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.
If you’re a follower of my blog, you’re probably aware that I am not the biggest fan of remakes, reboots and all the rest. I’ve previously railed about Hollywood turning their blockbuster machine into a Xerox machine, leaving most original content to wallow and “impress” in the specialty markets and film festivals, testing the waters before going wide. (One of those films, Hell or High Water, is a remarkable film with a great cast; having made over 3 million thus far in its slow burn release schedule, had the studios opened this wide from the jump, it more than likely would have made its budget back and then some opening weekend.) Where the real problem lies is when executives take a look at their company’s back catalogue, see dollar signs with titles that originally made a lot of money and think they can capitalize on that success with an inferior retread instead of looking for those titles with a brilliant premise but which failed because of horrible execution. In other words, instead of attempting to improve a weak product, they harm an already strong property for the sake of the bottom line.
In the last two weeks, there have been two remakes released to theaters. One is an enigma as it falls into a separate category that I will get into in just a second. The other, Pete’s Dragon, is the perfect example of a film that was in desperate need of an upgrade, taking the original idea and improving on it tenfold. Read Full Review
If anyone was ever to remake The NeverEnding Story, I would bet dollars-to-donuts Christopher Walken would play the owner of the bookshop Bastian steals from. Alongside his many supporting roles in an eclectic array of films, Walken has somehow become the go-to actor to play “the mystical shopkeeper.” Okay, yes, it’s only been twice now, but in both Click and the new cat-tastrophe (oh my gah… I can’t believe I just did that!), Nine Lives, it becomes clear Walken is a little too bemused by the parody of himself. There’s no life left in his once Oscar-winning persona, a noticeable problem that infects everything else around it. There’s something to be said for an actor elevating a film that seems otherwise thrown together, but when it feels like he — alongside Kevin Spacey, another professional stalwart that doesn’t belong anywhere near a film like this — isn’t even attempting to give 110%, that not only affects those around him from giving their all, but it telegraphs to the viewer that the film isn’t worth their time.
A good example for this is The Fifth Element, a film that could have been a disaster of Jupiter Ascending proportions had it not been for every single actor just letting loose and going for it, delivering terrific performances as if the film was poised to win every Oscar category. Of course, the actors involved had the advantage of working with a well-written script. Unfortunately, Nine Lives can’t hold up on that front either. Read Full Review
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