#I still really love Coral Island don't get me wrong | Explore Tumblr posts and blogs

weekendwarriorblog · 4 years ago

Text

The Weekend Warrior 5/7/21: WRATH OF MAN, HERE TODAY, THE UNTHINKABLE, MONSTER, THE WATER MAN and More

It’s a new month, and I guess going by previous years pre-COVID, this weekend would normally be the start of summer. This year, we’re instead getting a summer with a lot of movies that would normally be dumped into April or February or some other uneventful month. That doesn’t mean that there aren’t or won’t be any good movies, but really, there’s nothing that feels like a summer movie until A Quiet Place Part II and Disney’s Cruella open on Memorial Day weekend.

There’s been lots of great developments, though, including the Alamo Drafthouse in Brooklyn reopening this Friday and then in a few short weeks, theaters may be allowed to be open with no capacity rules although social distancing and masks will probably still be in place. Believe me, it’s been a confusing week as the city that got used to being on the backburner when it comes to reopenings, especially with movie theaters, is now dealing with arguing politicians competing to see who could throw open the then most doors fastest. It’s actually pretty embarrassing.

That aside, this week’s The Weekend Warrior column is brought to you by the new album “Coral Island” from Liverpool band The Coral, which I’ve decided to listen to on loop until I finish this column, because it’s taking me so long to get through it. (Eventually, I switched to Teenage Fanclub’s “Endless Arcade,” since I hadn’t had a chance to listen to it yet…. And to an old standby, Royal Blood, with their own excellent new album, “Typhoons.” At least the record business seems to know it’s the summer!)

Before we get to this week’s new movies, a couple tidbits. First of all, I’m thrilled that my friends Larissa Lam and Baldwin Chiu’s documentary FAR EAST DEEP SOUTH can finally be seen by the entire world, or at least the United States. It debuted on PBS World Channel on Tuesday night as part of the “America ReFramed” series, but for the entire month of May until June 3, you can watch it On Demand HERE, and that is huge! (There will be other ways to see it that you can read about here.)

This is an amazing MUST-SEE doc that looks into the little-known Chinese communities that took root in Mississippi in the early 20th Century and how they became such a huge part of that area with their markets, also bonding with the African-American communities that were similarly dealing with racism from the typically white post-Civil War South. It’s not just a history lesson, and it’s an incredibly moving story about a family trying to find its roots in the most unexpected places. There was a good reason why the couple’s short “Finding Cleveland” won the Oxford Film Festival while I was on the jury that year, and Far East Deep South similarly won an award there last year after its World Premiere at Cinequest was almost scuppered by COVID. It’s amazing how much more relevant and important this film has become since I first saw it last year, since both Asians and African-Americans are dealing with serious racial issues, and this movie shows that more than anything, they should be working to boost each other rather than fighting. Do check it out On Demand this month if you get a chance!

Another musician making movies is Mr. Dave Grohl of the Foo Fighters. I mentioned his documentary WHAT DRIVES US last week, but I actually only got to watch it on Thursday, and like his previous film Studio City and HBO mini-series, Sonic Highways, it’s a fantastic look at the music biz, this time through a variety of artists who began their careers by piling into vans and driving around the country. That is, except Lars Ulrich from Metallica, who mentions that the band was never so small or indie that they didn’t have a bus. But Grohl has used his vast connections to bring in a lot of great musicians including The Edge from U2, Flea from the Red Hot Chili Peppers, and more, making this a very entertaining movie both for fans of the various bands but also live music fans in general. I gotta admit that as much as I loved What Drives Us, it did bring me down a bit since it’s been almost 14 months since I’ve seen any live music, and I really miss it. This is now streaming on The Coda Collection, which you can subscribe to through Amazon Prime Video.

Guy Ritchie is back with his latest movie, WRATH OF MAN (Miramax/MGM), which reunites him with Jason Statham for the first time since 2007’s Revolver, I believe. Statham plays the enigmatic Paul “H” Hill who works at cash truck company Fortico, responsible for moving hundreds of million dollars around Los Angeles each week. Fortico has recently been hit by a lethal robbery, and H’s team soon learn that there’s a lot more to their new coworker, who happens to be looking for revenge against the man who murdered his son.

(Unfortunately, reviews for the movie are embargoed until Thursday at 6pm, so I can’t tell you whether it’s any good or not. Until Thursday night. Sorry!)

But I will talk about the movie’s box office prospects, because why not? Ritchie’s last movie, The Gentlemen, opened in January 2020, during the “before times,” with $10.6 million, but that was more of a classic Ritchie ensemble crime-comedy. Wrath of Man is more of the type of movie Statham has been making over the past few years, a cross between a revenge thriller and a heist flick. In fact, Statham has done a pretty good job creating his own brand through a variety of action-thrillers as well as a number of franchises including “The Transporter” movies, “The Expendables,” and eventually joining the “Fast and the Furious” franchise as Deckard Shaw with Furious 7 in 2017. Statham then went off to make Hobbs and Shaw with Dwayne Johnson, which didn’t do bad with $174 million. Before that, Statham starred in The Meg, a summer shark attack movie that grossed $145 million. Statham going back to help his old mate i.e. the director that gave Statham his start is pretty huge.

But as I said earlier, those were all in the “before times” and with the box office the way it is, it’s hard to imagine that the exciting reunion of Statham and Ritchie can open with more than $10 million but maybe closer to $8 million, because MGM/UA just doesn’t have the marketing clout of a Warner Bros. or Universal. Even so, that should be enough to be #1 this weekend as both Mortal Kombat and Demon Slayer continue to fall away. Unfortunately, if the movie *is* any good -- and I can’t tell you one way or another -- then by the time reviews hit, people will already have other plans for the weekend than to go see the movie. So yeah, that’s pretty dumb on the part of MGM, huh?

UPDATE: MGM is putting the movie into 2,876 theaters and maybe I'm being overly optimistic, because, as you'll read below, the movie IS pretty good and reviews have remained positive with the American reviews rolling in last night, still at 70% Fresh at this writing. Maybe that'll help the movie do a little better, maybe as much as $9 million, although I'll probably owe MGM an apology if it cracks $10 million, and I don't think it will.

Mini-Review: If you’ve seen the trailer for Wrath of Man, you might go into Guy Ritchie’s latest thinking you know what to expect, because it’s sure being sold as another typical Jason Statham revenge thriller. Don’t be fooled by the marketing, the movie really is Ritchie’s chance to make his own version of Heat, an L.A. heist movie that owes as much to Rashomon as another movie being released this week.

Wrath of Man begins with the heist of an armored truck that turns deadly with the wanton murder of a couple guards. From there, you might think we know where things are going when Statham’s “H” company whose truck was hit, and on his first day, he stops a similar heist by killing the truck’s attackers. H is immediately the hero of the company, although he still has quite a few suspicious coworkers and the feeling is quite mutual. Ritchie’s film then slips into the second episodic chapter which goes back five months to that initial heist where we learn that Statham’s son was killed by being in the wrong place at the wrong time.

I don’t want to go too much deeper into how the movie and story play out, because like The Gentlemen and some of Ritchie’s more intricate films, there’s a lot that purposefully isn’t made very apparent at the beginning. To many, this movie will be seen as even more macho than most of Ritchie's films, to the point where even the only woman guard, Dana, being just as macho as the men. As the movie begins, there’s a lot of joke-cracking and crotch-grabbing, all while Statham’s character silently observes and only acts when necessary.

The film’s shift to more of a classic Ritchie ensemble does slowly take place, but by the third chapter, it shifts to the group perpetrating the cash truck heists with an “inside person,” taking the movie to yet another place that makes it more obvious that this is Ritchie’s attempt at delving into the L.A. heist genre that other filmmakers have done so well.

Oddly, Statham doesn’t have too many lines, acting almost like a Terminator in his determination to right wrongs, but as always, Ritchie puts together a fantastic ensemble cast including a number of great American character actors who we rarely get to see in such great roles. I was particularly impressed with Jeffrey Donovan, who has appeared in a number of otherwise forgettable crime films this past year. The same can be said for Holt McCallany as H’s truck driver “Bullet,” but Ritchie also cast the likes of Josh Hartnett and Scott Eastwood in smaller yet still significant supporting roles, all of whom become more interesting as you start figuring out who all the players are.

Like I said, the movie is fairly macho and the few women play very small roles, but it’s how things are set-up in the first few acts to then change course and build to an absolutely amazing third act that will undoubtedly bear comparisons to Heat. And yet Wrath of Man (which is actually based on a little-seen French crime-thriller) does branch away from some of Ritchie’s standards, first of all by being far darker and even more violent with any of the wisecracking humor that pervades a lot of Ritchie’s work to counterbalance such violence disappearing once the flashbacks begin. It’s all punctuated by a fantastically tense score by Christopher Benstead, which seems a bit much at first but eventually settles into the perfect pace and tone for the action.

Despite disappearing for a good chunk of the movie, Statham is still great, basically killing everyone as his characters are wont to do, but watching how all of the different ideas come together leads to such a satisfying conclusion that one hopes those who might be put off, thinking they know where it's going due to the somewhat pathetic and obvious marketing will give it a chance to see how Ritchie has changed gears as effortlessly as he did with Aladdin a few years back.

Rating: 7.5/10

After even a longer time since he directed a movie, Billy Crystal once again takes the helm for HERE TODAY (Sony/Stage6), a movie in which he plays comedy writer Charlie Burns, whose chance encounter with Tiffany Haddish’s lounge singer, Emma Payge, leads to an unlikely friendship, as he struggles with early stage dementia.

I’ve known about this movie for over a year now, and I was pretty excited to finally get to see it, since I was such a fan of the other movies Crystal has directed, 1992’s Mr. Saturday Night and 1995’s Forget Paris, and it’s just amazing to me that he hasn’t directed a movie since.

At first, it seems like it’s the type of meet-cute we’ve seen so much in Crystal’s past filmography, but his pairing with Haddish isn’t something that might work on paper, but in fact, their comic styles mesh so perfectly together that it’s amazing that no one thought of putting them together before.

Crystal wrote the film with comic Alan Zweibel, who adapted it from his own short story “The Prize,” which refers to Haddish’s character winning Charlie in an auction for a lunch. Actually, her ex won the lunch, and she decided to use it because… free lunch! It’s a pretty simple set-up but one that allows the filmmakers to explore some of the odder things that happen in life.

Much of the movie’s humor plays upon the differences between the two characters, and how unexpected their friendship is. I can totally relate, because I have a lot of good long-time friends who most people might never expect us to be friends, but Crystal, Zweibel and Haddish pick up on that and create a movie that’s very funny but has enough other characters around the duo toa allow their characters to show how they’re just really nice people. We see that with how Charlie takes a young writer at his late night show under his wing or how Emma livens up the bat mitzvah of Charlie’s granddaughter. Oh yeah, and Haddish sings. She actually has a number of great performances in the movie, and seriously, anyone who watches this movie is gonna wanna see a smart filmmaker put Haddish in a musical immediately.

The film also acts as a truly touching tribute to Crystal’s friend, the late Robin WIlliams, who was diagnosed with the exact same type of dementia after his suicide death, and knowing that fact, makes the film even more poignant. More importantly, it doesn’t use Charlie’s condition for laughs, and for that alone, I feel like this is ten times better than that overrated Oscar winner The Father.

Here Today’s biggest problems come in the third act when it feels like the movie is starting to over-extend its welcome, even going into somewhat expected places, but it recovers from that rough third act to land a really nice ending. Crystal has always proven himself to be a really strong mainstream filmmaker (ala Rob Reiner and others) who makes crowd-pleasing movies, and it’s so nice seeing him going behind the camera for a movie that’s obviously very personal but also highly relatable.

As far as box office, I certainly have high hopes that Crystal still has an older audience of fans who might want to see him on the big screen again. I’m just not sure if this will be in more than 1,000 theaters, and though I’ve seen quite a bit of marketing, I just haven’t seen Crystal or Haddish do nearly as much in terms of getting out there that would be necessary to reach an audience that might want to venture out into movie theaters to see the movie vs. waiting until it’s on cable/streaming. There’s also Tiffany Haddish’ fanbase, and there could be some benefit for the movie coming out the same week as her new CBS show “Kids Say the Darndest Things.”

I’d love to be optimistic with this making $4 to 5 million but it’s probably more likely to be closer to $3 million especially with capacity limits still in place for most theaters and the audience generally being older.

UPDATE: Maybe I was a little too optimistic, because I enjoyed the movie so much and it will probably be closer to $1 or 1.5 million since other reviews aren't as great.

Next, we have two movies finally being released many years after their festival premieres…

The Swedish apocalyptic thriller THE UNTHINKABLE (Magnet), directed by Victor Danell, is finally being released after playing genre fests in 2018 and 2019. It stars Christoffer Nordenrot as Alex, a young piano virtuoso who ran away from home due to his abusive father Bjorn (Jesper Barkselius). Years later, he returns home for his mother’s funeral after she’s killed in a terrorist attack on Sweden. At the same, there’s a virus that’s erasing people’s memories, but Alex is still in love with Anna (Lisa Henni), the girl he had a crush on when he left, and the three of them will have to help each other face all the horrible things hitting their home at the same time.

As I was watching this movie, a lot of it felt eerily familiar to me, but I couldn’t figure out why. The more I watched it, the more I realized that I actually HAD seen the movie before. Sure enough, I saw this movie over two years ago at the “What the Fest?!” in New York two years ago, and I honestly don’t remember loving it. Still, I decided to give it a fresh look, hoping to get more out of it on second viewing.

Some of the same things bothered me on this second viewing, because it’s really hard to figure out exactly what is going on and whether the horrific events are natural, man-made or a combination of both. For some time, we get so mired into Alex’s lame relationship with Anna, and when he returns home, his conspiracy theory-driven father is busy protecting a bunker that’s being invaded by foreign military troops he thinks are Russians. We cut between these two disparate scenarios while sometimes returning to the capital of Sweden and throwing in a few big set pieces. It’s so disjointed that you feel like you’re watching a lot of random unrelated events, maybe a bit like last week’s About Endlessness -- maybe it’s a Swedish thing?

There are aspects of The Unthinkable that are quite commendable, particularly those action moments and how the mystery about what is happening develops as the film goes along. Eventually, the film does find a more consistent pace, and things start becoming a little clearer, which makes the final act better than much of what we’ve watched earlier. Even so, it’s still quite annoying how long it takes to figure out what’s going on, even on a second viewing, and for most people, that may already be far too frustrating to get through it.

Hitting Netflix on Friday over THREE years after it premiered at Sundance is music video director Anthony Mandler’s directorial debut, MONSTER (Netflix), based on the novel by Walter Dean Myers. It stars Kelvin Harrison Jr. (Waves) as Steve Harmon, a 17-year-old film student put in jail, accused of murder in a bodega robbery. His defense lawyer (Jennifer Ehle) is trying to help him be released, but he’s fighting against the odds of a judicial system that sees him as a “monster” because he was in the wrong place at the wrong time.

I have to be honest that I did go to see this at Sundance the week it premiered, and for whatever reason, I just wasn’t feeling it, so I only really caught about twenty minutes of it. Watching it now with more time and a little less weary than I usually am towards the end of Sundance, I was able to appreciate Monster more for what it is. On the surface, it’s just about Steve’s case and how what really happened unfolds before our eyes and we learn more about those around Steve and how their influence may have pulled a smart and studious young man into the criminal world that now has him in prison with much more violent life-long criminals.

We already knew that Harrison was a great actor, but Monster shows us that he was already on his way to greatness with this movie that for whatever reason got buried even as it dealt with issues that have been in the headlines almost every day since this debuted.

Mandler takes an interesting approach, both non-linear and also with blatant nods to Kurosawa’s Rashomon, which is even cited by Steve’s teacher, played by Tim Blake Nelson. Jeffrey Wright and Jennifer Hudson are decent as Steve’s parents, but they’re generally smaller and non-showy roles compared to the moments between Harrison and Ehle. Much of the film takes place in the courtroom with flashbacks showing what happened through the viewpoint of whomever is on the stand, which eventually includes Steve himself.

The way Mandler handles the material may lean more on the artiness rather than something more mainstream -- Michael B. Jordan’s Just Mercy comes to mind -- but it’s just as powerful in showing how someone like Steve can be othered by society into being a criminal. Sure, there have been other handlings of this sort of material that I thought were better films, but if you know anyone who has ever had dealings with the “justice” system and know how unfair and horrible it can be even to the innocent, then Monster will certainly strike a chord.

Also hitting Netflix this week is the new series based on Mark Millar and Frank Quitely‘s comic books, JUPITER’S LEGACY (Netflix), another kind of twist on the superhero genre ala Amazon Prime Video’s series based on Warren Ellis and Darick Robertson’s The Boys. I love the comics, and I can’t wait to finally get around to seeing Netflix’s first adaptation of a Millarworld property.

David Oyelowo makes his directorial debut with THE WATER MAN (RLJEfilms), a movie about a young boy named Gunner Boon (Lonnie Chavis), whose mother (Rosario Dawson) is battling leukemia. In an effort to cure her, Guner goes off on a journey along with a teenage girl named Jo (Amiah Miller) to find the mythical Water Man, who can provide them with a magic token that might save Gunner’s mother’s life.

I’ve interviewed Oyelowo a few times before, and I really like him a lot, so I had really high hopes for him as a director since I feel he’s just a terrific actor. Unfortunately, the material here is just not strong enough that I think even a far more experienced filmmaker could make something out of it.

Set in PIne Hills, we meet Gunner, a bright kid who loves drawing comic books, but he has trouble connecting with his father (Oyelowo), so when he has an idea that might help his sick mother, he goes off with a head-strong teen named Jo, in search of the Water Man, a summertime adventure permeated by a lot of very bad low-budget visual effects.

Honestly, I’m not even sure where to begin with where The Water Man falters, because Oyelowo has such a great cast, including Alfred Molina and Maria Bello in tiny parts. The story is a problem, as is the writing, which is just so bland and dull, that there’s really nothing in Oyelowo’s direction or any of the performances that really can salvage it. Neither of the child actors have much charisma or personality, and even Dawson’s performance, which would normally be a showstopper is repeatedly lessened by the constant cutting back to the kids. (And as someone who beat leukemia myself, I’m never a fan when cancer is depicted in movies as a death sentence rather than just another hurdle in life that needs to be overcome.)

Oyelowo himself may be one of his generation’s best actors, but he brings so little to the role of Gunner’s father, maybe to not take away from his younger star, but it hurts that he doesn’t do more to create a stronger conflict by making the character more horrible to drive Gunner away. The actual Water Man doesn’t improve things when he finally shows up, essentially talking like a pirate but not even remotely paying off.

Honestly, The Water Man seems like such a misguided venture -- Exec. Produced by Oprah, no less -- and it might have been totally forgettable if the characters didn’t keep saying the title of the movie every five minutes.

Hitting theaters Friday after a festival run is Tran Quoc Bao’s action-comedy THE PAPER TIGERS (WELL GO USA), starring ALain Uy, Ron Yuan and Mikel Shannon Jenkins as martial artists once known as “the three tigers but now middle-aged men must set aside old grudges and dad duties to avenge the murder of their teacher. I’ve had a screener of this since last summer when it played at Fantasia Festival in Montreal, and I just never got around to watching it, but if I’m able to squeeze it in before the weekend, check back here for my review.

Streaming on Shudder this Friday is Ryan Kruger's South African comedy-thriller FRIED BARRY (Shudder), starring Gary Green as Barry, a violent street junkie who is abducted by aliens who take over his body in order to… well, actually… they do a lot of drugs, have a lot of sex and other craziness. It’s a pretty strange and bizarre movie that reminds me a little of movies like a lower-fi Under the Skin or Beyond the Black Rainbow, and much of it is driven by the insane and unique performance by Green and the odd characters he encounters that I think will find its fans for sure, but it will definitely be for a very select audience of genre festival fans, as this is by no means a mainstream genre film.

Speaking of which, another movie out this week which I wasn’t allowed to see in advance is Gia Coppola’s MAINSTREAM (IFC Films), starring Maya Hawke as a young woman seeking internet stardom by making YouTube videos with a charismatic stranger, played by Andrew Garfield, until “the dark side of viral celebrity threatens to ruin them both.” Yup, it’s one of THOSE movies. It also stars Nat Wolff, Jason Schwartzman and Johnny Knoxville, but I haven’t heard anything good about it, and I’m not sure my curiosity is piqued enough to spend any of my own personal money to check it out.

Hitting Amazon on Friday is the doc THE BOY FROM MEDELLIN (Amazon) from Matthew Heineman (City of Ghosts, Cartel Land), a portrait of musical superstar J. Balvin, as he prepares for a massive sold-out stadium show in his hometown of Medellin, Colombia, which is hindered by the growing civil unrest in the area.

Lots of other movies this week, but a few that i just wasn’t able to get to this week, including:

ABOVE SUSPICION (Lionsgate) INITIATION (Saban Films) ENFANT TERRIBLE (Dark Star Pictures) QUEEN MARIE (Samuel Goldwyn Films) SILO (Oscilloscope) CITIZEN PENN (Discovery+)

That’s it for this week. Next week, Chris Rock and Samuel L. Jackson star in SPIRAL: FROM THE BOOK OF SAW (Lionsgate) and Angelina Jolie returns for the thriller THOSE WHO WISH ME DEAD (New Line) and Timur Bekmambetov’s thriller, PROFILE (Focus Features). That’s right. This will be the first weekend in over a year where we’ll have three or maybe even four new wide releases.

#TheWeekendWarrior #Movies #Reviews #WrathOfMan #HereToday #Monster #The Unthinkable #TheWaterMan

2 notes · View notes

susannaprouse · 5 years ago

Text

Eighteen - Galapagos, Day Four

Our boat to Isla Isabela, another island in the Galapagos, was going to leave at 7am so we had to be at the pier by 6.30. Our body clocks have definitely changed on this trip!

We packed up and snuck out the hostel for the walk to the pier. The town was very quiet, it was quite peaceful. We got to the pier were a lot of other people were waiting for their boats and checked in. Soon we were ushered onto the pier to have a bag check and board the dinghies that would take us to the bigger boat. Mike lost the quarantine lottery this time and had to wash his boots. At least here they had a bucket and a brush but clearly Mike wasn't good enough as the guard eventually had to do it for him!

He soon joined me in the queue and we waited. Suddenly the woman that checked us in shouted Cally!! (The name of our boat) and pointed to us. Apparently the queue we were in was for another boat and everyone else on ours had left already! Luckily the woman pushed us on to a dinghy and we were off. Mike nearly got onto the wrong boat in anticipation but as soon as we pointed Cally out to the dinghy driver he took us there and we were finally on!

For some reason because the trip to the other island was said to be on a ferry I was imagining the sort of ferry that goes to the Isle of Wight. Or at least something big. This boat wasn't big, it fit around 20 people on at a push. And this definitely was a push, we were squeezed in together and barely able to move. The motors started and we were off. I couldn't remember how long the journey was supposed to take but we were going very fast so didn't think it would be long. We were going so fast I grabbed Mike's hand in worry.

Little did I know the journey was to take two hours. Two hours on the rough sea and because I'm an idiot I didn't take a motion sickness tablet. I turned my head and stared firmly on the horizon for two hours. To keep my mind occupied I went through the whole of the Les Mis soundtrack in my head and then did some yoga counting, counting to ten I don't know how many times.

This all would have been fine except for the Ecuadorian woman, her little boy and baby jammed in beside me. Half an hour in something caught my eye and I could see the baby being sick everywhere. I decided to look back at the horizon and pretend it wasn't happening. Half an hour after that the woman turned to me and said something in Spanish in my ear. I couldn't make out what she was saying because my Spanish isn't up to scratch and it was so noisy. I got the jist after she bundled her baby onto my lap and proceeded to be sick over the side of the boat. My maternal instinct kicked in and I clung to the sicky baby like it was a mission. Mike did offer to take it but I couldn't bear to let it go.

The passing of the baby happened a couple more times and I kept wanting to tell the woman to stare at the horizon rather than close your eyes but again my Spanish failed me.

After two long hours we finally made it to Isla Isabela and by some sort of miracle I wasn't sick! As soon as we got off the dingy we saw baby sea lions playing in the sea!! They were like puppies, swimming to find sticks and bring them on to land to play with, chasing each other down the pier and generally having a great time.

After watching them for a while we walked to our next hostel noticing how much quieter this island was. There really wasn't much there except hostels, restaurants and a few shops. I really liked it here.

We organised ourselves in the hotel for a few minutes, which was again a nice big room with a private bathroom. We then went out for a recce of every small supermarket and bakery in the town just in case one was cheaper, grabbed some more food for another picnic lunch and then set off for our first adventure. We wanted to snorkel in La Concha, a beautiful and still lagoon. We walked down the boardwalk surrounded by mangroves trying not to step on the many marine iguanas, sea lions and lizards sun bathing everywhere. The lagoon was beautiful, completely clear and completely still. I was excited to get in!

After snorkeling for a while we realised the snorkels we had bought in the UK and carefully carried up mountains in our bags for the last 3 weeks were rubbish (so annoying as I'd read so many great reviews!), they kept steaming up so every 5 minutes we had to take it off while trying not to touch the coral at our feet. Mine also seemed to have a slow drip coming through the top which isn't ideal.

We still managed to see a lot of fish and starfish. Just as we were about to head back in I saw a couple of people still in the water looking at something. I swam over and immediately prodded at Mike and pointed excitedly, another sea turtle!!!! It was clearly a different breed to the one we'd seen the day before as it's shell was flatter and it seemed bigger. We watched it gracefully swimming while trying not to get in its way and also not be dragged out by the very strong current!

We got out of the water very excited that'd we'd had another calming encounter with a sea turtle but also annoyed with the stupid snorkels. Looking on the bright side we agreed that at least we could leave the snorkels here and make more room in our bags for souvenirs! We decided to spend the rest of the afternoon on the beach by our hostel. The sand was white and soft and the sea was cooling in the hot sun. It was a lovely afternoon, reading, dozing, swimming and watching pelicans dive into the sea for fish. We were two of four people on the entire beach. Paradise!

We decided to head to the main street for dinner and for once didn't really have a plan. We stopped in a restaurant called Ceasars where there was a set $8 menu. We ordered pumpkin soup followed by calamari and then finally they bought out jelly. The food wasn't great, the soup was a bit watery, the calamari was good but the portion was measly and the jelly was fine. It was a bit disappointing because it was the first rubbishy meal we've had so far, but at least it was cheap! Just shows that all the time I spend researching where to eat normally pays off!

0 notes