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Cody Cook (8 KP) rated Everlasting Dominion: A Theology of the Old Testament in Books
Jun 29, 2018
In Everlasting Dominion: A Theology of the Old Testament (Nashville: Broadman and Holman, 2006), Eugene H. Merrill sets out to provide a theology of the Old Testament which represents the O.T. as a consistent whole that has God as its ultimate source. As such, he supports a high view of biblical inspiration as verbal: “The word of God to the prophets was verbal; and what they spoke and wrote, therefore, was also verbal. The means by which the verbalizing was effected is never disclosed, nor is it necessary to know. The point is that the prophetic word, the highest form of divine revelation, was recognized at the time to be the words of God, a view maintained by virtually unanimous consensus in Jewish and Christian tradition until the inroads of modern criticism.”
Insofar as Merrill is a Christian writing about the Old Testament's theology, this creates a dilemma in regard to the role the New Testament is allowed to play in his interpretation. Merrill acknowledges this from the get go:
“Old Testament theology is the study of biblical theology that employs the methods of that discipline to the Old Testament alone while being aware of the limitations inherent in not addressing the New Testament witness in any comprehensive way. This delimitation can be justified on the grounds that the Old Testament speaks its own message, one that is legitimate and authoritative in every sense of the term even if, from the Christian viewpoint, its message is not ultimately complete.”
As such, his work attempts to focus on what the Old Testament says on its own, though he occasionally appeals to New Testament ideas as a means of providing an additional witness to his interpretation.
Merrill tends to provide basic level interpretation in the canonical order of the Old Testament books. As such, little of his exegesis is particularly creative. However, he does have one unique idea which comes up throughout the book and indeed inspired the title-- the idea that man was made by God as an intermediary for God's dominion over the world:
“The crowning work of creation was the appearance of mankind on the sixth day (Gen. 1:26–28). He is said to be in the image and likeness of God, but the grammar permits and theology favors the idea that he was created as his image and likeness, that is, as God's representative on earth... [This passage] is also the clearest expression of the divine purpose in creation. After all things else had been made and put into their several positions of function and interrelationship, the Lord said, 'Let Us make man [as] Our image, according to Our likeness. They will rule' (Gen. 1:26). The significance of this for communicating a (if not the) major theme of Old Testament theology cannot be overstated, and the fact that it is the first divinely articulated expression of the reason for man's existence makes it doubly significant. What is lacking apparently after the whole cosmos has been spoken into existence is its management, a caretaker as it were who will govern it all according to the will of the Creator. He could have done it himself without mediation, but for reasons never revealed in the sacred record, God elected to reign through a subordinate, a surrogate king responsible only to him.”
Merrill explains what had been lost in this divine intention after the Fall: “No longer did man have dominion over all things; instead, he abdicated his role as sovereign and worshipped what he should have ruled.” However, he still highlights partial fulfillments of the divine plan even after the Fall, such as in the Israelite monarchy:
“The creation mandate that mankind should 'be fruitful, multiply, fill the earth, and subdue it' and 'rule the fish of the sea, the birds of the sky, and every creature that crawls on the earth' (Gen. 1:28) finds tangible expression even if only in a highly preliminary and anticipatory manner. David and his dynastic successors never exhibited this kind of universal dominion, of course, but the limited success they did enjoy, especially under Solomon (cf. 1 Kings 4:20–34), was a foretaste of the splendor, glory, and power of his descendants yet to come at the end of human history.”
Of course, this idea of human dominion as a vice-regent of God would only find its final fulfillment in Christ, the second Adam and the second David:
“If paradise was lost at the fall, it will be regained at the re-creation, not least in the restoration of man's glory as the vice-regent of the King of kings.”
The book seems to go out of its way to contrast the wild speculation of liberal theology, resulting in a work which is so straight-forward as to be dull. This is by no means always the case with Merrill's writings, as his Historical Survey of the Old Testament was one of the most interesting books I read as a new Christian. In Everlasting Dominion, however, where skeptical scholarship always assumes that the text is hiding something, Merrill takes it at face value. The result is a theology of the Old Testament which is more grounded, but that also often fails to soar to the heights that the text might allow for. Instead of elucidation and theologizing, Merrill tends to resort to extended (and I do mean extended) summary of the Hebrew canon.
The one major exception to this tendency is in Merrill's discussion of dominion, which we discussed above in detail. However, more work could certainly have been done on this topic, particularly in regard to how Jesus brings the idea to its fulfillment. Since it is Merrill's goal to explain the Old Testament with as little light from the New as possible, it is difficult to fault him for this. But it's also hard to fault the reader for wanting more when he reads tantalizing sections like this:
“What we propose in the following comments is done with a great deal of tentativeness since, as far as we can determine, we are virtually alone in making the case that Jesus, in his earthly ministry, frequently performed miraculous works to demonstrate not just his full deity but also his role as Urmensch, the second Adam who came to display in character and life what God had intended as the ideal for the whole human race. Without pursuing the biblical arguments for a full-blown Christology that is sensitive to both his divine and human natures, let it be said that there is universal consensus that the New Testament presents Jesus not only as God but also as perfect man.”
That being said, it does seem like an exaggeration to claim that Genesis 1:26 is the key text to understanding Old Testament theology. That it is a major theme, particularly in relation to its underemphasis by most biblical commentators, does not by any means strain credulity. It also seems to be in the back of the mind of many New Testament authors who emphasize restoration of the Kingdom of God involving our reigning with Christ and inheriting the eternal life and dominion over the world which was originally connected with our Edenic charge.
In the final analysis, Everlasting Dominion provides a good straight-forward overview of the Old Testament, but simply doesn't provide enough insight to warrant its nearly 700 pages.
Insofar as Merrill is a Christian writing about the Old Testament's theology, this creates a dilemma in regard to the role the New Testament is allowed to play in his interpretation. Merrill acknowledges this from the get go:
“Old Testament theology is the study of biblical theology that employs the methods of that discipline to the Old Testament alone while being aware of the limitations inherent in not addressing the New Testament witness in any comprehensive way. This delimitation can be justified on the grounds that the Old Testament speaks its own message, one that is legitimate and authoritative in every sense of the term even if, from the Christian viewpoint, its message is not ultimately complete.”
As such, his work attempts to focus on what the Old Testament says on its own, though he occasionally appeals to New Testament ideas as a means of providing an additional witness to his interpretation.
Merrill tends to provide basic level interpretation in the canonical order of the Old Testament books. As such, little of his exegesis is particularly creative. However, he does have one unique idea which comes up throughout the book and indeed inspired the title-- the idea that man was made by God as an intermediary for God's dominion over the world:
“The crowning work of creation was the appearance of mankind on the sixth day (Gen. 1:26–28). He is said to be in the image and likeness of God, but the grammar permits and theology favors the idea that he was created as his image and likeness, that is, as God's representative on earth... [This passage] is also the clearest expression of the divine purpose in creation. After all things else had been made and put into their several positions of function and interrelationship, the Lord said, 'Let Us make man [as] Our image, according to Our likeness. They will rule' (Gen. 1:26). The significance of this for communicating a (if not the) major theme of Old Testament theology cannot be overstated, and the fact that it is the first divinely articulated expression of the reason for man's existence makes it doubly significant. What is lacking apparently after the whole cosmos has been spoken into existence is its management, a caretaker as it were who will govern it all according to the will of the Creator. He could have done it himself without mediation, but for reasons never revealed in the sacred record, God elected to reign through a subordinate, a surrogate king responsible only to him.”
Merrill explains what had been lost in this divine intention after the Fall: “No longer did man have dominion over all things; instead, he abdicated his role as sovereign and worshipped what he should have ruled.” However, he still highlights partial fulfillments of the divine plan even after the Fall, such as in the Israelite monarchy:
“The creation mandate that mankind should 'be fruitful, multiply, fill the earth, and subdue it' and 'rule the fish of the sea, the birds of the sky, and every creature that crawls on the earth' (Gen. 1:28) finds tangible expression even if only in a highly preliminary and anticipatory manner. David and his dynastic successors never exhibited this kind of universal dominion, of course, but the limited success they did enjoy, especially under Solomon (cf. 1 Kings 4:20–34), was a foretaste of the splendor, glory, and power of his descendants yet to come at the end of human history.”
Of course, this idea of human dominion as a vice-regent of God would only find its final fulfillment in Christ, the second Adam and the second David:
“If paradise was lost at the fall, it will be regained at the re-creation, not least in the restoration of man's glory as the vice-regent of the King of kings.”
The book seems to go out of its way to contrast the wild speculation of liberal theology, resulting in a work which is so straight-forward as to be dull. This is by no means always the case with Merrill's writings, as his Historical Survey of the Old Testament was one of the most interesting books I read as a new Christian. In Everlasting Dominion, however, where skeptical scholarship always assumes that the text is hiding something, Merrill takes it at face value. The result is a theology of the Old Testament which is more grounded, but that also often fails to soar to the heights that the text might allow for. Instead of elucidation and theologizing, Merrill tends to resort to extended (and I do mean extended) summary of the Hebrew canon.
The one major exception to this tendency is in Merrill's discussion of dominion, which we discussed above in detail. However, more work could certainly have been done on this topic, particularly in regard to how Jesus brings the idea to its fulfillment. Since it is Merrill's goal to explain the Old Testament with as little light from the New as possible, it is difficult to fault him for this. But it's also hard to fault the reader for wanting more when he reads tantalizing sections like this:
“What we propose in the following comments is done with a great deal of tentativeness since, as far as we can determine, we are virtually alone in making the case that Jesus, in his earthly ministry, frequently performed miraculous works to demonstrate not just his full deity but also his role as Urmensch, the second Adam who came to display in character and life what God had intended as the ideal for the whole human race. Without pursuing the biblical arguments for a full-blown Christology that is sensitive to both his divine and human natures, let it be said that there is universal consensus that the New Testament presents Jesus not only as God but also as perfect man.”
That being said, it does seem like an exaggeration to claim that Genesis 1:26 is the key text to understanding Old Testament theology. That it is a major theme, particularly in relation to its underemphasis by most biblical commentators, does not by any means strain credulity. It also seems to be in the back of the mind of many New Testament authors who emphasize restoration of the Kingdom of God involving our reigning with Christ and inheriting the eternal life and dominion over the world which was originally connected with our Edenic charge.
In the final analysis, Everlasting Dominion provides a good straight-forward overview of the Old Testament, but simply doesn't provide enough insight to warrant its nearly 700 pages.
Daniel Boyd (1066 KP) rated Sgt. Pepper's Lonely Hearts Club Band by The Beatles in Music
Nov 2, 2017
One Of The Most Influential Albums Of All Time
The reason that this album is so influential and important to everything that came after it is simple, it was the first true example of what we think of as a concept album today. The album opens with an introduction to what you are about to witness, which is something that had never even been considered before in music. Sgt Pepper’s Lonely Heart’s Club Band was also very meta for its time considering that the first song informs you of the members that this band is made up from and gives you a reason as to why they are performing these songs to you. Equally, ending the album with the Sgt Pepper’s Lonely Heart’s Club Band reprise brings the whole thing full circle, and this formula became what was adopted by concept all albums going forward, The Who followed the same structure, as did Pink Floyd and Green Day. Musically, the record continued where Revolver, (the previous album,) left off, engraining the Beatles as pioneers in psychedelic music. Songs such as, ‘Lucy in the Sky With Diamonds,’ and ‘Within You, Without You,’ where more far out than any other psychedelic musical piece had been before. Then you have tracks such as ‘When I’m Sixty Four,’ and ‘Getting Better,’ which utilize classical instruments normally found in orchestral music. This totally rewrote the rules on what a pop song could do. Every song on Sgt. Pepper is a masterpiece and each earns that title both on an individual basis and as part of a whole and all for their own unique reasons. There is also the fact that the album contains what I consider to be the band’s greatest song, ‘A Day In The Life.’ It is the final track on the album, often considered an epilogue, as the album officially ends with the reprise of Sgt Pepper’s Lonely Heart’s Club Band and forty years later, it still sends tingles down the spine of anyone that has the honor to listen to it. Lennon’s parts bookend the track while the middle section belongs to McCartney. As is the case with the rest of the album, the song points out the juxtaposition of Lennon’s narcissistic realist view on the world versus McCartney’s brighter more optimistic outlook on life. Then the song ends with a beautifully chaotic climax of instruments all playing together, building from their respective lowest notes to their highest. It so clearly ends the album, there is no fade out, its everything coming together and playing simultaneously and then stopping all in unison, a very purposeful and definite way to end an album.
Even when the album is over the Beatles are still innovating by including a creepy loop within the groove of the album, implemented to give listeners a fright as they only expect to hear silence after the climax of ‘A Day In The Life.’ After a few moments of peace, a high pitched frequency is heard followed by a peculiar mix of abstract sounds all at once. Even after all this time, after the ridiculously high number of times that I’ve listened to the record and although I know to expect the sound before it happens, it’s still chilling to this day. This was the first time that a band intentionally included hidden sounds on an album, making listeners sit through a few seconds of silence to hear it. People claim that this album is overrated, but there is a reason that it is held in such high regard and whether you think this album deserves its legendary status or not, it is impossible to debate the fact that it is probably the most important album ever recorded. Everything from the album artwork to the music and the lyrics is still extremely relevant and important, even in this current digital age of music.
Even when the album is over the Beatles are still innovating by including a creepy loop within the groove of the album, implemented to give listeners a fright as they only expect to hear silence after the climax of ‘A Day In The Life.’ After a few moments of peace, a high pitched frequency is heard followed by a peculiar mix of abstract sounds all at once. Even after all this time, after the ridiculously high number of times that I’ve listened to the record and although I know to expect the sound before it happens, it’s still chilling to this day. This was the first time that a band intentionally included hidden sounds on an album, making listeners sit through a few seconds of silence to hear it. People claim that this album is overrated, but there is a reason that it is held in such high regard and whether you think this album deserves its legendary status or not, it is impossible to debate the fact that it is probably the most important album ever recorded. Everything from the album artwork to the music and the lyrics is still extremely relevant and important, even in this current digital age of music.
Connor Sheffield (293 KP) rated The Crow (1994) in Movies
Apr 19, 2017
Close to the source material (2 more)
Great Cast
A powerful and emotional film
A Powerful Classic
The Crow is one of my all time favourite films as well as one of my all time favourite graphic novels.
This Gothic, fantasy action film has a tragic story that's powerful to behold as we witness what the power of revenge can do to a person. However, this isn't your typical revenge plot, because SPOILERS!
Eric Draven, portrayed by the incredible Brandon Lee (son of Bruce Lee), is actual brought back from the dead as an avenging angel, after he and his fiance were murdered by a group of thugs on Devils Night (the night before Halloween).
If you've read the graphic novel you'll know just how great this film is, and the only downside to it is knowing it was Brandon Lee's last after an accident that happened on set.
However, the film sticks close to the source material, especially since James O'Barr, the creator of the characters and the graphic novel worked closely with the cast and crew of the film to ensure it was done correctly.
The tone of the film is, for obvious reasons, dark but there is still humour in it which lightens the mood and gives you a sense of Eric Draven's mind because let's face it, coming back from the dead with the ability to heal any wound, and the opportunity to get revenge on those who wronged you, it's enough to send a sensible man insane, and we see that shine through Brandon Lee performance with jokes and laughter, whilst still remaining eerily dark and twisted. When the bad guys realise he heals any wounds and can't die...You can see how much Eric enjoys seeing the fear grow in their faces, and as the strong unfolds we learn that the group of thugs who committed the crime, were just pawns to a bigger villain leading a crime syndicate in the city.
We see emotion as Eric tries to find out the truth of what really happened that night, and why he and his fiance lost their lives, and we see him trying to connect to his past through Sarah, a young girl that he and his fiance looked after and cared for. We also see the truth unfold through Officer Albrecht who was in charge of the investigation.
The characters are all brilliantly written, from Sarah's childhood innocence becoming a more mature sense of realising that the world can't always be a happy place, to Eric's lust for revenger and being sidetracked by emotions of his former life, trying to remain a good person whilst committing these acts of murder for revenge.
The music in the film really fits the scenes and the feel of the entire story with bands like The Cure, Pantera, Rage Against The Machine and Stone Temple Pilots among others, its soundtrack is brilliantly dark.
Also the main aspect that you have to love is Brandon Lee in the crow makeup and clothing. He looks menacing, he looks like he has a lust for revenge, most importantly he looks badass! One of the greatest comic book characters in film that I have ever seen, and whilst I was a little wary of the talks to remake this film in 2016/2017, I would be curious to see the character brought to life again and given a fresh look but I don't know if anyone can beat Brandon Lee in that portrayal because he looks incredible.
This film is dark, powerful, moving and poetic and will remain one of my top 5 films of all time. Maybe even top 3.
I highly recommend this film to anyone who enjoys a comic book movie, especially if you like movies with action and drama with a Gothic overtone.
R.I.P Brandon Lee (1965-1993)
This Gothic, fantasy action film has a tragic story that's powerful to behold as we witness what the power of revenge can do to a person. However, this isn't your typical revenge plot, because SPOILERS!
Eric Draven, portrayed by the incredible Brandon Lee (son of Bruce Lee), is actual brought back from the dead as an avenging angel, after he and his fiance were murdered by a group of thugs on Devils Night (the night before Halloween).
If you've read the graphic novel you'll know just how great this film is, and the only downside to it is knowing it was Brandon Lee's last after an accident that happened on set.
However, the film sticks close to the source material, especially since James O'Barr, the creator of the characters and the graphic novel worked closely with the cast and crew of the film to ensure it was done correctly.
The tone of the film is, for obvious reasons, dark but there is still humour in it which lightens the mood and gives you a sense of Eric Draven's mind because let's face it, coming back from the dead with the ability to heal any wound, and the opportunity to get revenge on those who wronged you, it's enough to send a sensible man insane, and we see that shine through Brandon Lee performance with jokes and laughter, whilst still remaining eerily dark and twisted. When the bad guys realise he heals any wounds and can't die...You can see how much Eric enjoys seeing the fear grow in their faces, and as the strong unfolds we learn that the group of thugs who committed the crime, were just pawns to a bigger villain leading a crime syndicate in the city.
We see emotion as Eric tries to find out the truth of what really happened that night, and why he and his fiance lost their lives, and we see him trying to connect to his past through Sarah, a young girl that he and his fiance looked after and cared for. We also see the truth unfold through Officer Albrecht who was in charge of the investigation.
The characters are all brilliantly written, from Sarah's childhood innocence becoming a more mature sense of realising that the world can't always be a happy place, to Eric's lust for revenger and being sidetracked by emotions of his former life, trying to remain a good person whilst committing these acts of murder for revenge.
The music in the film really fits the scenes and the feel of the entire story with bands like The Cure, Pantera, Rage Against The Machine and Stone Temple Pilots among others, its soundtrack is brilliantly dark.
Also the main aspect that you have to love is Brandon Lee in the crow makeup and clothing. He looks menacing, he looks like he has a lust for revenge, most importantly he looks badass! One of the greatest comic book characters in film that I have ever seen, and whilst I was a little wary of the talks to remake this film in 2016/2017, I would be curious to see the character brought to life again and given a fresh look but I don't know if anyone can beat Brandon Lee in that portrayal because he looks incredible.
This film is dark, powerful, moving and poetic and will remain one of my top 5 films of all time. Maybe even top 3.
I highly recommend this film to anyone who enjoys a comic book movie, especially if you like movies with action and drama with a Gothic overtone.
R.I.P Brandon Lee (1965-1993)
Daniel Boyd (1066 KP) rated Sons of Anarchy - Season 1 in TV
Jul 21, 2017
The Sins of The Father Are Visited On The Sons…
When this show initially premiered I dismissed it entirely. I instantly assumed that it was just some manly, cheesy rubbish that wasn’t worth my time. How small minded of me. It was only after the caretaker in my work recommended that I give it a go that I went back to it. For the first few episodes, it seemed as though I was right. A bunch of leather clad manly bikers shooting up rival gangs and blowing stuff up, but stick with this show and you will see just how deep the rabbit hole really goes. The writing here is phenomenal, the show was created and co-written by Kurt Sutter, who also plays Otto in the show. He is clearly a literary genius, as he also penned The Shield, as well as the recent, brilliantly written Jake Gyllenhall boxing movie, Southpaw. The show follows a gang of bikers called SAMCRO, (the Sons of Anarchy Motorcycle Club Redwood Original,) loosely based on the real life biker gang, The Hell’s Angels, (a few of which’s members actually have cameo roles in the show,) our protagonist is a young man named Jackson Teller, he is the son of John Teller, the original founder of the biker gang. Soon after Jax was born, his father was killed in a traffic collision, although it is suspected that there is more to his death than just that. Since then his mother Gemma has remarried to the current President of the gang, a man called Clay Morrow, who was also John Teller’s best friend and who co-founded the gang along with JT. When the show begins Jax is Clay’s Vice president, or VP and when Clay begins to lead the club on what Jax sees as a more violent, destructive path, he opposes him and he seeks a way to maintain the club, without having to kill anyone or take part in any shady business. Clay sees Jax as an idealist and tells him so, but Jax is persistent in his ideals, as he believes that this is the way that his Father would have wanted the club to be ran. The supporting cast of characters also add a lot to the overarching plot and each have their own respective back stories. There is Tara, Jax’s ex girlfriend, whom he falls back in love with, Gemma, who is Jax’s mother and the matriarch of the club, then there is Tig, Clay’s triggerman initially, but as the show goes on we see that he has a softer side, then there is Opie, Jax’s best friend from a young age who initially wants to leave the biker life behind, but after certain events in the first season of the show unfold, circumstances force him to stay by Jax’s side. There is also Chibs, the Scotsman who doesn’t mess about when it comes to dealing with a problem, there is also Happy, an emotional psychopath who is also played brilliantly by a real life ex Hell’s Angel member. Then there is Juice, a young Latino man who struggles with his personal demons throughout the show and lastly there is Bobby Elvis, another older member of the group who may be a big softie on the cover, but can also handle himself if anyone tries to cross him. From after the first season, the plot begins to twist and turn as we witness several double crosses and multiple agendas come into play and one of my favourite things about this show is that even though Jax is clearly the protagonist, he isn’t always the good guy and he makes some questionable decisions when he is put under pressure. I don’t want to say much else as I’m worried that I will spoil the show, but it definitely is worth your time and I would definitely recommend this show to anyone who is interested in a good crime saga.
RəX Regent (349 KP) rated Downfall (Der Untergang) (2004) in Movies
Feb 19, 2019
The true story of the last days of NAZI Germany, focusing on Hitler and his cohorts as they sought refuge on his Berlin Bunker and is chronicled here with such honesty.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
RəX Regent (349 KP) rated Star Wars: Episode III – Revenge of the Sith (2005) in Movies
Mar 7, 2019
Far, far away from it's potential...
Contains spoilers, click to show
After 22 years of waiting, since 1983′s "Return Of The Jedi", we were sat in the auditorium ready to witness the epic moment when Obi Wan Kenobi and Anakin Skywalker would finally turn on one and other and Darth Vader's conception would be complete.
As the 'Clone War' came to a close, the Jedi had been all but wiped of the face of a galaxy far, far away and Chancellor Palpatine had ascended to become the emperor of the newly formed 'Galactic Empire', that moment had finally arrived. Was it worth the wait? Well, since the bar had be not so much lowered, but obliterated by the the first two prequels, measured with those in mind, then yes, absolutely! In fact, it does stand up well, and on the initial viewing, it was outstanding. A visual feast or choreography, visual style and epic art direction, everything you would expect from the man who had changed cinema forever, 28 years earlier.
The only issue is that even though the fans wanted nothing more that to see this duel, the rest of the prequel franchise was merely filler, and a series of plots designed to delay the inevitable battle and to give the audience anything but what they had expected. But after a ridiculous 22 year wait, there was almost no good ideas left that hadn't been explored in two decades of fan fiction, leaving all the bad ones to be included in Lucus' second, no rather third rate scripts! We had been told that he was waiting for the technology to make these films, but what was he waiting for exactly? The technology to animate the, perhaps? The visual effects in these films, though sparkling and perfect in its details, are hollow and do not match the standards of the original films, and begs the question as to why not? Four years since the release of "Revenge Of The Sith", James Cameron would finally release a film which he had being developing the technology for, for over 10 years, ("Avatar") and the result: Groundbreaking cinema, in both the 3D and Mo-cap tech, raising the bar, as "Star Wars" had done three decades earlier.
But this film had restored something which the franchise had all but destroyed with episodes one and two. This finally felt something like the original films and was a joy to watch, even though it still falls short of the mark. The acting is poor in all the prequels, which account to Lucas' directorial style, favoring green screen and CGI over acting. But John William's score is first rate, as it has been throughout the entire saga, but this was both classic and moving, a score truly in touch with the audiences love and feeling towards the films, sadly devoid in most other aspects of the production.
That's not to say that technically this was well produced, because on paper, in the computers, and certainly in sound editing suites, it was perfect, with levels of audio visual detail to die for and the scope was awesome. But in the end, it is a hollow shell of what it should have been. "Episode III" though, is the most fulfilling of the three, but all of them rely of the decades of loyalty given to them, because without it, these would probably be laughed out of the auditoriums.
But having said all that, I enjoy this film, as a part of the saga, and still look forward to seeing it, and some of the sequences in this film , though far from perfectly realized, are fun and enjoyable. This is leagues below "Star Wars" and the superior "Empire Strikes Back", but still worth a watch.
As the 'Clone War' came to a close, the Jedi had been all but wiped of the face of a galaxy far, far away and Chancellor Palpatine had ascended to become the emperor of the newly formed 'Galactic Empire', that moment had finally arrived. Was it worth the wait? Well, since the bar had be not so much lowered, but obliterated by the the first two prequels, measured with those in mind, then yes, absolutely! In fact, it does stand up well, and on the initial viewing, it was outstanding. A visual feast or choreography, visual style and epic art direction, everything you would expect from the man who had changed cinema forever, 28 years earlier.
The only issue is that even though the fans wanted nothing more that to see this duel, the rest of the prequel franchise was merely filler, and a series of plots designed to delay the inevitable battle and to give the audience anything but what they had expected. But after a ridiculous 22 year wait, there was almost no good ideas left that hadn't been explored in two decades of fan fiction, leaving all the bad ones to be included in Lucus' second, no rather third rate scripts! We had been told that he was waiting for the technology to make these films, but what was he waiting for exactly? The technology to animate the, perhaps? The visual effects in these films, though sparkling and perfect in its details, are hollow and do not match the standards of the original films, and begs the question as to why not? Four years since the release of "Revenge Of The Sith", James Cameron would finally release a film which he had being developing the technology for, for over 10 years, ("Avatar") and the result: Groundbreaking cinema, in both the 3D and Mo-cap tech, raising the bar, as "Star Wars" had done three decades earlier.
But this film had restored something which the franchise had all but destroyed with episodes one and two. This finally felt something like the original films and was a joy to watch, even though it still falls short of the mark. The acting is poor in all the prequels, which account to Lucas' directorial style, favoring green screen and CGI over acting. But John William's score is first rate, as it has been throughout the entire saga, but this was both classic and moving, a score truly in touch with the audiences love and feeling towards the films, sadly devoid in most other aspects of the production.
That's not to say that technically this was well produced, because on paper, in the computers, and certainly in sound editing suites, it was perfect, with levels of audio visual detail to die for and the scope was awesome. But in the end, it is a hollow shell of what it should have been. "Episode III" though, is the most fulfilling of the three, but all of them rely of the decades of loyalty given to them, because without it, these would probably be laughed out of the auditoriums.
But having said all that, I enjoy this film, as a part of the saga, and still look forward to seeing it, and some of the sequences in this film , though far from perfectly realized, are fun and enjoyable. This is leagues below "Star Wars" and the superior "Empire Strikes Back", but still worth a watch.
Heather Cranmer (2721 KP) rated Nell and Lady in Books
Oct 12, 2018
Well written characters (1 more)
A very believable plot
A Book to Fall in Love With
There was something about the synopsis for Nell and Lady by Ashley Farley that drew me in from the beginning. As soon as I found out this book, I knew I had to read. I was ecstatic when I found out it was free in Kindle Unlimited! I'm really glad I read this book. It was really good.
I found the pacing for Nell and Lady to be perfect. It wasn't super fast where I was left wondering what happened, and it wasn't so slow that it felt like a chore reading this book. I would describe the pacing as being a relaxed pace.
I enjoyed the plot for Nell and Lady. The book synopsis does a great job of describing what the story is about, so I won't rehash the plot. There were no plot twists, but this isn't a book that requires a plot twist to be good. It was nice to read a book that was just straight forward when it came to the plot. It was interesting to read about what happened to Nell on the night of Lady's sixteenth birthday party (although I was expecting something a lot worse than what actually happened to her). It was also interesting to see how the family would overcome what happened to Nell and the falling out between them. It was also nice to read about things from Booker's and Regan's (Nell's son and Lady's daughter) point of view about what was going on with their mothers. It was a nice touch making Booker and Regan best friends in the book too. All of my questions were answered in Nell and Lady, and any loose ends were tied up by the ending of the book.
I loved the world building in Nell and Lady. Ashley Farley did a great job making everything feel believable whether it took place in present day or back when Nell and Lady were children/teenagers. I felt like I was in whatever era the book was taking place in. In fact, I felt like I was a silent witness to everything that was going on.
Every character in Nell and Lady was written very well. My favorite characters were Booker, Regan, and Willa. It was great to read about the friendly competition between Booker and Regan and how great of friends they were. Booker and Regan both had a great head on their shoulders. I loved how much Willa cared so much for her family and how she'd do anything for them. I did like Nell, but I didn't like the way she became racist after one incident when she was 16. However, readers will see her finally snap out of her views. Lady was written well, but I found her to be very spoiled and just plain rude. I could understand that she was hurt by how Nell had walked out of hers and Willa's life when she was a teen, but I felt like there was no excuse with how she acted when Nell wanted to visit Willa once she found out she was dying. I found myself annoyed with Lady most of the time, but not because she was poorly written. Lady was written very well, and I realize there are real life Ladys in the world.
Trigger warnings for Nell and Lady include sexual assault, mild racism, underage drinking and prescription pill abuse, mild violence, and one minor swear word.
Overall, Nell and Lady is an excellent read. I thoroughly enjoyed the whole story. It's got a great plot and a great cast of characters. I would definitely recommend Nell and Lady by Ashley Farley to everyone aged 16+. You will fall in love with this book.
I found the pacing for Nell and Lady to be perfect. It wasn't super fast where I was left wondering what happened, and it wasn't so slow that it felt like a chore reading this book. I would describe the pacing as being a relaxed pace.
I enjoyed the plot for Nell and Lady. The book synopsis does a great job of describing what the story is about, so I won't rehash the plot. There were no plot twists, but this isn't a book that requires a plot twist to be good. It was nice to read a book that was just straight forward when it came to the plot. It was interesting to read about what happened to Nell on the night of Lady's sixteenth birthday party (although I was expecting something a lot worse than what actually happened to her). It was also interesting to see how the family would overcome what happened to Nell and the falling out between them. It was also nice to read about things from Booker's and Regan's (Nell's son and Lady's daughter) point of view about what was going on with their mothers. It was a nice touch making Booker and Regan best friends in the book too. All of my questions were answered in Nell and Lady, and any loose ends were tied up by the ending of the book.
I loved the world building in Nell and Lady. Ashley Farley did a great job making everything feel believable whether it took place in present day or back when Nell and Lady were children/teenagers. I felt like I was in whatever era the book was taking place in. In fact, I felt like I was a silent witness to everything that was going on.
Every character in Nell and Lady was written very well. My favorite characters were Booker, Regan, and Willa. It was great to read about the friendly competition between Booker and Regan and how great of friends they were. Booker and Regan both had a great head on their shoulders. I loved how much Willa cared so much for her family and how she'd do anything for them. I did like Nell, but I didn't like the way she became racist after one incident when she was 16. However, readers will see her finally snap out of her views. Lady was written well, but I found her to be very spoiled and just plain rude. I could understand that she was hurt by how Nell had walked out of hers and Willa's life when she was a teen, but I felt like there was no excuse with how she acted when Nell wanted to visit Willa once she found out she was dying. I found myself annoyed with Lady most of the time, but not because she was poorly written. Lady was written very well, and I realize there are real life Ladys in the world.
Trigger warnings for Nell and Lady include sexual assault, mild racism, underage drinking and prescription pill abuse, mild violence, and one minor swear word.
Overall, Nell and Lady is an excellent read. I thoroughly enjoyed the whole story. It's got a great plot and a great cast of characters. I would definitely recommend Nell and Lady by Ashley Farley to everyone aged 16+. You will fall in love with this book.
Lucy Buglass (45 KP) rated Ekaj (2015) in Movies
Jun 20, 2019
A gritty, raw portrait of a teenage runaway
When I was first introduced to Ekaj, I genuinely thought it was a documentary. The realisation that it was in fact a work of fiction took me by surprise, and this is a testament to the directing style of Cati Gonzalez. She has gone to great lengths to make this film feel as real as possible. None of the actors in the film are well-known or established, making them seem like ordinary people you might pass on the street. This sense of realism draws you closer to the characters we meet throughout, and I really loved this stylistic choice.
This gritty, imperfect camerawork and editing matches well with the harsh realities of life for Ekaj and his friend Mecca, both of which are young, gay Puerto Ricans trying to navigate the intimidating streets of New York City. This film doesn’t sugar coat it, as we are greeted with things such as drug abuse, AIDS, violence and sexual assault. We are forced to live this reality alongside Ekaj and Mecca, in all its harrowing honesty. It’s worlds away from my own, yet I felt close to the subject matter throughout. Ekaj and Mecca are complete opposites, with Mecca’s life experience and protective nature conflicting with Ekaj and his naivety. Following these two characters throughout was thoroughly entertaining, despite the difficult environment they both live in.
As the titular character, Jake Mestre really stood out to me. He does a fantastic job at portraying someone young, clueless and confused about their own identity. He experiments with new looks, new scents, and what he feels most comfortable in. He is a character that many can identify with when it comes to sexuality and gender identity, even if they do not share the same life experiences. In addition, the presence of Ekaj’s homophobic and aggressive father is an upsetting reminder of the rejection many individuals face from their own family members. I’m glad Ekaj never avoided these issues or tried to pretend they didn’t exist, instead, they were placed in clear view for the discomfort of the audience. It’s important we shed light on these societal problems, and cinema as a great way to do this.
The intrusive nature of the camera paired with natural, overlapping dialogue is striking, and at times I felt as though I shouldn’t be watching what I was. I felt like a genuine spectator, desperately trying to get a closer look at the lives of these individuals, even when they were talking about some deep and intense topics. The fly-on-the-wall style of filmmaking is what really stood out to me with Ekaj, and something I seriously enjoyed throughout. To me, this is what sets the film apart from others within the genre.
All in all, Ekaj is a well-rounded indie film that gives us a heartfelt and eye opening look at the dark side of New York City, whilst simultaneously creating a compelling and strong relationship between two young men. The way humour and sentimentalities still existed in such an awful world gave me a glimmer of hope, and some light relief throughout. Fundamentally, this is down to great writing and acting, which I’m full of praise for when it comes to this film.
I would certainly recommend Ekaj to a variety of audiences, whether or not you feel you can identify with any of the characters or subject matters. It sheds light on the darker side to human existence, which is important for us all to witness.
https://lucygoestohollywood.com/2018/11/04/ekaj-a-gritty-raw-portrait-of-a-teenage-runaway/
This gritty, imperfect camerawork and editing matches well with the harsh realities of life for Ekaj and his friend Mecca, both of which are young, gay Puerto Ricans trying to navigate the intimidating streets of New York City. This film doesn’t sugar coat it, as we are greeted with things such as drug abuse, AIDS, violence and sexual assault. We are forced to live this reality alongside Ekaj and Mecca, in all its harrowing honesty. It’s worlds away from my own, yet I felt close to the subject matter throughout. Ekaj and Mecca are complete opposites, with Mecca’s life experience and protective nature conflicting with Ekaj and his naivety. Following these two characters throughout was thoroughly entertaining, despite the difficult environment they both live in.
As the titular character, Jake Mestre really stood out to me. He does a fantastic job at portraying someone young, clueless and confused about their own identity. He experiments with new looks, new scents, and what he feels most comfortable in. He is a character that many can identify with when it comes to sexuality and gender identity, even if they do not share the same life experiences. In addition, the presence of Ekaj’s homophobic and aggressive father is an upsetting reminder of the rejection many individuals face from their own family members. I’m glad Ekaj never avoided these issues or tried to pretend they didn’t exist, instead, they were placed in clear view for the discomfort of the audience. It’s important we shed light on these societal problems, and cinema as a great way to do this.
The intrusive nature of the camera paired with natural, overlapping dialogue is striking, and at times I felt as though I shouldn’t be watching what I was. I felt like a genuine spectator, desperately trying to get a closer look at the lives of these individuals, even when they were talking about some deep and intense topics. The fly-on-the-wall style of filmmaking is what really stood out to me with Ekaj, and something I seriously enjoyed throughout. To me, this is what sets the film apart from others within the genre.
All in all, Ekaj is a well-rounded indie film that gives us a heartfelt and eye opening look at the dark side of New York City, whilst simultaneously creating a compelling and strong relationship between two young men. The way humour and sentimentalities still existed in such an awful world gave me a glimmer of hope, and some light relief throughout. Fundamentally, this is down to great writing and acting, which I’m full of praise for when it comes to this film.
I would certainly recommend Ekaj to a variety of audiences, whether or not you feel you can identify with any of the characters or subject matters. It sheds light on the darker side to human existence, which is important for us all to witness.
https://lucygoestohollywood.com/2018/11/04/ekaj-a-gritty-raw-portrait-of-a-teenage-runaway/
Lucy Buglass (45 KP) rated Rocketman (2019) in Movies
Jun 20, 2019
A dazzling, brutally honest biopic
Biopics are always challenging. Trying to condense the life of a public figure into a couple of hours is never easy, which is why it can go wrong. It must be even more intimidating when your subject is still alive, and in this case, Elton John is very much alive and kicking at the age of 72.
Rocketman was a project that was closely followed by a number of fans and media outlets, all of them keen to see how they brought his story to life on-screen. With Dexter Fletcher at the helm and a star-studded cast, the film certainly had potential. And boy did it deliver.
Something that took me by surprise was the fact the film was more of a musical, rather than a straight-up biopic. I must admit I’m not the biggest fan of musicals most of the time, but I was instantly charmed by the musical numbers in Rocketman. It felt appropriate to present someone so passionate about music in this way. The film is choreographed to perfection, with the key moments in Elton’s life brought to life through song and dance.
In the leading role, Taron Egerton absolutely shone as Elton. The fact he actually sang so many of his iconic songs, and did them well, is something that should be celebrated for years to come. But even beyond the music, the way he showcased Elton’s pain throughout his years brought me to tears several times, and I’d be as bold to say his performance was award worthy. I couldn’t take my eyes off him.
It was also refreshing to see the brutal honesty in the film. Elton John himself said he ‘hadn’t lived a PG-13 life’, so the inclusion of sex, drugs and depression was absolutely necessary. Elton suffered from a lot of addictions, which are unapologetically presented on screen. There were so many tragedies I was not aware of, and it was so awful to see how he’d been treated by those close to him.
His parents in particular, Sheila (Bryce Dallas Howard) and Stanley (Steven Mackintosh), weren’t accepting of him and created a toxic home environment for Elton. I wasn’t aware of these strained relationships so it was interesting to observe, and the performances felt incredibly raw and devastating.
Naturally, the film also explored Elton’s first relationship with music manager John Reid (Richard Madden). This was heartbreaking to witness, as there was a lot of abuse and manipulation from Reid throughout their relationship. I thought Madden was exceptional in this role; villainous yet charismatic, and he delivered some truly cutting lines that, again, made me cry.
The one constant good relationship in Elton’s life was, and still is, Bernie Taupin (Jamie Bell). The two worked closely over the years to write the lyrics we know and love, and have endured lots together. As a key figure in his life, it was essential he was played well, and I couldn’t be happier with Bell’s performance. The energy between him and Egerton was a powerful thing.
These great performances are set against a beautiful backdrop of glitz and glamour, with some seriously impressive live shows where Egerton gets the opportunity to really shine. The gorgeous set design, costume design and cinematography only broke my heart further, when it became apparent a lot of it was a lie, and deep down Elton was battling with many demons. Fame does not always equal happiness, and this film is the epitome of that message.
Whilst it’s not an easy film to watch at times, it’s a beautiful celebration of Elton’s life that I can’t wait to experience again. He has came such a long way, and the film does everything in its power to show both the lows and highs, and remind fans where he came from. My advice would be to bring tissues, you’re going to need them.
https://lucygoestohollywood.com/2019/05/27/rocketman-dazzling-brutally-honest-biopic/
Rocketman was a project that was closely followed by a number of fans and media outlets, all of them keen to see how they brought his story to life on-screen. With Dexter Fletcher at the helm and a star-studded cast, the film certainly had potential. And boy did it deliver.
Something that took me by surprise was the fact the film was more of a musical, rather than a straight-up biopic. I must admit I’m not the biggest fan of musicals most of the time, but I was instantly charmed by the musical numbers in Rocketman. It felt appropriate to present someone so passionate about music in this way. The film is choreographed to perfection, with the key moments in Elton’s life brought to life through song and dance.
In the leading role, Taron Egerton absolutely shone as Elton. The fact he actually sang so many of his iconic songs, and did them well, is something that should be celebrated for years to come. But even beyond the music, the way he showcased Elton’s pain throughout his years brought me to tears several times, and I’d be as bold to say his performance was award worthy. I couldn’t take my eyes off him.
It was also refreshing to see the brutal honesty in the film. Elton John himself said he ‘hadn’t lived a PG-13 life’, so the inclusion of sex, drugs and depression was absolutely necessary. Elton suffered from a lot of addictions, which are unapologetically presented on screen. There were so many tragedies I was not aware of, and it was so awful to see how he’d been treated by those close to him.
His parents in particular, Sheila (Bryce Dallas Howard) and Stanley (Steven Mackintosh), weren’t accepting of him and created a toxic home environment for Elton. I wasn’t aware of these strained relationships so it was interesting to observe, and the performances felt incredibly raw and devastating.
Naturally, the film also explored Elton’s first relationship with music manager John Reid (Richard Madden). This was heartbreaking to witness, as there was a lot of abuse and manipulation from Reid throughout their relationship. I thought Madden was exceptional in this role; villainous yet charismatic, and he delivered some truly cutting lines that, again, made me cry.
The one constant good relationship in Elton’s life was, and still is, Bernie Taupin (Jamie Bell). The two worked closely over the years to write the lyrics we know and love, and have endured lots together. As a key figure in his life, it was essential he was played well, and I couldn’t be happier with Bell’s performance. The energy between him and Egerton was a powerful thing.
These great performances are set against a beautiful backdrop of glitz and glamour, with some seriously impressive live shows where Egerton gets the opportunity to really shine. The gorgeous set design, costume design and cinematography only broke my heart further, when it became apparent a lot of it was a lie, and deep down Elton was battling with many demons. Fame does not always equal happiness, and this film is the epitome of that message.
Whilst it’s not an easy film to watch at times, it’s a beautiful celebration of Elton’s life that I can’t wait to experience again. He has came such a long way, and the film does everything in its power to show both the lows and highs, and remind fans where he came from. My advice would be to bring tissues, you’re going to need them.
https://lucygoestohollywood.com/2019/05/27/rocketman-dazzling-brutally-honest-biopic/
Sophia (Bookwyrming Thoughts) (530 KP) rated Shatter Me in Books
Jan 23, 2020
Lupe and I made a random, out of the blue deal where I read <i>Shatter Me</i> (the entire series), and she finally gets her act together to read the amazingness called <i>Harry Potter</i> (the entire series). <b>She's trekking her way merrily - I've made a fan out of her yet. #SophiaIsProud</b>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>