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Kristy H (1252 KP) rated Black Cake in Books
Feb 4, 2022
Siblings Byron and Benny are estranged, but after their mother's death, they discover she’s left them a black cake, a beloved food from their childhood and history, and a voice recording that reveals many surprises about her past. Their mother Eleanor's story is heartbreaking and shocking, but will it bring Byron and Benny together to share the cake "when the time is right," as their mother desired?
This is a really interesting and different book. It’s a sweeping tale that spans from the 1960s to the present and touches on racism, homophobia, immigration, assault, the meaning of family, and so much more. If that sounds like a lot, it is, and sometimes it feels like too much. The story meanders at times--it's a lot to go from the 1960s to the near present, and the story is told through many narrators and short chapters. It's sometimes confusing to keep track of. At times, the musings and whining of present-day Byron and Benny are frustrating because you just want to get back to Eleanor and the past.
And that is where BLACK CAKE shines. Because while this is a debut novel and it shows at times, the story really is engrossing, especially when Eleanor gets into her origin story and we learn about the Caribbean and how she became who she is. There's almost a mystery in there, and it's fascinating. We are taken back to the islands, meeting a young determined swimmer and her best friend. I love how Wilkerson weaves everything together into a touching and poignant tale that delves deep into this family's past. I was mesmerized and needed to know everything that happened. There are a lot of characters and a few false starts, but this story winds around to make sense, and it was a really beautiful and fascinating.
I received a copy of this book from Random House / Ballantine and Netgalley in return for an unbiased review.
This is a really interesting and different book. It’s a sweeping tale that spans from the 1960s to the present and touches on racism, homophobia, immigration, assault, the meaning of family, and so much more. If that sounds like a lot, it is, and sometimes it feels like too much. The story meanders at times--it's a lot to go from the 1960s to the near present, and the story is told through many narrators and short chapters. It's sometimes confusing to keep track of. At times, the musings and whining of present-day Byron and Benny are frustrating because you just want to get back to Eleanor and the past.
And that is where BLACK CAKE shines. Because while this is a debut novel and it shows at times, the story really is engrossing, especially when Eleanor gets into her origin story and we learn about the Caribbean and how she became who she is. There's almost a mystery in there, and it's fascinating. We are taken back to the islands, meeting a young determined swimmer and her best friend. I love how Wilkerson weaves everything together into a touching and poignant tale that delves deep into this family's past. I was mesmerized and needed to know everything that happened. There are a lot of characters and a few false starts, but this story winds around to make sense, and it was a really beautiful and fascinating.
I received a copy of this book from Random House / Ballantine and Netgalley in return for an unbiased review.
Kirk Bage (1775 KP) rated Good Time (2017) in Movies
Jan 22, 2021
Here is another example of a very watchable low budget film that may have passed by your radar undetected. It came to my attention in two ways. The first because I disliked Uncut Gems so much folk started telling me to watch Good Time to get a better idea of what the Safdie brothers were all about. The second because Robert Pattinson kept popping up and being good in things, when again, there was a time I wouldn’t have thought that possible.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.