In history, truth is often lost to the ravishes of time. The biases of each new generation distort facts to best suit their personal agendas. No more evident is this than in the most well-known book of all time: the Bible. But in an attempt to locate the lost city of Atlantis, Matthew Stevens and his team of archaeologists uncover the truth behind the Genesis of the Word. Are you ready to find out what the world doesn’t want you to know?
The Spirit Of… is an exciting adventure that dares to question what we know with a journey through self-discovery, love and friendship. Available in trade paperback, Kindle, Nook and iBooks, The Spirit Of… will leave you breathless.
Amen Dello Keli.
If you have a book that’s just been released, one that’s on the verge of being released, or a current WIP, I’d love to hear about it! List the title (if it has one), a logline, a brief summary, the first sentence of the book and a link to where we can read or purchase it.
Indiot is the follow-up to Ana Spoke’s debut novel, Shizzle, Inc., chronicling the hijinks of Isabella Maxwell, a naive blond who wants nothing more than to change (or help) the world, getting herself into extraordinary circumstances along the way. In Shizzle, Inc., this trouble came upon her mostly by accident, as the world seemed to open opportunities she’d then exploit for her own means, messaging the truth and more often than not, putting her foot in her mouth. In Indiot, the tables turn a bit, as Isabella (or Isa, for short) begins to take hold of the reigns of her own destiny. She still gets into plenty of trouble, but instead of unbelievable circumstances pushing her into various comedic predicaments, her conscious decisions now tend to lead her into trouble — a switch that gives her narrative more reliability than in Shizzle, Inc. It doesn’t feel as if Isa is lying as much about what’s happening, making her adventures more authentic and enjoyable. At the same time, her character seems to grow too much too fast, as if the lessons she learned in Shizzle Inc. have taken root, but have matured faster than an alien baby in a science-fiction movie. Read Full Review
I didn’t know much going into seeing Lights Out; I don’t even remember seeing a trailer for it. But I must have because I had this odd sense I was interested in checking it out. It’s one of those odd little ducks that make an impression, but not really. Was there something about the plot that I found interesting? Was it the cast that sparked my curiosity? Was it simply because it was a horror film, which always tend to draw me in? I’m not sure because upon seeing it, I’m not sure any of those would have been the magic formula to do the trick. Lights Out isn’t a bad film, but it’s nothing special — basically just another simple horror film among many (like one of the previews, Don’t Breathe, which I thought to myself, “Now that should have been called Lights Out“). Read the rest of this entry »
I wasn’t intending to see the new iteration of Ghostbusters. And it wasn’t because it was an all-female cast, or because it didn’t look funny (trailers can be deceiving), or because the special effects looked like crap, as a lot of annoying little trolls slammed the trailers with. It’s because I’m getting rather tired — as I’m sure a lot of people are — of Hollywood dipping back into a well no one asked them to dip their money-grubbing hands into. The majority of movies are made for a certain generation, so when you see all of these retreads and reboots and sequels and prequels… what does that really say about our current generation of movies? I’ve argued this point before, but with remakes of The Magnificent Seven and Ben-Hur on the way later this year, it’s starting to get rather pathetic.
The thing is, I started to hear some not so terrible things about Ghostbusters, so I decided to give it the benefit of the doubt, to see if, unlike most other remakes, this one could actually live up to its predecessors — sort of a test to see if the trend of poorly remade classics could turn around for the better. I must confess — this new iteration of Ghostbusters isn’t necessarily a bad film; it’s simply a pile of missed opportunity. Read Full Review
Since their inception in 2010, Illumination Entertainment has proven to be a force to be reckoned with. They may have gone a little too minion happy, proving there can be too much of a good thing, but minions aside, they have proven themselves to be a strong contender in the field of computer animation, alongside Blue Sky (Ice Age series), and Dreamworks Animation (Shrek series). With The Secret Life of Pets, Illumination’s newest entry that doesn’t include minions (no, wait… I take that back; there is a somewhat humorous short prior to the movie that does include our favorite yellow pills… sorry folks, you just can’t get away from ’em!), the studio tries to take what it’s learned thus far in their young life and apply some Pixar magic, a combination that helps them raise the bar, but still fail to capture the pure sweetness and storytelling capacity of that aforementioned computer-animation titan. Read Full Review
Growing up, The BFG was one of my favorite books. It’s been a very long time since last I read Roald Dahl’s inventive story, but I do remember the feeling of joy I got every time I read it. Dahl’s style was so creative and light, the wonder that he produced poured through the pen and onto the page. You didn’t have to catch dreams to be ignited by the wonders of Dahl’s imagination. So you can imagine how excited I was to learn The BFG was finally being made into a live-action feature film (after all, Dahl’s Charlie and the Chocolate Factory has already been made into two films!) and that Steven Spielberg was going to be behind the reins of capturing that magic and delivering it to the masses. It’s with a heavy heart, then, that when I walked out of the theater, their was no delight in the lack of wonder Spielberg and his team had produced. Read Full Review
Dwayne Johnson, the hulking beast of a former WWE wrestler affectionately known as The Rock, has made a new name for himself in the film world over the last decade as a hulking beast in action-packed fare such as the Fast and Furious franchise, Pain and Gain, San Andreas and G.I. Joe: Retaliation. If you were to have said he would have such a illustrious career in acting after his first starring role in the failed The Scorpion King, I would have said you’re nuts. But with his willingness to explode with charisma in much quieter fare (such as Be Cool and Gridiron Gang) and co-starring roles in tent-pole films like Get Smart and The The Other Guys, Johnson found a solid, respectable footing in cinema history. Some may pigeonhole Johnson as an action star, but he’s also shown his flair for comedy in many of the roles mentioned above, and though his attempts at straight comedy/kid flicks have proved to be his Kryptonite, whenever he combines comedy with one of his strengths, he usually finds a way to outshine his comedic partners. No more so is this true than in Central Intelligence, where Johnson steals every scene away from Kevin Hart to surprise as one of this year’s most hilarious performances. Read Full Review
Stream of consciousness is a writing technique wherein you write what you’re thinking at one specific time without going back to change or edit anything. It’s mostly used as a tool to get a writer back into the groove of writing whenever they’re trapped in an existential quandary or have a bout of writer’s block. Unless a character in a book is having a stream of consciousness moment, generally an exercise like this isn’t usually published for mass consumption. But L.E. Moebius has taken this tool and used it to her advantage. From what I know, every day for thirty days, Moebius wrote one chapter without pause, without double checking aspects from other chapters or going back to fuss over anything she wrote. Whatever came to her mind in however much time it took is what the chapter became. In her second attempt at this format, 30 Days Stream of Consciousness: A Haunting, Moebius intelligently crafts a fast, creative, but somewhat generic story of a haunted house and its unwitting occupant. Read Full Review
Patrick Wilson and Vera Farmiga return as real-life paranormal investigators Ed and Lorraine Warren in The Conjuring 2, a respectable follow-up to 2013s The Conjuring. What helps both films rise above most other paranormal-based films lie in these two characters, who act as the ground for the incidents they investigate. Read Full Review
I’m not exactly sure why I chose to see Popstar: Never Stop Never Stopping. Andy Samberg can be funny when he has the right supporting cast backing him up (see Brooklyn Nine-Nine, where he shines mostly because of playful banter with his all-star co-conspirators). I may not always like his brand of humor, which tends to bounce between offensively funny to annoyingly sick, but he knows who he is as a comic, and I admire and respect his ability to push the limits just past the boundaries of acceptance, and then continue to do so when the backlash is small or non-existent.
Going into Popstar, I wasn’t sure which side I was going to get. Was it going to be closer to Brooklyn Nine-Nine, where he relies heavily on his diverse cast to bounce a much more subtle performance off of, or was it going to be more frantic and in your face, where no one else around him seems to matter and where he puts too much stock into sophomoric bathroom humor and dick jokes that have already gotten old and stale? My prognosis: it’s a little bit of both, and because of that, doesn’t seem to find the right voice to carry the entire movie to the finish line. Read Full Review