Review: The Forest Grimm by Kathryn Purdie

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Disclaimer: I received an advance copy of this book from Netgalley in exchange for an honest review.

Outside the town of Grimm’s Hollow is the Forest Grimm – a magical place twisted by a malevolent curse that draws bespelled people into its depths and is slowly killing the surrounding farmland.

And as you could probably guess by the name of the forest, “The Forest Grimm” by Kathryn Purdie wraps itself in a cloak of glittering fairy tales. But these aren’t the sanitized, Disneyfied stories you might know, where all you need to fix things is true love’s kiss. Instead, her elegant, winding fantasy tale delves into the dark, distorted versions of these familiar tales, with a seemingly doomed heroine as perhaps the only chance of breaking the curse.

For her entire life, the cards telling Clara’s fortune have said only one thing – she will die young, as a result of a “fanged creature.” Despite this dismal future, she is determined to enter the hostile Forest Grimm and find her beloved mother, who was the very first person to be lost there – and if she can’t find her mother directly, then she wants to find a missing magical book, the Sortes Fortunae, to end the curse once and for all.

Then she discovers something shocking: the forest will allow a person to enter it if they have red rampion. And before she vanished, Clara’s mother made her a hooded cloak dyed with rampion flowers – which she takes as a sign that she’s destined to enter the Forest Grimm and change the fate of everyone in the forest and the town. She’s accompanied in her quest by Axel, a strikingly handsome young man whose fiancee Ella vanished into the forest, and her best friend Henni, who also happens to be Ella’s sister.

Unfortunately, the Forest Grimm has bigger dangers than vicious trees and a constantly-shifting landscape. It doesn’t just take the people of Grimm’s Hollow – it changes and twists them, and its dark, malevolent magic is channeled through them. Also, a giant wolf is following Clara, and she’s pretty sure it’s the fanged creature destined to kill her. But fate may have something else in mind, if Clara can stay alive long enough.

“The Forest Grimm” is one of those fantasy stories that trips lightly on the edge of horror, especially the gruesome whimsy found in old-timey fairy tales. The fairy tale figures here are not sweet-natured princesses in pretty dresses – they are cruel, maddened and extremely dangerous, whether they are using a vast web of prehensile hair, tree roots or some well-timed magic mushrooms. And yes, it’s THAT kind of magic mushrooms.

And Kathryn Purdie weaves the entire tale together with elegance and skill. Her writing has a timeless quality reminiscent of the fairy tales she twines into her original tale, except for a few more modern-sounding descriptions of how attractive Axel is. And alongside her dark fairy-tale trappings, she also dips into some fairly heavy thematic material about whether a person can change their fate, and whether your fate is necessarily what you think it is.

It helps that Clara is one of the most likable and engaging heroines I’ve read about in years – she’s earnest and unselfish, resourceful and determined. Believing that she has no future, she tries to ensure a future for other people, even if it hurts her in the process. Axel is a thoroughly wholesome male lead alongside her, and their budding relationship is a tentative, sweet one… if they can get past issues with obligation, guilt and loneliness.

Perhaps the most frustrating thing about “The Forest Grimm” is finishing it, and realizing that the story is not actually over – meaning that I now have to wait for Kathryn Purdie to publish the sequel before I can find out what’s next for Clara, Axel and Henni. In the meantime, it’s a richly-imagined, shadows-and-tatters homage to Grimm’s fairy tales.

Review: The horrors of “The Lord of the Rings: Gollum”

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It hasn’t been a good few years to be a Lord of the Rings fan.

First, Amazon crapped on Tolkien’s intellectual property with The Rings of Power, even as they followed the time-honored tradition of attacking the fans preemptively to try to bully people into watching. I’ve been blocked by TheOneRingNet on Twitter after I called them out for bigotry against Tolkien’s religion and their abuse of fans, and I am very proud of that fact. Being blocked by bigots is practically a compliment.

And then… we got The Lord of the Rings: Gollum.

If anything will make you miss the glory days of Lord of the Rings games, it will be this… thing. The Lord of the Rings: Gollum proves that there is a distinct lack of quality control in J.R.R. Tolkien’s franchise, displayed here through a game that is deeply and intensely broken on every level. Nothing about this game is good, except for possibly the entertainment factor of goggling at whatever aspect of Tolkien’s world that is being molested.

The core concept is not necessarily a bad one. Sure, a video game about a cannibalistic crackhead who obsesses about jewelry sounds like a terrible idea, but Gollum is a complex and nuanced enough character to lend himself to an expanded story. He’s also strong and nimble, which lends itself well to the idea of a parkour game. The story supposedly covers Gollum’s adventures prior to the events of The Lord of the Rings, namely how he was captured by Sauron and imprisoned in Mordor, and then captured by the wood-elves and imprisoned in Mirkwood.

Unfortunately, it soon becomes obvious what is wrong with the game. For one thing, it looks like a PS2 game that somehow fell through a time vortex and landed in the year 2023… and was given a PS5 release. The graphics are primitive at best, eye-gougingly ugly at worst. Gollum looks like he’s melting 95% of the time, and almost all of the other characters look primitive and sometimes actually unfinished. The color palette is depressingly muted, except for when the world suddenly becomes radioactive and burns your retinas.

There are also a thousand artistic choices that are absolutely baffling. Why does Thranduil look like an overtrimmed shrub is growing out of his head? Why is Gandalf referred to as “wizard”? Why do some of the orcs have phallic armor? Why is there a random Russian in Mordor? Why is one of the orcs French? Why does Gollum have a bird sidekick? Why does the Mouth of Sauron dress like an extra from “Dune”?And why, in the name of Eru, did someone decide that Sauron, the Nazgul and the orcs weren’t sufficient villains for the story, and thus we needed a new and chilling enemy titled “The Candle Man”?

Even this might have been slightly tolerable if they had plumbed the depths of Gollum’s tortured, addiction-wracked, divided mind. Unfortunately, most of what the devs seem to know about him is the existence of his Smeagol alter ego… and not much else. He’s never convincingly depicted as the sly, corrupt, malign, disgusting little creature of Tolkien’s works – this Gollum has an internal moral debate about killing a beetle and adopts a little baby bird. For context, the Gollum of Tolkien’s books ate babies. Human babies.

As if the story wasn’t bad enough, the game is extremely broken – glitchy and buggy, frequent crashes, and a confusingly random frame rate that often makes the animation janky and stuttering. The stealth mechanics are poor, with some tasks that are very difficult to complete due to a lack of user-friendliness, and it’s often difficult to see what’s going on around Gollum. It sometimes feels like a game made by enthusiastic but not-very-well-trained amateurs who did their best… except that you’re expected to pay for it.

Playing The Lord of the Rings: Gollum is a thankless, joyless experience, and it is all the more egregious when you realize it was based on the life’s work of a man who so expertly and passionately crafted his imaginary world. There are many good or at least tolerable Lord of the Rings games, and any of those would be better than this one.

Recommendation: The Untamed

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I will probably write a full-blown review of this TV series sometime in the future, once I figure out how to summarize fifty plot-packed episodes that bounce around the timeline of almost twenty years.

So, quick sum-up: The Untamed is a Chinese xianxia TV show that became a hit on Netflix because… well, people are starved for good TV, and it’s a good TV show. It’s based on the Mo Dao Zu Shi/Grandmaster of Demonic Cultivation books by Mo Xiang Tong Xiu (pseudonym), which recently got published in the United States. The original novels are part of a genre called danmei, which refers to books aimed at the female reading public that focus on a romantic relationship between two men. But because of Chinese censorship laws, the TV show just has the most intense bromance you will ever find.

The bare-bones summary is that it takes place in an ancient-medieval-styled fantasy world where Daoist magic allows people to have superpowers, fly on their swords, manipulate spiritual energy, and so on. A mentally ill man summons the spirit of Wei Wuxian, who was sort of the bogeyman of the cultivation world. Before he died sixteen years ago, he used demonic magic and rebelled against all the various sects, so they regard him as being a sort of low-level Sauron. Wei Wuxian ends up in the body of the mentally-ill man so he can enact revenge against the guy’s family, and ends up tangled in a weird supernatural mystery. He also reconnects with Lan Zhan, who was his best friend in his old life, despite them having opposite personalities.

It’s a little hard to understand what’s going on in the first two episodes, but it quickly flashes back for about thirty episodes to reveal everything that got the main characters to the present day. Basically, refined uptight boy Lan Zhan despised Wei Wuxian at first because Wei Wuxian was a free spirit who regularly flouted the rules, but eventually grew to admire and care about him. At the same time, the various sects have to deal with the Wen clan, who are effectively taking over everything, and Wei Wuxian ends up sacrificing everything to help other people, but is branded a monster for doing so. He’s also being framed by somebody who is only revealed much later on.

After that flashback, it’s a good idea to go watch the first two episodes a second time, now that you know who everybody is and what their history consists of. After that, it follows Wei Wuxian and Lan Zhan as they try to figure out who the mastermind behind all this is.

The biggest problem of the story is obviously the censorship. Not just because they had to remove the romantic elements, but because it won’t allow such things as ghosts and zombies… in a story about a necromancer. As a result, there are some scars and stitch marks in the narrative where things had to be excised or drastically changed.

But if you can get past that, it’s a great show. The casting is one of the most perfect ones I’ve seen since Lord of the Rings – every actor is giving a pitch-perfect performance, and some of the roles are pretty difficult. The roles of the two leads are particularly hard. Lan Zhan is a sort of defrosting ice prince who conveys a lot of emotion with very few words and extremely understated facial expressions.

And the actor playing Wei Wuxian is called on to play a mercurial quirky genius. He could have been a very irritating character in a less talented man’s hands, but he’s absolutely charming instead – and it’s worth noting that Wei Wuxian goes through a LOT of development. He suffers a complete mental breakdown, is tormented for months until he’s suffering from PTSD, has a fixation on family relationships, has a crippling fear of dogs, and so on and so forth. He overall grows from a brilliant but cocky youth into a clever and more insightful man, all without losing his mischievous streak or his ADHD.

And there are billions of characters in this drama, and many of them have their own stories and development as well. Hell, a few of them get whole side-stories, such as the psychotic Xue Yang and the pure-hearted Xiao Xingchen.

A few cultural details require explanations to understand, but the backbone of The Untamed is just really good storytelling, excellent acting and a gripping, complex story that will keep you mesmerized right to the end.

Review: Tress of the Emerald Sea

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While the rest of us were gaining weight and getting depressed during the Covid-19 lockdown, Brandon Sanderson was doing what he does best: churning out books.

And the first of these four surprise books is “Tress of the Emerald Sea,” a Cosmere novel that mingles quirky fairy-tale quests for a true love with the rough’n’tumble life of a pirate. Sanderson gives us a extraordinarily ordinary heroine who stumbles and triumphs on her quest, along with a talking rat, seas of colorful spores, and the occasional zombie doctor.

Tress is a seemingly ordinary girl on a small rocky island in the green spore sea – she collects teacups, washes windows, loves her family, and regularly meets with the local duke’s son, Charlie. When the duke realizes that his son is in love with a window-washing girl, he whisks the boy off the island to marry a princess. When the duke returns, he’s got a brand new heir with a new wife – and Charlie is nowhere to be seen. He’s been sent off to the realm of the Sorceress in the Midnight Sea, which means he’s effectively doomed.

But Tress is determined to get him back, so she smuggles herself off the island… and finds herself the prisoner first of smugglers, and then a crew of pirates ruled by the bloodthirsty Captain Crow. She also acquires a talking rat friend, Huck, who becomes her best friend and ally, especially since he knows some things about the Sorceress. Though the situation isn’t ideal, Tress believes the ship can get her to the Sorceress, and manages to work her way into the crew.

But her plans are complicated when she becomes friends with several of the pirates, and learns some disturbing facts about Crow. How can a simple window-washer girl defeat a pirate captain, sail the deadly Crimson and Midnight Seas, escape a dragon and defeat the terrible Sorceress – all while learning the true nature of spores and aethers?

“Tress of the Emerald Sea” is one parts fairy tale, one part pirate adventure, and one part Cosmere story (especially since the narrator is none other than Hoid, who plays a pivotal role). And the world Sanderson conjures is a fascinating one, where twelve moons produce a steady downfall of spores that form whole seas that wooden ships can sail on. But, much like a mogwai, never expose them to water, or very bad things happen.

Since Hoid is the one telling the tale, the entire story unfolds in a quirky, laid-back narrative style, reminiscent of William Goldman or a more modern fairy tale. It’s arch, snarky and very omniscient third-person (Tress’s hair is once described as an “eldritch horror” bent on “disintegrating reality, seeking the lives of virgins, and demanding a sacrifice of a hundred bottles of expensive conditioner”). The only major flaw, ironically, is that self-same snarky tone – it sometimes becomes kind of overbearing, especially during the more serious parts of the story, and sometimes it feels like Hoid is hijacking the story.

It also has Sanderson’s exceptional world-building, especially in the idea of the spores, which will immediately erupt into SOMETHING – air, vines, crystals – upon contact with water. And while Sanderson weaves in elements of the Cosmere, creating a more science-fiction-y world, there are elements of magic included in it, such as Huck. No, I will not explain what is up with the rat, only that not all is as it seems… as you’d expect with a talking rat.

Tress herself is an exceptional heroine – smart, resourceful, determined, good-hearted and practical, with a nimble brain and a love for collectible cups. Her relationship with Huck is very wholesome and sometimes heartwrenching, as are her friendships with other members of the crew – a seemingly-zombie doctor, an assistant cannonmaster who never successfully hits anything, a cheery deaf man with a writing board, and the deadly, nihilistic Captain Crow. There are also Dougs, but we don’t care about them.

“Tress of the Emerald Sea” is a charming, well-paced story that is a little too suffused in Hoid for its own good. For those seeking a rollicking pirate adventure with some wild fantastical twists, this is a must-read.

Review: Heaven Official’s Blessing Volume 2

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Xie Lian has ferreted out another god’s dirty laundry… but he had no idea that someone would reveal his own past misdeeds.

In fact, a great deal of “Heaven Official’s Blessing” Volume 2 is dedicated to Xie Lian’s past, both recent and ancient – Mo Xiang Tong Xiu (hereafter referred to as MXTX) delves into a situation that threatens to stain Xie Lian’s reputation, before diving back eight hundred years to his days as a mortal prince. There are a heavy load of unexpected twists, a loathsome new villain, and some gripping insights into how Hua Cheng came to be so enraptured by the prince of Xianle.

The heavenly emperor Jun Wu gives Xie Lian a new mission: enter Ghost City and find out what happened to a Heavenly Official who sent out a distress call. Accompanied by the exuberant, gender-flipping Wind Master Shi Qingxuan and the earnest Lang Qianqiu, he heads into what qualifies as enemy territory… except that Ghost City is also Hua Cheng’s demesne. And Hua Cheng is very, very pleased to see him there, which unfortunately doesn’t make Ghost City any less perilous.

To make matters worse, Lang Qianqiu discovers that Xie Lian is a figure from his own past – the state preceptor who murdered his family. Even more shocking, Xie Lian freely admits his guilt. But Hua Cheng knows there’s something more than meets the eye, and invades Heaven itself to take Xie Lian away from captivity. Alongside this mysterious ghost, Xie Lian will find out exactly what happened centuries ago… and rediscover a terrible figure from his own past.

Speaking of his past, we then get bounced back in time eight hundred years. Back then, Xie Lian was a kind but naive teen prince who believed he could do anything – like abandon a ritual fight during a parade to rescue a child from a fatal fall. To the dismay of the state preceptor, he steadfastly refused to accept any kind of blame. When his cousin tries to murder the child for the second time, Xie Lian takes the boy under his wing – with no idea how the boy will affect his future.

If the first volume of “Heaven Official’s Blessing” was devoted mostly to unraveling supernatural mysteries, then the second one is devoted mostly to exploring some of Xie Lian’s backstory. Obviously a character who’s eight hundred years old can’t be summed up that quickly, but we see a little of how he used to be – especially the glimpse of him as a mortal teenager, still recognizably kind and good-hearted, but also kind of spoiled and arrogant.

It stands in stark contrast to the Xie Lian of the present, who is much humbler, more self-deprecating, and happy to live in a shack-turned-shrine. At the same time, we see the scars that his past actions have left on him, and hear about some particularly nasty run-ins he’s had. Conversely, we get glimpses of Hua Cheng from the past – seriously, it’s abundantly clear who the little boy in the flashback is – that contrast sharply against the confident, powerful, seductive figure he is now.

We also encounter an array of new characters – we see more of Mu Qing and Feng Xin, Xie Lian’s former servants, both in the present and the past; the powerful and promiscuous Pei Ming; the friendly and unembarrassable Shi Qingxuan; and the vaguely paternal Jun Wu.

MXTX also shows off her ability to combine twisty, cleverly-plotted story arcs with amusing, warmer moments for the characters (Xie Lian and Hua Cheng nerding out over a room full of rare swords) and the occasional laugh-out-loud moment (Xie Lian publicly faking impotence to escape a prostitute). She also demonstrates a talent for weaving romance into the story, such as when Hua Cheng “teaches” Xie Lian to roll dice. Nothing obvious, nothing explicit – just the characters gazing at each other and touching one another’s hands. Very sensual.

ZeldaCW also deserves credit for the interior illustrations, black-and-white pictures of both detail and delicacy. Particular highlights includes Xie Lian stroking Hua Cheng’s sword (no, not a euphemism), Shi Qingxuan doing battle in a sexy dress (while male), Xie Lian being swarmed by butterflies, and his teenage self in his God-Pleasing Warrior garb.

The second volume of “Heaven Official’s Blessing” delves a lot deeper than the first one did, revealing more about the self-deprecatingly pleasant prince and the mysterious ghost who loves him. And it leaves you poised to dive right into the third volume, just to find out what happens next. Beware – it’s going to get dark.

Review: Heaven Official’s Blessing Volume 1

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Once upon a time, Xie Lian was the beloved crown prince of a beautiful kingdom, who ascended to godhood in his teens. But then he interfered in mortal affairs, made things worse, and was cast out. He ascended to godhood a second time… and was kicked out again.

And in “Heaven Official’s Blessing Volume 1,” we find out what happens when this unfortunate godling ascends to deityhood for the third time. Mo Xiang Tong Xiu (pen name, to be hereafter referred to as MXTX) digs into Xie Lian’s story with a heady mix of timeless romance with a uniquely Chinese brand of high fantasy, where the powerful or virtuous can become deities, but the tormented and tragic may become something else.

Upon his third ascension to godhood, Xie Lian discovers that nothing has really changed – he’s deeply in debt, and none of the other gods like or respect him. The usual way to pay off his debt is by receiving merits from the worship of mortals… except people stopped worshiping him eight hundred years ago. But there is another way – he can investigate a certain mysterious problem on a rural mountain, where seventeen brides have been abducted by a mysterious “ghost groom.”

With the assistance of the sulky, combative Fu Yao and Nan Feng, he goes undercover (as a bride) to find out what is abducting the girls – and ends up being escorted up the mountain by a handsome, mysterious stranger dressed all in red, who turns into a swarm of silver butterflies. But that man was NOT the ghost groom – which leaves Xie Lian to uncover the horror that lives atop the mountain. To make matters worse, the locals are also searching for the ghost groom, which only makes things more complicated when things inevitably go pear-shaped.

After that, Xie Lian decides to set up a shrine to himself in an abandoned shack, with the help of a young man named San Lang, who is very obviously not what he pretends to be. But trouble finds Xie Lian again when someone tries to trick him into going to a haunted pass in the Gobi desert, near the dead city-state of Banyue. Even weirder, the other gods seem to avoid talking about this.

Along with San Lang, Fu Yao and Nan Feng, he sets out to the pass to find out what’s going on there, and ends up encountering a sandstorm, a few dozen merchants… and a cave full of scorpion-snakes. But that’s only the beginning of the undying terrors that still dwell in Banyue, killing anyone unlucky enough to pass through. And soon Xie Lian realizes that someone in Banyue has a very strong connection to him.

I personally like my romance stories with a heavy dose of plot, which makes “Heaven Official’s Blessing” perfectly balanced – even if the slow-blooming romance weren’t part of the story, it would still be a solid fantasy-horror series with gods, ghosts, goblins, zombies, and a really freaky undead face in the ground. The exalted and elegant world of the gods is a stark contrast to the nightmarish creatures that lurk in the mortal world below.

It’s also a fantasy that feels distinct from its western cousins – its world and cosmology are uniquely Chinese, drawing heavily from Taoism and other Chinese beliefs. The two supernatural mysteries are pretty well-developed, both horrifying and yet tragic, and the stories occasionally slow down a little for either some mild comic relief (the entire “Tremendous Masculinity” story, which is thankfully explained in full) or an ethereal romantic moment between Xie Lian and his mysterious red-clad man of the silver butterflies.

MXTX’s writing is bright and evocative, with a casual omniscent narrator (“One might ask, if there was an Upper Court and a Middle Court, was there a Lower Court? … No.”) that makes it feel like you’re sitting in the room with her and explaining her story as she tells it. There are also a number of very nice interior illustrations by ZeldaCW, delicate and evocative, of such things as Xie Lian and San Lang surrounded by snakes and riding in a cart, Xie Lian in a wedding dress, and an adorable chibi drawing of the four with the broken sword.

Xie Lian is an easy character to like – perpetually unlucky and unpopular, yet unfailingly earnest and kind to everyone around him (as long as they don’t beat up girls). But MXTX gives us broad hints that he hasn’t always been so upbeat about his unfortunate life, and of past struggles yet to be explored. On the flip side, we have the mysterious Hua Cheng, a supposedly terrifying figure that treats Xie Lian with flirtatious kindness that hints at deeper emotions; and the cast is rounded out by Fu Yao and Nan Feng, a couple of clashing, abrasive young men who actually do care about the disgraced prince.

“Heaven Official’s Blessing Volume 1” is a solid beginning to a webnovel series that perfectly balances out a slow-blooming romance, a solid blend of fantasy and horror, and some supernatural mystery. A great place to start.

Review: The Reckoners Series

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The red star Calamity came, and suddenly a small number of people on Earth had superpowers. But they weren’t superheroes – they were tyrants.

Let’s face it: realistically, that is what would happen if people suddenly got superpowers. But the Reckoners trilogy is less about the Epics that now rule the world, and more about the plucky, ingenious little guys who want to take them down. And Brandon Sanderson’s boundless imagination and clever writing turn this trilogy from a straightforward twist-on-superheroes into a clever, suspenseful tale of superpowered friends and foes.

Ten years, Calamity came — and so did Steelheart, who conquered Chicago and made it his personal kingdom, Newcago. Steelheart is invincible, super-strong, can control the elements, and his rage turns everything inorganic to steel. But ten years ago, someone made him bleed, so he killed everyone who had seen it. The only survivor is David, who devotes his life to studying the weaknesses of the Epics.

Ten years later, he bumbles into a sting by the Reckoners, a vigilante group trying to kill the Epics, and they reluctantly let him join when they find out he’s a walking encyclopedia of Epic information. With his info, they can take down Steelheart’s lieutenants. But the group is torn by fears about what killing Steelheart might cause — and they don’t have a prayer of killing him until they figure out his weakness. What’s more, one of the Epics may be closer than they think.

“Fireheart” opens with war being declared on the Reckoners by the powerful water-bending Epic Regalia, who rules the half-sunken city of Babilar (formerly Manhattan). But even worse, Regalia has summoned Obliteration, a cruel fanatic who destroys cities with solar energy, and is preparing to destroy everything in Babilar. As the Reckoners struggle to figure out her plan, David finds that the woman he loved is also in this city — and that the lines between friends and enemies are about to blur.

“Calamity” is appropriately named – the Reckoners are all but wiped-out, and their benevolent leader has been corrupted by his own power. So they follow him to Ildithia (formerly Atlanta), a moving city of crystalline salt, and manage to drag the bratty, power-stealing Larcener into their fight against Limelight. But their attempts to stop Limelight lead to the discovery of a devastating plan that could give him the ultimate Epic power — and a confrontation with the greatest Epic alive.

In a world where dictators and governments perpetrate unspeakable horrors, most people with incredible unstoppable superpowers would quickly be corrupted, or end up wussing out and serving someone who is corrupt. Yet in the Reckoners trilogy, Sanderson reminds us that “You can’t be so frightened of what might happen that you are unwilling to act” against tyranny, and that people can ultimately choose to be good.

And he does this by showing us a world transformed by Epic ego — some cities are destroyed, some are gloomy masses of grey steel… and some are colorful, ethereal places of glowing paint and nightly parties, or creeping salt sculptures. Similarly, he weaves in some multiverse stuff (there are parallel dimensions where things went slightly differently) and the clever idea of a weakness for every superpower.

And part of what makes the Reckoners series so engaging is that Sanderson knows how to mingle the grim, apocalyptic setting with a quirky sense of humor, whether it’s the bubbly Mizzy or David’s endless weird similes (“You’re like a potato! In a minefield”). His robust, fast-moving prose keeps the story moving along briskly even when nothing much is happening, and he weaves in some genuinely shocking twists (the entire third book is basically the fallout from the double-twist ending of the second) and some truly explosive action sequences.

David is an excellent hero, in the same mold as the “extraordinarily ordinary” heroes that Sanderson writes so well — self-deprecating, eager, a little dorky, with some haunting scars from the loss of his father. He’s a good counterpoint to Megan, a darker and more sarcastic woman who finds herself being pulled back by David’s purity and uncomplicated faith.. And Phaedrus rounds out the cast as a man riddled with fear over his own powers, struggling to resist the darkness that comes when he uses them.

The Reckoners trilogy is a thoroughly solid twist on superhero stories, made even more enjoyable through Sanderson’s clever writing and boundless imagination. Here, the superheroes are the little guys — and their power is that they will never give in, despite their doubts.

Review: The Age Of Innocence

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It was a glittering, sumptuous time when hypocrisy was expected, discreet infidelity tolerated, and unconventionality ostracized.

That is the Gilded Age, and nobody knew its hypocrisies better than Edith Wharton. And while you wouldn’t expect Martin Scorsese to be able to pull off an elegant, delicate adaptation of her novel “The Age of Innocence,” this movie is a trip back in time to the stuffy upper crust of “old New York,” taking us through one respectable man’s hopeless love affair with a beautiful woman — and the life he isn’t brave enough to have.

Newland Archer (Daniel Day-Lewis) is the scion of a wealthy old New York family in the 1870s. He becomes engaged to pretty, naive May Welland (Winona Ryder), a very suitable match between two respected families. But as he tries to get their wedding date moved up, he becomes acquainted with May’s exotic cousin, Countess Ellen Olenska (Michelle Pfeiffer), who has dumped her cheating husband. That was pretty scandalous at the time.

At first the two are just friends, with Newland finding Ellen’s attitudes to be fresh and real. But after Newland marries May, the attraction to the mysterious Countess and her free, unconventional life becomes even stronger, as he starts to rebel against the conventions of his own existence. Will he become an outcast and go away with the beautiful countess, or will he stick with May and the safe, dull life that he has condemned in others?

It’s a bit of a head-trip to find out that the guy who did “Raging Bull” and “The Gangs of New York” was the one responsible for a subtle, bittersweet movie set in a gilded, upper-crust New York. But it shows his considerable skill that Scorsese was able to make “The Age of Innocence” so adeptly, sticking close to the original novel — we even have an omniscient narrator who quotes directly from Wharton’s book as she describes New York society.

He preserves Wharton’s portrayal of New York in the 1870s — opulent, cultured, pleasant, yet so tied up in tradition that few people in it are able to really open up and live. It’s a haze of ballrooms, gardens, engagements, and careful social rituals that absolutely MUST be followed, even if they have no meaning. And he depicts this with directorial skill that makes almost every shot look like an exquisite painting, framing the characters with flowers, art and cultivated backdrops.

And he delicately brings out the powerful half-hidden emotions that the story revolves around. One great example: a carriage ride where Newland slowly unbuttons Ellen’s glove and gently kisses her pale wrist — it’s sensual and erotic without being explicit.

Day-Lewis gives the awesome performance you would expect — his Newland is stiff and repressed, and nowhere near as awesomely unconventional as he thinks himself to be. Pfeiffer and Ryder round out a trinity of spot-on performances: Ryder plays a seemingly innocent, naive young woman who shows hints that she’s a lot smarter than Newland believes her to be, while Pfeiffer plays a sweet but sad noblewoman who craves love and kindness, and knows more of the world’s ways than Newland does.

“The Age of Innocence” is an exquisite painting of 19th-century New York’s upper crust — the hypocrisy, the beauty, and the sorrow. A truly sublime experience, and not a film to be missed.

Review: Detective Dee and the Four Heavenly Kings

On By E. A. SolinasIn reviewsLeave a comment

For the record, “Detective Dee and the Four Heavenly Kings” is kind of a deceptive title. The Four Heavenly Kings have no actual part in the story, and their statues only play a passing role. It might as well be called “Detective Dee and the Umbrella Stand.”

But the title is the least of the problems that plague the third Detective Dee movie, once again directed by the legendary Tsui Hark. While the cast mostly produce good performances and there are some good ideas here, the actual plot is a rather confusing mess — the plot feels like it is only half-baked, both simplistic and overcomplicated, with awkwardly-woven subplots and a thuddingly clumsy final battle.

Following the events of the previous movie, Dee Renjie (Mark Chao) has been given directorship of the Department of Justice, as well as the powerful Dragon-Taming Mace. This angers the Empress (Carina Lau), who sees him as a threat to her power. So she enlists his friend Yuchi Zhenjin (Feng Shaofeng) to steal the mace from him, as well as a troupe of formidable illusionists, the jianghu.

But the jianghu’s (literally) poisonous tricks aren’t enough to thwart Dee, who is two steps ahead of the Empress. And as the Empress prepares to take over his department, Dee discovers that a sect of masked sorcerers are pulling her strings, scheming to take the Dragon-Taming Mace for themselves. As strange and impossible things happen — including Yuchi being framed for murder — Dee must unravel a plot that threatens the entire country.

I’m not sure exactly what is missing from “Detective Dee and the Four Heavenly Kings” that makes it unsuccessful. It’s directed by Tsui Hark, features the same core cast as the previous movie, and the special effects are still quite impressive. Furthermore, the ideas behind it — sorcerous tricks that can warp the mind, the Empress scheming to get the Mace — aren’t bad. But somehow, this movie just doesn’t quite gel together.

A lot of that comes from the fact that the plot doesn’t feel like it was entirely finished; it feels like it could have used a few more rewrites. The central plot is a pretty simple one, but the subplots are woven in awkwardly to make it appear overcomplicated. There are some elements like Dee’s mysterious illness that are just sort of dropped, but admittedly there are some stunning moments, such as when a golden dragon wall decoration comes to life and starts terrorizing the Imperial court.

And the final battle is clumsily handled. It feels like writer Chang Chia-lu just sort of didn’t know how to resolve the battle, so a character we’ve barely seen is suddenly the key to victory, and everything just sort of crashes into finishing without a proper denouement.

The saving grace is the cast, who are all quite good — Chao gives a smooth, deft performance as a Sherlockian genius who can see patterns that elude everyone around him, and Lin Gengxin is excellent as his best buddy Shatuo, who finds himself entangled with a jianghu assassin. Shaofeng has a lot of wide-eyed intensity as an officer who finds his loyalties divided, and Lau is quite good as the fiercely ambitious Empress.

After two very solid movies, “Detective Dee and the Four Heavenly Kings” is something of a stumble — a plot that doesn’t entirely come together, buoyed up by the solid cast. Hopefully any fourth installment will be a return to form.

Review: The Muppet Christmas Carol

On By E. A. SolinasIn reviewsLeave a comment

Charles Dickens’ “A Christmas Carol” is perhaps the most famous fictional Christmas story of all time — the story of a cruel, cold man’s encounter with yuletide spirits who change his life.

This story has been retold countless times, from faithful adaptations to pastiches to parodies. So what kind of adaptation can you expect in “A Muppet Christmas Carol,” which populates Dickens’ classic tale with Jim Henson’s fuzzy puppets? A surprisingly faithful adaptation that trims off a few of the darker edges, but carries the viewers along with a strong performance by Michael Caine and some truly charming songs.

Gonzo (claiming to be Charles Dickens) and his companion Rizzo serve as the narrators/Greek chorus, following and explaining the action as it unfolds. The story: the cold and cruel Ebenezer Scrooge (Caine), who sneers at Christmas, is visited by the ghosts of his old business partners Marley and Marley (Statler and Waldorf), who predict that he will be visited by three spirits on Christmas Eve. If he wants to escape the Marleys’ fate — chained by their evil deeds — he must learn from the spirits.

And over the course of three hours that night, Scrooge is visited by the three spirits — the ethereal Ghost of Christmas Past, the merry and jovial Ghost of Christmas Present, and the silent and sinister Ghost of Christmas Yet To Come. As Scrooge is shown his own past Christmases, the people he knows, and the world that will unfold if he does not change his ways, his cold heart begins to change.

There are two layers to the “Muppet Christmas Carol” — at its core, the story is a pretty faithful adaptation of Charles Dickens’ novel. As the movie is aimed at kids, the sociological aspects of Dickens’ own time are mostly trimmed out (except for the “surplus population” line), but the script is peppered by lines taken from the original novel, and it maintains a certain 19th-century flavor even in the lines conjured up for the movie.

And it doesn’t shy away from some of the darker elements, such as Tim’s impending death, a bunny child shivering in the snow, or the Ghost of Christmas yet to come — a grey-cloaked phantom with long deathly-blue hands and a yawning black maw for a face.
But in an odd way, Gonzo and Rizzo serving as a narrative frame makes the whole thing feel more like a story, and less like events that are truly happening. And the story is further softened by a second layer — a layer of Muppety goodness. This world of Ebenezer Scrooge is occupied by muppets, ranging from singing fruit to a sinister spider, from the floating baby-faced Spirit of Christmas Past to the familiar faces of Kermit and Miss Piggy (who play the timid Bob Cratchit and his feisty wife).

Gonzo and Rizzo add plenty of comic relief as they follow Scrooge through time (Rizzo gets frozen, used as a rag, crashes through some woods, and lands on a hot goose), breaking the fourth wall merrily at every possible opportunity. And tthe faithful-sounding dialogue is peppered with funny asides and classic Muppets fare (“It is a tradition for me to make a little speech.” “And it’s a tradition for us to take a little nap”).

Michael Caine does a thoroughly solid job as Ebenezer Scrooge, giving a performance as earnest as if he were working with human players instead of puppets — his transition from icily, angrily cold to merry and kind is a bit abrupt, but the performance itself is quite good. And the performances for the Muppets are all quite good — the Gonzo performance is especially good, as he often has to switch between goofy weirdness and a solemn narrative presence.

It may not technically be the most faithful adaptation, but “A Muppet Christmas Carol” is about the best way to introduce children to this classic story — with singing, puppets and festive spirit.