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Debbiereadsbook (1444 KP) rated Daffodils and Dreams (Brodyr Alarch #4) in Books
Jun 16, 2025
wonderful instalment!
Independent reviewer for Archaeolibrarian, but I also purchased my copy of this book.
This is book 4 in the Brodyr Alarch series, and while not necessary, I do recomend that you read the other three boosk before this, or at LEAST, Sealed with A Curse, which is the prequel to this series. That will give you why these men were cursed, and what they did to be free of it. Harri mentions it a time or two in his musings. I loved them all.
Harri is preparing to be crowned the king of Melthkior, a middle brother in the Brodyr Alarch. His older brothers have no wish to be king, and Harri was always going to be crowned. Adding the Druids to the ceremony, and wanting to build a healing centre with their knowledge, was all Harri's idea. Ffion is the daughter of the head of the Druids. The two meeting start a cascade of events that leads to some dark times for them both. Will their choices, when the time comes, prove them worthy?
I've said this before and I will say it again, I am LOVING that these books are clean. Harri and Ffion take time to get to know each other, it's well over halfway through the book that they kiss, and I loved being made to wait. They both have a powerful reaction to the other, but it's kept low key. They know about it, but they don't voice it, not until things begin to go wrong.
I loved that Harri and Ffion both have to face their demons. I love that the tests are intriguing. I wasn't sure how they would go down. I loved that, while confident on the outside, both Harri and Ffion had doubts. Not about their love, that is clear, but about who they are inside and if they are good enough for each other and the roles they have been dealt.
This one is based around the Sleeping Beauty type tale. Harri and Ffion work hard to remove all chance of the curse being activated, but it takes a tiny slip of the foot to set it in motion and there is nothing harri can do then, but battle himself, almost.
I really REALLY enjoyed this instalment and I can't wait for the next one. I'm left feeling 4 stars, though, rather than 5 and I can only assume that it's a "me, not you" thing.
4 very VERY good stars
*same worded review will appear elsewhere
This is book 4 in the Brodyr Alarch series, and while not necessary, I do recomend that you read the other three boosk before this, or at LEAST, Sealed with A Curse, which is the prequel to this series. That will give you why these men were cursed, and what they did to be free of it. Harri mentions it a time or two in his musings. I loved them all.
Harri is preparing to be crowned the king of Melthkior, a middle brother in the Brodyr Alarch. His older brothers have no wish to be king, and Harri was always going to be crowned. Adding the Druids to the ceremony, and wanting to build a healing centre with their knowledge, was all Harri's idea. Ffion is the daughter of the head of the Druids. The two meeting start a cascade of events that leads to some dark times for them both. Will their choices, when the time comes, prove them worthy?
I've said this before and I will say it again, I am LOVING that these books are clean. Harri and Ffion take time to get to know each other, it's well over halfway through the book that they kiss, and I loved being made to wait. They both have a powerful reaction to the other, but it's kept low key. They know about it, but they don't voice it, not until things begin to go wrong.
I loved that Harri and Ffion both have to face their demons. I love that the tests are intriguing. I wasn't sure how they would go down. I loved that, while confident on the outside, both Harri and Ffion had doubts. Not about their love, that is clear, but about who they are inside and if they are good enough for each other and the roles they have been dealt.
This one is based around the Sleeping Beauty type tale. Harri and Ffion work hard to remove all chance of the curse being activated, but it takes a tiny slip of the foot to set it in motion and there is nothing harri can do then, but battle himself, almost.
I really REALLY enjoyed this instalment and I can't wait for the next one. I'm left feeling 4 stars, though, rather than 5 and I can only assume that it's a "me, not you" thing.
4 very VERY good stars
*same worded review will appear elsewhere
Heather Cranmer (2721 KP) rated Don't Stop Believin' in Books
May 28, 2019
I was obsessed with Olivia Newton-John as a little girl. As a little girl, I knew all of her songs by heart, and I had watched all of her movies over and over. I do admit that as I grew up, my obsession faded. However, when I saw Olivia's autobiography, Don't Stop Believin', on the shelf at my local library, I decided to give it a read. While it was enjoyable, it just came across as kind of preachy.
Olivia Newton-John rose to fame in the United States as the character of Sandy in the movie Grease. She also had a bunch of hit songs and records afterwards. Olivia's autobiography does mention her rise to fame although I felt as if there wasn't enough time spent on her rise to fame. She does write about her time with Grease and other films as well as recording her songs throughout the book. I felt the movies and songs were written about well.
We get a taste of her life as a child in England and Australia, although I felt she didn't discuss her pre-fame life too much. I would have liked to read more about her childhood instead of just being rushed into when she started performing. I know Olivia Newton-John likes to keep her private life out of the limelight, but when writing an autobiography, it's important to give the reader a little more details than what Don't Stop Believin' gave us.
There was so much name dropping throughout this book! While I understand that famous people know other famous people, sometimes I felt as if Olivia was dropping names just for show instead of because it fit the story. You have a lot of famous friends. We get it!
Another thing that annoyed me about the book was how some parts seemed like an advertisement for her Olivia Newton-John Cancer Wellness and Research Centre as well as for her husband, John Easterling's, herb company. I know she's done so much for her cancer center, (which I give her mad props for), but she goes on and on about how great and lovely of a place it was especially after she was an inpatient there. Of course the staff would treat her better when her name is on the building! There's more than one chapter devoted to how great the place is. I'm sure it is lovely, but I felt like I didn't need to a chapter (and more) about how great it is. As for her husband's herb company, she went on and on towards the end of the book how his herbs really helped her out which is great, but again, does the reader really need the specifics and being told over and over again how helpful it was?
The major thing that annoyed me was how preachy Don't Stop Believin' was in a lot of chapters. In fact, it made me feel guilty sometimes that I rely on modern medicine. Olivia writes how she'd rather take the natural approach to fighting off viruses and diseases, and I get that because I don't like to take medicine needlessly either, but sometimes, it's the best thing. However, I just felt that Olivia was berating those who choose to go the medicinal route. I felt like she was implying that natural remedies work better than modern medicine. This can be dangerous especially if someone gets off their medicines they need to survive to try the natural approach. People should always discuss any changes of medication with their doctors.
To me, Don't Stop Believin' writes like someone who's always been privileged and sheltered throughout their life. A lot of it feels like Olivia Newton-John is out of touch with reality and like she's living in La-La Land. I just found it hard to relate to her throughout the book. Yes, she has gone through some hardships such as deaths in the family, her cancer diagnoses, and her ex-boyfriend disappearing, but for the most part, her autobiography is just too sunshine and rainbows for me to truly relate.
Don't Stop Believin' flows beautifully though, and the writing is done very well, so it has that going for it. I did find myself enjoying the book most of the time when Olivia wasn't been preachy or advertising something. There were some interesting tidbits about her life throughout the book.
Trigger warnings include some profanity use, death, cancer, drinking, and smoking.
Overall, Don't Stop Believin' isn't a bad book, quite the contrary. It's just a bit too hippie dippy for me to have truly enjoyed it to its fullest. I did find the book interesting though despite some flaws. I would recommend Don't Stop Believin' by Olivia Newton-John especially to those who have been diagnosed with cancer as this book does come with a bunch of positivity when it comes to dealing with cancer.
Olivia Newton-John rose to fame in the United States as the character of Sandy in the movie Grease. She also had a bunch of hit songs and records afterwards. Olivia's autobiography does mention her rise to fame although I felt as if there wasn't enough time spent on her rise to fame. She does write about her time with Grease and other films as well as recording her songs throughout the book. I felt the movies and songs were written about well.
We get a taste of her life as a child in England and Australia, although I felt she didn't discuss her pre-fame life too much. I would have liked to read more about her childhood instead of just being rushed into when she started performing. I know Olivia Newton-John likes to keep her private life out of the limelight, but when writing an autobiography, it's important to give the reader a little more details than what Don't Stop Believin' gave us.
There was so much name dropping throughout this book! While I understand that famous people know other famous people, sometimes I felt as if Olivia was dropping names just for show instead of because it fit the story. You have a lot of famous friends. We get it!
Another thing that annoyed me about the book was how some parts seemed like an advertisement for her Olivia Newton-John Cancer Wellness and Research Centre as well as for her husband, John Easterling's, herb company. I know she's done so much for her cancer center, (which I give her mad props for), but she goes on and on about how great and lovely of a place it was especially after she was an inpatient there. Of course the staff would treat her better when her name is on the building! There's more than one chapter devoted to how great the place is. I'm sure it is lovely, but I felt like I didn't need to a chapter (and more) about how great it is. As for her husband's herb company, she went on and on towards the end of the book how his herbs really helped her out which is great, but again, does the reader really need the specifics and being told over and over again how helpful it was?
The major thing that annoyed me was how preachy Don't Stop Believin' was in a lot of chapters. In fact, it made me feel guilty sometimes that I rely on modern medicine. Olivia writes how she'd rather take the natural approach to fighting off viruses and diseases, and I get that because I don't like to take medicine needlessly either, but sometimes, it's the best thing. However, I just felt that Olivia was berating those who choose to go the medicinal route. I felt like she was implying that natural remedies work better than modern medicine. This can be dangerous especially if someone gets off their medicines they need to survive to try the natural approach. People should always discuss any changes of medication with their doctors.
To me, Don't Stop Believin' writes like someone who's always been privileged and sheltered throughout their life. A lot of it feels like Olivia Newton-John is out of touch with reality and like she's living in La-La Land. I just found it hard to relate to her throughout the book. Yes, she has gone through some hardships such as deaths in the family, her cancer diagnoses, and her ex-boyfriend disappearing, but for the most part, her autobiography is just too sunshine and rainbows for me to truly relate.
Don't Stop Believin' flows beautifully though, and the writing is done very well, so it has that going for it. I did find myself enjoying the book most of the time when Olivia wasn't been preachy or advertising something. There were some interesting tidbits about her life throughout the book.
Trigger warnings include some profanity use, death, cancer, drinking, and smoking.
Overall, Don't Stop Believin' isn't a bad book, quite the contrary. It's just a bit too hippie dippy for me to have truly enjoyed it to its fullest. I did find the book interesting though despite some flaws. I would recommend Don't Stop Believin' by Olivia Newton-John especially to those who have been diagnosed with cancer as this book does come with a bunch of positivity when it comes to dealing with cancer.
Movie Metropolis (309 KP) rated Aquaman (2018) in Movies
Jun 10, 2019
Bad Wigs aside it's really rather good
You could be forgiven for being rather sceptical walking into the cinema to see Aquaman, and it’s easy to see why. An uninspiring set of trailers preceded by the DCEU’s shall we say reluctance to resonate with audiences.
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Of course, Wonder Woman was a sterling effort by Patty Jenkins, only hampered by a poor final act and the feeling that the female superhero couldn’t quite shake off the trappings of Zac Snyder’s overarching vision for the DC Extended Universe.
Justice League was a steaming pile of mediocrity and Batman vs Superman was fun if entirely forgettable. Aquaman arrives on the scene with the hopes of Warner Bros. entire franchise on its shoulders. But is it any good?
After the events of Justice League and the defeat of Steppenwolf, Aquaman (Jason Momoa) finds himself caught between a surface world that ravages the sea and the underwater Atlanteans who are ready to revolt. Much like the murky depths of the many oceans the film takes us to, Aquaman is at times, a clouded and muddled blockbuster that lacks the subtle nuances of the MCU, but do you know what, it’s actually really rather good.
As we should have been expecting, Aquaman plays the sensible card when it comes to plot and features numerous references to how we as human beings are destroying our oceans, and this is more than welcome. With the ongoing environmental crisis, the more we plug it in mainstream films, the better.
Jason Momoa takes to the role of Arthur Curry like a duck to water and gets to prove his acting prowess in some of the film’s more poignant moments. Nicole Kidman marks her superhero movie debut as his mother, Queen Atlanna and she looks like she’s having a royally good time. Elsewhere, Amber Heard battles against a truly ghastly wig as Momoa’s love-interest and sidekick – she’s fabulous, wig aside.
The supporting cast is also very strong. We get to see superhero veteran Willem Dafoe having a great time as wise Vulko and Patrick Wilson as Aquaman’s scaly brother, Orm. It’s a cracking cast that bolsters a film that is well-written and enjoyable throughout.
Director James Wan, mastermind of the Saw franchise and director of Furious 7brings his trademark filming style to the superhero blockbuster. There’s some stunning imagery throughout and it’s up there with Jurassic World: Fallen Kingdom as one of the best-looking films of the year. There’s something delightful to look at lurking in every frame and it’s leagues ahead of anything the DCEU has thrown at us.
The underwater world of Atlantis is brimming with life, albeit of the CGI variety. The neon colour-palate works incredibly well and it feels at times like you’re watching a Star Wars cloud city, but in the depths of the ocean. It’s nicely detailed and very well put together.
For all its flashy special effects and excellent cinematography, it feels wholly unoriginal
The special effects are on the whole, a bit of a mixed bag. The underwater worlds look fab and the sea creatures too have been improved after the critical mauling they received in the trailers. Nevertheless, there are some moments of shaky CGI, normally involving surface dwellers or Atlantean individuals, rather than scenery or creatures. That’s a shame as it distracts from a gorgeous looking film.
When it comes to villainy, both the DCEU and MCU have struggled to create compelling bad guys and unfortunately the same is true here. Yes, Patrick Wilson’s scheming brother is fun to watch, but he feels like a poor man’s Loki and that’s exactly what he is.
Then there’s Black Manta, portrayed by Yahya Abdul-Mateen II from The Greatest Showman. Despite being part of one of the film’s best sequences (a fantastically filmed rooftop chase in Italy), he doesn’t get to do a lot and his motives are very Killmonger-esque.
And therein lies the fundamental flaw with Aquaman. For all its flashy special effects and excellent cinematography, it feels wholly unoriginal. From Star Wars to Harry Potter and Thor to Black Panther, elements are borrowed here and there until they make up a film that at 143 minutes is a good 20 minutes too long.
But, it doesn’t take itself too seriously (a problem the DCEU has suffered previously) and Jason Momoa somehow manages to make that Aquaman suit work very well indeed. As far as the DCEU is concerned, this is by far the best film the franchise has put out so far – there’s life in the old dog yet. Aquaman is cheesy, campy fun, and I have to say, I really rather liked it. Just ignore the bad wigs.
https://moviemetropolis.net/2018/12/13/aquaman-review-bad-wigs-aside-its-really-rather-good/
Gareth von Kallenbach (980 KP) rated Land of the Dead (2005) in Movies
Aug 14, 2019
Twenty years after his last installment of the classic “Dead” zombie genre, landmark Horror writer/director George Romero has returned to the delight of fans worldwide.
After years of various horror projects, and remakes of his previous “Dead” films, fans had begun to wonder if they had seen the last of Romero’s Zombie films and had to content themselves with the remakes and rumored offshoots and sequels from such.
Thankfully, with Land of the Dead Romero has returned to his basics and has crafted a Zombie thriller that is not only better than 85’s disappointing “Day of the Dead”, but on par with the ground breaking “Dawn of the Dead and the classic Original “Night of the Living Dead.”
For those who are not familiar with the series, the dead have arisen and now walk the earth looking for humans to feed upon. Gone is any memory of their former selves, only the insatiable desire to feed remains. How this event happened is never explained in the films viewers simply have to accept that it is happening and that those who are bitten by zombies are destined to join the ranks of the undead.
Like the previous films, the story follows a group of humans who are attempting to survive against the zombie hordes and who seek shelter and a way to stave off the zombie masses.
In Land of the Dead, a group of survivors have taken refuge in a fortified city where the common folks live in the streets while the affluent live in pristine high rise complex with many of the luxuries of their past lives.
One such survivor is Riley (Simon Baker), who spends his time venturing beyond the walls of the city with his team as they attempt to locate food, medicines, and other needed items in cities that have been abandoned due to zombie infestation.
As the film opens, Riley is completing his last run as he plans to venture north to find a cold and desolated area that is devoid of zombies and huddled masses.
His second in command Cholo, (John Leguizamo), is anxious to take over, as he sees the expeditions as a chance to obtain valuable items such as cigars and whiskey, which he can in turn sell to those who live in luxury. This desire causes much friction between Riley and Cholo but with the pending departure of Riley, Cholo realizes he may be able to finally purchase a home of his own in the luxury high rise.
Things do not go as planned for Cholo as when he tells his boss, Kaufman (Dennis Hopper), about his plans to move into the new complex, he is shocked to learn that Riley’s prediction of class exclusions in the building apply to him as well.
Furious over being used and cheated of his dreams and money, and an attempt upon his life, Cholo decides to hijack a well-armed armored vehicle that defends the city in an effort to extort his payment from Kaufman.
At the same time, Riley has learned that he has be swindled from his car, and soon finds himself working with Kaufman in an attempt to recover the armored vehicle from Cholo before he unleashes a hail of rockets upon the city. In short order, Riley and his support team are forced to enter the zombie infested streets to save the day.
Of course with “Land” being a Zombie film, the city will soon find itself overrun with all manner of ghouls and there will be plenty of flesh splitting, blood spattering, gore spewing scenes that will delight fans of the genre and elicit more than a few shrieks and cheers from the audience.
It is learned that the zombies have started to evolve and as such, now communicate with each other in a basic way, which makes their attacks even more dangerous as they are organized and starting to use tools and weapons.
What this all ads up to is a thrilling romp that will delight fans of the genre. Sure the story and characters are not the deepest, but as horror films go, there is a complexity to them. Hopper does great work as Kaufman as his malicious and selfish nature provides the perfect focal point to the films numerous commentaries on topics ranging from social class, to politics and well fare as well as the plight of the inner cities.
The genius of Romero is that he can insert so many topics into the film without it every seeming heavy-handed or over the top. The use of social commentary adds strength to the story as while the characters are in a very unrealistic situation, their base desires, motivations and behaviors are easily identifiable and strong.
Some may see Land of the Dead as just another blood and guts film with a basic story that lacks depth. To those who are fans of the genre and series, “Land” will likely be seen as a triumphant return to the genre he made his own by Romero and will enjoy the ride.
After years of various horror projects, and remakes of his previous “Dead” films, fans had begun to wonder if they had seen the last of Romero’s Zombie films and had to content themselves with the remakes and rumored offshoots and sequels from such.
Thankfully, with Land of the Dead Romero has returned to his basics and has crafted a Zombie thriller that is not only better than 85’s disappointing “Day of the Dead”, but on par with the ground breaking “Dawn of the Dead and the classic Original “Night of the Living Dead.”
For those who are not familiar with the series, the dead have arisen and now walk the earth looking for humans to feed upon. Gone is any memory of their former selves, only the insatiable desire to feed remains. How this event happened is never explained in the films viewers simply have to accept that it is happening and that those who are bitten by zombies are destined to join the ranks of the undead.
Like the previous films, the story follows a group of humans who are attempting to survive against the zombie hordes and who seek shelter and a way to stave off the zombie masses.
In Land of the Dead, a group of survivors have taken refuge in a fortified city where the common folks live in the streets while the affluent live in pristine high rise complex with many of the luxuries of their past lives.
One such survivor is Riley (Simon Baker), who spends his time venturing beyond the walls of the city with his team as they attempt to locate food, medicines, and other needed items in cities that have been abandoned due to zombie infestation.
As the film opens, Riley is completing his last run as he plans to venture north to find a cold and desolated area that is devoid of zombies and huddled masses.
His second in command Cholo, (John Leguizamo), is anxious to take over, as he sees the expeditions as a chance to obtain valuable items such as cigars and whiskey, which he can in turn sell to those who live in luxury. This desire causes much friction between Riley and Cholo but with the pending departure of Riley, Cholo realizes he may be able to finally purchase a home of his own in the luxury high rise.
Things do not go as planned for Cholo as when he tells his boss, Kaufman (Dennis Hopper), about his plans to move into the new complex, he is shocked to learn that Riley’s prediction of class exclusions in the building apply to him as well.
Furious over being used and cheated of his dreams and money, and an attempt upon his life, Cholo decides to hijack a well-armed armored vehicle that defends the city in an effort to extort his payment from Kaufman.
At the same time, Riley has learned that he has be swindled from his car, and soon finds himself working with Kaufman in an attempt to recover the armored vehicle from Cholo before he unleashes a hail of rockets upon the city. In short order, Riley and his support team are forced to enter the zombie infested streets to save the day.
Of course with “Land” being a Zombie film, the city will soon find itself overrun with all manner of ghouls and there will be plenty of flesh splitting, blood spattering, gore spewing scenes that will delight fans of the genre and elicit more than a few shrieks and cheers from the audience.
It is learned that the zombies have started to evolve and as such, now communicate with each other in a basic way, which makes their attacks even more dangerous as they are organized and starting to use tools and weapons.
What this all ads up to is a thrilling romp that will delight fans of the genre. Sure the story and characters are not the deepest, but as horror films go, there is a complexity to them. Hopper does great work as Kaufman as his malicious and selfish nature provides the perfect focal point to the films numerous commentaries on topics ranging from social class, to politics and well fare as well as the plight of the inner cities.
The genius of Romero is that he can insert so many topics into the film without it every seeming heavy-handed or over the top. The use of social commentary adds strength to the story as while the characters are in a very unrealistic situation, their base desires, motivations and behaviors are easily identifiable and strong.
Some may see Land of the Dead as just another blood and guts film with a basic story that lacks depth. To those who are fans of the genre and series, “Land” will likely be seen as a triumphant return to the genre he made his own by Romero and will enjoy the ride.
JT (287 KP) rated Skyfall (2012) in Movies
Mar 10, 2020
I wondered recently who my favourite Bond is? Do I enjoy the comical quips of Roger Moore or the smooth suave debonair approach of Sean Connery. But everytime I think about it, I keep coming full circle to Daniel Craig, in particularly Skyfall.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.
After the somewhat disappointment of Quantum of Solace Oscar winning director Sam Mendes has taken Bond 23 and given it a grittier more emotional look while paying homage to some of the past Bond classics. The opening credits are an explosive introduction as we see Bond give chase through a Turkish bazaar which includes an impressive motor bike pursuit and a brilliantly choreographed fist fight on top of a moving train.
After being shot Bond is seen falling to his certain death and the film explodes into its trademark opening credits, complete with Adele’s powerful voice, a song that really evokes everything Bond. When 007 finally returns from the grave having spent time away partaking in scorpion drinking games, post shag Heineken’s and ultimately ’enjoying death’ he comes back to find that MI6 has moved deep into subterranean London after an attack on MI6.
He’s unshaven, disheveled and is a shadow of the former agent, not even able to shoot straight or do a succession of chin-ups without collapsing. Skyfall scratches deep beneath the emotional undertones of both Bond and M as their pasts are dragged up for all to see. Judi Dench in her seventh Bond outing gets a much bigger slice of the action, she is without question the main Bond girl here. Joined by Naomie Harris and Bérénice Marlohe who both take a relative back seat.
The Bond franchise has always had a rich tradition of producing menacing and iconic villains, Bloefeld, Scaramanga and Goldfinger to name a few, but the introduction of Javier Bardem will now have a place in Bond folk-law as one of the best modern day baddies.
His entrance was perfect, with Bond tied to a chair Bardem’s Silva (himself a former agent) entered from an elevator at the far side of the room, and in one take slowly walked forward as he produced a monologue about rats in a barrel, proceeding to taunt 007 about his own past and the connections that they both have with M.
The last few films have also lacked any real gadgetry in terms of Q branch, something which after being around for so long was definitely missing. Ben Wishaw’s appearance as a much younger Q, “you’ve still got spots” points out 007, was a much needed injection as he hands out Bond his new Walter PPK and radio transmitter (they don’t go in for exploding pens anymore).
It’s simple stuff but it was great to see that character back where he belongs.
There is subtle humour throughout and light hearted moments, Bond himself throwing a few winks here and there as Roger Moore used to do so well back in the day. The action of course is another high point, believable or not it’s stunning but then this is what we have come to expect from one of the longest running franchises in film history.
The locations and cinematography were sublime, from the depths of the London underground to the Scottish highlands in the film’s pulsating climax; Skyfall brought Bond back to Britain. The scenes set in Shanghai where also exceptional, the highlight for me, the neon lit skyscraper fight in which Bond fails to hang onto the information he needs, quite literally.
Ralph Fiennes bureaucratic Mallory is another casting masterstroke, Albert Finney ads some touching moments of his own, while MI6 agent Eve who after shooting 007 by mistake and takes a back seat from active duty will no doubt please many fans with her new role.
Skyfall, of which I was not sure what on earth the title meant at the time is all the more clear in the third act. Bond chooses to revisit his child hood home and use that against Silva in a make shift home defense that even MacAulay Culkin would be proud of. It is fantastically shot and is the perfect ending to a film that has been top draw all the way through.
Some comparisons have been drawn to this and The Dark Knight in that the main characters are lost and then re-born in some way, both have a past that haunts them as well as dead parents. Mendes and the writers have taken this film down a darker route but an emotive one as well and that is credit to them, it all made sense and the story flowed well.
Skyfall is nothing short of a triumph and has given Bond fans everything they could have asked for and so much more.
Purple Phoenix Games (2266 KP) rated Death Valley in Tabletop Games
Jan 18, 2022
This past summer, 2021, I had the opportunity to visit Las Vegas for the first time in my life. The casinos, the strip, the lights – everything was over-the-top and pretty impressive. But my trip took me beyond the city borders, as I got to visit several national parks and see some unique landmarks as well. One of which being Death Valley National Park. They’re not lying with the name – during my trip there, the temperature climbed to over 110°F. Does this pocket-sized game about the real-life location do justice to the scorching scenery? Keep reading to find out!
Death Valley is a game for 1-2 players in which you are documenting your journey across the Death Valley park. You will see different sights on your journey, and add cherished memories to your scrapbook. The player who amasses the most points by the end of the game is the winner! To setup for a game, shuffle the deck of Feature cards and reveal one face-up while the rest remain in a face-down deck. These cards make up the Desert. That’s it. The game is ready to start! Choose a starting player and get to sight-seeing!
Throughout the game, players will be adding Feature cards to their Journey tableau (places they have visited) and their Scrapbook tableau (the more memorable locations). On your turn, you will perform one of 2 actions: Travel or Rest. When you choose to Travel, you will select either the Feature card from the Desert (the face-up card), or draw the top card from the face-down deck and add it to your Journey. Conversely, when you choose to Rest, you will move a Feature card from your Journey into your Scrapbook. When moving Feature cards to your Scrapbook, you are allowed to hide other cards from your Journey underneath that card. Hiding cards can be beneficial for end-game points, or for preventing you from Busting. Many Feature cards have additional text at the bottom, that either provides ongoing abilities for the remainder of the game, or that provide extra scoring abilities at the end of the game. Choosing which Feature cards to move when and where is key!
After you have performed your chosen Action, you check to see if you Bust. If you have 3 Feature cards of the same type in your Journey and Scrapbook, you Bust! To resolve a Bust, you will discard from the game the right-most card in your Journey, and then will re-shuffle any remaining Journey cards back into the draw deck. So there’s a small element of push-your-luck in here! Once you resolve a Bust (if necessary), you will refresh the Desert – reveal a new face-up card if you just took the face-up card this turn. Your turn then ends, and play moves to your opponent. The game continues in this fashion, with players drawing/placing/moving Feature cards in their 2 tableaus, until only 1 card remains in the Desert. Points are then tallied: 1 point per Star on cards visible in your Journey, and points based on the extra scoring abilities of cards in your Journey and/or Scrapbook. The player with the highest score is declared the winner!
So, let’s get into this gameplay. For being a 2-player game, I appreciate that it’s not necessarily directly competitive. Yes, you want to score more points at the end of the game, but there really isn’t any player interaction, which keeps the energy level of the game more low-key. That being said, it’s decently strategic. Some Feature cards provide on-going abilities that can be used throughout the game, and can help you get some benefit out of a Bust. Certain card abilities rely on adjacency of other cards, so you have to know when/where to place a card to get the most points for the end of the game. That being said, you also have to make sure you don’t Bust. Luckily, you don’t resolve/check for a Bust until after you have performed your action, so perhaps you are able to sneak by with some clever planning. One part of the gameplay that misses the mark for me is the fact that you can only perform 1 Action per turn. I feel like that can really inhibit your ability to strategize, and makes it difficult to feel like you’re accomplishing something on your turns. Maybe if players had to perform both Actions per turn (either Travel/Rest, or vice versa), it would offer a few more options in terms of strategy. I just personally feel like taking only 1 Action per turn makes the gameplay a little too choppy, and makes it hard to really get into – especially when the game itself is so short. Maybe I’m not thinking strategically enough, but these are my thoughts thus far with Death Valley!
Components. As to be expected from ButtonShy – excellent quality of the cards and wallet. The artwork is colorful and thematic, and I just like looking at the different locations represented in the game. This game is satisfying to look at, and it earns high marks from me. Another neat thing? Each Feature card has a little interesting fact about its location, so you can learn a neat tidbit while playing the game!
Nothing can really compare to seeing Death Valley in person, but this game does offer a nice representation. The beauty of the location artwork coupled with the interesting facts has me intrigued outside of the game itself. The gameplay isn’t necessarily a home-run in my eyes, but it is strategic enough that I know I’ll keep pulling this one out from time to time. There is a solo mode, as well as a variant to give you more of a press-your-luck element, and I will definitely be trying those to see if they change my thoughts on this game. But for the time being, Purple Phoenix Games gives Death Valley a singed 4 / 6.
Death Valley is a game for 1-2 players in which you are documenting your journey across the Death Valley park. You will see different sights on your journey, and add cherished memories to your scrapbook. The player who amasses the most points by the end of the game is the winner! To setup for a game, shuffle the deck of Feature cards and reveal one face-up while the rest remain in a face-down deck. These cards make up the Desert. That’s it. The game is ready to start! Choose a starting player and get to sight-seeing!
Throughout the game, players will be adding Feature cards to their Journey tableau (places they have visited) and their Scrapbook tableau (the more memorable locations). On your turn, you will perform one of 2 actions: Travel or Rest. When you choose to Travel, you will select either the Feature card from the Desert (the face-up card), or draw the top card from the face-down deck and add it to your Journey. Conversely, when you choose to Rest, you will move a Feature card from your Journey into your Scrapbook. When moving Feature cards to your Scrapbook, you are allowed to hide other cards from your Journey underneath that card. Hiding cards can be beneficial for end-game points, or for preventing you from Busting. Many Feature cards have additional text at the bottom, that either provides ongoing abilities for the remainder of the game, or that provide extra scoring abilities at the end of the game. Choosing which Feature cards to move when and where is key!
After you have performed your chosen Action, you check to see if you Bust. If you have 3 Feature cards of the same type in your Journey and Scrapbook, you Bust! To resolve a Bust, you will discard from the game the right-most card in your Journey, and then will re-shuffle any remaining Journey cards back into the draw deck. So there’s a small element of push-your-luck in here! Once you resolve a Bust (if necessary), you will refresh the Desert – reveal a new face-up card if you just took the face-up card this turn. Your turn then ends, and play moves to your opponent. The game continues in this fashion, with players drawing/placing/moving Feature cards in their 2 tableaus, until only 1 card remains in the Desert. Points are then tallied: 1 point per Star on cards visible in your Journey, and points based on the extra scoring abilities of cards in your Journey and/or Scrapbook. The player with the highest score is declared the winner!
So, let’s get into this gameplay. For being a 2-player game, I appreciate that it’s not necessarily directly competitive. Yes, you want to score more points at the end of the game, but there really isn’t any player interaction, which keeps the energy level of the game more low-key. That being said, it’s decently strategic. Some Feature cards provide on-going abilities that can be used throughout the game, and can help you get some benefit out of a Bust. Certain card abilities rely on adjacency of other cards, so you have to know when/where to place a card to get the most points for the end of the game. That being said, you also have to make sure you don’t Bust. Luckily, you don’t resolve/check for a Bust until after you have performed your action, so perhaps you are able to sneak by with some clever planning. One part of the gameplay that misses the mark for me is the fact that you can only perform 1 Action per turn. I feel like that can really inhibit your ability to strategize, and makes it difficult to feel like you’re accomplishing something on your turns. Maybe if players had to perform both Actions per turn (either Travel/Rest, or vice versa), it would offer a few more options in terms of strategy. I just personally feel like taking only 1 Action per turn makes the gameplay a little too choppy, and makes it hard to really get into – especially when the game itself is so short. Maybe I’m not thinking strategically enough, but these are my thoughts thus far with Death Valley!
Components. As to be expected from ButtonShy – excellent quality of the cards and wallet. The artwork is colorful and thematic, and I just like looking at the different locations represented in the game. This game is satisfying to look at, and it earns high marks from me. Another neat thing? Each Feature card has a little interesting fact about its location, so you can learn a neat tidbit while playing the game!
Nothing can really compare to seeing Death Valley in person, but this game does offer a nice representation. The beauty of the location artwork coupled with the interesting facts has me intrigued outside of the game itself. The gameplay isn’t necessarily a home-run in my eyes, but it is strategic enough that I know I’ll keep pulling this one out from time to time. There is a solo mode, as well as a variant to give you more of a press-your-luck element, and I will definitely be trying those to see if they change my thoughts on this game. But for the time being, Purple Phoenix Games gives Death Valley a singed 4 / 6.
RəX Regent (349 KP) rated The Dark Knight Rises (2012) in Movies
Feb 19, 2019
Contains spoilers, click to show
After four years, since The Dark Knight ended, leaving us wanting more and seven years since Christopher Nolan reinvented the comic book adaptation with Batman Begins, The final chapter of The Dark Knight Trilogy has arrived.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
With this much hype, would it possible live up to potentially bloated expectations? The first reviews hit last monday, with 4 to 5 stars being the consensus. Well, it did! The Dark Knight returns one last time, after eight years have passed since the events of The Dark Knight and Batman had retreated into the rebuilt Wayne Manor as Commissioner Gordon (Gary Oldman), maintaining the lie that Harvey Dent was Gotham’s The White Knight, and not the maniacal Two-Face, had managed to clean up Gotham City.
Batman was no longer needed but in the meantime, Bane has arrived in the city with grand plans for its destruction. I won’t go much further into the plot that this, though I will probably write a more spoiler heavy review for the Blu-ray later in the year. But for now, I will try to maintain the film’s integrity.
When we first meet Bruce Wayne after almost a decade of seclusion, he is a broken man, both physically and mentally following the murder of his childhood sweetheart, Rachel Dawes in the previous film and the toll of nightly combat. So the first port of call is to bring Batman back to the streets of Gotham. The sense of excitement is palpable and very much a part of what makes Nolan’s films tick.
He draws his audience into the narrative as if we are part of the events and the universe as it unfolds, leaving us not just wanting Batman to return for the sake of the action but for Gotham’s sake as well. Bane, played so excellently by Tom Hardy, was a little difficult to understand from behind his mask, but still conveyed an enormous amount of presence and power, as he lays siege to the city but not as Terrorist per say, but as a freedom fighter or revolutionary, with many visual references to the French Revolution to keep us going.
Anne Hathaway’s Catwoman, though not named as anyone other than Selina Kyle, was a credit to her character as well as the actress. Dark, sultry, seductive and agile, her feline credibly was intact, whilst still being a very human character. Her duplicity was bread from desperation rather than evil and her motives convincingly drive her in both good and more dubious endeavours.
*** MAJOR SPOILER***
The less said about Talia Al Ghul the better, but the for those aware of her role, it was well-played, though her final scene was the hammiest in the film, possibly the entire trilogy.
Then there’s the supporting cast, such as Mathew Modene, who does a great job as Dept. Commissioner Foley and Cillian Murphy’s back again, as the subtly unrecognisable Scarecrow, who besides some frayed shoulder’s on his jacket, could have been anyone,and that’s the beauty of Nolan’s Batman universe. It’s fluid and you can’t count on anything on anyone for too long.
But this franchise would be nothing without Hans Zimmer percussive score, pounding as much as it was gentle, it works well among with Nolan’s direction to craft the near perfect conclusion to the Trilogy. Both riff on earlier films and supe it up accordingly whilst maintaining the film’s integrity.
In the end, my expectations were met and exceeded. Nolan has crowned his trilogy with a film which is of the same calabar as the two which preceded it, filling in many of the blanks, choosing the right characters to take on and doing so a variety of ways, touching this time on the flamboyant Bain, though scrapping the “Venom” plot from the comics, creating an intriguing Catwoman and building another major character in the form of R. John Blake (Joseph Gordon-Lovett).
The ending of the film is just perfect, not only for this but for the entire Trilogy. With nods to Inception though I believe that it is just a nod and not as similar as some would protest, but this is epic in the way that The Dark Knight never tried to be and Batman Begins didn’t need to be. The threat is apocalyptic, in keeping with the genre, but believable in keeping with Nolan.
The same can be said for the action, though I must admit, the sentimentalist in me wanted to see the Batmoble/Tumber back, though it was there in triplicate, as Bane steels three prototype Tumbers from Wayne Enterprises, for his private army, but the Bat (Batwing) was stunning, and the Batpod made a reappearance. The Final showdown will leave you breathless, the perfect blend of direction, Zimmer’s score and some of the most intense and meaningful action you’ll see on the big screen.
The only real faults with The Dark Knight Rises stem from its scale and change in direction. It’s more about Batman’s evolution from crime fighter to savour. Less intense on a personal level, but much grander in its ideals and horror as Gotham is destroyed on scale never seen in a film of this type. But it’s not as far-fetched as one may think, as it grounds itself with historical references, such as the French Revolution, which was hardly far-fetched, though it was hard-hitting and is well translated here.
Bruce Wayne completes his journey from the boy who witnessed his parents murder, to a young man who could not grow beyond it, to a man who lost himself in a journey to understand the criminal mind. Finally returning as Batman, who defied his mentor to protect his beloved city, to a master detective. But here, he returns to his roots.
The billionaire who never cared about his wealth as much as he cared for the people of Gotham, he ends up exactly where he needed to be. Decide for yourself, whether it’s a happy ending, sad or satisfying, but either way, it was not only the best way to advance the saga, but the best way to end the series as a whole. Thanks to Nolan and his crew, we now have the most definitively brilliant Batman series EVER committed to celluloid, (or digital), and no matter what is to follow, whether it is to be the Justice League mash-up or another reboot, I suspect that it will be a long, long time before anyone can beat these.
Mothergamer (1568 KP) rated the PlayStation 3 version of Catherine in Video Games
Apr 3, 2019
First of all, let me say that while I know a lot of you love Atlus games as much as I do, Catherine is not a typical video game. In fact, it is a sliding block puzzle game with a great story woven in. If you're not big on puzzle games, Catherine may not be the video game for you. However, if you genuinely enjoy challenging puzzles and are a puzzle game addict like myself, Catherine definitely gives you your money's worth.
Catherine is much more than a puzzle game however. The story is definitely what brings everything together. It addresses adult situations, things that people go through or suffer such as, fear of commitment, infidelity, and about how some people are childish and won't take responsibility for their actions. It's a unique title and simply an adult video game because it involves adult situations and the issues we have as we get older.
The story centers around Vincent Brooks who has a girlfriend by the name of Katherine. They're both in their early thirties and Katherine's biological clock is ticking which she hints at to him by telling him her mother has asked where the relationship is going. Vincent isn't sure he's ready for that level of commitment yet and says as much to his buddies he hangs out with at the local bar.
One night while hanging out at the bar mulling over a sliding block nightmare he had the night before, he runs into a beautiful blonde bombshell by the name of Catherine. Apparently after blacking out, he wakes up after another nightmare to find that she has spent the night. Of course, Vincent freaks out completely. Now, Vincent has to make a choice between lust and love, have good times with Catherine or finally make a commitment to Katherine.
Vincent's nightmares continue and even worse, people actually seem to be dying in them.Healthy men in their twenties and thirties are found dead in their beds and there seems to be no reason for it. A rumor goes around that it is a woman cursing all these men for being unfaithful. Is the rumor true? Vincent has to find out, climbing for his life one nightmare at a time.
Vincent Brooks In His Nightmare
Vincent's nightmares are the heart and soul of the puzzle sections. Every night, he wakes up surrounded by sheep, with horns growing out of his head and a voice taunting him to come up. There are items along the way that help you with the puzzles, but many obstacles as well involving sheep that are trying to climb also as the world crumbles behind them. You have a reason to climb, survival and the inner demons Vincent is struggling with. If you don't climb, you die. One example of this is, there's a giant monster version of Vincent's girlfriend Katherine, trying to grab him and smash the heck out of him. If Vincent's not quick enough to climb all those blocks to the top, he will surely die.
Every night, there's a different puzzle with each nightmare and depending on how quickly you get to the top and how many points you get, you can win gold, silver, or bronze trophies. The complexity of the puzzles is very interesting and the story is well written and captures your attention perfectly. It sounds silly, but you actually feel a sense of accomplishment when you have figured out a rather difficult puzzle.
Solve The Puzzle Or Die Trying
This brings up the next point. Some of the puzzles in Catherine will make you want to punch every living thing in your path. The difficulty level is excruciatingly high on a variety of them. There's no shame in playing a game on the Easy level. I know I will try a game on Easy first, to get a feel for the controls, to see how well the game plays, and to have a chance to genuinely enjoy the story that is being told. Then I will play again working on all the achievements and trophies, and improving my game scores. This is what I did with Catherine and some of those puzzles made me want to punch whoever designed it right in the face. A challenge is all well and good and definitely in a puzzle game, but when the game is on the Easy setting and it's still making you weep bitter tears of defeat, that is a big problem. Don't believe me? Apparently the difficulty level was such a destroyer of worlds, that the Japanese gamers complained about it. Frankly, that said quite a lot to me about how high Atlus raised the bar on these puzzles. The complaints were so many, that Atlus promised to put a patch in that would make the game much less difficult on Easy. I do understand their reasoning that they wanted the game to be challenging, so that players could reap huge rewards when they solved a puzzle, but the Easy setting in a game should be just that, easy and not throw people into the deep end with a sink or swim attitude. That's what the Hard and Nightmare settings are for.
However, there is hope! There is a secret trick to get to a Very Easy mode. It's a secret that Atlus put in to make the game a cake walk for players. When you access the main menu of the game, highlight Golden Playhouse and hold the back or select button for a few seconds. The screen will flash with a prompt telling you Very Easy mode has been activated. From there, the puzzles are much easier, and you can actually enjoy the story without those resentful feelings and frustration. It is a nice touch, and I give kudos to Atlus for caring enough about fans of their games to put it in there, because they do want people to enjoy the game.
Overalll, the game is great. The story is well thought out and acted out well with a great voice cast. There are also interesting characters that Vincent meets in the bar and can talk to, even help them with their issues. There is also a fun mini game in Catherine, called Rapunzel that is a sliding block puzzle game also that gives you pretty good rewards when you beat all the levels, along with opportunities to unlock music from various Atlus games and the Catherine game to play on the jukebox in the bar.
I have always loved the artwork in Atlus video games and Catherine is no exception. Right down to the animated short cut scenes, everything is colorful, seamless, and you really appreciate how everything ties together. The music, the voice cast, and the game play all mesh into a fantastic video game. Catherine is definitely a game worth having in any gaming enthusiast's collection and absolutely worth playing more than once.
Catherine is much more than a puzzle game however. The story is definitely what brings everything together. It addresses adult situations, things that people go through or suffer such as, fear of commitment, infidelity, and about how some people are childish and won't take responsibility for their actions. It's a unique title and simply an adult video game because it involves adult situations and the issues we have as we get older.
The story centers around Vincent Brooks who has a girlfriend by the name of Katherine. They're both in their early thirties and Katherine's biological clock is ticking which she hints at to him by telling him her mother has asked where the relationship is going. Vincent isn't sure he's ready for that level of commitment yet and says as much to his buddies he hangs out with at the local bar.
One night while hanging out at the bar mulling over a sliding block nightmare he had the night before, he runs into a beautiful blonde bombshell by the name of Catherine. Apparently after blacking out, he wakes up after another nightmare to find that she has spent the night. Of course, Vincent freaks out completely. Now, Vincent has to make a choice between lust and love, have good times with Catherine or finally make a commitment to Katherine.
Vincent's nightmares continue and even worse, people actually seem to be dying in them.Healthy men in their twenties and thirties are found dead in their beds and there seems to be no reason for it. A rumor goes around that it is a woman cursing all these men for being unfaithful. Is the rumor true? Vincent has to find out, climbing for his life one nightmare at a time.
Vincent Brooks In His Nightmare
Vincent's nightmares are the heart and soul of the puzzle sections. Every night, he wakes up surrounded by sheep, with horns growing out of his head and a voice taunting him to come up. There are items along the way that help you with the puzzles, but many obstacles as well involving sheep that are trying to climb also as the world crumbles behind them. You have a reason to climb, survival and the inner demons Vincent is struggling with. If you don't climb, you die. One example of this is, there's a giant monster version of Vincent's girlfriend Katherine, trying to grab him and smash the heck out of him. If Vincent's not quick enough to climb all those blocks to the top, he will surely die.
Every night, there's a different puzzle with each nightmare and depending on how quickly you get to the top and how many points you get, you can win gold, silver, or bronze trophies. The complexity of the puzzles is very interesting and the story is well written and captures your attention perfectly. It sounds silly, but you actually feel a sense of accomplishment when you have figured out a rather difficult puzzle.
Solve The Puzzle Or Die Trying
This brings up the next point. Some of the puzzles in Catherine will make you want to punch every living thing in your path. The difficulty level is excruciatingly high on a variety of them. There's no shame in playing a game on the Easy level. I know I will try a game on Easy first, to get a feel for the controls, to see how well the game plays, and to have a chance to genuinely enjoy the story that is being told. Then I will play again working on all the achievements and trophies, and improving my game scores. This is what I did with Catherine and some of those puzzles made me want to punch whoever designed it right in the face. A challenge is all well and good and definitely in a puzzle game, but when the game is on the Easy setting and it's still making you weep bitter tears of defeat, that is a big problem. Don't believe me? Apparently the difficulty level was such a destroyer of worlds, that the Japanese gamers complained about it. Frankly, that said quite a lot to me about how high Atlus raised the bar on these puzzles. The complaints were so many, that Atlus promised to put a patch in that would make the game much less difficult on Easy. I do understand their reasoning that they wanted the game to be challenging, so that players could reap huge rewards when they solved a puzzle, but the Easy setting in a game should be just that, easy and not throw people into the deep end with a sink or swim attitude. That's what the Hard and Nightmare settings are for.
However, there is hope! There is a secret trick to get to a Very Easy mode. It's a secret that Atlus put in to make the game a cake walk for players. When you access the main menu of the game, highlight Golden Playhouse and hold the back or select button for a few seconds. The screen will flash with a prompt telling you Very Easy mode has been activated. From there, the puzzles are much easier, and you can actually enjoy the story without those resentful feelings and frustration. It is a nice touch, and I give kudos to Atlus for caring enough about fans of their games to put it in there, because they do want people to enjoy the game.
Overalll, the game is great. The story is well thought out and acted out well with a great voice cast. There are also interesting characters that Vincent meets in the bar and can talk to, even help them with their issues. There is also a fun mini game in Catherine, called Rapunzel that is a sliding block puzzle game also that gives you pretty good rewards when you beat all the levels, along with opportunities to unlock music from various Atlus games and the Catherine game to play on the jukebox in the bar.
I have always loved the artwork in Atlus video games and Catherine is no exception. Right down to the animated short cut scenes, everything is colorful, seamless, and you really appreciate how everything ties together. The music, the voice cast, and the game play all mesh into a fantastic video game. Catherine is definitely a game worth having in any gaming enthusiast's collection and absolutely worth playing more than once.
Purple Phoenix Games (2266 KP) rated The Quest Kids: Matching Adventure in Tabletop Games
Mar 25, 2021
Those of you with kids: you know how you are just aching for a good game to come out that will satisfy your 3-year-old’s interest, keep their attention throughout, and even get them talking about board games afterward? At least a game that isn’t super-basic and boring? Well have I a treat for you today. I may have just found the game for us!
The Quest Kids: Matching Adventure (can I please just call it MA from here please?) is a tile matching game based off the old evergreen Memory mechanic. However, this isn’t your gramma’s Memory. In it players are recruiting The Quest Kids to scare off the silly bad guys by matching tiles and collecting treasures. The player with the most stars at the end of the game will be the winner! But in actuality, all the players will be winners because all will have had a great time.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, shuffle the brown tiles, forest tiles, and river tiles separately. Lay out the brown treehouse tiles face-down into a 5 x 4 grid. Around these brown tiles will be placed the river tiles and forest tiles, the numbers of which are dependent upon how lengthy the players wish the game to be. Add the appropriate types of treasure tokens to the provided treasure chest and the game is ready to begin! We ALWAYS let our little go first. They like that.
On a turn each player will attempt to recruit a Quest Kid Hero from the brown treehouse tiles. Once a match has been found the player may begin taking their hero on an adventure! Adventures can only be attempted when a player has matched two Hero tiles from the treehouse. An adventure consists of finding a matching pair of bad guys, one each from the forest and river. For example, in order to find the matching Honey Beard bad guy tiles a Hero would need to search the river for one tile AND the forest for its match.
When bad guys are matched they provide the player with a certain number of treasures, as printed on their tile. The player reaches into the treasure chest and pulls out the correct number of treasures (my son’s favorite part). These treasures provide a number of stars (VP) depending on whether the player has matched a specific hero or not. Less stars are awarded if the appropriate hero is absent, more stars if that hero has been matched by the player.
Some treehouse tiles contain Quest Kid Allies. These Allies provide stars, but also very helpful special abilities to be used on a future turn. When these Allies are matched, the active player keeps the tile with stars and gives away the matching tile to another player. So that other player may also use the Ally for its special ability on a future turn. Alliances with a 3-year-old? I can dig it! Alliances that do not involve said 3-year-old? Watch out for the forthcoming tantrum.
Play continues in this fashion of matching tiles, scaring away bad guys and receiving treasures, and utilizing Ally special abilities until all tiles have been matched and claimed. Players all add up their stars on their collected tiles and treasures, and the most stars collected wins the game!
Components. This game is a ton of tiles and treasure tokens. That equates to, well, a whole bunch of thick cardboard in a box. The material quality is very good, but I am most impressed with the art style. I love game art that can be cartoony while also being interesting and detailed. Such is the art here. The characters are really well illustrated and each have their own personality. I have one gripe about the components: the treasure tokens feature a small picture of the Hero that allows it to be worth more stars. That Hero picture is very very tiny and details do not really transfer well to the small space, so it IS difficult to know which Kid will power up the treasure. I did find a workaround if players are not colorblind: each Hero is featured along with a color. That same color is used as the token icon and can more easily be matched to the Hero. It may save some headache if players are able to use the color as the indicator instead of the tiny picture.
In a nutshell this is Memory with strategy. The main game mechanic is memory – matching up the tiles in order to collect them. However, by throwing in the randomness of treasure token pulls and the Ally special abilities, MA just becomes a thousand percent more compelling for children and adults alike. At the end of the game my son is having a great time and almost always asks to play again. The adults are also impressed that Memory can be so much fun!
So if you are looking for that game to introduce to your youngster that actually challenges their little minds, then I strongly recommend The Quest Kids: Matching Adventure. Yes, it’s Memory, but it’s Memory that is actually fun. It’s Memory with a theme, and a kid-based theme at that. It gives the littles an opportunity to look up to these kid heroes and lets them imagine being heroes themselves. Any game that helps to empower my children will definitely be a well-loved addition to my collection. Purple Phoenix Games (well, my wife, my son, and I) give this one a victoriously heroic 16 / 18. I won’t say that I will beat you every time, but my son may. I dare you to play against him. Just make sure you throw all your extra Allies to him or he will get real mad real quick.
The Quest Kids: Matching Adventure (can I please just call it MA from here please?) is a tile matching game based off the old evergreen Memory mechanic. However, this isn’t your gramma’s Memory. In it players are recruiting The Quest Kids to scare off the silly bad guys by matching tiles and collecting treasures. The player with the most stars at the end of the game will be the winner! But in actuality, all the players will be winners because all will have had a great time.
DISCLAIMER: We were provided a copy of this game for the purposes of this review. This is a retail copy of the game, so what you see in these photos is exactly what would be received in your box. I do not intend to cover every single rule included in the rulebook, but will describe the overall game flow and major rule set so that our readers may get a sense of how the game plays. For more in depth rules, you may purchase a copy online or from your FLGS. -T
To setup, shuffle the brown tiles, forest tiles, and river tiles separately. Lay out the brown treehouse tiles face-down into a 5 x 4 grid. Around these brown tiles will be placed the river tiles and forest tiles, the numbers of which are dependent upon how lengthy the players wish the game to be. Add the appropriate types of treasure tokens to the provided treasure chest and the game is ready to begin! We ALWAYS let our little go first. They like that.
On a turn each player will attempt to recruit a Quest Kid Hero from the brown treehouse tiles. Once a match has been found the player may begin taking their hero on an adventure! Adventures can only be attempted when a player has matched two Hero tiles from the treehouse. An adventure consists of finding a matching pair of bad guys, one each from the forest and river. For example, in order to find the matching Honey Beard bad guy tiles a Hero would need to search the river for one tile AND the forest for its match.
When bad guys are matched they provide the player with a certain number of treasures, as printed on their tile. The player reaches into the treasure chest and pulls out the correct number of treasures (my son’s favorite part). These treasures provide a number of stars (VP) depending on whether the player has matched a specific hero or not. Less stars are awarded if the appropriate hero is absent, more stars if that hero has been matched by the player.
Some treehouse tiles contain Quest Kid Allies. These Allies provide stars, but also very helpful special abilities to be used on a future turn. When these Allies are matched, the active player keeps the tile with stars and gives away the matching tile to another player. So that other player may also use the Ally for its special ability on a future turn. Alliances with a 3-year-old? I can dig it! Alliances that do not involve said 3-year-old? Watch out for the forthcoming tantrum.
Play continues in this fashion of matching tiles, scaring away bad guys and receiving treasures, and utilizing Ally special abilities until all tiles have been matched and claimed. Players all add up their stars on their collected tiles and treasures, and the most stars collected wins the game!
Components. This game is a ton of tiles and treasure tokens. That equates to, well, a whole bunch of thick cardboard in a box. The material quality is very good, but I am most impressed with the art style. I love game art that can be cartoony while also being interesting and detailed. Such is the art here. The characters are really well illustrated and each have their own personality. I have one gripe about the components: the treasure tokens feature a small picture of the Hero that allows it to be worth more stars. That Hero picture is very very tiny and details do not really transfer well to the small space, so it IS difficult to know which Kid will power up the treasure. I did find a workaround if players are not colorblind: each Hero is featured along with a color. That same color is used as the token icon and can more easily be matched to the Hero. It may save some headache if players are able to use the color as the indicator instead of the tiny picture.
In a nutshell this is Memory with strategy. The main game mechanic is memory – matching up the tiles in order to collect them. However, by throwing in the randomness of treasure token pulls and the Ally special abilities, MA just becomes a thousand percent more compelling for children and adults alike. At the end of the game my son is having a great time and almost always asks to play again. The adults are also impressed that Memory can be so much fun!
So if you are looking for that game to introduce to your youngster that actually challenges their little minds, then I strongly recommend The Quest Kids: Matching Adventure. Yes, it’s Memory, but it’s Memory that is actually fun. It’s Memory with a theme, and a kid-based theme at that. It gives the littles an opportunity to look up to these kid heroes and lets them imagine being heroes themselves. Any game that helps to empower my children will definitely be a well-loved addition to my collection. Purple Phoenix Games (well, my wife, my son, and I) give this one a victoriously heroic 16 / 18. I won’t say that I will beat you every time, but my son may. I dare you to play against him. Just make sure you throw all your extra Allies to him or he will get real mad real quick.
Gareth von Kallenbach (980 KP) rated Dredd (2012) in Movies
Aug 7, 2019
The mid 90’s was a strange time for movies. Sure, there were quite a few remembered fondly (just like with any era) but there were also many movies that are forgotten due to their ridiculousness. It was a time that gave us the style of adaptions on par with Alien 3 and Alien Resurrection, or the two Joel Schumacher Batman films. Likewise, there was a Judge Dredd film right in the middle of that time period.
It was a mess. It exemplified everything wrong with many adaptions in the 90’s. Big name actors, over-the-top designs, cheesy dialogue. It tried very hard to be akin to the original Total Recall but instead succeeded at only being a movie fun to laugh at. It featured Sylvester Stallone and Rob Schneider. That is all that needs to be said about that film. So, when Hollywood comes along and decides to make a new adaption, of course the original’s ridiculousness looms over the whole affair. Not helping is the fact that most of the cast and crew are relatively obscure, and its source material (the Judge Dredd comics) is not as well-known as most of Marvel’s or DC’s pantheon. Yet, this brand new adaption, Dredd 3D, soars much higher than the original and manages to be one of those well-hidden gems of Fall 2012. I don’t imagine this film breaking box office records, but it is a wholly worthwhile piece of screen entertainment, even if it has some notable flaws and is overshadowed by past outings in the franchise.
The future America is an irradiated waste land known as the Cursed Earth. On the east coast of North America lies Mega-City One, a vast, violent metropolis containing 800 million residents, where 17,000 crimes are reported daily and “Slo-Mo”, an addictive new drug that slows the user’s perception of time, has been introduced. The only force of order is the Judges, who act as police, judge, jury and executioner. Judge Dredd (Karl Urban) is tasked by the Chief Judge (Rakie Ayola) with evaluating rookie Judge Cassandra Anderson (Olivia Thirlby), a psychic who has failed the tests to become a full Judge. They become involved in a raid upon a crime and Slo-Mo ridden apartment complex known as Peach-Trees, which is ruled by a vicious crime boss Ma-Ma (Lena Heady).
You can guess from the title that the movie is meant to be watched in 3D. But that is where personal opinions of 3D come into play. For me personally, I cannot ding the film’s use of 3D because it uses it well enough that it becomes unnoticeable, which is to say it does not obnoxiously remind you at all times it is meant to be watched in 3D by throwing random things at the camera. But I will say that, although somewhat gimmicky, the “Slo-Mo” segments (which are shot from the perspective of those on the mind-altering drug ‘Slo-Mo’) do use 3D very well and manage to be some of the most visually striking and beautiful shots in the entire film.
The plot is simple to understand and straight forward. There are not huge twists and turns, and manages to be tightly written. It is not extremely memorable for plot standards, but it does not need to be. The story is held up by focusing on three major characters, which some good additional characterization of two more side characters. In that sense, the plot and characters do not pop off the screen into greatness, yet they are still tightly written enough that both elements (plot and characters) are not muddled or confusing. The simple plot, and the fact it all takes place in one apartment complex, makes it easier to focus on action and visuals.
While the visuals are all extremely well-done, the action could use some work. The setting of Mega-City One is extremely well established, as opposed to the original Judge Dredd adaption. It seems like it could be a real place not far off in the future, as it is set up with a realistic visual design – just with added grittiness and subtle science fictional elements. Also, there is not a huge amount of CG and the Judge uniforms especially look like iconic yet possibly realistic futuristic police suits. But the action could use some work, as stated. I could not help but constantly compare it to the recently released film, “The Raid: Redeption”, the Indonesian martial arts police film centering on a single police raid on an apartment complex. The similarities are there.
Both movies have very similar locations and plots, but the difference is that while Dredd has more interesting setting and science fiction elements (and arguably more interesting characters), The Raid: Redemption’s action is far more entertaining and engrossing. The real problem with Dredd is that there are never any real amazing feats of heroics on part of Judge Dredd. They set up the film in a sort of “’Die Hard’ in the future vibe” but that requires the hero to barely overcome overwhelming odds. As it stands, it never really feels like Judge Dredd is in a ton of danger. There are some cool shooting moments, and some even more interesting usage of Judge Anderson’s psychic powers. But at the end of the day, there simply are not many memorable action moments.
Overall, it does not ruin the film at all. It still manages to be an entertaining and interesting movie regardless of memorable action sequences. It has a tightly plotted narrative with fairly well done characters, not muddled by overuse of complexity or plot twists. It manages to be visually excellent with interesting science fictional elements, but never does it soar with its action set-pieces. It would have benefitted with some better use of gunplay or more clever feats of heroics on Judge Dredd’s part. But at least it takes itself seriously enough to not have anything akin to Rob Schneider following Sylvester Stallone around in a cheesy script.
It was a mess. It exemplified everything wrong with many adaptions in the 90’s. Big name actors, over-the-top designs, cheesy dialogue. It tried very hard to be akin to the original Total Recall but instead succeeded at only being a movie fun to laugh at. It featured Sylvester Stallone and Rob Schneider. That is all that needs to be said about that film. So, when Hollywood comes along and decides to make a new adaption, of course the original’s ridiculousness looms over the whole affair. Not helping is the fact that most of the cast and crew are relatively obscure, and its source material (the Judge Dredd comics) is not as well-known as most of Marvel’s or DC’s pantheon. Yet, this brand new adaption, Dredd 3D, soars much higher than the original and manages to be one of those well-hidden gems of Fall 2012. I don’t imagine this film breaking box office records, but it is a wholly worthwhile piece of screen entertainment, even if it has some notable flaws and is overshadowed by past outings in the franchise.
The future America is an irradiated waste land known as the Cursed Earth. On the east coast of North America lies Mega-City One, a vast, violent metropolis containing 800 million residents, where 17,000 crimes are reported daily and “Slo-Mo”, an addictive new drug that slows the user’s perception of time, has been introduced. The only force of order is the Judges, who act as police, judge, jury and executioner. Judge Dredd (Karl Urban) is tasked by the Chief Judge (Rakie Ayola) with evaluating rookie Judge Cassandra Anderson (Olivia Thirlby), a psychic who has failed the tests to become a full Judge. They become involved in a raid upon a crime and Slo-Mo ridden apartment complex known as Peach-Trees, which is ruled by a vicious crime boss Ma-Ma (Lena Heady).
You can guess from the title that the movie is meant to be watched in 3D. But that is where personal opinions of 3D come into play. For me personally, I cannot ding the film’s use of 3D because it uses it well enough that it becomes unnoticeable, which is to say it does not obnoxiously remind you at all times it is meant to be watched in 3D by throwing random things at the camera. But I will say that, although somewhat gimmicky, the “Slo-Mo” segments (which are shot from the perspective of those on the mind-altering drug ‘Slo-Mo’) do use 3D very well and manage to be some of the most visually striking and beautiful shots in the entire film.
The plot is simple to understand and straight forward. There are not huge twists and turns, and manages to be tightly written. It is not extremely memorable for plot standards, but it does not need to be. The story is held up by focusing on three major characters, which some good additional characterization of two more side characters. In that sense, the plot and characters do not pop off the screen into greatness, yet they are still tightly written enough that both elements (plot and characters) are not muddled or confusing. The simple plot, and the fact it all takes place in one apartment complex, makes it easier to focus on action and visuals.
While the visuals are all extremely well-done, the action could use some work. The setting of Mega-City One is extremely well established, as opposed to the original Judge Dredd adaption. It seems like it could be a real place not far off in the future, as it is set up with a realistic visual design – just with added grittiness and subtle science fictional elements. Also, there is not a huge amount of CG and the Judge uniforms especially look like iconic yet possibly realistic futuristic police suits. But the action could use some work, as stated. I could not help but constantly compare it to the recently released film, “The Raid: Redeption”, the Indonesian martial arts police film centering on a single police raid on an apartment complex. The similarities are there.
Both movies have very similar locations and plots, but the difference is that while Dredd has more interesting setting and science fiction elements (and arguably more interesting characters), The Raid: Redemption’s action is far more entertaining and engrossing. The real problem with Dredd is that there are never any real amazing feats of heroics on part of Judge Dredd. They set up the film in a sort of “’Die Hard’ in the future vibe” but that requires the hero to barely overcome overwhelming odds. As it stands, it never really feels like Judge Dredd is in a ton of danger. There are some cool shooting moments, and some even more interesting usage of Judge Anderson’s psychic powers. But at the end of the day, there simply are not many memorable action moments.
Overall, it does not ruin the film at all. It still manages to be an entertaining and interesting movie regardless of memorable action sequences. It has a tightly plotted narrative with fairly well done characters, not muddled by overuse of complexity or plot twists. It manages to be visually excellent with interesting science fictional elements, but never does it soar with its action set-pieces. It would have benefitted with some better use of gunplay or more clever feats of heroics on Judge Dredd’s part. But at least it takes itself seriously enough to not have anything akin to Rob Schneider following Sylvester Stallone around in a cheesy script.