Search
Search results
Ivana A. | Diary of Difference (1171 KP) rated Children of Blood and Bone: Book 1 in Books
Jan 25, 2019
Children of Blood and Bone
‘’In the beginning, Orisha was a land where the rare and sacred maji thrived. Each of the ten clans was gifted by the gods above and given a different power to land.’’
It is not every day that you encounter a book that lets you dive in a world of magic, with such intensity as Children of Blood and Bone. A story so beautifully written, that you forget this is not the real world and you are in a fantasy story. This is one of the books I wish I could keep reading it for the first time again and again.
When majis are born with white hair, it means that they are touched by the Gods. They are called Diviners, and when they celebrate their thirteenth birthday, they have the ability to use magic.
Zelie still remembers how Orisha used to have magic. Different clans existed, and they could all control different things: air, water, earth… But Zelie also remembers the night when everything went wrong. When the king and the army came and killed hundreds of people. Zelie remembers, like it was yesterday, how on that night they brutally killed her mother. The night when magic disappeared forever.
And when Zelie realises that she is one of the very few people that can still use magic, and return magic in Orisha, she goes on a quest with her brother. With the help of a princess that escapes the castle, she has to learn to control her magic powers, and also her feelings for an enemy she mustn’t trust.
‘’I longed for the day I would feel the magic of the dead in my bones, but right now all I can feel is an unnerving tingle in my veins.’’
The world is so well created, and the characters are all loveable and adorable. The magic story in this book is unique and I loved getting to know more about all clans, what they can do, and reading about people realising they have magic in themselves.
Zelie, as a character, is the protagonist, as all adventures are revolved around her, but the other characters are as much as important, if not in some cases, more important than her. She is a character that many of us can relate to. A person that has been denied the sole purpose of existing. A person that has suffered, because of other people’s choices. For Zelie, this was the denial of magic to her and her people, but for others it could be just anything. What I loved the most was the bravery that she showed, even though inside her she would be so scared. It felt as if fear itself made her to be brave. And I have felt that many times. Sometimes, you don’t really have a choice, but to be brave, no matter how scared you might be.
Then, we have Zelie’s brother, Tzain, who is always the more cautious one and tries to (unsuccessfully) keep Zelie out of trouble. He has so much love for Zelie in his heart and is always the one throwing himself out there to protect her. If I ever had a brother, I would wish for him to be Tzain. I couldn’t explain the love and connection they have together with Zelie. It’s so beautiful!
Then there is Amari, the princess that doesn’t agree with her father’s choices, and decides to follow her heart. I think I loved Amari the most out of all characters, as she was my true hero. Raised in a world of ruthless cruelty, and forced to do things she doesn’t want, her father, the king, always believes that she is weak, and incapable of defending herself and ruling a kingdom. And out there, with Zelie and Tzain, is where Amari finds her true self, and the moment she does is the best scene in this whole book, the beauty of a woman being so powerful, only because she was being belittled her whole life.
‘’It’s like seeing her for the first time: the human behind the maji. Fear embedded in the pain. Tragedy caused in Father’s name.’’
And in the end, we have Inan, the most controversial character in this book. The son of the king, and brother of Amari, dedicated to follow his father and rule the kingdom, but struggling between what is right and wrong. When he realises he has magic as well, he can’t confess, as his father kills those who have magic, but meeting Zelie, he is not so sure anymore of what really is happening in his kingdom, and has to make a decision on whose side he wants to be.
‘’The truth cuts like the sharpest knife I’ve ever known.’’
I loved how the story is focused on both worlds:
The world of Zelie and Tzain, where they live in small town with their father, they have to pay incredible amount of diviner tax, and the taxes get more and more expensive, and become impossible to be paid, so people have to go and do free labor for the king, never to be free again. They are faced with such unfairness and cruelty, but their families and the people in the village are sticking together to survive through everything.
And then we have the world of Amari and Inan, and the King. A world where magic is forbidden and all people that can use magic are being slaughtered. A world where being fierceless and cruel means that you are strong enough to lead a kingdom, and protect Orisha.
The only remark I have on this book were the acknowledgements. As much as I respect that story being told, and appreciate it with all my heart, I also really wished I haven’t read that part as it changed the story in the end for me, in a negative way. As I truly believe that every single person has the ability of magic in themselves. Every single person is powerful, and we all should be Diviners! And Inan having the ability himself proves my point on this as well.
A story about the battle of magic and friendships, a story about wins and losses, a world where magic lives in every single one of us. A world where we all belong. A masterpiece, this is. And a powerful one as well.
It is not every day that you encounter a book that lets you dive in a world of magic, with such intensity as Children of Blood and Bone. A story so beautifully written, that you forget this is not the real world and you are in a fantasy story. This is one of the books I wish I could keep reading it for the first time again and again.
When majis are born with white hair, it means that they are touched by the Gods. They are called Diviners, and when they celebrate their thirteenth birthday, they have the ability to use magic.
Zelie still remembers how Orisha used to have magic. Different clans existed, and they could all control different things: air, water, earth… But Zelie also remembers the night when everything went wrong. When the king and the army came and killed hundreds of people. Zelie remembers, like it was yesterday, how on that night they brutally killed her mother. The night when magic disappeared forever.
And when Zelie realises that she is one of the very few people that can still use magic, and return magic in Orisha, she goes on a quest with her brother. With the help of a princess that escapes the castle, she has to learn to control her magic powers, and also her feelings for an enemy she mustn’t trust.
‘’I longed for the day I would feel the magic of the dead in my bones, but right now all I can feel is an unnerving tingle in my veins.’’
The world is so well created, and the characters are all loveable and adorable. The magic story in this book is unique and I loved getting to know more about all clans, what they can do, and reading about people realising they have magic in themselves.
Zelie, as a character, is the protagonist, as all adventures are revolved around her, but the other characters are as much as important, if not in some cases, more important than her. She is a character that many of us can relate to. A person that has been denied the sole purpose of existing. A person that has suffered, because of other people’s choices. For Zelie, this was the denial of magic to her and her people, but for others it could be just anything. What I loved the most was the bravery that she showed, even though inside her she would be so scared. It felt as if fear itself made her to be brave. And I have felt that many times. Sometimes, you don’t really have a choice, but to be brave, no matter how scared you might be.
Then, we have Zelie’s brother, Tzain, who is always the more cautious one and tries to (unsuccessfully) keep Zelie out of trouble. He has so much love for Zelie in his heart and is always the one throwing himself out there to protect her. If I ever had a brother, I would wish for him to be Tzain. I couldn’t explain the love and connection they have together with Zelie. It’s so beautiful!
Then there is Amari, the princess that doesn’t agree with her father’s choices, and decides to follow her heart. I think I loved Amari the most out of all characters, as she was my true hero. Raised in a world of ruthless cruelty, and forced to do things she doesn’t want, her father, the king, always believes that she is weak, and incapable of defending herself and ruling a kingdom. And out there, with Zelie and Tzain, is where Amari finds her true self, and the moment she does is the best scene in this whole book, the beauty of a woman being so powerful, only because she was being belittled her whole life.
‘’It’s like seeing her for the first time: the human behind the maji. Fear embedded in the pain. Tragedy caused in Father’s name.’’
And in the end, we have Inan, the most controversial character in this book. The son of the king, and brother of Amari, dedicated to follow his father and rule the kingdom, but struggling between what is right and wrong. When he realises he has magic as well, he can’t confess, as his father kills those who have magic, but meeting Zelie, he is not so sure anymore of what really is happening in his kingdom, and has to make a decision on whose side he wants to be.
‘’The truth cuts like the sharpest knife I’ve ever known.’’
I loved how the story is focused on both worlds:
The world of Zelie and Tzain, where they live in small town with their father, they have to pay incredible amount of diviner tax, and the taxes get more and more expensive, and become impossible to be paid, so people have to go and do free labor for the king, never to be free again. They are faced with such unfairness and cruelty, but their families and the people in the village are sticking together to survive through everything.
And then we have the world of Amari and Inan, and the King. A world where magic is forbidden and all people that can use magic are being slaughtered. A world where being fierceless and cruel means that you are strong enough to lead a kingdom, and protect Orisha.
The only remark I have on this book were the acknowledgements. As much as I respect that story being told, and appreciate it with all my heart, I also really wished I haven’t read that part as it changed the story in the end for me, in a negative way. As I truly believe that every single person has the ability of magic in themselves. Every single person is powerful, and we all should be Diviners! And Inan having the ability himself proves my point on this as well.
A story about the battle of magic and friendships, a story about wins and losses, a world where magic lives in every single one of us. A world where we all belong. A masterpiece, this is. And a powerful one as well.
Purple Phoenix Games (2266 KP) rated 13 Monsters in Tabletop Games
Dec 5, 2019
Guys and gals, I have a confession. I am not good at memory games. I already surmised it is due to my increasing age, as my 3-year-old son tore through our plays of Farm Rescue, so I am not above resigning myself to the fact that it may be age. In any case, 13 Monsters starts out as a memory game then quickly transforms into a punish-thy-neighbor-into-oblivion monster battle game. Intrigued? We were too…
As I mentioned in the intro, and as you can see in the first photo below, 13 Monsters starts out as a memory tile-flipping game and then becomes a bash-em’-up for domination. The goal of 13 Monsters is to end the game holding the monsters with the highest total Hit Points (HP). Now how you get there is another matter entirely.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, purchase the game through the Kickstarter campaign running until December 20, 2019, or through any retailers stocking it after fulfillment. -T
To setup 13 Monsters, a randomized 9×9 grid of monster tiles are spread across the play surface with the longer title tile placed square in the middle (see what I did there?). Place the five d6 on the table to be used by any player. Determine the first player (whomever is the most beastly) and you are ready to play!
Turns are played in phases where you will initially be hunting the playing field trying to find matching monstersets to build a complete monster. Monstersets are horizontally matching tiles belonging to the same monster. So the top set is the head, the middle is the eyes, and the bottom is the body of the monster. This phase will continue in turns until multiple players have at least one monsterset. Things now start getting interesting.
Once you have at least one monsterset you can, before hunting from the field, offer to trade monstersets with other players. You may also use an ability named “Sacrifice,” which allows you to rearrange your monstersets to create a more powerful monster. Why would you want to rearrange? Monsters come in five elemental flavors – fire, water, earth, air, and ghost. Monsters with matching elemental monstersets are more powerful than those with mismatched elemental monstersets. This will come into play later when the monsters battle for supremacy.
Battles. Once you have a complete monster (head, eyes, body) you can, on your turn and before hunting, attack another monster. When attacking, both the attacker and defender will be throwing the five dice in hopes of ending with the highest total of pips of a matching set (like five 6s on the d6). The winner will then claim a monsterset from the involved monster (or separate monsterset) and add it to their collection. Monsters with more elementally-matching sets will be able to throw the dice more times versus a completed monster with mismatched elemental sets, so THAT is why using Sacrifice can make or break a battle.
There are other special abilities that are unlocked with different combinations of monsters: “Permafrost” allows the player to place a die on a tile that other players will not be able to flip on their hunting turn. However, once a battle is initiated all Permafrost dice are removed from the board to be used in the battle, so it is not a long-term tactic to be used. “Prophet” allows the player to flip over three tiles instead of the normal two tiles and can be very powerful when used correctly – you need to have a “Monster O.G.” which is a monster with all matching tiles belonging to the same completed monster. The final ability is “Supernova” and can only be used by a completed 13th Monster (the only Ghost-element monster, shown below). Supernova allows the player to sacrifice the 13th Monster in order to absorb (steal) a complete monster from any player and add it to their personal collection. The 13th Monster then leaves the game, but the controlling player will still receive the HP points for having collected and used it.
Play continues in this fashion until all tiles have been collected from the playing field. Once the final pair is taken, players are then allowed to declare one final battle against any opponent in hopes to bolster their final score. The player with the most HP shared among their completed monsters is the winner and ultimate Beast Master!
Components. Again, we were provided a prototype copy of the game, but from what I understand, the final production copy of the game will be very similar to this version if not exactly the same. What comprises the game is a ton of monster tiles and five dice. That doesn’t sound like a lot, and it’s not. But these are great quality tiles and normal quality dice (which I am hoping will become pink to match the main color found throughout the game). I love the overall art style. The art is what really pops out at you because the monsters are all uniquely weird and intriguing and kinda cute at the same time. I also very much appreciate that the team thought to include little bubbles next to the element icon on the tiles to indicate to which layer the tile belongs: head, eyes, body. Excellent touch. Overall the components are great, and the rulebook is killer. Outstanding work went into making this game visually stunning.
Is it a good game? It is certainly a very cool spin on Memory and adds modular monster building and player vs player battles where you can win each others’ components. I love it! Even though I am horrible at memory games, this gives me options once I do find a monsterset. I can trade and attack my way to building more and better monsters – but the dice have to be on my side, and I’m cool with that. If you are looking for something to add to your collection that is a brilliant hybrid of many different mechanics and looks absolutely incredible on the table, then please check out 13 Monsters. It rewards tactics, but also has that element of luck to help balance everything out. I’m a big fan!
As I mentioned in the intro, and as you can see in the first photo below, 13 Monsters starts out as a memory tile-flipping game and then becomes a bash-em’-up for domination. The goal of 13 Monsters is to end the game holding the monsters with the highest total Hit Points (HP). Now how you get there is another matter entirely.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. Also, it is not my intention to detail every rule in the game, as there are just too many. You are invited to download the rulebook, purchase the game through the Kickstarter campaign running until December 20, 2019, or through any retailers stocking it after fulfillment. -T
To setup 13 Monsters, a randomized 9×9 grid of monster tiles are spread across the play surface with the longer title tile placed square in the middle (see what I did there?). Place the five d6 on the table to be used by any player. Determine the first player (whomever is the most beastly) and you are ready to play!
Turns are played in phases where you will initially be hunting the playing field trying to find matching monstersets to build a complete monster. Monstersets are horizontally matching tiles belonging to the same monster. So the top set is the head, the middle is the eyes, and the bottom is the body of the monster. This phase will continue in turns until multiple players have at least one monsterset. Things now start getting interesting.
Once you have at least one monsterset you can, before hunting from the field, offer to trade monstersets with other players. You may also use an ability named “Sacrifice,” which allows you to rearrange your monstersets to create a more powerful monster. Why would you want to rearrange? Monsters come in five elemental flavors – fire, water, earth, air, and ghost. Monsters with matching elemental monstersets are more powerful than those with mismatched elemental monstersets. This will come into play later when the monsters battle for supremacy.
Battles. Once you have a complete monster (head, eyes, body) you can, on your turn and before hunting, attack another monster. When attacking, both the attacker and defender will be throwing the five dice in hopes of ending with the highest total of pips of a matching set (like five 6s on the d6). The winner will then claim a monsterset from the involved monster (or separate monsterset) and add it to their collection. Monsters with more elementally-matching sets will be able to throw the dice more times versus a completed monster with mismatched elemental sets, so THAT is why using Sacrifice can make or break a battle.
There are other special abilities that are unlocked with different combinations of monsters: “Permafrost” allows the player to place a die on a tile that other players will not be able to flip on their hunting turn. However, once a battle is initiated all Permafrost dice are removed from the board to be used in the battle, so it is not a long-term tactic to be used. “Prophet” allows the player to flip over three tiles instead of the normal two tiles and can be very powerful when used correctly – you need to have a “Monster O.G.” which is a monster with all matching tiles belonging to the same completed monster. The final ability is “Supernova” and can only be used by a completed 13th Monster (the only Ghost-element monster, shown below). Supernova allows the player to sacrifice the 13th Monster in order to absorb (steal) a complete monster from any player and add it to their personal collection. The 13th Monster then leaves the game, but the controlling player will still receive the HP points for having collected and used it.
Play continues in this fashion until all tiles have been collected from the playing field. Once the final pair is taken, players are then allowed to declare one final battle against any opponent in hopes to bolster their final score. The player with the most HP shared among their completed monsters is the winner and ultimate Beast Master!
Components. Again, we were provided a prototype copy of the game, but from what I understand, the final production copy of the game will be very similar to this version if not exactly the same. What comprises the game is a ton of monster tiles and five dice. That doesn’t sound like a lot, and it’s not. But these are great quality tiles and normal quality dice (which I am hoping will become pink to match the main color found throughout the game). I love the overall art style. The art is what really pops out at you because the monsters are all uniquely weird and intriguing and kinda cute at the same time. I also very much appreciate that the team thought to include little bubbles next to the element icon on the tiles to indicate to which layer the tile belongs: head, eyes, body. Excellent touch. Overall the components are great, and the rulebook is killer. Outstanding work went into making this game visually stunning.
Is it a good game? It is certainly a very cool spin on Memory and adds modular monster building and player vs player battles where you can win each others’ components. I love it! Even though I am horrible at memory games, this gives me options once I do find a monsterset. I can trade and attack my way to building more and better monsters – but the dice have to be on my side, and I’m cool with that. If you are looking for something to add to your collection that is a brilliant hybrid of many different mechanics and looks absolutely incredible on the table, then please check out 13 Monsters. It rewards tactics, but also has that element of luck to help balance everything out. I’m a big fan!
Emma @ The Movies (1786 KP) rated 1917 (2020) in Movies
Jan 22, 2020
It has felt like a long wait to get to this film, there was a lot of talk when Midway was coming out so I was very glad it finally arrived.
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
Gareth von Kallenbach (971 KP) rated Battleship (2012) in Movies
Aug 7, 2019
Basing a movie off of a videogame is often a risky proposition. For every “Resident Evil”, there at least a dozen others that are out and out disasters, “Mario Brothers”, “Wing Commander”, and “Double Dragon” are a few examples of how not to do it.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.
Purple Phoenix Games (2266 KP) rated Cartographers: A Roll Player Tale in Tabletop Games
Sep 13, 2021
I have often wondered how cartography actually works. How was it that people with primitive tools were able to grasp the lay of the land and sea? And are we complete in our mapping of Earth or are there more secrets we have yet to discover? Thankfully, in Cartographers we aren’t really answering those questions, but other practical questions may arise.
Cartographers is a flip-and-write style game where players are competing to gain the queen’s favor and become the royal cartographer. While the main game focuses on finishing with a greater score than your opponent(s) the solo game is more relaxed. The solo player will be competing against their previous scores and comparing against the queen’s title matrix. Each game will be played over four seasons (rounds) and once the year is over the winner or title is claimed. Can you score 30 or more points to become a “Legendary Cartographer?”
To setup, lay out the Queen’s Edict cards that show A, B, C, and D. Shuffle each small deck of like-backed Scoring Cards and randomly place one from each deck underneath the Edict cards. Remove all the enemy Ambush Cards and shuffle one into the main deck of Explore Cards. Set the Season Cards in order: Spring, Summer, Fall, and Winter. Each player will receive one Map Sheet and a pencil. The game may now begin!
Each Season Card will feature a time threshold number that when met or exceeded will end the season. This corresponds to the time markings on each Explore Card drawn from the deck. For example, Spring allows 8 measures of time before it will switch to Summer. Explore Cards will usually show from 0-2 time measures on it, so seasons could change after four or more cards. At the start of each season, the player will flip an Explore Card to reveal which type of map element is requested and of which shape. The map elements are Forest, Farm, Water, Village, Mountain, and Monster. The shapes shown on the cards are reminiscent of Tetris-style shapes and also some others as well.
Once a card has been revealed, the player now will draw on their sheet the shape (or one of the shapes if more than one are shown) and fill it in with the matching symbol for map element type. If during this phase of the round the player surrounds the four sides of a pre-printed Mountain square they will score one coin and mark it at the bottom of their Map Sheet.
Should a Ruins card be revealed the player will flip another card to reveal the next card in line. Whatever shape and element is shown on the card AFTER the Ruins card will be used, with a twist. The shape shown on this card will now be required to encompass one of the pre-printed Ruins squares on the Map Sheet. If there are no legal spaces to place these shapes (or any shape on future cards) the player will be allowed to place a single 1×1 square on their Map Sheet anywhere they wish.
Should an enemy Ambush card be revealed the player will check which corner of the map the ambush takes place and will draw the provided monster shape in the closest area to the corner as possible. These are awarded negative points at the end of the seasons and can make large impacts on final scores.
After the elements have been drawn on the Map Sheet the player will check if the season ends. The season will end if the total number of revealed cards’ time measures equal or exceed the time printed on the Season Card (again, for example, Spring lasts 8 time). If not, then the player resumes another card reveal. If the time threshold has been met or exceeded then the player will score for the season by referencing the Scoring Cards that were placed under the Edicts at setup. For Spring the player scores Edict Cards A and B. Mark the score in the space provided at the bottom of the Scoring Sheet and flip the Season Card to the next season to begin a new round.
Play continues in this fashion until all four seasons have been played. At the end of the fourth season the game ends and the player will tally up their score to compare against the queen’s title matrix at the back of the rulebook. Not to brag, but my first game scored over 30 points, so I began this journey as a Legendary Cartographer.
Components. This game is 100 double-sided Map Sheets, four golf pencils, and a bunch of cards. The sheets and pencils are just fine, and the cards are good quality. What I really enjoy about the components is that this is “A Roll Player Tale,” meaning that many of the components and art hearken back to the original Roll Player game. As I love Roll Player’s art style, I also love that of Cartographers. There isn’t a ton of art in the game, more of graphic design, the art that IS provided is stellar Roll Player fare. I have no complaints about the components here except my wife thinks the pencil erasers could be better.
I skipped backing this one on Kickstarter and have only recently come to acquire it. I am definitely kicking myself in the rear for that decision because this is an excellent game. Obviously, anything that is enjoyable solo AND multiplayer is a huge boon (my wife scored it a 5!), and being able to play it multiple times in a row is a benefit as well.
We both love the decision-making in Cartographers, and when we first played together I had to shield my map sheet from my wife because she was copying! SHE was copying ME! She ended up handing me my booty in that game (of course) but we both had a great time plotting out our map elements. Determining where and which direction a shape should be placed can certainly be frustrating, but seeing your well-laid plans come to life is very rewarding. I am definitely seeing myself needing to download and print off more map sheets in the future because I have a feeling I am going to be playing the mess out of this one.
If you are looking for something special for your collection, check out Cartographers. If you already enjoy Roll Player, this will feel homey to you while offering a completely different style of game. My wife and I love it, and I am not sure I know anyone who would turn their nose up at it. Once we get into the Post-COVID era I plan to play this all the time at game nights.
Cartographers is a flip-and-write style game where players are competing to gain the queen’s favor and become the royal cartographer. While the main game focuses on finishing with a greater score than your opponent(s) the solo game is more relaxed. The solo player will be competing against their previous scores and comparing against the queen’s title matrix. Each game will be played over four seasons (rounds) and once the year is over the winner or title is claimed. Can you score 30 or more points to become a “Legendary Cartographer?”
To setup, lay out the Queen’s Edict cards that show A, B, C, and D. Shuffle each small deck of like-backed Scoring Cards and randomly place one from each deck underneath the Edict cards. Remove all the enemy Ambush Cards and shuffle one into the main deck of Explore Cards. Set the Season Cards in order: Spring, Summer, Fall, and Winter. Each player will receive one Map Sheet and a pencil. The game may now begin!
Each Season Card will feature a time threshold number that when met or exceeded will end the season. This corresponds to the time markings on each Explore Card drawn from the deck. For example, Spring allows 8 measures of time before it will switch to Summer. Explore Cards will usually show from 0-2 time measures on it, so seasons could change after four or more cards. At the start of each season, the player will flip an Explore Card to reveal which type of map element is requested and of which shape. The map elements are Forest, Farm, Water, Village, Mountain, and Monster. The shapes shown on the cards are reminiscent of Tetris-style shapes and also some others as well.
Once a card has been revealed, the player now will draw on their sheet the shape (or one of the shapes if more than one are shown) and fill it in with the matching symbol for map element type. If during this phase of the round the player surrounds the four sides of a pre-printed Mountain square they will score one coin and mark it at the bottom of their Map Sheet.
Should a Ruins card be revealed the player will flip another card to reveal the next card in line. Whatever shape and element is shown on the card AFTER the Ruins card will be used, with a twist. The shape shown on this card will now be required to encompass one of the pre-printed Ruins squares on the Map Sheet. If there are no legal spaces to place these shapes (or any shape on future cards) the player will be allowed to place a single 1×1 square on their Map Sheet anywhere they wish.
Should an enemy Ambush card be revealed the player will check which corner of the map the ambush takes place and will draw the provided monster shape in the closest area to the corner as possible. These are awarded negative points at the end of the seasons and can make large impacts on final scores.
After the elements have been drawn on the Map Sheet the player will check if the season ends. The season will end if the total number of revealed cards’ time measures equal or exceed the time printed on the Season Card (again, for example, Spring lasts 8 time). If not, then the player resumes another card reveal. If the time threshold has been met or exceeded then the player will score for the season by referencing the Scoring Cards that were placed under the Edicts at setup. For Spring the player scores Edict Cards A and B. Mark the score in the space provided at the bottom of the Scoring Sheet and flip the Season Card to the next season to begin a new round.
Play continues in this fashion until all four seasons have been played. At the end of the fourth season the game ends and the player will tally up their score to compare against the queen’s title matrix at the back of the rulebook. Not to brag, but my first game scored over 30 points, so I began this journey as a Legendary Cartographer.
Components. This game is 100 double-sided Map Sheets, four golf pencils, and a bunch of cards. The sheets and pencils are just fine, and the cards are good quality. What I really enjoy about the components is that this is “A Roll Player Tale,” meaning that many of the components and art hearken back to the original Roll Player game. As I love Roll Player’s art style, I also love that of Cartographers. There isn’t a ton of art in the game, more of graphic design, the art that IS provided is stellar Roll Player fare. I have no complaints about the components here except my wife thinks the pencil erasers could be better.
I skipped backing this one on Kickstarter and have only recently come to acquire it. I am definitely kicking myself in the rear for that decision because this is an excellent game. Obviously, anything that is enjoyable solo AND multiplayer is a huge boon (my wife scored it a 5!), and being able to play it multiple times in a row is a benefit as well.
We both love the decision-making in Cartographers, and when we first played together I had to shield my map sheet from my wife because she was copying! SHE was copying ME! She ended up handing me my booty in that game (of course) but we both had a great time plotting out our map elements. Determining where and which direction a shape should be placed can certainly be frustrating, but seeing your well-laid plans come to life is very rewarding. I am definitely seeing myself needing to download and print off more map sheets in the future because I have a feeling I am going to be playing the mess out of this one.
If you are looking for something special for your collection, check out Cartographers. If you already enjoy Roll Player, this will feel homey to you while offering a completely different style of game. My wife and I love it, and I am not sure I know anyone who would turn their nose up at it. Once we get into the Post-COVID era I plan to play this all the time at game nights.
Chris Sawin (602 KP) rated The Forever Purge (2021) in Movies
Dec 14, 2021
The Purger's costumes (1 more)
The film's genuinely bad ass female characters.
There's no character development. (1 more)
The film is just more of the same.
America, A Ho-Hum Dystopia
Searching for stability in the face of record high levels of illegal immigration resulting from a surge in refugees fleeing cartel violence in Mexico and a growing wave of White Supremacy and anti-hispanic racism in the United States, the New Founding Fathers of America have proposed the unthinkable in order to solve the nation’s problems: the reinstatement of the Purge.
Written by The Purge creator James DeMonaco and directed by Everardo Gout, The Forever Purge is the fifth film in the franchise and its first entry since The Purge TV series ended after only two seasons in 2019.
Taking place primarily in Los Felis Valley, Texas, The Forever Purge follows Mexican refugees Adela (Ana de la Reguera) and Juan (Tenoch Huerta), who despite having made a life in America after living in the country for just ten months, continue to find themselves the victims of racism.
A talented cowboy, Juan works for the financially successful Tucker family on their ranch alongside Dylan (Josh Lucas), a member of the Tucker family who isn’t as good of a cowboy as Juan and lets his “white man good, Mexican bad” mentality drive his actions way more often than he should.
With the announcement that the Purge will be reinstated, the two buckle down and prepare to survive their first ever experience with the country’s most gruesome tradition. While the two successfully find sanctuary and survive the initial 12 hours of the sanctioned Purge, they emerge to find that many US citizens have just outright refused to stop purging.
Amidst the chaos, Canada and Mexico open their borders for six hours, allowing anyone not interesting in partaking in the events and wants to survive to flee to one of respective countries. However, the two countries also announce that after these six hours pass, they will be closing their American borders forever, preventing any further escape.
As the entire nation falls into chaos, its citizens begin to realize that The Forever Purge has begun.
The fifth film in the franchise and the latest installment since The Purge tv series ended in 2019, The Forever Purge is pretty much of the same for the horror franchise – in other words, it’s not going to make or break the opinion you already have about these movies.
A definite improvement over The First Purge, which one could argue is the worst film in the series, the performances in The Forever Purge in particular are leaps and bounds better in comparison to those found in its predecessor
You know how there are some movies where, for some reason or another, you don’t watch every trailer it drops before release, and thus are end up surprised when the film turns out to be completely different from the one-note-concept you imagined it would have?
While the upside to this avoidance of marketing material is that you’re almost completely in the dark about a given film prior to seeing it, the downside is that what your own imagined concept of the film may have more more potential than the final product.
The Forever Purge was one such film for me. For some reason, I thought the movie took place in a not-too-distant future where the majority of the country had become a desolate wasteland, water was scarce, and tumbleweeds were the closest thing to a pet anyone had.
Not only that, but I imagined that The Purge, long-outlawed in this post-apocalyptic future, had been reinstated as a full-time event by a group of crazed desperadoes.
Sadly, my idea of a western-slash-Mad Max-inspired Purge film ended up being way more interesting than The Forever Purge actually was, as most of the film’s creativity is found not in the Purge itself, but rather in the expansion to the franchise’s lore – specifically the state in which the USA is left in by the end of the film, as well as the end credits reveal of where Americans across the country are located
A Purger in The Forever Purge, directed by Everardo Valerio Gout.As a result, The Forever Purge ends with the franchise seemingly having lost whatever bite it may have once had. Kills are about as memorable as a bug splat on your windshield while driving on the highway, character development is minimal at best, and you aren’t invested in the outcome of what’s transpiring whatsoever.
You also don’t really know who the protagonists of the film are. Do you root for the successful family that doesn’t know how to cooperate outside of its own race, or the married couple that came to this country illegally?
Furthermore, why is it that each film’s unique masked purgers, who literally show up for only a handful of scenes in each of their respective appearances, are the best part of these films? It’s like really awesome DLC for a lifelessly dull video game.
While the action-horror film does at least introduce two strong female characters, Dylan Tucker’s wife, Cassidy (Cassidy Freeman), isn’t one of them. Her defining characteristics are that she’s pregnant and helpless.
However, Dylan’s younger sister, Harper (Leven Rambin), is awesome. She knows how to use a gun, is resourceful, intelligent, and breaks the ‘dumb blonde’ stereotype we’re all too familiar with.
Ana de la Reguera also rectifies her death in Army of the Dead with her performance as Adela, a former member of a group of women who fought against the cartel in Mexico who can fight, has knowledge of weapons, and knows how to navigate the city in the safest way possible. In other words, she’s a bad ass.
While The Forever Purge is meant to serve as a ‘final entry’ for the franchise, everything is left wide open at the end of the film, just in case another sequel gets greenlit. After all, we know how the general movie-going population just loves to keep mediocre franchises alive.
As such, nothing is resolved by the end of film, and the Forever Purge ends up being just what it sounds like: never ending.
The issue with this non-ending is that where the franchise could potentially go and where it’s actually going are two entirely different things, and thus the end result of the Forever Purge is way more disappointing because of this split.
A lackluster Purge entry at best that is only considered decent because the film that came before it is so awful, The Forever Purge does put some effort into attempting to put a different spin on how we view immigrants, but even that seems half-cocked at best.
With a concept this stagnant, The Forever Purge has successfully done what other horror movies have never been able to do; make deaths, murdering, and killing a total bore. Hopefully, with any luck, The Purge franchise will pillage and murder itself with this entry.
Written by The Purge creator James DeMonaco and directed by Everardo Gout, The Forever Purge is the fifth film in the franchise and its first entry since The Purge TV series ended after only two seasons in 2019.
Taking place primarily in Los Felis Valley, Texas, The Forever Purge follows Mexican refugees Adela (Ana de la Reguera) and Juan (Tenoch Huerta), who despite having made a life in America after living in the country for just ten months, continue to find themselves the victims of racism.
A talented cowboy, Juan works for the financially successful Tucker family on their ranch alongside Dylan (Josh Lucas), a member of the Tucker family who isn’t as good of a cowboy as Juan and lets his “white man good, Mexican bad” mentality drive his actions way more often than he should.
With the announcement that the Purge will be reinstated, the two buckle down and prepare to survive their first ever experience with the country’s most gruesome tradition. While the two successfully find sanctuary and survive the initial 12 hours of the sanctioned Purge, they emerge to find that many US citizens have just outright refused to stop purging.
Amidst the chaos, Canada and Mexico open their borders for six hours, allowing anyone not interesting in partaking in the events and wants to survive to flee to one of respective countries. However, the two countries also announce that after these six hours pass, they will be closing their American borders forever, preventing any further escape.
As the entire nation falls into chaos, its citizens begin to realize that The Forever Purge has begun.
The fifth film in the franchise and the latest installment since The Purge tv series ended in 2019, The Forever Purge is pretty much of the same for the horror franchise – in other words, it’s not going to make or break the opinion you already have about these movies.
A definite improvement over The First Purge, which one could argue is the worst film in the series, the performances in The Forever Purge in particular are leaps and bounds better in comparison to those found in its predecessor
You know how there are some movies where, for some reason or another, you don’t watch every trailer it drops before release, and thus are end up surprised when the film turns out to be completely different from the one-note-concept you imagined it would have?
While the upside to this avoidance of marketing material is that you’re almost completely in the dark about a given film prior to seeing it, the downside is that what your own imagined concept of the film may have more more potential than the final product.
The Forever Purge was one such film for me. For some reason, I thought the movie took place in a not-too-distant future where the majority of the country had become a desolate wasteland, water was scarce, and tumbleweeds were the closest thing to a pet anyone had.
Not only that, but I imagined that The Purge, long-outlawed in this post-apocalyptic future, had been reinstated as a full-time event by a group of crazed desperadoes.
Sadly, my idea of a western-slash-Mad Max-inspired Purge film ended up being way more interesting than The Forever Purge actually was, as most of the film’s creativity is found not in the Purge itself, but rather in the expansion to the franchise’s lore – specifically the state in which the USA is left in by the end of the film, as well as the end credits reveal of where Americans across the country are located
A Purger in The Forever Purge, directed by Everardo Valerio Gout.As a result, The Forever Purge ends with the franchise seemingly having lost whatever bite it may have once had. Kills are about as memorable as a bug splat on your windshield while driving on the highway, character development is minimal at best, and you aren’t invested in the outcome of what’s transpiring whatsoever.
You also don’t really know who the protagonists of the film are. Do you root for the successful family that doesn’t know how to cooperate outside of its own race, or the married couple that came to this country illegally?
Furthermore, why is it that each film’s unique masked purgers, who literally show up for only a handful of scenes in each of their respective appearances, are the best part of these films? It’s like really awesome DLC for a lifelessly dull video game.
While the action-horror film does at least introduce two strong female characters, Dylan Tucker’s wife, Cassidy (Cassidy Freeman), isn’t one of them. Her defining characteristics are that she’s pregnant and helpless.
However, Dylan’s younger sister, Harper (Leven Rambin), is awesome. She knows how to use a gun, is resourceful, intelligent, and breaks the ‘dumb blonde’ stereotype we’re all too familiar with.
Ana de la Reguera also rectifies her death in Army of the Dead with her performance as Adela, a former member of a group of women who fought against the cartel in Mexico who can fight, has knowledge of weapons, and knows how to navigate the city in the safest way possible. In other words, she’s a bad ass.
While The Forever Purge is meant to serve as a ‘final entry’ for the franchise, everything is left wide open at the end of the film, just in case another sequel gets greenlit. After all, we know how the general movie-going population just loves to keep mediocre franchises alive.
As such, nothing is resolved by the end of film, and the Forever Purge ends up being just what it sounds like: never ending.
The issue with this non-ending is that where the franchise could potentially go and where it’s actually going are two entirely different things, and thus the end result of the Forever Purge is way more disappointing because of this split.
A lackluster Purge entry at best that is only considered decent because the film that came before it is so awful, The Forever Purge does put some effort into attempting to put a different spin on how we view immigrants, but even that seems half-cocked at best.
With a concept this stagnant, The Forever Purge has successfully done what other horror movies have never been able to do; make deaths, murdering, and killing a total bore. Hopefully, with any luck, The Purge franchise will pillage and murder itself with this entry.
Gareth von Kallenbach (971 KP) rated King Kong (2005) in Movies
Aug 14, 2019
Following up the box office and Oscar success of the Lord of the Rings Trilogy is an undertaking that is sure to have its dangers. Expectations of the fans notwithstanding, the ability to recapture the magic of the trilogy could be akin to capturing lightning in a bottle. When it was announced that Peter Jackson would follow his Oscar success by doing yet another adaptation of King Kong, there were plenty of questions amidst the excitement.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
Purple Phoenix Games (2266 KP) rated Holi: Festival of Colors in Tabletop Games
Apr 16, 2022
I absolutely love a beautiful game. Being a gamer, I have seen and played many gorgeous games. However, the first time I set up Holi: Festival of Colors (just Holi from here), both my 5 year old son and my slightly older mother-in-law both commented on how awesome it looked setup on the table. It has been a while since I last was so impressed by the sheer glamour of a game – and I only have the base retail version! I HAVE to get my hands on an upgrade pack or something… Just checked. I’ll have to buy the Deluxe version. Okay, placing order.
Holi is an abstract, area control, card-driven action selection (akin to Onitama) game for two to four players. In it, players are attendees at the Holi Festival and the goal is spread their favorite color onto the plaza and other players in order to increase their joy (earn VP). The winner is the player who is best able to throw their color and score joy, all while enjoying the festival!
To setup, the game owner will assemble the three-tiered board and place the appropriate sweets tokens on their spaces. The score track and Rivalry cards are set nearby so all can see. Each player receives their color’s player markers (in four delightful animal shapes), color tokens, color cards, and a helper card. The first player receives the cool lotus flower (I think) marker and the game may begin!
Holi is played over a series of turns, and continues until every player has either run out of color tokens or color cards to play. Each turn, players will take one to three actions in any order, with only one action being absolutely mandatory. This is the Throw Color action. In order to Throw Color, the active player will choose a color card from their hand of three cards to play. On these cards are indications of where a player’s marker/piece/animeeple must be located and the spaces near it to throw color tokens on the board. These color cards are reminiscent of those found in Onitama, where players may only move to specific spaces based on card grid iconography. Players will be littering the squares of the play area with their color tokens as well as attempting to hit other players’ animeeples with their color.
Players may also optionally Move at any point during the turn. This is an easy one: players may Move to any space on the current level of the board they are on, except any space inhabited by an opponent’s animeeple. These spaces could already contain sweets tokens, which can be collected by the player, or even color tokens. When a player lands in a space with their own color token, they take it back to their supply to be used again. However, landing on an opponent’s color token causes the active player to also take it into their supply, thus scoring the opponent points at the end of the game.
Finally, a player, if in a space surrounded on four edges by color tokens, may Climb Up to the next higher level. Players on the middle level will score 2 joy (VP) at the end of the game for each color token placed, while tokens on the top level will score 3 joy. Care should be taken when throwing color on the upper levels, because should an empty space reside on the level below where the token has been placed, the token will fall through to the lower level! Therefore, only color tokens will only remain placed on higher levels when another token is blocking its fall below it.
Once all players have played their cards and thrown their color tokens, the game is over and the score is tallied. 1 point is earned for each color token on the bottom level, 2 points for the middle level, and 3 points for tokens on the upper level. Players score 2 more points for each of their color tokens that found their way into opponents’ supplies. Remember those sweets tokens that players were collecting? Players will score 5 points for every player that has less sweets tokens at the end of the game. If playing with the Rivalry cards, points are also scored for any of their special circumstances (ie color tokens scoring 4 instead of 3 on the top level, or hitting opponents with colors score 2 points immediately instead of the normal 1 point, or even 10 bonus points to the player with the most color tokens on the bottom level). The player with the most points at the end of this scoring phase wins the game!
Components. I kind of already made my point about this game being a flat out stunner on the table. I will sing its praises from here to India and then back again. I normally acknowledge the artist(s) on a game once I open it for the first time, but seeing that this is a total Vincent Dutrait masterpiece, I just had to see which other games of his I own. I have made my claims in the past for my favorite board game artists and I had not included Dutrait. No more. This is brilliant and just a wonderful experience throughout. The components are all great, and that multi-layered board? I mean, come on! The intricacies found throughout and within this box are immeasurable, and I will surely be adding the Deluxe version to my collection.
Holi is a game I can pull out with almost any person or group of people and feel confident that it will give an extremely satisfying experience. The rules are relatively simple, and games are very quick. This is not a filler, but runs so smoothly and briskly that one may miscategorize it as such. The options of movement are so unrestricted, and having the ability to craft spatial situations with the cards in your hand to allow only your animeeple to climb up to the next level is just delicious. Speaking of, the sweets tokens, and really ALL of the components, are just so cute and well-illustrated. I really am finding it difficult to point out any flaws in this game. Every time I have played it I have simply had the best time with my opponents. Yeah, there’s some minor take that, but it’s all in good fun, and if you know anything about the actual celebration of Holi, participants relish coming home just covered head to toe in paint, colored water, and other colorful materials. It’s a great theme that shines through, and I look forward to each of my coming plays.
Currently, eight games we have published reviews for have earned the Golden Feather Award. At the time of this writing, I know one other will be joining that list soon, and now Holi will as well. So that is 10 total games over the 495 we have published and are sitting in queue to be published. That said, it is no surprise, I’m sure, that Holi has earned its spot among the best we have played, and I am incredibly relieved that I was able to grab a copy when I did. This will remain a favorite of mine for many years, I know it. If you are like me and appreciate an amazing production value with a comparably wonderful game underneath, then you owe it to yourself to pick up a copy of Holi as soon as you can. Or come play my copy with me. I will always be up for a play.
Holi is an abstract, area control, card-driven action selection (akin to Onitama) game for two to four players. In it, players are attendees at the Holi Festival and the goal is spread their favorite color onto the plaza and other players in order to increase their joy (earn VP). The winner is the player who is best able to throw their color and score joy, all while enjoying the festival!
To setup, the game owner will assemble the three-tiered board and place the appropriate sweets tokens on their spaces. The score track and Rivalry cards are set nearby so all can see. Each player receives their color’s player markers (in four delightful animal shapes), color tokens, color cards, and a helper card. The first player receives the cool lotus flower (I think) marker and the game may begin!
Holi is played over a series of turns, and continues until every player has either run out of color tokens or color cards to play. Each turn, players will take one to three actions in any order, with only one action being absolutely mandatory. This is the Throw Color action. In order to Throw Color, the active player will choose a color card from their hand of three cards to play. On these cards are indications of where a player’s marker/piece/animeeple must be located and the spaces near it to throw color tokens on the board. These color cards are reminiscent of those found in Onitama, where players may only move to specific spaces based on card grid iconography. Players will be littering the squares of the play area with their color tokens as well as attempting to hit other players’ animeeples with their color.
Players may also optionally Move at any point during the turn. This is an easy one: players may Move to any space on the current level of the board they are on, except any space inhabited by an opponent’s animeeple. These spaces could already contain sweets tokens, which can be collected by the player, or even color tokens. When a player lands in a space with their own color token, they take it back to their supply to be used again. However, landing on an opponent’s color token causes the active player to also take it into their supply, thus scoring the opponent points at the end of the game.
Finally, a player, if in a space surrounded on four edges by color tokens, may Climb Up to the next higher level. Players on the middle level will score 2 joy (VP) at the end of the game for each color token placed, while tokens on the top level will score 3 joy. Care should be taken when throwing color on the upper levels, because should an empty space reside on the level below where the token has been placed, the token will fall through to the lower level! Therefore, only color tokens will only remain placed on higher levels when another token is blocking its fall below it.
Once all players have played their cards and thrown their color tokens, the game is over and the score is tallied. 1 point is earned for each color token on the bottom level, 2 points for the middle level, and 3 points for tokens on the upper level. Players score 2 more points for each of their color tokens that found their way into opponents’ supplies. Remember those sweets tokens that players were collecting? Players will score 5 points for every player that has less sweets tokens at the end of the game. If playing with the Rivalry cards, points are also scored for any of their special circumstances (ie color tokens scoring 4 instead of 3 on the top level, or hitting opponents with colors score 2 points immediately instead of the normal 1 point, or even 10 bonus points to the player with the most color tokens on the bottom level). The player with the most points at the end of this scoring phase wins the game!
Components. I kind of already made my point about this game being a flat out stunner on the table. I will sing its praises from here to India and then back again. I normally acknowledge the artist(s) on a game once I open it for the first time, but seeing that this is a total Vincent Dutrait masterpiece, I just had to see which other games of his I own. I have made my claims in the past for my favorite board game artists and I had not included Dutrait. No more. This is brilliant and just a wonderful experience throughout. The components are all great, and that multi-layered board? I mean, come on! The intricacies found throughout and within this box are immeasurable, and I will surely be adding the Deluxe version to my collection.
Holi is a game I can pull out with almost any person or group of people and feel confident that it will give an extremely satisfying experience. The rules are relatively simple, and games are very quick. This is not a filler, but runs so smoothly and briskly that one may miscategorize it as such. The options of movement are so unrestricted, and having the ability to craft spatial situations with the cards in your hand to allow only your animeeple to climb up to the next level is just delicious. Speaking of, the sweets tokens, and really ALL of the components, are just so cute and well-illustrated. I really am finding it difficult to point out any flaws in this game. Every time I have played it I have simply had the best time with my opponents. Yeah, there’s some minor take that, but it’s all in good fun, and if you know anything about the actual celebration of Holi, participants relish coming home just covered head to toe in paint, colored water, and other colorful materials. It’s a great theme that shines through, and I look forward to each of my coming plays.
Currently, eight games we have published reviews for have earned the Golden Feather Award. At the time of this writing, I know one other will be joining that list soon, and now Holi will as well. So that is 10 total games over the 495 we have published and are sitting in queue to be published. That said, it is no surprise, I’m sure, that Holi has earned its spot among the best we have played, and I am incredibly relieved that I was able to grab a copy when I did. This will remain a favorite of mine for many years, I know it. If you are like me and appreciate an amazing production value with a comparably wonderful game underneath, then you owe it to yourself to pick up a copy of Holi as soon as you can. Or come play my copy with me. I will always be up for a play.
Daniel Boyd (1066 KP) rated Who Built The Moon? by Noel Gallagher / Noel Gallagher's High Flying Birds in Music
Nov 28, 2017 (Updated Nov 28, 2017)
A new direction from Noel (1 more)
Some unexpectedly bold creative choices are made
A Breath Of Fresh Air
Who Built The Moon? was released on Friday 24/11/17 and has already proved to be the most divisive album that Noel has ever been a part of. I personally love it. I think if Noel had dropped another record in the now expected style of the first two HFB's records, we would be rolling our eyes. Instead he is trying something new, a bold step for a man of 50 who has been making music publicly for the last quarter of a century.
Working with notorious industry producer, David Holmes, this record possesses a whole new sound for Noel, his lyrics and vocals are obviously instantly recognisable, but the instrumentation and production on the record is like something we have never heard him do before. Now it's all well and good trying something new, but is it any good? Well, it is actually.
The record opens with a stomping instrumental called Fort Knox. A track reminiscent of George Harrison meets the Gorillaz, that you can't help but at least nod along to. This isn't the first time that Noel has opened a record with an instrumental, (2000's Standing On The Shoulders of Giants opened with Fuckin' In The Bushes,) but I think it may be his best instrumental to date.
Next up is the record's lead single; Holy Mountain. This track carries on the pace set by Fort Knox and contains elements of Slade and Bowie to boot. Much has already been said about the comparison to She Bangs, but it doesn't bother me, this is a fantastic song and I feel like it was a solid choice for the album's first single. Having Paul Weller playing the organ on it doesn't hurt much either.
Following this is one of my favourite songs on the record, Keep On Reaching. I actually heard Noel talking about this song in an interview before I heard the track itself and from what he was describing, I didn't think I was going to care for it. Well my preconceptions were whacked away once I got around to listening to the track. Absolutely brilliant song that feels uplifting and triumphant.
The next song is called It's A Beautiful World and I have to admit I found it to be a bit of a grower. I first heard the track played live on Jools Holland and didn't love it, then I heard the album track and liked it a bit more, then I listened to it again and wasn't feeling it as much. Now six or seven listens later, I love this song. There are a few odd choices made here and I can understand why people would initially be put off, but I think this track works perfectly, especially within the context of the rest of the album.
After this we hear She Taught Me How To Fly, which is probably my least favourite track on the record. Again though I have to admit that this has grown on me since I first heard it. Hearing it live for the first time on Jools Holland, combined with seeing that scissor player for the first time was a bit much for me and to be honest I really wasn't a fan of the track. While I still don't love the track, I do enjoy it within the context of the album and I much prefer it now to when I initially heard it.
Track six is called Be Careful What You Wish For and for me, it falls into the same category as She Taught Me How To Fly, in that it is good, but not great. I'd say that these two songs are definitely the 'filler' section of the album. On any other record, these songs would be highlights, but on a Noel Gallagher record, they only qualify as filler in my opinion. They do add to the album as a whole though and are absolutely necessary if you are looking to experience the album all the way through from start to finish, which is also definitely the best way to experience this album.
The record picks up again with Black & White Sunshine. A roaring rock n' roll stomper that definitely sounds the most like Oasis over anything else on the album. The song's upbeat tone and slightly melancholy lyrics match up with Noel's signature writing style and it works just as well here as it did in the Oasis days. It's nice to hear something that feels slightly more familiar in amongst all of the other more experimental stuff on this record.
After hearing Fort Knox, I was really excited to hear the other instrumental on this album, Wednesday - Part 1. Unfortunately it's nowhere near as good as Fort Knox and it's been split into two parts. It's still a decently enjoyable piece of music that helps the album plod along into it's final stretch, but if like me you were hoping this to be just as good as Fort Knox, you will be left disappointed.
Next up is what is perhaps my favourite track on the record; If Love Is The Law. This glorious banger of a tune adds so much to the record overall and sounds mega through a good set of headphones. Johnny Marr's unmistakable guitar playing works awesomely on this track, as does his harmonica work. The lyrics are top notch, Noel's voice sounds great and it is a brilliant tune from start to finish.
The last official track on the album is the title track, The Man Who Built the Moon. This song tells the story of a cowboy full of regrets, using all sorts of interesting metaphors it is definitely the most narrative track on the album. The tone of the song slightly reminds me of The Ballad Of The Mighty I, the closing track from Noel's last record. It is a great song and works fantastically as a way to end this record.
Lastly we have Wednesday - Part 2, which is simply a continuation of Wednesday - Part 1, not much else to say here really.
Finally, we have a bonus track called Dead In The Water. This was recorded live during a session Noel did on an Irish radio station while promoting his previous album. Noel apparently didn't even know he was being recorded at the time while he was singing, which I think makes this song even more special. Allegedly, David Holmes was reluctant to put this on the record, as he felt it was out of place with the rest of the songs on the record, but I am so glad that Noel convinced him otherwise. Noel's voice here, sounds pure and frankly astonishing and the lyrics are fantastic too. The tone sounds similar to Talk Tonight and it is definitely one of the album's best moments.
The one gripe I have about this album, is that while this is a fresh new direction for Noel, it's not a style that hasn't been done before by other bands and arguably been done better. The Gorillaz' records or any of the late Beatles albums serve as a good example of this. Then again, Noel is well known from 'borrowing,' song elements from other artists, so maybe this is as original as it gets for him and we should be grateful for that.
Regardless, as a long time Oasis, (and particularly Noel Gallagher,) fan, I am glad that Noel is doing something new. I am also glad that with both Gallagher brothers now producing music, we won't be getting two extremely similar sounding albums. This is exciting for Oasis fans and can maybe serve as a step forward for fans who are still stuck in the past, in finally getting over their favourite band breaking up - it only took 8 years.
Working with notorious industry producer, David Holmes, this record possesses a whole new sound for Noel, his lyrics and vocals are obviously instantly recognisable, but the instrumentation and production on the record is like something we have never heard him do before. Now it's all well and good trying something new, but is it any good? Well, it is actually.
The record opens with a stomping instrumental called Fort Knox. A track reminiscent of George Harrison meets the Gorillaz, that you can't help but at least nod along to. This isn't the first time that Noel has opened a record with an instrumental, (2000's Standing On The Shoulders of Giants opened with Fuckin' In The Bushes,) but I think it may be his best instrumental to date.
Next up is the record's lead single; Holy Mountain. This track carries on the pace set by Fort Knox and contains elements of Slade and Bowie to boot. Much has already been said about the comparison to She Bangs, but it doesn't bother me, this is a fantastic song and I feel like it was a solid choice for the album's first single. Having Paul Weller playing the organ on it doesn't hurt much either.
Following this is one of my favourite songs on the record, Keep On Reaching. I actually heard Noel talking about this song in an interview before I heard the track itself and from what he was describing, I didn't think I was going to care for it. Well my preconceptions were whacked away once I got around to listening to the track. Absolutely brilliant song that feels uplifting and triumphant.
The next song is called It's A Beautiful World and I have to admit I found it to be a bit of a grower. I first heard the track played live on Jools Holland and didn't love it, then I heard the album track and liked it a bit more, then I listened to it again and wasn't feeling it as much. Now six or seven listens later, I love this song. There are a few odd choices made here and I can understand why people would initially be put off, but I think this track works perfectly, especially within the context of the rest of the album.
After this we hear She Taught Me How To Fly, which is probably my least favourite track on the record. Again though I have to admit that this has grown on me since I first heard it. Hearing it live for the first time on Jools Holland, combined with seeing that scissor player for the first time was a bit much for me and to be honest I really wasn't a fan of the track. While I still don't love the track, I do enjoy it within the context of the album and I much prefer it now to when I initially heard it.
Track six is called Be Careful What You Wish For and for me, it falls into the same category as She Taught Me How To Fly, in that it is good, but not great. I'd say that these two songs are definitely the 'filler' section of the album. On any other record, these songs would be highlights, but on a Noel Gallagher record, they only qualify as filler in my opinion. They do add to the album as a whole though and are absolutely necessary if you are looking to experience the album all the way through from start to finish, which is also definitely the best way to experience this album.
The record picks up again with Black & White Sunshine. A roaring rock n' roll stomper that definitely sounds the most like Oasis over anything else on the album. The song's upbeat tone and slightly melancholy lyrics match up with Noel's signature writing style and it works just as well here as it did in the Oasis days. It's nice to hear something that feels slightly more familiar in amongst all of the other more experimental stuff on this record.
After hearing Fort Knox, I was really excited to hear the other instrumental on this album, Wednesday - Part 1. Unfortunately it's nowhere near as good as Fort Knox and it's been split into two parts. It's still a decently enjoyable piece of music that helps the album plod along into it's final stretch, but if like me you were hoping this to be just as good as Fort Knox, you will be left disappointed.
Next up is what is perhaps my favourite track on the record; If Love Is The Law. This glorious banger of a tune adds so much to the record overall and sounds mega through a good set of headphones. Johnny Marr's unmistakable guitar playing works awesomely on this track, as does his harmonica work. The lyrics are top notch, Noel's voice sounds great and it is a brilliant tune from start to finish.
The last official track on the album is the title track, The Man Who Built the Moon. This song tells the story of a cowboy full of regrets, using all sorts of interesting metaphors it is definitely the most narrative track on the album. The tone of the song slightly reminds me of The Ballad Of The Mighty I, the closing track from Noel's last record. It is a great song and works fantastically as a way to end this record.
Lastly we have Wednesday - Part 2, which is simply a continuation of Wednesday - Part 1, not much else to say here really.
Finally, we have a bonus track called Dead In The Water. This was recorded live during a session Noel did on an Irish radio station while promoting his previous album. Noel apparently didn't even know he was being recorded at the time while he was singing, which I think makes this song even more special. Allegedly, David Holmes was reluctant to put this on the record, as he felt it was out of place with the rest of the songs on the record, but I am so glad that Noel convinced him otherwise. Noel's voice here, sounds pure and frankly astonishing and the lyrics are fantastic too. The tone sounds similar to Talk Tonight and it is definitely one of the album's best moments.
The one gripe I have about this album, is that while this is a fresh new direction for Noel, it's not a style that hasn't been done before by other bands and arguably been done better. The Gorillaz' records or any of the late Beatles albums serve as a good example of this. Then again, Noel is well known from 'borrowing,' song elements from other artists, so maybe this is as original as it gets for him and we should be grateful for that.
Regardless, as a long time Oasis, (and particularly Noel Gallagher,) fan, I am glad that Noel is doing something new. I am also glad that with both Gallagher brothers now producing music, we won't be getting two extremely similar sounding albums. This is exciting for Oasis fans and can maybe serve as a step forward for fans who are still stuck in the past, in finally getting over their favourite band breaking up - it only took 8 years.