being made, who has what or what the real gains or losses are by the end, to the point that whist it is implied that Sheen will be jailed for his insider trading, the film ends before he enters the court and Gecco, who has been recorded by Sheen confessing to his involvement, is never resolved at all!
By the end I was really annoyed by how shallow and lackadaisical the script was, seemingly only really interested in showing the power hungry greed of Wall Street traders at this time.
“Greed is good”.
Well, Mr Stone, so is some exposition.
The first being the contemporary context. That being that this was made in 1987, at the height of the Wall Street boom and that, at the time, this must have been a revelation for so many people, who still had either faith or ignorance about the financial institutions which had metamorphosed into the corrupt capitalist cancer which we all know today.
The later half of the 80’s was to herald the fall of the Gordon Gecco’s and this film, whilst reflecting its time, was also ushering in an era of doom for Wall Street, as well as the continuing propagation of this corruption which would lead to the 2008 crash which are still reeling from today.
So given that like so many films which have essentially whistle blown in there own time, Psycho (1960) also springs to mind, the impact is lessened by thirty years of dilution, in which case it would be unfair to judge the film harshly on the fact that it does not really tell us anything new today.
But when it comes to judging how well the film was made, that is surly timeless.
And considering that Oliver Stone put this together, I was disappointed. The characters where not only dislikable, which I am sure was intentional, they were also poorly written. People just come and go throughout and with the exceptions of Michael Douglas’ Gorden Gecco, Charlie Sheen’s Bud Fox and his real life father, Martin Sheen as Bud’s blue collar dad, the rest of the cast seemed to be wasted.
The plot was all over the place, inconstant and littered with goofs and continuity errors right from the get-go. In fact, it only took a few minutes before I was aghast that a film which begins in 1985 made a reference to Gecco’s ruthlessness by stating that he made money out of the Challenger disaster, which did not occur until January 1986!
Charlie Sheen’s character is difficult to sympathise with, not only because he is trying to be the villain, yet of course he finds his soul by the end, but that he is so utterly naive that it is beyond belief!
It is never clear how much money is being made, who has what or what the real gains or losses are by the end, to the point that whist it is implied that Sheen will be jailed for his insider trading, the film ends before he enters the court and Gecco, who has been recorded by Sheen confessing to his involvement, is never resolved at all!
By the end I was really annoyed by how shallow and lackadaisical the script was, seemingly only really interested in showing the power hungry greed of Wall Street traders at this time.
“Greed is good”.
Well, Mr Stone, so is some exposition.
RəX Regent (349 KP) rated Battle in Seattle (2008) in Movies
Mar 7, 2019
Lefty cold
Contains spoilers, click to show
I caught this on the TV and was intrigued by the opening credits, always being one to be interested in real events and certainly ones in a recent political context. I admit that I was unaware of these events, but as the plot played out it left me feeling somewhat cold, always waiting for the hook that never came.
This was basically a docudrama which melded the real and the reenactment together to create an at times frightening and tense view of the riots. Though this could have been any riot, over any subject, which was kind of the point. I feel that this could easily have been a film focusing on the Poll Tax riots of 1990 and have lost nothing.
I feel that this needed to be more, in every area. More Seattle Riots, and I mean in a way that singled them out as such, and not just any riot. More character drama, with barely scratched the surface at most and more political. This attacks the WTO with the lowest common denominator, playing the emotional and reactionary left wing card, rather than a fully rounded balanced argument.
I have no doubt that the World Trade Organisation is evil, as are most capital institutions, but there was little to convict them here, except the strong implications that they are against free speech.
This was a film which was fair to it's characters; The riot cop just doing his job, the peaceful protesters, the anarchists and the forlorn Mayer. But there was a lack of a strong villain, as, as I've said, the WTO wasn't sufficiently justified.
Also, its historical integrity has to be questioned. Simply put, are any of the characters portrait here real? The protesters are fictional, as I understand, but the Mayer? The reporter? It's not clear and based on their actions within the film, I would really like to know.
*** SPOILER *** But finally, the most disturbing and probably the best, most compelling part of this film to me would be the what happens to Charlize Theron's character, a pregnant woman and wife of Woody Harleson's riot cop. As she is trying in vain to make her way home amidst the chaos of rioters clashing with police and in the confusion is treated as a rioter and is hit in the stomach with a baton. The result I'll leave in your imagination...
This was best moment in the film were the true horror of these clashes become prevalent as the moral lines are crossed and order breaks down.
************** In summation, this was worth a watch but will offer little in the way of clarification as to the motives of the events of that November, but maybe there are no more. Maybe it was a riot which stemmed from a protest against the capitalist machine. If you have strong lefty views then this is the film for you, if not, have a look but I doubt that you'll be blown away.
This was basically a docudrama which melded the real and the reenactment together to create an at times frightening and tense view of the riots. Though this could have been any riot, over any subject, which was kind of the point. I feel that this could easily have been a film focusing on the Poll Tax riots of 1990 and have lost nothing.
I feel that this needed to be more, in every area. More Seattle Riots, and I mean in a way that singled them out as such, and not just any riot. More character drama, with barely scratched the surface at most and more political. This attacks the WTO with the lowest common denominator, playing the emotional and reactionary left wing card, rather than a fully rounded balanced argument.
I have no doubt that the World Trade Organisation is evil, as are most capital institutions, but there was little to convict them here, except the strong implications that they are against free speech.
This was a film which was fair to it's characters; The riot cop just doing his job, the peaceful protesters, the anarchists and the forlorn Mayer. But there was a lack of a strong villain, as, as I've said, the WTO wasn't sufficiently justified.
Also, its historical integrity has to be questioned. Simply put, are any of the characters portrait here real? The protesters are fictional, as I understand, but the Mayer? The reporter? It's not clear and based on their actions within the film, I would really like to know.
*** SPOILER *** But finally, the most disturbing and probably the best, most compelling part of this film to me would be the what happens to Charlize Theron's character, a pregnant woman and wife of Woody Harleson's riot cop. As she is trying in vain to make her way home amidst the chaos of rioters clashing with police and in the confusion is treated as a rioter and is hit in the stomach with a baton. The result I'll leave in your imagination...
This was best moment in the film were the true horror of these clashes become prevalent as the moral lines are crossed and order breaks down.
************** In summation, this was worth a watch but will offer little in the way of clarification as to the motives of the events of that November, but maybe there are no more. Maybe it was a riot which stemmed from a protest against the capitalist machine. If you have strong lefty views then this is the film for you, if not, have a look but I doubt that you'll be blown away.
Movie Metropolis (309 KP) rated Fantastic Four (2015) in Movies
Jun 11, 2019
An absolute snooze
Here comes yet another superhero film. Ending Marvel’s year that has included the charming Big Hero 6, the overstuffed Avengers: Age of Ultron and the surprisingly excellent Ant-Man, the Fox produced Fantastic Four reboot has a tough job trying to get audiences to forget the horror that came before it.
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
Movie Metropolis (309 KP) rated Hitman: Agent 47 (2015) in Movies
Jun 11, 2019
Clinical and incomprehensible
The transition from video game to movie is notoriously difficult to get right. From box-office disasters like Super Mario Bros. to the poorly received Resident Evil franchise, it appears no film is spared from either financial woe or critically panning.
Hitman has become one of the most popular game series’ ever but the 2007 film of the same name failed to kick-start the franchise’s transition to the silver screen. Now, eight years later, Rupert Friend stars as the red tie-wearing assassin in Hitman: Agent 47, but does it succeed as a reboot?
Friend stars as the titular character, an emotionless killer hell-bent on tracking down the creator of the ‘Agent Program’ from which he was created. Alongside him for the ride is Hannah Ware’s Katia Van Dees, a young fearful woman searching for a man she does not know.
The usually excellent Zachary Quinto (Star Trek) also stars as a clichéd villain in a thankless role blighted by stilted dialogue and cardboard emotions. This most certainly isn’t his finest work.
The story is incredibly simple, barely fitting into the film’s slender 96 minute running time and the clinical filming style of director Aleksander Bach really doesn’t help. Beautiful locations like Berlin and Singapore are wasted in favour of sleek office sets, populated by one-dimensional characters that we couldn’t care less about.
Nevertheless, Friend plays the emotionless Agent 47 with ease and is one of the highlights in a film lacking in any real punch – it’s all been done before, and better.
Ware is disappointingly wooden, though her veneer seems to crack towards the finale and we get to see the character she could have played. It’s a shame that for the majority of Hitman’s running time we see no real prowess in her performance.
The action sequences are slick and nicely choreographed but Mission: Impossible – Rogue Nation did them only last month and in a more detailed and ultimately successful style.
However, clever gun-work is mixed nicely with the film’s 15 certificate and each barrel discharge feels much more real. It’s certainly more interesting than the two sequels to Taken and many other action thrillers that sport the 12A rating.
The climax leaves things wide open for a sequel, but the ending is incomprehensible to anyone who hasn’t played the games and leaves a bad taste in the mouth – probably not a great thing when trying to get audiences excited for a follow up.
Overall, Hitman: Agent 47 is much like its titular character. A slick outer shell hides not a lot underneath with a cast of wasted talent and a been-there-done-that attitude to the stunts. There’s some great sequences, but you’ll have to dig deep to find any real merit here.
https://moviemetropolis.net/2015/08/30/clinical-and-incomprehensible-hitman-agent-47-review/
Hitman has become one of the most popular game series’ ever but the 2007 film of the same name failed to kick-start the franchise’s transition to the silver screen. Now, eight years later, Rupert Friend stars as the red tie-wearing assassin in Hitman: Agent 47, but does it succeed as a reboot?
Friend stars as the titular character, an emotionless killer hell-bent on tracking down the creator of the ‘Agent Program’ from which he was created. Alongside him for the ride is Hannah Ware’s Katia Van Dees, a young fearful woman searching for a man she does not know.
The usually excellent Zachary Quinto (Star Trek) also stars as a clichéd villain in a thankless role blighted by stilted dialogue and cardboard emotions. This most certainly isn’t his finest work.
The story is incredibly simple, barely fitting into the film’s slender 96 minute running time and the clinical filming style of director Aleksander Bach really doesn’t help. Beautiful locations like Berlin and Singapore are wasted in favour of sleek office sets, populated by one-dimensional characters that we couldn’t care less about.
Nevertheless, Friend plays the emotionless Agent 47 with ease and is one of the highlights in a film lacking in any real punch – it’s all been done before, and better.
Ware is disappointingly wooden, though her veneer seems to crack towards the finale and we get to see the character she could have played. It’s a shame that for the majority of Hitman’s running time we see no real prowess in her performance.
The action sequences are slick and nicely choreographed but Mission: Impossible – Rogue Nation did them only last month and in a more detailed and ultimately successful style.
However, clever gun-work is mixed nicely with the film’s 15 certificate and each barrel discharge feels much more real. It’s certainly more interesting than the two sequels to Taken and many other action thrillers that sport the 12A rating.
The climax leaves things wide open for a sequel, but the ending is incomprehensible to anyone who hasn’t played the games and leaves a bad taste in the mouth – probably not a great thing when trying to get audiences excited for a follow up.
Overall, Hitman: Agent 47 is much like its titular character. A slick outer shell hides not a lot underneath with a cast of wasted talent and a been-there-done-that attitude to the stunts. There’s some great sequences, but you’ll have to dig deep to find any real merit here.
https://moviemetropolis.net/2015/08/30/clinical-and-incomprehensible-hitman-agent-47-review/
Lee (2222 KP) rated The Incredibles 2 (2018) in Movies
Jul 16, 2018 (Updated Jul 17, 2018)
Worthy sequel, although a bit patchy in places
Contains spoilers, click to show
It's hard to believe that the original Incredibles movie is now 14 years old. It was, and still is, a fun, original and highly enjoyable superhero movie that was always deserving of a sequel. I re-watched it recently with my daughter who had never seen it, and despite it's age, and the fact that we've now had a decade of non-stop Marvel superhero movies since it was made, it still holds up 'incredibly' well.
The sequel picks up right where the original finished off, with The Incredibles battling supervillain The Underminer. It's the first of many impressive battle sequence, and does a good job of reminding us of the skills and abilities of each individual family member, not to mention how well they all work together as a team. The advances in animation quality over the last 14 years are obvious, while still managing to retain the unique look and feel of the original.
Unfortunately, the Parr's attempts to save the city don't quite go to plan, leading once again to their helpfulness being questioned by the US Government. They find themselves in a motel, contemplating their futures, until they are approached by Winston Deavor (Bob Odenkirk). He claims that the public have only seen the negative side of superheroes that is portrayed by the government, and wants to provide microscopic cameras embedded within the superhero costumes so that they can capture what they see. By showing the hero's side of the story, Winston plans to generate enough good publicity to start winning over the general public once again and hopefully reverse the law that makes superheroes illegal. Elastigirl is chosen to kick things off, largely due to the minimal government damage she's likely to cause in comparison to her husband! As a result, Mr Incredible is left at home to care for the kids, while Elastigirl is out having fun and saving the world.
The domestic comedy with Mr Incredible stuck at home is just brilliant. Not only does he have to try and get to grips with 'New Math' homework for son Dash, but also with daughter Violet and her boyfriend trouble. Not to mention the discovery that baby Jack-Jack has a set of impressive and highly unpredictable superpowers of his own. Meanwhile, the plan involving Elastigirl is working so well, that plans to make superheroes legal again get underway. But then mysterious new villain Screenslaver begins causing hypnotic chaos around town, and the family must band together once again in order to save the day.
Aside from the impressive action, and the hilarious scenes involving Jack-Jack, the rest of the movie in comparison does feel a little flat in places. In my opinion it falls slightly short of matching the original, although still a highly enjoyable and worthy sequel.
The sequel picks up right where the original finished off, with The Incredibles battling supervillain The Underminer. It's the first of many impressive battle sequence, and does a good job of reminding us of the skills and abilities of each individual family member, not to mention how well they all work together as a team. The advances in animation quality over the last 14 years are obvious, while still managing to retain the unique look and feel of the original.
Unfortunately, the Parr's attempts to save the city don't quite go to plan, leading once again to their helpfulness being questioned by the US Government. They find themselves in a motel, contemplating their futures, until they are approached by Winston Deavor (Bob Odenkirk). He claims that the public have only seen the negative side of superheroes that is portrayed by the government, and wants to provide microscopic cameras embedded within the superhero costumes so that they can capture what they see. By showing the hero's side of the story, Winston plans to generate enough good publicity to start winning over the general public once again and hopefully reverse the law that makes superheroes illegal. Elastigirl is chosen to kick things off, largely due to the minimal government damage she's likely to cause in comparison to her husband! As a result, Mr Incredible is left at home to care for the kids, while Elastigirl is out having fun and saving the world.
The domestic comedy with Mr Incredible stuck at home is just brilliant. Not only does he have to try and get to grips with 'New Math' homework for son Dash, but also with daughter Violet and her boyfriend trouble. Not to mention the discovery that baby Jack-Jack has a set of impressive and highly unpredictable superpowers of his own. Meanwhile, the plan involving Elastigirl is working so well, that plans to make superheroes legal again get underway. But then mysterious new villain Screenslaver begins causing hypnotic chaos around town, and the family must band together once again in order to save the day.
Aside from the impressive action, and the hilarious scenes involving Jack-Jack, the rest of the movie in comparison does feel a little flat in places. In my opinion it falls slightly short of matching the original, although still a highly enjoyable and worthy sequel.