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The Secret
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Regarded as a life-changing read by many readers, The Secret by Rhonda Byrne is a self-help book...
LeftSideCut (3776 KP) rated Run (2020) in Movies
Oct 10, 2021
For starters, the general premise of Run is a scary one. In a world where everything seems to be getting more tempestuous by the day, it can be difficult to place your trust in other humans, but if there is one person you should be able to trust unconditionally, it's your own mother. It becomes rapidly apparent during the runtime just how much control Diane (Sarah Paulson) has over her daughter Chloe's (Kiera Allen) day-to-day life. When Chloe begins to suspect that things aren't quite what they seem, shit quickly hits the fan. What follows is a thriller that touches upon how damaging and overbearing love can be.
There are some genuinely tense moments sprinkled throughout, and some scenes that are quite uncomfortable to watch (with a few creepy shots thrown in for good measure). It wears it's inspirations on its sleeve - Misery is a clear influence here, both thematically and visually, but it feels like there is homage being paid rather than any ripping off.
The main issue I had was with the pacing. There isn't really much of a build up before Chloe starts to figure out that there's some fuckery afoot - kudos for getting straight to it - but it results in a narrative that takes forever to get to its climax. This is a minor gripe, thanks in no small part to the two lead actresses. I love Sarah Paulson in American Horror Story - even in that shows' low points, she always remains a constant positive - so I'm always happy to see her in other projects. Kiera Allen is the show stealer though, and the two have them share a great dynamic that really bolsters all the other positives.
In short, Aneesh Chaganty has crafted a tight and tense thriller with Run, and after this and Searching, I look forward to whatever he next brings to the table.
There are some genuinely tense moments sprinkled throughout, and some scenes that are quite uncomfortable to watch (with a few creepy shots thrown in for good measure). It wears it's inspirations on its sleeve - Misery is a clear influence here, both thematically and visually, but it feels like there is homage being paid rather than any ripping off.
The main issue I had was with the pacing. There isn't really much of a build up before Chloe starts to figure out that there's some fuckery afoot - kudos for getting straight to it - but it results in a narrative that takes forever to get to its climax. This is a minor gripe, thanks in no small part to the two lead actresses. I love Sarah Paulson in American Horror Story - even in that shows' low points, she always remains a constant positive - so I'm always happy to see her in other projects. Kiera Allen is the show stealer though, and the two have them share a great dynamic that really bolsters all the other positives.
In short, Aneesh Chaganty has crafted a tight and tense thriller with Run, and after this and Searching, I look forward to whatever he next brings to the table.
Wolves Always Bite (Willow Lake Supernaturals #2)
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What’s a simple human to do when he discovers supernatural beings are real? Ask many, many, many...
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Nightcrawler (Trackers #1)
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I’ve always been a sucker for a guy with muscles and a handsome face. If that makes me sound...
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Kristy H (1252 KP) rated Dark Sacred Night in Books
Mar 6, 2019
Well-plotted mystery
Renee Ballard is working her usual late night shift when she finds a man going through files at the station. It turns out this stranger is Harry Bosch, a retired detective, who is working on a cold case that has turned personal. Ballard sends him on his way, but begins looking into the files Bosch was flipping through. Once she does, she becomes interested in the case too: fifteen-year-old Daisy, a runaway who was horrifically murdered, her body left on the streets. Ballard begins investigating the case as well, forming an alliance with Bosch and attempting to find out what happened to Daisy nearly a decade ago.
I was a little leery when I learned that Connelly was going to combine Renee's story with my beloved Harry Bosch's (let's just say I love Bosch too much to share him), but this book was really excellent, and I found myself enjoying the two of them together. The narrative switches between Ballard and Bosch, so we still get to hear from each character separately: it's just their stories and lives that start to overlap. This overlap happened pretty naturally, and honestly, their burgeoning partnership/friendship was fun to see. There's a moment in the book when someone asks the pair how they want some files, and Ballard responds "digital" and Bosch, "print," and we get a sense of the fact that--no matter how clever and similar they are--Bosch is truly our old school guy and Ballard is the new blood. So combining forces might not be so bad after all.
I love Harry Bosch. I've loved him for about seven years now, since I discovered this series, and I will always adore him, and I don't like that he's aging, and yeah. I'm attached. Reading his sections was like being back with an old friend. Connelly has Bosch's character and voice so perfected by now. I don't want to reveal too much, but this book ties back to the previous a bit (though it will work on its own), so we see Bosch struggling with some of the choices he made in the last book and figuring out exactly where he stands in his career. I won't lie: it's hard to see him age and even to be fallible.
I really tried to read this one slowly and savor it, as Connelly books (especially with Bosch) just don't come along every day. I love how Connelly seems to know so much (e.g., police procedures, gang wars and rituals, even about surfing), but it never feels like he's over explaining anything. Even better, you always get such a good story. I enjoy how he ties so many of his disparate plot pieces together, or comes back to something you think is totally unrelated. And there's always some sort of recent pop culture worked in (a bit of the #MeToo movement pops up here).
There's a lot going on this book--after all, we get cases from both Bosch and Ballard, plus their shared pursuit of justice for Daisy, but it all works in Connelly's deft hands. He is the master of interlocking stories. Overall, I really enjoyed this one. I was fascinated to see Bosch and Ballard interact, and I was so glad to have another episode featuring my beloved Bosch. If you're a Bosch fan, I think you'll like this one. And if you just enjoy a good, well-plotted mystery, I highly recommend this one as well.
I was a little leery when I learned that Connelly was going to combine Renee's story with my beloved Harry Bosch's (let's just say I love Bosch too much to share him), but this book was really excellent, and I found myself enjoying the two of them together. The narrative switches between Ballard and Bosch, so we still get to hear from each character separately: it's just their stories and lives that start to overlap. This overlap happened pretty naturally, and honestly, their burgeoning partnership/friendship was fun to see. There's a moment in the book when someone asks the pair how they want some files, and Ballard responds "digital" and Bosch, "print," and we get a sense of the fact that--no matter how clever and similar they are--Bosch is truly our old school guy and Ballard is the new blood. So combining forces might not be so bad after all.
I love Harry Bosch. I've loved him for about seven years now, since I discovered this series, and I will always adore him, and I don't like that he's aging, and yeah. I'm attached. Reading his sections was like being back with an old friend. Connelly has Bosch's character and voice so perfected by now. I don't want to reveal too much, but this book ties back to the previous a bit (though it will work on its own), so we see Bosch struggling with some of the choices he made in the last book and figuring out exactly where he stands in his career. I won't lie: it's hard to see him age and even to be fallible.
I really tried to read this one slowly and savor it, as Connelly books (especially with Bosch) just don't come along every day. I love how Connelly seems to know so much (e.g., police procedures, gang wars and rituals, even about surfing), but it never feels like he's over explaining anything. Even better, you always get such a good story. I enjoy how he ties so many of his disparate plot pieces together, or comes back to something you think is totally unrelated. And there's always some sort of recent pop culture worked in (a bit of the #MeToo movement pops up here).
There's a lot going on this book--after all, we get cases from both Bosch and Ballard, plus their shared pursuit of justice for Daisy, but it all works in Connelly's deft hands. He is the master of interlocking stories. Overall, I really enjoyed this one. I was fascinated to see Bosch and Ballard interact, and I was so glad to have another episode featuring my beloved Bosch. If you're a Bosch fan, I think you'll like this one. And if you just enjoy a good, well-plotted mystery, I highly recommend this one as well.
Darren (1599 KP) rated See You Yesterday (2019) in Movies
Dec 27, 2019
Verdict: Messy Time Travel Film
Story: See You Yesterday starts as we meet the two teenagers Claudette ‘CJ’ Walker (Duncan-Smith) and Sebastian Thomas (Crichlow) who have been working on their science project to make time travel possible. After they prove they can go back just one day, CJ the brains behind the project, does something reckless, which changes the pass, while dealing with an ex-boyfriend.
The consequences of her actions create a domino effect which sees her brother Calvin (Astro) killed in a police shooting, wanting to make a different CJ works with Sebastian to try and create the ability to go further back, which only ends up creating more problems, the more she tries to fix.
Thoughts on See You Yesterday
Characters – Claudette ‘CJ’ Walker is the brains behind the time travel machine, she however has started to become difficult to be around, causing unnecessary trouble in an already combustible neighbourhood. When the pair get the machine to work, it is her mistake which causes the effects the pair must go through. She is always so desperate to fix the mistakes, she doesn’t even consider the consequences. Sebastian is the best friend that has always helped along the way, he is the one that will ask the questions about the consequences, seeing how reckless CJ has become. Calvin is the big brother of CJ’s, he will always make sure she is safe, whenever somebody in the neighbourhood causes her trouble.
Performances – While the two leading stars Eden Duncan-Smith and Dante Crichlow don’t do anything wrong through the film, they have annoying character traits to bring to life, which doesn’t help what they have to work with.
Story – The story here follows two high school friends that are trying to prove time travel is possible and soon learn the consequences of trying to change the past. This story does have an important reason for trying to create the time travel, we are placed into a Brooklyn neighbourhood that has been dealing with police shooting, overly aggressive gang mentality and will have signs of poverty. Outside of this side of the story, we are dealing with really bad time travel decisions, even though the characters seem clear of what not to do. We won’t go into the non-ending either, which leaves us with nothing after what has happened through the film, this does just feel like an unfinished script, that really wants deal with topical issues through the film.
Action/Sci-Fi – The action in the film does come from the panic involved once the first incident happens, it is more neighbourhood action, rather anything else, while the time travel might dive into basic science behind time travel, which does work well, it is the behaviour from people that believe they understand it that let everything down.
Settings – The film is set in Brooklyn which shows the environment the two friends are around, which brings the combustible elements.
Scene of the Movie – See You Yesterday.
That Moment That Annoyed Me – Most of CJ’s decisions.
Final Thoughts – Messy time travel film, which does deal with big topical issues the best it can, sadly, get caught in the middle of both worlds.
Overall: Missed the point.
Story: See You Yesterday starts as we meet the two teenagers Claudette ‘CJ’ Walker (Duncan-Smith) and Sebastian Thomas (Crichlow) who have been working on their science project to make time travel possible. After they prove they can go back just one day, CJ the brains behind the project, does something reckless, which changes the pass, while dealing with an ex-boyfriend.
The consequences of her actions create a domino effect which sees her brother Calvin (Astro) killed in a police shooting, wanting to make a different CJ works with Sebastian to try and create the ability to go further back, which only ends up creating more problems, the more she tries to fix.
Thoughts on See You Yesterday
Characters – Claudette ‘CJ’ Walker is the brains behind the time travel machine, she however has started to become difficult to be around, causing unnecessary trouble in an already combustible neighbourhood. When the pair get the machine to work, it is her mistake which causes the effects the pair must go through. She is always so desperate to fix the mistakes, she doesn’t even consider the consequences. Sebastian is the best friend that has always helped along the way, he is the one that will ask the questions about the consequences, seeing how reckless CJ has become. Calvin is the big brother of CJ’s, he will always make sure she is safe, whenever somebody in the neighbourhood causes her trouble.
Performances – While the two leading stars Eden Duncan-Smith and Dante Crichlow don’t do anything wrong through the film, they have annoying character traits to bring to life, which doesn’t help what they have to work with.
Story – The story here follows two high school friends that are trying to prove time travel is possible and soon learn the consequences of trying to change the past. This story does have an important reason for trying to create the time travel, we are placed into a Brooklyn neighbourhood that has been dealing with police shooting, overly aggressive gang mentality and will have signs of poverty. Outside of this side of the story, we are dealing with really bad time travel decisions, even though the characters seem clear of what not to do. We won’t go into the non-ending either, which leaves us with nothing after what has happened through the film, this does just feel like an unfinished script, that really wants deal with topical issues through the film.
Action/Sci-Fi – The action in the film does come from the panic involved once the first incident happens, it is more neighbourhood action, rather anything else, while the time travel might dive into basic science behind time travel, which does work well, it is the behaviour from people that believe they understand it that let everything down.
Settings – The film is set in Brooklyn which shows the environment the two friends are around, which brings the combustible elements.
Scene of the Movie – See You Yesterday.
That Moment That Annoyed Me – Most of CJ’s decisions.
Final Thoughts – Messy time travel film, which does deal with big topical issues the best it can, sadly, get caught in the middle of both worlds.
Overall: Missed the point.
Lottie disney bookworm (1056 KP) rated Mistress of All Evil: A Tale of the Dark Fairy (Villains #4) in Books
Sep 28, 2019
YES SERENA!
Mistress of Evil is precisely the book I wanted from the villain’s tales series: it had everything – an intriguing backstory; familiar characters as well as new ones who were pivotal to the plot; and of course, magic.
I couldn’t put this book down and I am so relieved that I can finally be super positive for the first time since Fairest of All.
Mistress of Evil takes place immediately after Poor Unfortunate Soul (these books have an order for a reason people!) and, with the odd sisters temporarily out of action, we learn that Maleficent must appeal to Circe and Nanny for assistance with a spell. However, it is soon revealed that Nanny, Maleficent and the odd sisters share a history.
What I loved most about this book is that Valentino spends a lot of time in Maleficent’s backstory, and it was evident that she took a lot of pride in the younger fairy she created. Maleficent is not 100% bad. Don’t get me wrong, she isn’t 100% good either, but the reader witnesses the circumstances that have made her this way. We observe abandonment, bullying and rejection but overall we witness prejudice against someone who is different and I feel it is this that really humanises Maleficent.
Familiar characters are also introduced; namely Flora, Fauna and Merryweather. Now, Merryweather has always been my favourite of the three fairies: something about her sarcastic and feisty personality calls to me. However, young Merryweather is a bit of a cow and, although I didn’t want to, I loved this twist. As usual, Valentino’s world is not black and white: if the good fairies had always been good, events may have turned out very differently.
Snow and her mother also play a role in the progression of the underlying story throughout all these tales: the one of the odd sisters. It wasn’t a complete surprise that Valentino brings one of her previous characters into the story, after all each tale has led into the next. However, it was really interesting to meet Queen Snow and glimpse at her life since we left her in Fairest of All. Also, a book from the odd sisters that possibly binds all our heroes and villains together is pure genius- particularly for someone who was obsessed with Once Upon a Time.
The level of detail in Valentino’s writing is superb. You can really picture the village in which Maleficent was raised- an experience that I haven’t felt in the previous tales. She also doesn’t neglect Aurora just because she is asleep but creates a dream world of mirrors that for some reason conjured images of Labyrinth for me. I also appreciated that, although snippets of the original story are included, they are just snippets- not a retelling.
I think it’s pretty clear that I loved this book. It wasn’t perfect (I still just don’t “get” Tulip and Popinjay and the timing at the start of the book was confusing) but it was pretty close! A prequel to Sleeping Beauty, complete with a fairy school, tree lords, dream worlds and fallouts that would make Jeremy Kyle wince? What more could you want?
A MASSIVE twist? You got it! I always knew no-one would be that angry over not being invited to a christening….
Mistress of Evil is precisely the book I wanted from the villain’s tales series: it had everything – an intriguing backstory; familiar characters as well as new ones who were pivotal to the plot; and of course, magic.
I couldn’t put this book down and I am so relieved that I can finally be super positive for the first time since Fairest of All.
Mistress of Evil takes place immediately after Poor Unfortunate Soul (these books have an order for a reason people!) and, with the odd sisters temporarily out of action, we learn that Maleficent must appeal to Circe and Nanny for assistance with a spell. However, it is soon revealed that Nanny, Maleficent and the odd sisters share a history.
What I loved most about this book is that Valentino spends a lot of time in Maleficent’s backstory, and it was evident that she took a lot of pride in the younger fairy she created. Maleficent is not 100% bad. Don’t get me wrong, she isn’t 100% good either, but the reader witnesses the circumstances that have made her this way. We observe abandonment, bullying and rejection but overall we witness prejudice against someone who is different and I feel it is this that really humanises Maleficent.
Familiar characters are also introduced; namely Flora, Fauna and Merryweather. Now, Merryweather has always been my favourite of the three fairies: something about her sarcastic and feisty personality calls to me. However, young Merryweather is a bit of a cow and, although I didn’t want to, I loved this twist. As usual, Valentino’s world is not black and white: if the good fairies had always been good, events may have turned out very differently.
Snow and her mother also play a role in the progression of the underlying story throughout all these tales: the one of the odd sisters. It wasn’t a complete surprise that Valentino brings one of her previous characters into the story, after all each tale has led into the next. However, it was really interesting to meet Queen Snow and glimpse at her life since we left her in Fairest of All. Also, a book from the odd sisters that possibly binds all our heroes and villains together is pure genius- particularly for someone who was obsessed with Once Upon a Time.
The level of detail in Valentino’s writing is superb. You can really picture the village in which Maleficent was raised- an experience that I haven’t felt in the previous tales. She also doesn’t neglect Aurora just because she is asleep but creates a dream world of mirrors that for some reason conjured images of Labyrinth for me. I also appreciated that, although snippets of the original story are included, they are just snippets- not a retelling.
I think it’s pretty clear that I loved this book. It wasn’t perfect (I still just don’t “get” Tulip and Popinjay and the timing at the start of the book was confusing) but it was pretty close! A prequel to Sleeping Beauty, complete with a fairy school, tree lords, dream worlds and fallouts that would make Jeremy Kyle wince? What more could you want?
A MASSIVE twist? You got it! I always knew no-one would be that angry over not being invited to a christening….
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Kirk Bage (1775 KP) rated Seinfeld - Season 1 in TV
Jan 22, 2021
I always assumed I wouldn’t like Seinfeld in the 90s. In fact I was opposed to the very idea of it on principle. And that principle was: I’ve never heard of this guy as a comedian, and American stand-up usually isn’t funny. I never saw a single episode until six months ago – in my head it was some dumb, canned laughter show with very forced scripts and little charm. I just didn’t get why it was always quoted amongst the best sitcoms of all time, and I wasn’t willing to find out. This is called “being ignorant”. Guilty.
One random day with nothing else inspiring me I finally took the plunge and put an episode on. Guess what happened? I laughed, I found it completely charming and witty and easy to watch, with some great lines and likeable characters. 3 hours later I had done 6 episodes and was as hooked as anyone can be with anything. It was just so nostalgically and completely 90s! And I loved that!
A show doesn’t run for 9 years and over 170 episodes without being some kind of special, especially taking into account the depreciation due to being dated, as all sitcoms eventually are, and it really is quite remarkable – deserving of a place in the conversation of the greatest ever American half hour shows. Sure, there is an element early on in the preoccupation with everyone’s sex life and dating habits that is a little creepy in 2020, but I am totally willing to forgive it.
Shows that are hyper aware of themselves and the audience are odd creatures the minute they take themselves too seriously, and Seinfeld never does that. It knows it is trivial, essentially about nothing and going nowhere, and style-wise it is always winking at us for being in on the joke and a part of it, even to the point of applauding new characters on their entrance, which is a uniquely American thing to do.
The secret of the show is undoubtedly the chemistry of the four leads, so mismatched that it someone works a spell and creates magic, much in the same way Friends managed to do, times six. Jerry Seinfeld himself is a very likeable everyman, and the schtick of each show beginning and ending with 30 seconds of stand up is a gimmick that grows on you, as does everything about it: the more you watch, the more you love it for what it is.
Jason Alexander as the balding, quirky, self-conscious, opinionated best friend is perhaps my least favourite of the regular quartet, but he has some amazing moments over the course of things, and plays great dead-pan. But the other two are on a plane of equal genius. The verbal timing of the super cute, super smart Julia Louis-Dreyfus as Elaine (who I have fallen in love with a little bit in 1993) and the physical slapstick timing of Michael Richards as Cosmo Kramer (surely one of the most memorable characters in sitcom history) have both left me aching with laughter time after time after time. Just a glance or an expression is often enough.
And the great thing is, it never seems to get old. They are always finding new ways and new situations that keep it fresh. Some trick! Even in the final season of the 9, when there is a small melancholia creeping in because they all know it is coming to an end, it still manages to create moments that aren’t just repeats of previous gags. Which means, as future background watching it is 100% perfect. Leave it on whilst doing something else, look up once in a while, and like the best of all long running US comedy shows each episode is indistinguishable from any other in the best way – it is like having a friend in the room.
I can’t imagine ever saying it is amongst my very favourites, maybe because I missed out on it first time around – which I put down to an inherent middle aged appeal, rather than a youth appeal – but I wouldn’t also ever argue with anyone that did say that it was one of their favourites. Because I get it now. And I’m so glad I got to do it, no matter how late to the party!
One random day with nothing else inspiring me I finally took the plunge and put an episode on. Guess what happened? I laughed, I found it completely charming and witty and easy to watch, with some great lines and likeable characters. 3 hours later I had done 6 episodes and was as hooked as anyone can be with anything. It was just so nostalgically and completely 90s! And I loved that!
A show doesn’t run for 9 years and over 170 episodes without being some kind of special, especially taking into account the depreciation due to being dated, as all sitcoms eventually are, and it really is quite remarkable – deserving of a place in the conversation of the greatest ever American half hour shows. Sure, there is an element early on in the preoccupation with everyone’s sex life and dating habits that is a little creepy in 2020, but I am totally willing to forgive it.
Shows that are hyper aware of themselves and the audience are odd creatures the minute they take themselves too seriously, and Seinfeld never does that. It knows it is trivial, essentially about nothing and going nowhere, and style-wise it is always winking at us for being in on the joke and a part of it, even to the point of applauding new characters on their entrance, which is a uniquely American thing to do.
The secret of the show is undoubtedly the chemistry of the four leads, so mismatched that it someone works a spell and creates magic, much in the same way Friends managed to do, times six. Jerry Seinfeld himself is a very likeable everyman, and the schtick of each show beginning and ending with 30 seconds of stand up is a gimmick that grows on you, as does everything about it: the more you watch, the more you love it for what it is.
Jason Alexander as the balding, quirky, self-conscious, opinionated best friend is perhaps my least favourite of the regular quartet, but he has some amazing moments over the course of things, and plays great dead-pan. But the other two are on a plane of equal genius. The verbal timing of the super cute, super smart Julia Louis-Dreyfus as Elaine (who I have fallen in love with a little bit in 1993) and the physical slapstick timing of Michael Richards as Cosmo Kramer (surely one of the most memorable characters in sitcom history) have both left me aching with laughter time after time after time. Just a glance or an expression is often enough.
And the great thing is, it never seems to get old. They are always finding new ways and new situations that keep it fresh. Some trick! Even in the final season of the 9, when there is a small melancholia creeping in because they all know it is coming to an end, it still manages to create moments that aren’t just repeats of previous gags. Which means, as future background watching it is 100% perfect. Leave it on whilst doing something else, look up once in a while, and like the best of all long running US comedy shows each episode is indistinguishable from any other in the best way – it is like having a friend in the room.
I can’t imagine ever saying it is amongst my very favourites, maybe because I missed out on it first time around – which I put down to an inherent middle aged appeal, rather than a youth appeal – but I wouldn’t also ever argue with anyone that did say that it was one of their favourites. Because I get it now. And I’m so glad I got to do it, no matter how late to the party!