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Ali A (82 KP) rated We Deserve Monuments in Books
Dec 8, 2022
Trigger Warnings: Generational trauma, racism, mentions of alcoholism and verbal abuse, homophobia, character death
Avery Anderson’s life is uprooted when her family moves from Washington DC to Bardell, Georgia her senior year of high school to look after her maternal grandmother, Mama Letty, who’s in her final stages of cancer. Avery only remembers one visit with her grandmother, cut short by an argument, when she was very young. Bardell is a small town with only two high schools - one public, and one private, the latter being founded by one of the town’s many racist forefathers. Avery quickly gets adopted into the friendship of two girls: Simone Cole, Mama Letty’s next door neighbor, and Jade Oliver, a descendent of one of Bardell’s oldest families.
Avery’s relationship with her grandmother is far from easy. Mama Letty isn’t easy to get to know, especially when she only answers questions in grunts and gruffs. It also doesn’t help that the tension between her mother and grandmother is so thick you can cut it with a knife, but both of them are refusing to address it.
Avery sets out on trying to mend the broken and split relationship but there are events many are refusing to talk about. It isn’t until Mama Letty begins to open up to Avery about her past, that Avery is able to piece together her family history that was shaped by the town’s racist history. As more events come out of the shadows, Avery must decide if finding out the truth is worth damaging the relationships she’s built in Bardell, or if some things are better left buried.
I absolutely loved and adored this book very much. Jas Hammonds masterfully tells this layered story of a young woman finding out about her family’s past within a novel that’s about generational trauma and racism. The amount of trauma the three generations of women must peel back is constantly met with tension. The story is hard to read at times, especially when you’re reading about Mama Letty’s past and the town’s racism, but this book wrapped its arms around me and refused to let go until the Harding family’s story is told.
Alongside Avery finding out about her family’s past, the relationship between Simone and Avery grows deeper and the way the two of them find their footing to their sexuality was well written. I wish I had grown up with a place like The Renaissance where you were accepted no matter what.
Overall, this novel is going to be one I’m going to talk about for months to come. It was beautiful, heartbreaking, hopeful, and captivating. Any readers who love reading about family and their dynamics, relationships, and hope will really enjoy this book.
*Thank you Roaring Brook Press and NetGalley for an electronic version of this book in exchange for an honest review
Avery Anderson’s life is uprooted when her family moves from Washington DC to Bardell, Georgia her senior year of high school to look after her maternal grandmother, Mama Letty, who’s in her final stages of cancer. Avery only remembers one visit with her grandmother, cut short by an argument, when she was very young. Bardell is a small town with only two high schools - one public, and one private, the latter being founded by one of the town’s many racist forefathers. Avery quickly gets adopted into the friendship of two girls: Simone Cole, Mama Letty’s next door neighbor, and Jade Oliver, a descendent of one of Bardell’s oldest families.
Avery’s relationship with her grandmother is far from easy. Mama Letty isn’t easy to get to know, especially when she only answers questions in grunts and gruffs. It also doesn’t help that the tension between her mother and grandmother is so thick you can cut it with a knife, but both of them are refusing to address it.
Avery sets out on trying to mend the broken and split relationship but there are events many are refusing to talk about. It isn’t until Mama Letty begins to open up to Avery about her past, that Avery is able to piece together her family history that was shaped by the town’s racist history. As more events come out of the shadows, Avery must decide if finding out the truth is worth damaging the relationships she’s built in Bardell, or if some things are better left buried.
I absolutely loved and adored this book very much. Jas Hammonds masterfully tells this layered story of a young woman finding out about her family’s past within a novel that’s about generational trauma and racism. The amount of trauma the three generations of women must peel back is constantly met with tension. The story is hard to read at times, especially when you’re reading about Mama Letty’s past and the town’s racism, but this book wrapped its arms around me and refused to let go until the Harding family’s story is told.
Alongside Avery finding out about her family’s past, the relationship between Simone and Avery grows deeper and the way the two of them find their footing to their sexuality was well written. I wish I had grown up with a place like The Renaissance where you were accepted no matter what.
Overall, this novel is going to be one I’m going to talk about for months to come. It was beautiful, heartbreaking, hopeful, and captivating. Any readers who love reading about family and their dynamics, relationships, and hope will really enjoy this book.
*Thank you Roaring Brook Press and NetGalley for an electronic version of this book in exchange for an honest review
Heather Cranmer (2721 KP) rated Alice in Zombieland - White Rabbit Chronicles in Books
Jun 7, 2018
(This review can also be found on my blog at <a href="http://themisadventuresofatwentysomething.blogspot.co.uk">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
I've been dying to read this book since I first heard about it months ago. I love zombies because, well, zombies are just so darn cool! However, I think I built myself up a bit too much and bought in to the hype a bit too much. I didn't think the book was bad, but I didn't think it was that great either.
Alice, or Ali for short, thinks her father is crazy. He has so many rules when it comes to his daughters, especially things that involve go out during the night. He's worried about the monsters, but Alice just thinks he's going insane until one night, her whole family is killed in a car crash. It is then that she sees her first monster. Maybe her dad wasn't crazy after all. Alice will have to enlist the help of the school's bad crowd if she wants answers, and that means getting close to Cole Holland, the resident bad boy. Will Alice have her heart broken? Will she even be able to survive long enough to have her heart broken?
Okay, I absolutely, positively love, love, love the title of this book: Alice in Zombieland. It just has a certain ring to it. I'd say the title definitely describes the story. If I were to sum up this book in three words, Alice in Zombieland would be exactly what I'd say.
I do think the cover is pretty, but I feel that it's lacking. I do love the little details there are to see when you look closer at the cover, but as I said, something is missing from the cover. I think it would've been cool, maybe, to have a few zombies on the cover as well.
The world building is fantastic! Gena Showalter makes it feel as if a zombie apocalypse is actually happening or really could happen. It's so easy to get lost in Alice's world and forget that you're actually just reading a story. The author makes the world of zombies come to life, and it does get a bit scary.
The pacing is what really bothered me. I felt as if it was a bit all over the place. At the very beginning, I felt I was losing the will to live as the pacing was so slow. Then it got a bit better, then it'd get slow, then it'd get better again. My interest in this book was all over the place. I never knew what to expect in the next chapter. Was it going to be super slow or fast paced?
The dialogue was believable for the teenagers. They spoke exactly how I'd imagine teens of today to speak. However, Alice has a seven year old sister who spoke like she was at least thirteen years old. Her vocabulary, and the way she spoke were definitely not normal for a seven year old. With that said, I did enjoy the dialogue immensely especially when it came to interactions between Kat and Alice. I even loved the sarcastic interactions between Cole and Alice. There wasn't any swearing in this book which I admired.
I thought the characters were fantastic and very believable. I loved how Alice was willing to do whatever it took to avenge her family and how she wasn't willing to take anything from anybody. Cole is your typical bad boy: moody, snarly, sarcastic, etc. There is something likable about Cole, and as the story progresses, we find out a little bit about why Cole is the way he is. My favourite character had to be Kat though. I loved her witty and sarcastic sense of humour. In fact, I wish I could be like Kat. She definitely had me laughing quite a bit. The only non-believable character was Alice's little sister Emma. As stated in the previous paragraph, she didn't speak like a normal seven year old, nor did she act like an everyday seven year old. Because of that, I had a hard time relating to her as a character.
One thing I really loved about this book was the chapter names. I loved how they were zombie related but still had the Alice in Wonderland feel about them. Unfortunately, this was not enough to warrant a higher rating for this book. Perhaps it's just me though as this book does have quite high reviews, but I just couldn't enjoy it that much. I might carry on with the series in the hopes it gets better, but I'm not dying to read the next book in the series.
I'd recommend this book to those aged 14+ if I really had to recommend it. However, I'd say don't waste your money. Rent it from a library or borrow it if you really want to read it.
Alice in Zombieland (The White Rabbit Chronicles #1) by Gena Showalter gets a 3.25 out of 5 from me.
I've been dying to read this book since I first heard about it months ago. I love zombies because, well, zombies are just so darn cool! However, I think I built myself up a bit too much and bought in to the hype a bit too much. I didn't think the book was bad, but I didn't think it was that great either.
Alice, or Ali for short, thinks her father is crazy. He has so many rules when it comes to his daughters, especially things that involve go out during the night. He's worried about the monsters, but Alice just thinks he's going insane until one night, her whole family is killed in a car crash. It is then that she sees her first monster. Maybe her dad wasn't crazy after all. Alice will have to enlist the help of the school's bad crowd if she wants answers, and that means getting close to Cole Holland, the resident bad boy. Will Alice have her heart broken? Will she even be able to survive long enough to have her heart broken?
Okay, I absolutely, positively love, love, love the title of this book: Alice in Zombieland. It just has a certain ring to it. I'd say the title definitely describes the story. If I were to sum up this book in three words, Alice in Zombieland would be exactly what I'd say.
I do think the cover is pretty, but I feel that it's lacking. I do love the little details there are to see when you look closer at the cover, but as I said, something is missing from the cover. I think it would've been cool, maybe, to have a few zombies on the cover as well.
The world building is fantastic! Gena Showalter makes it feel as if a zombie apocalypse is actually happening or really could happen. It's so easy to get lost in Alice's world and forget that you're actually just reading a story. The author makes the world of zombies come to life, and it does get a bit scary.
The pacing is what really bothered me. I felt as if it was a bit all over the place. At the very beginning, I felt I was losing the will to live as the pacing was so slow. Then it got a bit better, then it'd get slow, then it'd get better again. My interest in this book was all over the place. I never knew what to expect in the next chapter. Was it going to be super slow or fast paced?
The dialogue was believable for the teenagers. They spoke exactly how I'd imagine teens of today to speak. However, Alice has a seven year old sister who spoke like she was at least thirteen years old. Her vocabulary, and the way she spoke were definitely not normal for a seven year old. With that said, I did enjoy the dialogue immensely especially when it came to interactions between Kat and Alice. I even loved the sarcastic interactions between Cole and Alice. There wasn't any swearing in this book which I admired.
I thought the characters were fantastic and very believable. I loved how Alice was willing to do whatever it took to avenge her family and how she wasn't willing to take anything from anybody. Cole is your typical bad boy: moody, snarly, sarcastic, etc. There is something likable about Cole, and as the story progresses, we find out a little bit about why Cole is the way he is. My favourite character had to be Kat though. I loved her witty and sarcastic sense of humour. In fact, I wish I could be like Kat. She definitely had me laughing quite a bit. The only non-believable character was Alice's little sister Emma. As stated in the previous paragraph, she didn't speak like a normal seven year old, nor did she act like an everyday seven year old. Because of that, I had a hard time relating to her as a character.
One thing I really loved about this book was the chapter names. I loved how they were zombie related but still had the Alice in Wonderland feel about them. Unfortunately, this was not enough to warrant a higher rating for this book. Perhaps it's just me though as this book does have quite high reviews, but I just couldn't enjoy it that much. I might carry on with the series in the hopes it gets better, but I'm not dying to read the next book in the series.
I'd recommend this book to those aged 14+ if I really had to recommend it. However, I'd say don't waste your money. Rent it from a library or borrow it if you really want to read it.
Alice in Zombieland (The White Rabbit Chronicles #1) by Gena Showalter gets a 3.25 out of 5 from me.
Kirk Bage (1775 KP) rated Tales from the Loop in TV
Jan 22, 2021
Such is the competition for our attention on the major streaming services, and such is the daunting depth of choice, that sometimes something of real quality can slip through the net for a while. I like to think that eventually, everything gets the audience it deserves, because eventually enough people that appreciated it will find it and pass it on. But it is apparent that good things can go under the radar very easily for one reason or another.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Everything about the production and presentation of Amazon’s Tales From the Loop suggests they thought it might be a bigger hit, or at least they had enough faith in it to let it be different from the mass appeal conventions that apply to sci-fi shows. They have proved this many times in recent years, with shows like The Man In the High Castle and The Expanse favouring patient and mature story-telling over interminable flashbangs and whizzpops usually found in the more action based sci-fi on Netflix and others (The Handmaid’s Tale being another notable exception).
Having raised myself auto-didactically on the oldest traditions of science fiction writing in novel and short story form since my teenage years, I can say with some amateur authority that the point of using sci-fi ideas was always about the people and the parallels to social reality and politics that could be highlighted by putting them in a “what-if” situation. The lazer guns and spaceships and evil aliens were much more a product of Hollywood, and still are. Great science fiction writing can and usually does revolve around a very simple change to the world we know, an inversion or a convention or a technology that turns how we live on its head. At its best it is philosophical and moral poetry.
Tales From the Loop, inspired by the beguiling paintings of Swedish Artist Simon Stålenhag aspires to return to these principles, eschewing breakneck pace and unnecessary exposition at every turn – it is entirely content to confuse and sometimes even bore you with its patient, melancholy approach, testing almost if you are worthy to reach the prize of deeper meaning buried away in the final few episodes.
The idea of Stålenhag’s work is to juxtapose a familiar and mundane landscape with a detail of technology that does not exist in our reality. Often it is something broken, run-down or neglected, leaving a strange sadness and beauty behind that has you wondering who once made this and what was it for, and why is it no longer loved? The untold stories objects and hidden lives, secrets and desires that have been lost, is what this sensitive and delicate show is about. It is about the interconnection of lives caught in time, and the sci-fi / tech conceit is only the hanger that coat is put on. Which… I love.
The surface idea is that we are looking at the inhabitants of a small American town that once relied on farming and community, but now has been changed by the presence of an underground facility that deals with experimental physics and finding ways to make impossible things possible. They call it The Loop. It is never fully explained where it came from, or why, or what it is truly capable of – the mystery is always allowed to remain mostly a mystery – which, again, I love!
Many people in the town work at The Loop and rely on it for their livelihoods and collective economy, including Jonathon Pryce and Rebecca Hall, who are ostensibly the show’s main characters. But most folk have no idea what is really going on. Each episode focuses on one or two members of the community that interweave with one another; several important people begin as background dressing and become more prevalent as the full story of their lives and connections unfolds. But no one character is in every episode… which, you know, I love.
Their lives, that seem simple at first glance, are revealed to be complex tapestries of emotion and personal history, revolving around how The Loop has affected them and the things they love. The progression and unfolding of the detail is so deliberate and usually under-explained that very often you don’t realise the effect the full image will have. And when it does catch up with you it becomes a very moving and meaningful experience. Characters that you don’t understand or even like at first come into sharper focus as we reach the climax of the season and grow to learn why they are the way they are. The story arcs of Pryce and Hall in particular are very satisfying, tragic yet utterly beautiful to comprehend.
A lot of the criticism you will see about the show will concentrate on how slow it all is. I am totally convinced this is a deliberate artistic choice to weed out the thrill junkies. They are very welcome to go elsewhere, and it sounds as if many of them did, basing their reviews on one or two half watched episodes they couldn’t be bothered to engage with or wonder at. Which is why I think in time the respect for this as a work of art will come back around.
There is nothing to fault in the production at all. From the opening credits to the end of each episode, what you get is a very highly polished and considered look and feel, designed to evoke certain feelings over others – a wistfulness, an ennui, a bittersweet smile of knowing, perhaps. It invites you to watch patiently and relate, not to watch eagerly and expect… which, you know, I love.
The photography is crisp and well framed always; the music is subtle but effective; the dialogue is often sparing and well chosen (no detail is merely thrown away); and the direction is of a remarkably uniform vision, considering each episode is a different guest professional, including such prestigious names as Jodie Foster, Mark Romanek and Andrew Stanton.
I absolutely urge anyone that isn’t put off by a little sentiment to give this one a try. Sadness and regret in life is not something to shun and be afraid of, they are parts of human experience, and I love art that explores them as concepts. Put that art in a science fiction context and I am bound to love it even more. Like the final moments of Blade Runner, we know that one day all these moments will be lost in time, like tears in rain. We have to take time to see the beauty while we can, even if that beauty is painful.
It may not be for you – I don’t think it is better or worse than other things, just more… me. There is every chance that if it isn’t you… you will hate it. If you do begin, however, please see it to the finish before casting judgement – the final episode directed by Jodie Foster is truly wonderful: a pay-off of such emotion after your investment of seven previous stories, tying it all together perfectly. Rarely have I felt so stupid for not understanding the point of something sooner, or been more pleased that I hadn’t. The final moment of the season is literally unforgettable, and gets richer in my imagination by the day.
Will there be a second season? There certainly could be. Was it enough of a success to justify the investment? Hmm, not sure. Either way, it either sits as a perfect self contained collection of fine, old-fashioned sci-fi stories, or I’d be happy to see it expand, as long as the temptation isn’t to listen to the negative reviews and pander to the fast-food mentality that has already rejected it without fully understanding it. Because nothing needs to change here. A thing of beauty, recommended to those who like beautiful and delicate things.
Ross (3284 KP) rated A Time of Dread in Books
Jan 16, 2018
Twists were quite obvious from very early on (1 more)
Less action on much smaller scale than previous
A new series following on from the events of The Faithful and the Fallen
*** Disclosure: I received an advance copy of this book from NetGalley in return for an honest review. Typos and formatting issues (of which there were many) have not been reflected in this review ***
The first book in John Gwynne's new series (Of Blood and Bone) comes a little over 100 years after the conclusion of Wrath.
In some senses, and I have seen a number of reviews opining this, this marks the start of a different series, and no prior knowledge of the Banished Lands is needed. I would agree to an extent, though I would imagine a lot of things are taken for granted (the creatures and races of people for one, if not the actual storyline). However, if someone then wants to read the previous series I think a lot of the events of those books has been spoilt, not the overall conclusion but certain little details would be annoying to have spoilt. I would strongly encourage readers to read Malice et all first (though beware of the epic scope and cast of characters from the off).
The story follows three main paths which at times become two. Riv (a trainee warrior) and Bleda (a young ward, stolen from his family at a young age) are living with the "angels" that have broken through to the real world and are training to fight the "demons". Their story serves to chronicle the events of the first series quite neatly, and shows how the angels are not perfect in their role as mankind's guardians. Drem is a trapper living in the wilderness with his father and begins to uncover some unusual signs of dark work afoot. Finally, Sig the giant (a minor character in the first series) also works to eliminate the demons from the world, but does so independently of the angels.
The scope of the story and cast of characters is so much smaller more focused than Gwynne's previous books, which took some getting used to. While I felt the scope of the first series was so epic it was hard work, here it seems like a very different, simpler work. Almost, but not quite, like a step backwards.
As usual, there are twists and turns along the way, not all of which were particularly surprising (sometimes you just know that unless someone's head was cut off, they're going to come back again later!) and I felt they could have been dealt with better.
I felt there was maybe another chunk of the story that could have been added as the final 50 pages rattled along all of a sudden and ended abruptly with more still to tell.
I very much enjoyed the book and am looking forward to the next instalment to see where the story goes from here, though I expect it will be a smaller series than TFAF, looking to tie up loose ends.
The first book in John Gwynne's new series (Of Blood and Bone) comes a little over 100 years after the conclusion of Wrath.
In some senses, and I have seen a number of reviews opining this, this marks the start of a different series, and no prior knowledge of the Banished Lands is needed. I would agree to an extent, though I would imagine a lot of things are taken for granted (the creatures and races of people for one, if not the actual storyline). However, if someone then wants to read the previous series I think a lot of the events of those books has been spoilt, not the overall conclusion but certain little details would be annoying to have spoilt. I would strongly encourage readers to read Malice et all first (though beware of the epic scope and cast of characters from the off).
The story follows three main paths which at times become two. Riv (a trainee warrior) and Bleda (a young ward, stolen from his family at a young age) are living with the "angels" that have broken through to the real world and are training to fight the "demons". Their story serves to chronicle the events of the first series quite neatly, and shows how the angels are not perfect in their role as mankind's guardians. Drem is a trapper living in the wilderness with his father and begins to uncover some unusual signs of dark work afoot. Finally, Sig the giant (a minor character in the first series) also works to eliminate the demons from the world, but does so independently of the angels.
The scope of the story and cast of characters is so much smaller more focused than Gwynne's previous books, which took some getting used to. While I felt the scope of the first series was so epic it was hard work, here it seems like a very different, simpler work. Almost, but not quite, like a step backwards.
As usual, there are twists and turns along the way, not all of which were particularly surprising (sometimes you just know that unless someone's head was cut off, they're going to come back again later!) and I felt they could have been dealt with better.
I felt there was maybe another chunk of the story that could have been added as the final 50 pages rattled along all of a sudden and ended abruptly with more still to tell.
I very much enjoyed the book and am looking forward to the next instalment to see where the story goes from here, though I expect it will be a smaller series than TFAF, looking to tie up loose ends.
Emma @ The Movies (1786 KP) rated Line of Duty (2019) in Movies
Jul 12, 2020
I know a throwaway action film when I see it and they're usually either brilliant films to relax to or a great opportunity to catch up on your social media feeds.
Frank Penny is bumbling through his life as a cop, a loner, disgraced, but he still knows what's right. When an operation to rescue a kidnap victim goes awry he leaps into the pursuit against orders, cornering the suspect it looks like it's a job well done, until he has to draw his gun. With the suspect down there might not be any way to get the girl back safely.
You'd be forgiven for thinking this was a different film from the outset. It starts with heavy inspirational music over Frank working out, is it a sports movie about redemption? A stylised title comes up, is it a romcom? None of the above, it is of course a crime thriller. After the opening that does thankfully become evident.
When we meet characters that would normally be a time for a slightly slower pace, but Line Of Duty seems to keep everything quick from the very beginning and it doesn't slow as we get further in. The constant action sweeps you along with everything and you really don't notice how long you've been watching for.
Aaron Eckhart in the lead role... makes me pause. It works in a John McClane-esque race against time kind of way but the dynamic with Courtney Eaton is strange. The recklessness that he takes by bringing her along with him (if you ignore the madness of doing it in the first place) makes you think it's going to be a flirty kind of relationship, but he's over twice her age and with his backstory you'd expect a protective father figure... but remember there's all that action and peril so that really doesn't work either.
Eaton gives a fairly solid performance as the intrepid reporter, there's not anything mindblowing mixed in the role but it's nice to have the action broken up with the ongoing commentary and slight touch of humour.
As you'd expect with a fast pace those cameras go running a lot, ugh to jiggly camerawork, but thankfully because it's incorporated with the action you don't notice so much. Along with that you get to see some of Ava's phone camera footage, I think the film could have stood to have more of it, it would have been a relevant change in style and added a little more to spice up the expected elements. I was a little surprised to see some random video game shots creep in, those clips work just fine in things like Guns Akimbo, but in the context of Line Of Duty it didn't make a lot of sense when there was a sensible alternative available.
Line Of Duty is the Ronseal of films, you know what to expect and in that regard it doesn't disappoint. It's got lots of your typical action cliches and if you like the race against time type of storyline then I really don't think you'll have any issue watching it.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/07/line-of-duty-movie-review.html
Frank Penny is bumbling through his life as a cop, a loner, disgraced, but he still knows what's right. When an operation to rescue a kidnap victim goes awry he leaps into the pursuit against orders, cornering the suspect it looks like it's a job well done, until he has to draw his gun. With the suspect down there might not be any way to get the girl back safely.
You'd be forgiven for thinking this was a different film from the outset. It starts with heavy inspirational music over Frank working out, is it a sports movie about redemption? A stylised title comes up, is it a romcom? None of the above, it is of course a crime thriller. After the opening that does thankfully become evident.
When we meet characters that would normally be a time for a slightly slower pace, but Line Of Duty seems to keep everything quick from the very beginning and it doesn't slow as we get further in. The constant action sweeps you along with everything and you really don't notice how long you've been watching for.
Aaron Eckhart in the lead role... makes me pause. It works in a John McClane-esque race against time kind of way but the dynamic with Courtney Eaton is strange. The recklessness that he takes by bringing her along with him (if you ignore the madness of doing it in the first place) makes you think it's going to be a flirty kind of relationship, but he's over twice her age and with his backstory you'd expect a protective father figure... but remember there's all that action and peril so that really doesn't work either.
Eaton gives a fairly solid performance as the intrepid reporter, there's not anything mindblowing mixed in the role but it's nice to have the action broken up with the ongoing commentary and slight touch of humour.
As you'd expect with a fast pace those cameras go running a lot, ugh to jiggly camerawork, but thankfully because it's incorporated with the action you don't notice so much. Along with that you get to see some of Ava's phone camera footage, I think the film could have stood to have more of it, it would have been a relevant change in style and added a little more to spice up the expected elements. I was a little surprised to see some random video game shots creep in, those clips work just fine in things like Guns Akimbo, but in the context of Line Of Duty it didn't make a lot of sense when there was a sensible alternative available.
Line Of Duty is the Ronseal of films, you know what to expect and in that regard it doesn't disappoint. It's got lots of your typical action cliches and if you like the race against time type of storyline then I really don't think you'll have any issue watching it.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/07/line-of-duty-movie-review.html
Emma @ The Movies (1786 KP) rated In the Heights (2021) in Movies
Jul 18, 2021
I love me some musical action, so I'm not sure how I never knew this existed. Not to worry though, I was quickly reeducated.
Usnavi is saving up everything he can as he plans a future back in the Dominican Republic. Living at the centre of his neighbourhood, we join his story and the dramas of the community.
In The Heights dives into the stories in the hot spot of the community as a heatwave bears down on them. Families, friendships and business dealings, all come out of the woodwork as they try to cope with the heat... and it does all of that with some and dance thrown on top.
I know that Lin-Manuel Miranda is all the rage these days, but I don't enjoy the talky-singing that's a bit of a trademark. Here though, the jazzy beats and hip-swaying tunes really helped. Had I not been restricted by the fact I was in public and it's generally frowned upon to do it in the cinema, I would have been dancing. With that restriction though, it was dropped to toe-tapping and shimmying in my seat.
There's a lot of talent in the cast, though not all the singing was music to my ears. With so many cast members I'm not going to go into the individual performances because, while a handful of characters are bigger in the story, it's very much an ensemble piece. Together they have great chemistry, and those relationships shine because of it.
Choreography during the numbers is fantastic, and the use of space in and out of those moments worked well with the confined spaces. There's one scene in particular that was very inventive and (even though it gave me a vertigo wobble) it helped to make the song stand out from the others... though there's probably something in every song that I could pick out for the same reason.
Design of... everything... is great in In The Heights. There's not really a point where your eyes aren't darting about looking at the sets or following the performers. If there aren't awards in this film's future then I'd be surprised, it would have to be something epic that beat this.
I didn't have that previous connection with the theatre production, and I think that would definitely have helped matters. In the theatre setting the long runtime never feels like it's actually that long, you have the intermission and scenes are broken up by the nature of it being a live performance. 2 hours and 23 minutes isn't really that long in that context, and these days it's not even particularly long for a film. But as a film, I did feel its length. I'm also one of those people that goes to theatre productions and likes to see what peripheral characters are doing, and that's not something you can easily do in a film. I may listen to the soundtrack at some point, but I don't think I'm in any rush to rewatch In The Height even considering all the things I enjoyed about it.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/in-heights-movie-review.html
Usnavi is saving up everything he can as he plans a future back in the Dominican Republic. Living at the centre of his neighbourhood, we join his story and the dramas of the community.
In The Heights dives into the stories in the hot spot of the community as a heatwave bears down on them. Families, friendships and business dealings, all come out of the woodwork as they try to cope with the heat... and it does all of that with some and dance thrown on top.
I know that Lin-Manuel Miranda is all the rage these days, but I don't enjoy the talky-singing that's a bit of a trademark. Here though, the jazzy beats and hip-swaying tunes really helped. Had I not been restricted by the fact I was in public and it's generally frowned upon to do it in the cinema, I would have been dancing. With that restriction though, it was dropped to toe-tapping and shimmying in my seat.
There's a lot of talent in the cast, though not all the singing was music to my ears. With so many cast members I'm not going to go into the individual performances because, while a handful of characters are bigger in the story, it's very much an ensemble piece. Together they have great chemistry, and those relationships shine because of it.
Choreography during the numbers is fantastic, and the use of space in and out of those moments worked well with the confined spaces. There's one scene in particular that was very inventive and (even though it gave me a vertigo wobble) it helped to make the song stand out from the others... though there's probably something in every song that I could pick out for the same reason.
Design of... everything... is great in In The Heights. There's not really a point where your eyes aren't darting about looking at the sets or following the performers. If there aren't awards in this film's future then I'd be surprised, it would have to be something epic that beat this.
I didn't have that previous connection with the theatre production, and I think that would definitely have helped matters. In the theatre setting the long runtime never feels like it's actually that long, you have the intermission and scenes are broken up by the nature of it being a live performance. 2 hours and 23 minutes isn't really that long in that context, and these days it's not even particularly long for a film. But as a film, I did feel its length. I'm also one of those people that goes to theatre productions and likes to see what peripheral characters are doing, and that's not something you can easily do in a film. I may listen to the soundtrack at some point, but I don't think I'm in any rush to rewatch In The Height even considering all the things I enjoyed about it.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/07/in-heights-movie-review.html
BookInspector (124 KP) rated Hush Little Baby in Books
Sep 24, 2020
More reviews can be found on https://bbookinspector.wordpress.com
This is one of those books which left me confused, whether I liked it or not. I read the name of this book and the blurb, and was ready for some great mystery, maybe some horror; unfortunately, I did not get any of it… What I got, was incredibly strong and interesting characters.
The narrative of this book was told by Sally, Richard and Martha. They are a family; Richard married Sally after having an affair with her, and they took in Martha - Richard’s daughter from first marriage. After night out, Sally is woken up by her husband and whimpering ten month old Oliver, who’s hand has been broken. And that’s where this family’s drama begins. Oliver is taken away by social services and this family has to prove that they didn’t (or did?) break his arm. As the pages are turned, the book unfolds some unexpected discoveries, which changes the events in this book.
I think that the base of this book, which kept me going, was the characters. Their thoughts, which were expressed in this book, are so intriguing and too realistic. I loved the way Sally was telling her story as mistress, and how she seduced Richard. I really enjoyed Richard’s perspective in this book. He is very straight forward man, and I enjoyed reading his amusing thoughts in this book. Martha is a teenage spirit in this novel, sharing her story as a child, who is trying to adjust in her new family, and what difficulties she is facing. Even though, Oliver shows up very rarely in this book, the whole story mainly spins around Oliver and all the motherly/ fatherly love for him. Sally and Richard describe how their lives were going on before Oliver was born, and what happened to their relationship after the birth.
I wasn’t very impressed with narrative of this book, I think it kind of plodded along with few twists, and the main reason I kept reading was, the wish to find out who actually broke Oliver’s arm. Joanna Barnard discussed some serious topics in this novel, such as: what parents have to go through, when they are accused of child abuse; reasons for eating disorders and self harm; relationship problems.
The writing style of this book was very addictive, the pages just turn themselves, and I finished this book quite quickly. I think that was influenced by short chapters, easy language, and very absorbing characters. There is plenty of motherly love in this book, which made me roll my eyes, as I am not very big fan when it gets repeated over and over again. The ending of this book rounded up the story nicely, giving well deserved conclusion to this book. So to conclude, it is a family drama with very strong, diverse and realistic characters, filled with parental love and difficult relationships. If you are into these kinds of things, give this book a try and I hope you will enjoy.
Was given this book by publisher and NetGalley for honest review.
This is one of those books which left me confused, whether I liked it or not. I read the name of this book and the blurb, and was ready for some great mystery, maybe some horror; unfortunately, I did not get any of it… What I got, was incredibly strong and interesting characters.
The narrative of this book was told by Sally, Richard and Martha. They are a family; Richard married Sally after having an affair with her, and they took in Martha - Richard’s daughter from first marriage. After night out, Sally is woken up by her husband and whimpering ten month old Oliver, who’s hand has been broken. And that’s where this family’s drama begins. Oliver is taken away by social services and this family has to prove that they didn’t (or did?) break his arm. As the pages are turned, the book unfolds some unexpected discoveries, which changes the events in this book.
I think that the base of this book, which kept me going, was the characters. Their thoughts, which were expressed in this book, are so intriguing and too realistic. I loved the way Sally was telling her story as mistress, and how she seduced Richard. I really enjoyed Richard’s perspective in this book. He is very straight forward man, and I enjoyed reading his amusing thoughts in this book. Martha is a teenage spirit in this novel, sharing her story as a child, who is trying to adjust in her new family, and what difficulties she is facing. Even though, Oliver shows up very rarely in this book, the whole story mainly spins around Oliver and all the motherly/ fatherly love for him. Sally and Richard describe how their lives were going on before Oliver was born, and what happened to their relationship after the birth.
I wasn’t very impressed with narrative of this book, I think it kind of plodded along with few twists, and the main reason I kept reading was, the wish to find out who actually broke Oliver’s arm. Joanna Barnard discussed some serious topics in this novel, such as: what parents have to go through, when they are accused of child abuse; reasons for eating disorders and self harm; relationship problems.
The writing style of this book was very addictive, the pages just turn themselves, and I finished this book quite quickly. I think that was influenced by short chapters, easy language, and very absorbing characters. There is plenty of motherly love in this book, which made me roll my eyes, as I am not very big fan when it gets repeated over and over again. The ending of this book rounded up the story nicely, giving well deserved conclusion to this book. So to conclude, it is a family drama with very strong, diverse and realistic characters, filled with parental love and difficult relationships. If you are into these kinds of things, give this book a try and I hope you will enjoy.
Was given this book by publisher and NetGalley for honest review.
Outcry: Holocaust Memoirs
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Manny Steinberg (1925-2015) spent his teens in Nazi concentration camps in Germany, miraculously...
Kristy H (1252 KP) rated Broken Horses in Books
Aug 12, 2021
A great memoir for music fans
BROKEN HORSES is Brandi Carlile's story. She grew up poor in Seattle, moving constantly as a child. Her family was musical, giving Brandi a love of music as a young child. She knew was gay since she was a teen--something that wasn't always appreciated in her rural town. She tells her story from childhood, where her love of music began, to coming out, to her marriage and life with her two children, to her musical successes.
"I was a mean, scrappy little trailer girl with the wrong clothes and a very sensitive soul that I was hiding behind a bravado that I had developed performing onstage."
I adore Brandi Carlile and have for a long time. Having such a talented out singer in our community makes us all feel proud. "See her, she's one of us!!" Having followed Brandi's career from the beginning, I know a decent amount about her. Hence my problem with a number of celebrity memoirs I read: if I read a memoir about someone I really love and already know a lot about them, if they write a fairly superficial memoir, I only learn so much.
Don't get me wrong, Carlile has written a good and interesting book. She's a fascinating person, and I enjoyed learning about her rather wild journey. I didn't know much about her childhood, so I found those pieces to be the most intriguing. She was a wild and tough kid, who was so musically talented from the beginning. Imagine being one of the people who heard her perform in a pageant or talent show when she was a young kid or teen!
After going through her coming out story, Carlile talks about her musical career, and it's all really amazing, but sometimes feels fast and glossed over. I always love knowing the history of songs, but would have liked knowing more details about things. We skip over full albums, time periods, and more. And, as many celebrity memoirs do, it often feels a bit preachy and overly me-oriented at times (something she'll laughingly and freely admit to). When we get to her meeting her wife, it's a fun story, but also really quick. Still, it's so nice to see a queer woman's story so normalized, and to have someone talk about gay motherhood so matter of factly.
Overall, I'm so glad Carlile decided to share her thoughts on her life. She's such an amazing individual who has lived such an intense and fascinating life so far. I wish she had gone more in-depth with her stories at times, but this is still a great book and certainly worth your time. At some point, I hope to get the audio version, as she sings versions of the songs she discusses in each chapter.
I read this book as part of my new reading project--choosing books off my shelves based on their Goodreads rankings. This is my second book of the project, forcing me out of my comfort zone and to try books in genres I don't usually read!
"I was a mean, scrappy little trailer girl with the wrong clothes and a very sensitive soul that I was hiding behind a bravado that I had developed performing onstage."
I adore Brandi Carlile and have for a long time. Having such a talented out singer in our community makes us all feel proud. "See her, she's one of us!!" Having followed Brandi's career from the beginning, I know a decent amount about her. Hence my problem with a number of celebrity memoirs I read: if I read a memoir about someone I really love and already know a lot about them, if they write a fairly superficial memoir, I only learn so much.
Don't get me wrong, Carlile has written a good and interesting book. She's a fascinating person, and I enjoyed learning about her rather wild journey. I didn't know much about her childhood, so I found those pieces to be the most intriguing. She was a wild and tough kid, who was so musically talented from the beginning. Imagine being one of the people who heard her perform in a pageant or talent show when she was a young kid or teen!
After going through her coming out story, Carlile talks about her musical career, and it's all really amazing, but sometimes feels fast and glossed over. I always love knowing the history of songs, but would have liked knowing more details about things. We skip over full albums, time periods, and more. And, as many celebrity memoirs do, it often feels a bit preachy and overly me-oriented at times (something she'll laughingly and freely admit to). When we get to her meeting her wife, it's a fun story, but also really quick. Still, it's so nice to see a queer woman's story so normalized, and to have someone talk about gay motherhood so matter of factly.
Overall, I'm so glad Carlile decided to share her thoughts on her life. She's such an amazing individual who has lived such an intense and fascinating life so far. I wish she had gone more in-depth with her stories at times, but this is still a great book and certainly worth your time. At some point, I hope to get the audio version, as she sings versions of the songs she discusses in each chapter.
I read this book as part of my new reading project--choosing books off my shelves based on their Goodreads rankings. This is my second book of the project, forcing me out of my comfort zone and to try books in genres I don't usually read!
Bob Mann (459 KP) rated Beautiful Boy (2018) in Movies
Sep 28, 2021
Trying to climb a slippery pole.
As John Lennon’s lyrics go:
“‘Cause it’s a long way to go,
A hard row to hoe
Yes, it’s a long way to go“
And so it proves for young Nic Sheff (Timothée Chalamet). For – based on a true story – Nic has progressively worked through the encyclopaedia of drugs until he has arrived at “C for Crystal Meth” where he is working through a recurring nightmare of addiction and attempted rehab.
What’s harder… being the victim of drugs or being the caring onlookers desperately hoping that this attempt to climb the slippery pole to recovery will be a successful one? This is reflected as a key aspect of the film, and as a parent it makes for a very hard watch. The ‘caring onlookers’ in this case are Nic’s father David (Steve Carell), his girlfriend Karen Barbour (Maura Tierney), the couple’s natural children Jasper (Christian Convery) and Daisy (Oakley Bull), and David’s ex-wife and Nic’s mother Vicki (Amy Ryan).
Flashbacks
This is only the 2nd English-language film from director Felix van Groeningen (after 2012’s ” The Broken Circle Breakdown”) and the film has its fair share of impressive directorial flourishes such that Felix might need to get added to that elusive list of “famous Belgians”! Not least among them is the use of flashbacks. The film starts with a 12 month flashback, but then throughout the story David flashes back to scenes of his boy’s childhood. Many of these reflect the regret in perhaps failing to identify ways he could have done things differently to avoid the current crisis.
While many of these flashbacks are sudden and unexpected, I didn’t find them confusing to follow although I can see how they might annoy some viewers who prefer a more ‘linear’ storytelling approach.
The turns
Above all, it is the acting performances that make this film, and the four key cast members all turn in memorable turns. It’s excruciating watching Carell’s parental anguish and then (like a blast of light) his realization of a truth he’d been avoiding for a long time. It’s Chalamet though who truly shines, delivering fully on the realization of the tortured and self-torturing Nic. Already nominated for a Golden Globe, I would have thought another Oscar nomination is assured for this.
ER’s Maura Tierney also excels in a quieter supporting role: something that generally seems to be her niche at the movies.
Part of the curriculum
This is most definitely a “Father Ted” film…. it’s a gruelling movie from beginning to end and as such it feels a lot longer than it’s 2 hour running time suggests. But it is well worth the effort. A drama that really delivers on its message: “just say no”.
It rather frustrates me that the film is a UK 15 certificate. Not that I’m criticising the BBFC here, since with graphic drug taking, a lot of choice language and one (not overly graphic) sex scene, the rating is appropriate. However this would seem to me to be required viewing by every 13 year old, since if Chalomet’s performance can’t drill the message home to not climb onto that pole in the first place, then noone can.
“‘Cause it’s a long way to go,
A hard row to hoe
Yes, it’s a long way to go“
And so it proves for young Nic Sheff (Timothée Chalamet). For – based on a true story – Nic has progressively worked through the encyclopaedia of drugs until he has arrived at “C for Crystal Meth” where he is working through a recurring nightmare of addiction and attempted rehab.
What’s harder… being the victim of drugs or being the caring onlookers desperately hoping that this attempt to climb the slippery pole to recovery will be a successful one? This is reflected as a key aspect of the film, and as a parent it makes for a very hard watch. The ‘caring onlookers’ in this case are Nic’s father David (Steve Carell), his girlfriend Karen Barbour (Maura Tierney), the couple’s natural children Jasper (Christian Convery) and Daisy (Oakley Bull), and David’s ex-wife and Nic’s mother Vicki (Amy Ryan).
Flashbacks
This is only the 2nd English-language film from director Felix van Groeningen (after 2012’s ” The Broken Circle Breakdown”) and the film has its fair share of impressive directorial flourishes such that Felix might need to get added to that elusive list of “famous Belgians”! Not least among them is the use of flashbacks. The film starts with a 12 month flashback, but then throughout the story David flashes back to scenes of his boy’s childhood. Many of these reflect the regret in perhaps failing to identify ways he could have done things differently to avoid the current crisis.
While many of these flashbacks are sudden and unexpected, I didn’t find them confusing to follow although I can see how they might annoy some viewers who prefer a more ‘linear’ storytelling approach.
The turns
Above all, it is the acting performances that make this film, and the four key cast members all turn in memorable turns. It’s excruciating watching Carell’s parental anguish and then (like a blast of light) his realization of a truth he’d been avoiding for a long time. It’s Chalamet though who truly shines, delivering fully on the realization of the tortured and self-torturing Nic. Already nominated for a Golden Globe, I would have thought another Oscar nomination is assured for this.
ER’s Maura Tierney also excels in a quieter supporting role: something that generally seems to be her niche at the movies.
Part of the curriculum
This is most definitely a “Father Ted” film…. it’s a gruelling movie from beginning to end and as such it feels a lot longer than it’s 2 hour running time suggests. But it is well worth the effort. A drama that really delivers on its message: “just say no”.
It rather frustrates me that the film is a UK 15 certificate. Not that I’m criticising the BBFC here, since with graphic drug taking, a lot of choice language and one (not overly graphic) sex scene, the rating is appropriate. However this would seem to me to be required viewing by every 13 year old, since if Chalomet’s performance can’t drill the message home to not climb onto that pole in the first place, then noone can.