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Adam Silvera recommended 100 Sideways Miles in Books (curated)

 
100 Sideways Miles
100 Sideways Miles
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"Andrew Smith (Winger; Grasshopper Jungle) pens a phenomenal novel about life's many detours, told in the unforgettable voice of an epileptic teenager with heterochromatic eyes (one blue, one green) and a strange history. When 16-year-old Finn Easton was seven years old, a dead horse that was being transported to a rendering plant fell "one hundred sideways miles" off a bridge and landed on Finn and his mother. The impact broke Finn's back and killed his mother. His epilepsy, which he may grow out of, is a "souvenir" of the accident, and if he does grow out of it, he suspects he may miss the way the seizures empty the words out of his head. Finn measures the world in miles instead of minutes, because he believes "distance is more important than time." His crush, Julia Bishop, a Chicago transplant living with her aunt and uncle because of a devastating secret, admires Finn's perspective on life. The moment he meets Julia, Finn wonders "how many atoms from the same calamities out there in the universe our body shared.... Maybe my right hand and her left hand both came from the same supernova." Julia, ever astute, gets why Finn named his dog Laika, is patient with him during his wild mood swings when he's returning from a "blank out" (seizure) and, most importantly, she loves Finn back. Which makes it crushing for both Finn (and readers) when Julia must return to Chicago--the very place where she was victim of a tragedy that makes Finn wish he "could push the world back all those miles with my bare hands and make it change direction," even if it means they'd never have met. Throughout the novel, Finn suffers from an identity crisis as he questions whether or not he's the product of his father's bestselling cult-classic novel, The Lazarus Door, starring a protagonist with the teen's name, heterochromatic eyes, seizures, and scars identical to the ones he has on his back from his post-accident surgery. So Finn sets out on a road trip with his best friend, the memorable Cade Hernandez, to figure out the ending to his story, when an unexpected accident rewrites their future. Smith's sly commentary on today's school system ("designed to make us all the same," in Cade's words) intertwines with the story of Finn's desperation to break out and be different--not a reproduction of anyone's expectations. The well-rounded supporting characters and the Southern California setting make for a welcome departure from the usual glitz of Los Angeles life. Hilarious and wise, 100 Sideways Miles is an addictive and panoramic read about the intersecting--and divergent--paths that lie ahead. Breathtakingly good."

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Live By Night (2017)
Live By Night (2017)
2017 | Drama
“Sleep by day…”.
Ben Affleck’s new movie could best be described as “sprawling”. In both directing and writing the screenplay (based on a novel by Dennis Lehane), Affleck has aimed for a “Godfather” style gangster epic and missed: not missed by a country mile, but missed nonetheless.

Morally bankrupted by his experiences in the trenches, Joe Coughlin (Affleck) returns to Boston to pick and choose which social rules he wants to follow. Not sociopathic per se, as he has a strong personal code of conduct, but Coughlin turns to robbery walking a delicate path between the warring mob factions of the Irish community, led by Albert White (the excellent Robert Glenister from TV’s “Hustle”), and the Italian community, led by Maso Pescatore (Remo Girone). Trying to keep him out of jail is his father (“Harry Potter”’s Brendan Gleeson) who – usefully – is the Deputy Police Chief. Life gets complicated when he falls in love with White’s moll, Emma Gould (Sienna Miller). The scene is set for a drama stretching from Boston to the hot and steamy Everglades over a period of the next twenty years.

Although a watchable popcorn film, the choppy episodic nature of the movie is hugely frustrating, with no compelling story arc to glue all of the disparate parts together. The (often very violent) action scenes are very well done and exciting but as a viewer you don’t feel invested in a ‘journey’ from the beginning of the film to the (unsatisfactory) ending. In my experience it’s never a good sign when the writer considers it necessary to add a voiceover to the soundtrack, and here Affleck mutters truisms about his thoughts and motives that irritate more than illuminate.

The sheer volume of players in the piece (there are about three film’s worth in here) and the resulting minimal screen time given to each allows no time for character development. Unfortunately the result is that you really care very little about whether people live or die and big plot developments land as rather an “oh” than an “OH!”.
Affleck puts in a great turn as the autistic central character whose condition results in a cold, calculating demeanor and a complete lack of emotion reflecting on his face. Oh, hang on… no, wait a minute… sorry… I’ve got the wrong film…. I’m thinking about “The Accountant”. I don’t know whether he filmed these films in parallel. I generally enjoy Ben Affleck’s work (he was excellent in “The Town”) but for 95% of this film his part could have been completed by a burly extra with an Affleck mask on. In terms of acting range, his facial muscles barely get to a “2” on the scale. Given the double problem that he is barely credible as the “young man” returning mentally wounded from the trenches, then in my opinion he would have been better to have focused on the writing and directing and found a lead of the likes of an Andrew Garfield to fill Coughlin’s shoes.

That’s not to say there is not some good acting present in the rest of the cast’s all too brief supporting roles. Elle Fanning (“Trumbo”, “Maleficent”) in particular shines as the Southern belle Loretta Figgis: a religious zealot driving her police chief father (Chris Cooper, “The Bourne Identity”) to distraction. Cooper also delivers a star turn as the moral but pragmatic law-man.

Sienna Miller (“Foxcatcher”) delivers a passable Cork accent and does her best to develop some believable chemistry with the rock-like Affleck. Zoe Saldana (“Star Trek”) is equally effective as a Cuban humanitarian.
In summary, it’s sprawlingly watchable… but overall a disappointment, with Affleck over-reaching. One day we surely will get a gangster film the likes of another “Godfather”, “Goodfellas” or “Untouchables”. Although this has its moments, unfortunately it’s more towards the “Public Enemies” end of the genre spectrum.