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Bob Mann (459 KP) rated The Mitchells vs The Machines (2021) in Movies
May 16, 2021
Brilliantly original animation (1 more)
Fantastic laugh-out-loud gags throughout, many with a movie nerd bias
Dog-Pig-Dog-Pig-Loaf of Bread… KERBOOM!
Katie Mitchell (voiced by Abbi Jacobson) dreams of being a great film director (joining her icons on her version of Mount Rushmore!). She's about to travel to a west-coast film college when her dad Rick (Danny Mcbride) decides to cancel her air ticket and try to re-engage with her through one last epic road trip. Together with wife Linda (Maya Rudolph), dinosaur-mad son Aaron (director Michael Rianda) and cross-eyed pug Monchi (Doug the Pug!) they set off on their journey.
But the world is set to change forever, as sentient operating system PAL (Olivia Colman) and her army of robots take over the world and prepare to launch human-kind into deep dark space. The Mitchell's, as the world's unlikeliest Avengers, appear to be the only ones available to prevent the evil plan!
Positives:
- In my review of the lamentable "Thunder Force", I commented that it failed my "six laughs test" for a comedy. I only laughed 3 times in the whole film. In contrast, this movie hammered home guffaw-generating lines and scenes about six times a minute! It's hilarious. It's one of those films (like the best Pixar ones) with so much hidden detail buried in every shot. You could watch it a dozen times and still find new hidden gags.
- This is a movie that is the perfect family film. A film that kids will love for the knockabout comedy and a film that adults will also fall in love with. This comes from three different angles:
-- Excellent character development of the whole family. Katie feels like a fully rounded stroppy teen: she seems to be struggling with her identity (lesbian? - "It took me a while to figure myself out"); and she is struggling towards her personal goals despite the well-intentioned but destructive doubts that her rough-and-ready father keeps sowing. This feels like a journey that the family is on towards enlightenment, before it's too late.
-- This is also a film with considerable emotional heft. It channels at times some of the best elements of the Toy Story films (most notably "Toy Story 3" with Andy's departure for college). (Any parents who have never experienced that joyous yet dreadful day when you drive your chicks to university or college for the first time: brace yourselves!)
-- It's a dream for film fans. Like "Ready Player One", it's populated with lots of fun movie easter-eggs scattered throughout. Katie's 'Mount Rushmore' by the way has Greta Gerwig, Céline Sciamma (from "Portrait of a Lady on Fire"), Lynne Ramsey and Hal Ashby as her directorial inspirations.
- And finally, it's a film for adults appreciative of some truly great satirical one-liners, including some razor-sharp zingers at 'big tech'. For example:
"It's almost like stealing people's data and giving it to a hyper-intelligent AI as part of an unregulated tech monopoly was a bad thing"
Negatives:
- My only minor criticism - and its a debatable one - might be the running time of 113 minutes. It might be a little too long for younger kids' attention spans. A 90 minute, more condensed, movie might have ticked the 'perfection' box.
Summary Thoughts: I don't normally "go" for animated films much. But this one is a different breed. An instant classic. It knocks you round the chops and forces your respect by being like no animated feature you've seen before. Witty, irreverent, gloriously entertaining it's a no-brainer that this gets 5-stars from me.
I said in my review of "Nomadland" that although that wasn't a 5* film for me, I could see why its brave and different slant at film-making earned it the Best Film Oscar. Well, almost regardless of what epically beautiful production Pixar might bring out before the end of the year, if the Academy doesn't vote this Best Animated Feature at next year's Oscars, then some sort of crime might have been committed.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/16/the-mitchells-vs-the-machines-dog-pig-dog-pig-loaf-of-bread-kerboom/. Thanks.)
But the world is set to change forever, as sentient operating system PAL (Olivia Colman) and her army of robots take over the world and prepare to launch human-kind into deep dark space. The Mitchell's, as the world's unlikeliest Avengers, appear to be the only ones available to prevent the evil plan!
Positives:
- In my review of the lamentable "Thunder Force", I commented that it failed my "six laughs test" for a comedy. I only laughed 3 times in the whole film. In contrast, this movie hammered home guffaw-generating lines and scenes about six times a minute! It's hilarious. It's one of those films (like the best Pixar ones) with so much hidden detail buried in every shot. You could watch it a dozen times and still find new hidden gags.
- This is a movie that is the perfect family film. A film that kids will love for the knockabout comedy and a film that adults will also fall in love with. This comes from three different angles:
-- Excellent character development of the whole family. Katie feels like a fully rounded stroppy teen: she seems to be struggling with her identity (lesbian? - "It took me a while to figure myself out"); and she is struggling towards her personal goals despite the well-intentioned but destructive doubts that her rough-and-ready father keeps sowing. This feels like a journey that the family is on towards enlightenment, before it's too late.
-- This is also a film with considerable emotional heft. It channels at times some of the best elements of the Toy Story films (most notably "Toy Story 3" with Andy's departure for college). (Any parents who have never experienced that joyous yet dreadful day when you drive your chicks to university or college for the first time: brace yourselves!)
-- It's a dream for film fans. Like "Ready Player One", it's populated with lots of fun movie easter-eggs scattered throughout. Katie's 'Mount Rushmore' by the way has Greta Gerwig, Céline Sciamma (from "Portrait of a Lady on Fire"), Lynne Ramsey and Hal Ashby as her directorial inspirations.
- And finally, it's a film for adults appreciative of some truly great satirical one-liners, including some razor-sharp zingers at 'big tech'. For example:
"It's almost like stealing people's data and giving it to a hyper-intelligent AI as part of an unregulated tech monopoly was a bad thing"
Negatives:
- My only minor criticism - and its a debatable one - might be the running time of 113 minutes. It might be a little too long for younger kids' attention spans. A 90 minute, more condensed, movie might have ticked the 'perfection' box.
Summary Thoughts: I don't normally "go" for animated films much. But this one is a different breed. An instant classic. It knocks you round the chops and forces your respect by being like no animated feature you've seen before. Witty, irreverent, gloriously entertaining it's a no-brainer that this gets 5-stars from me.
I said in my review of "Nomadland" that although that wasn't a 5* film for me, I could see why its brave and different slant at film-making earned it the Best Film Oscar. Well, almost regardless of what epically beautiful production Pixar might bring out before the end of the year, if the Academy doesn't vote this Best Animated Feature at next year's Oscars, then some sort of crime might have been committed.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/05/16/the-mitchells-vs-the-machines-dog-pig-dog-pig-loaf-of-bread-kerboom/. Thanks.)
Johnny Marr recommended track Coconut Grove by The Lovin Spoonful in Very Best of the Lovin' Spoonful by The Lovin Spoonful in Music (curated)
Bob Mann (459 KP) rated Frankie (2019) in Movies
May 24, 2021
A film about death that dies on its feet.
In "Frankie", the eponymous French movie star (played by Isabelle Huppert) is dying of cancer and gathers her complex family and friends around her for one last 'family holiday' in the picturesque Portuguese town of Sintra. We follow the events of a single day of the vacation as frictions and back-stories of the players become more evident.
Positives:
- Sintra looks gorgeous: as a regular visitor to Portugal's Silver Coast, it's a place I've not yet visited. The cinematography of the region makes me want to change that.
- There are a couple of decent scenes in the movie: both involving the trustworthy Greg Kinnear: one involving him trying to sell a film idea to Frankie (who knows, but won't tell him, that she won't be around for it); and another with Kinnear and Tomei at their hotel.
Negatives:
- Where do I start.... the film is as dull as dishwater!
-- A criticism I had of the otherwise impressive "Nomadland" was that the story arc of the leading character was shallow and not very compelling. The story arc here is a bloody straight line! Virtually nothing happens in the movie and it goes nowhere. Events occur as isolated snippets in the storyline. For example, the 'loss' of an expensive bracelet is randomly lobbed into the story, but then is never referenced back in any future narrative.
-- When the ending happened (which the illustrious Mrs Movie Man referred to as a "blessing") it was a non-event. The lady behind us in the cinema exclaimed "WHAT????". And I could understand her frustration.
- The direction is distinctly lacking. Aside from the couple of decent scenes (see above), most of the shots feel like first takes, with the actors doing read-throughs of the clunky script to try to work out how to best sell the lines. "OK, time to film it for real now". But director Sachs has already shouted "Cut and Print.... now who's for some more vinos and Pastel de Nata?"! Were they aiming for some sort of naturalistic fumbling of the character's conversations? For that's how it comes across, and it's just awful.
- The script feels like a wasted opportunity. The set-up should have been a good one for an intense drama. And there are flashes (merely flashes) of potential brilliance in there: a formative step-brother/step-sister incident is based around the film "Grease", which is mirrored (either cleverly or purely through coincidence!?) in the beach-side romance of Maya (Sennia Nanua) and Portuguese holiday-maker Pedro (Manuel Sá Nogueira). And does the homosexual Michel (Pascal Greggory) have his sights on Jimmy (Brendan Gleeson)? Or Tiago? Or both? None of these potentially interesting strands ever get tied down.
- Aside from the poor script and the poor direction, some of the acting performances are unconvincing. "The Girl with all the Gifts" was a fabulous film - it made my number 2 slot of 2016! And I called out young Sennia Nanua as "one to watch for the future" as the zombie girl at the heart of the film. Here she was 17 at the time of filming. But I'm afraid I just didn't find her convincing as the moody teen. (By the way, I only single her out, since I was so impressed with her previous performance: with the exception perhaps of Kinnear, Tomei and Carloto Cotta. none of the rest of the cast consistently shine either.)
Summary Thoughts: It's a real shame that my first visit back to the cinema was such a let-down. Ira Sachs is not a director I know, but he comes with a strong reputation (for 2016's "Little Men"). But here he delivers a plain stinker. I'm afraid this movie has a word associated with it, and the word is "Avoid".
(For the full graphical review, please check out "One Mann's Movies" here - https://bob-the-movie-man.com/2021/05/24/frankie-a-film-about-death-that-dies-on-its-feet/. Thanks.)
Positives:
- Sintra looks gorgeous: as a regular visitor to Portugal's Silver Coast, it's a place I've not yet visited. The cinematography of the region makes me want to change that.
- There are a couple of decent scenes in the movie: both involving the trustworthy Greg Kinnear: one involving him trying to sell a film idea to Frankie (who knows, but won't tell him, that she won't be around for it); and another with Kinnear and Tomei at their hotel.
Negatives:
- Where do I start.... the film is as dull as dishwater!
-- A criticism I had of the otherwise impressive "Nomadland" was that the story arc of the leading character was shallow and not very compelling. The story arc here is a bloody straight line! Virtually nothing happens in the movie and it goes nowhere. Events occur as isolated snippets in the storyline. For example, the 'loss' of an expensive bracelet is randomly lobbed into the story, but then is never referenced back in any future narrative.
-- When the ending happened (which the illustrious Mrs Movie Man referred to as a "blessing") it was a non-event. The lady behind us in the cinema exclaimed "WHAT????". And I could understand her frustration.
- The direction is distinctly lacking. Aside from the couple of decent scenes (see above), most of the shots feel like first takes, with the actors doing read-throughs of the clunky script to try to work out how to best sell the lines. "OK, time to film it for real now". But director Sachs has already shouted "Cut and Print.... now who's for some more vinos and Pastel de Nata?"! Were they aiming for some sort of naturalistic fumbling of the character's conversations? For that's how it comes across, and it's just awful.
- The script feels like a wasted opportunity. The set-up should have been a good one for an intense drama. And there are flashes (merely flashes) of potential brilliance in there: a formative step-brother/step-sister incident is based around the film "Grease", which is mirrored (either cleverly or purely through coincidence!?) in the beach-side romance of Maya (Sennia Nanua) and Portuguese holiday-maker Pedro (Manuel Sá Nogueira). And does the homosexual Michel (Pascal Greggory) have his sights on Jimmy (Brendan Gleeson)? Or Tiago? Or both? None of these potentially interesting strands ever get tied down.
- Aside from the poor script and the poor direction, some of the acting performances are unconvincing. "The Girl with all the Gifts" was a fabulous film - it made my number 2 slot of 2016! And I called out young Sennia Nanua as "one to watch for the future" as the zombie girl at the heart of the film. Here she was 17 at the time of filming. But I'm afraid I just didn't find her convincing as the moody teen. (By the way, I only single her out, since I was so impressed with her previous performance: with the exception perhaps of Kinnear, Tomei and Carloto Cotta. none of the rest of the cast consistently shine either.)
Summary Thoughts: It's a real shame that my first visit back to the cinema was such a let-down. Ira Sachs is not a director I know, but he comes with a strong reputation (for 2016's "Little Men"). But here he delivers a plain stinker. I'm afraid this movie has a word associated with it, and the word is "Avoid".
(For the full graphical review, please check out "One Mann's Movies" here - https://bob-the-movie-man.com/2021/05/24/frankie-a-film-about-death-that-dies-on-its-feet/. Thanks.)
Eilidh G Clark (177 KP) rated The Sunlight Pilgrims in Books
May 13, 2017
Smashing novel
‘What are you meant to do when a humongous cloud is coming toward you on a sheer mountain drop? He lifts his phone and there are no bars, he can’t even google it. Two eagles spiral out of the cloud, calling to each other, and one has something small gripped in it’s claws. They coast on the wind – each wingspan must be about three feet – and they appear almost still.’
Jenni Fagan’s The Sunlight Pilgrims was published by Windmill Books in 2015 and for me, was a much-anticipated novel. After reading her debut novel, The Panopticon, my expectations were high and I was not disappointed. This is a pre-apocalyptic novel set in a fictional Scottish town of Clachan Fells in the not too distant future of 2020. The novel explores the lives of a community of eccentric individuals living in close the proximity of a caravan park. As the temperatures plunge into extreme minuses, the residents are faced with a bleak and uncertain future, not only of their own survival, but also the survival of the human race.
The most interesting thing about this novel is that on the surface, nothing really happens, yet it would be wise to look deeper. Amongst the daily challenges of individual lives, there lurks a thought provoking tale of identity, community, and environment.
The novel is written from the perspective of two of its main characters Stella – a transgender teenager and Dylan a Londoner who recently moves to Clachan Fells. The most interesting thing about these two characters is the perspectives that each individual has about place. For Stella, her world is a difficult place full of prejudice and rejection, even from her own father. Whilst her own personal identity is unquestionable, the community rejects her choices. This point of view provokes the reader to question the nature of identity, a topic often argued when discussing Scotland. From Stella’s point of view, her own identity is progressive, changing, developing while the society around her static. Alistair’s point of view however, allows the reader a modern and open approach. Described in the prologue as the Incomer (notice the capitalization) directs the reader towards Margaret Elphinstone’s novel The Incomer published in 1987. Elphinstone’s novel is a post-apocalyptic tale and, like Fagan’s, novel examines the question of identity. Thomas Christie suggests in Notional Identities, that Elphinstone is ‘depicting the country’s ability to adapt to extreme change¬ ̶ carving a form of localism from the bones of globalisation ̶ she recognises its progressive aptitude to embrace forces of social transformation while retaining recognisable core cultural imperatives.’ It is no coincidence that Fagan has subtly steered the reader to this novel; identity is clearly a topic that the author is keen to explore. Dylan is a progressive character in Fagan’s novel. Discovering Stella identity very early in the novel, the character never questions her choices or that of Mother who has two partners. Likewise, this progressive thinking expands to the other residents of the caravan park, which houses a prostitute, an alien worshipper, and a disabled man with a crooked back who worships the sky. Not only does Dylan accept people for who they are; his deep connection to the environment makes him instinctive as opposed to the more rational thinkers of the world.
Unlike many modern writers, Fagan raises more questions about society and identity than she answers. This is an interesting technique as it leaves the reader to question the novel as opposed to question to authors own political and societal views. That said there is no doubt that this is a Scottish novel. The story is steeped in Scottish mythical symbolism such as the blackbird that lands on a fence post with his eyes reflecting a vast mountain range, to the eagles and stag’s on the mountains. In addition, the characters take on mythical persona’s including a giant, a girl with second sight, and a moon polisher. With oral tales of Sunlight Pilgrims highlighting the Scottish oral storytelling tradition, and a poetic sentence structure done in true Fagan style this novel feels truly Scottish.
I would highly recommend this postmodern novel, which urges the reader to look beyond society and address the problems of ego and the rational mind in order to create a progressive unified world where outsiders are welcomed as incomers – a prevalent issue in today’s society.
Jenni Fagan’s The Sunlight Pilgrims was published by Windmill Books in 2015 and for me, was a much-anticipated novel. After reading her debut novel, The Panopticon, my expectations were high and I was not disappointed. This is a pre-apocalyptic novel set in a fictional Scottish town of Clachan Fells in the not too distant future of 2020. The novel explores the lives of a community of eccentric individuals living in close the proximity of a caravan park. As the temperatures plunge into extreme minuses, the residents are faced with a bleak and uncertain future, not only of their own survival, but also the survival of the human race.
The most interesting thing about this novel is that on the surface, nothing really happens, yet it would be wise to look deeper. Amongst the daily challenges of individual lives, there lurks a thought provoking tale of identity, community, and environment.
The novel is written from the perspective of two of its main characters Stella – a transgender teenager and Dylan a Londoner who recently moves to Clachan Fells. The most interesting thing about these two characters is the perspectives that each individual has about place. For Stella, her world is a difficult place full of prejudice and rejection, even from her own father. Whilst her own personal identity is unquestionable, the community rejects her choices. This point of view provokes the reader to question the nature of identity, a topic often argued when discussing Scotland. From Stella’s point of view, her own identity is progressive, changing, developing while the society around her static. Alistair’s point of view however, allows the reader a modern and open approach. Described in the prologue as the Incomer (notice the capitalization) directs the reader towards Margaret Elphinstone’s novel The Incomer published in 1987. Elphinstone’s novel is a post-apocalyptic tale and, like Fagan’s, novel examines the question of identity. Thomas Christie suggests in Notional Identities, that Elphinstone is ‘depicting the country’s ability to adapt to extreme change¬ ̶ carving a form of localism from the bones of globalisation ̶ she recognises its progressive aptitude to embrace forces of social transformation while retaining recognisable core cultural imperatives.’ It is no coincidence that Fagan has subtly steered the reader to this novel; identity is clearly a topic that the author is keen to explore. Dylan is a progressive character in Fagan’s novel. Discovering Stella identity very early in the novel, the character never questions her choices or that of Mother who has two partners. Likewise, this progressive thinking expands to the other residents of the caravan park, which houses a prostitute, an alien worshipper, and a disabled man with a crooked back who worships the sky. Not only does Dylan accept people for who they are; his deep connection to the environment makes him instinctive as opposed to the more rational thinkers of the world.
Unlike many modern writers, Fagan raises more questions about society and identity than she answers. This is an interesting technique as it leaves the reader to question the novel as opposed to question to authors own political and societal views. That said there is no doubt that this is a Scottish novel. The story is steeped in Scottish mythical symbolism such as the blackbird that lands on a fence post with his eyes reflecting a vast mountain range, to the eagles and stag’s on the mountains. In addition, the characters take on mythical persona’s including a giant, a girl with second sight, and a moon polisher. With oral tales of Sunlight Pilgrims highlighting the Scottish oral storytelling tradition, and a poetic sentence structure done in true Fagan style this novel feels truly Scottish.
I would highly recommend this postmodern novel, which urges the reader to look beyond society and address the problems of ego and the rational mind in order to create a progressive unified world where outsiders are welcomed as incomers – a prevalent issue in today’s society.
Ross (3282 KP) rated Perfect Death in Books
Sep 28, 2018
Contains spoilers, click to show
I have debated with myself over a rating for this, the third in the "DI Luc Callanach" series of Edinburgh police procedurals. While the overall story is definitely a 4 star, verging on 5, certain aspects of the dialogue in this one were a little jarring at times, and the plot hinged on a couple of very out of character decisions on the part of the murderer.
As with the previous two books, we join the story at the start of two independent investigations, which inevitably expand and take up the whole team's efforts (it's almost as if there was no crime in the city before these came along as no other cases seem to be mentioned or worked on!). We have the apparent death by misadventure of a young girl on the hills around Arthur's Seat, and the apparent suicide of former DCI Begbie.
Both cases are interesting and very different, the former being a more typical murder investigation, the latter being more focused on police corruption and the Glasgow gangland (I do enjoy the fact that any nasty gangsters in these Edinburgh-based stories have to be based in Glasgow, almost like they are sponsored by the Edinburgh tourist board, or someone with an anti-East Coast agenda).
While the murder investigation is decent, a number of clangers really spoiled it for me. We have a young man who appears to be poisoning people after having ingratiated themselves into their lives and the lives of their loved ones under different false names. However, as is so often the case in these stories, the killer is made too clever to be caught (at least too clever to be caught in under 300 pages!), and so the slightest mistake or piece of luck is what the investigation hinges on. Here it transpires that, while the killer has used false names in every interaction, in one of them he seems to have for some reason used the name of someone who leads the police directly to his backstory and hence uncovering his real identity. This piece of Batman vs Superman ("Your Mom was called Martha?!") level plot pivot was just so jarring and so out of character for this supposedly clever murderer. And yet without it there was pretty much no way of the murderer being found. For a secret poisoner to then start waving a gun around was also a bit hard to accept.
And also, all characters seem to be very well spoken. We have a young man who grew up in care homes from the age of 5, a Glasgow gangster and his henchmen and numerous bad sorts along the way and all are very well spoken, to the point that none of them have a voice and are just ... there. And, of course everyone refers to the police in the same way as the police refer to themselves - I cannot imagine anyone referring to a policeman as "DI something" or ""your DCI said this". It just totally jars and again comes across as the author simply inserting their voice into the mouths of characters that they could not be bothered to properly consider.
This brings me on to the dialogue gripe. I have always struggled to accept the formality in the way fictional detectives speak to members of the public. I get that interviews etc have to be carried out in a certain way, but at one point DCI Turner is speaking to a 17 year old boy about the death of his mother and she says "I cannot leave someone who might be a danger to themselves without establishing first-hand contact". This just struck me as the author inserting a piece of research into dialogue rather than considering how that point would be addressed in a human conversation. Similarly, at one point a DC refers to one of the victims as "she" and Callanach snapped at her "We use victims' names not pronouns", which just struck me as an odd thing to say, and at several times throughout the book he himself refers to victims with pronouns.
And finally, while there was never a great deal of swearing in the first two books, it was believable swearing. Here we have the occasional use of "frigging" instead of the other "f" word, which I cannot think I have ever heard a Scottish person say, unless singing along to the Sex Pistols sea shanty.
Overall, I give this book 4 stars for the plot, 3 stars for the writing, then averaged out and rounded down for the annoying little things.
A definite step down from the second book, and a more slapdash feel to it.
As with the previous two books, we join the story at the start of two independent investigations, which inevitably expand and take up the whole team's efforts (it's almost as if there was no crime in the city before these came along as no other cases seem to be mentioned or worked on!). We have the apparent death by misadventure of a young girl on the hills around Arthur's Seat, and the apparent suicide of former DCI Begbie.
Both cases are interesting and very different, the former being a more typical murder investigation, the latter being more focused on police corruption and the Glasgow gangland (I do enjoy the fact that any nasty gangsters in these Edinburgh-based stories have to be based in Glasgow, almost like they are sponsored by the Edinburgh tourist board, or someone with an anti-East Coast agenda).
While the murder investigation is decent, a number of clangers really spoiled it for me. We have a young man who appears to be poisoning people after having ingratiated themselves into their lives and the lives of their loved ones under different false names. However, as is so often the case in these stories, the killer is made too clever to be caught (at least too clever to be caught in under 300 pages!), and so the slightest mistake or piece of luck is what the investigation hinges on. Here it transpires that, while the killer has used false names in every interaction, in one of them he seems to have for some reason used the name of someone who leads the police directly to his backstory and hence uncovering his real identity. This piece of Batman vs Superman ("Your Mom was called Martha?!") level plot pivot was just so jarring and so out of character for this supposedly clever murderer. And yet without it there was pretty much no way of the murderer being found. For a secret poisoner to then start waving a gun around was also a bit hard to accept.
And also, all characters seem to be very well spoken. We have a young man who grew up in care homes from the age of 5, a Glasgow gangster and his henchmen and numerous bad sorts along the way and all are very well spoken, to the point that none of them have a voice and are just ... there. And, of course everyone refers to the police in the same way as the police refer to themselves - I cannot imagine anyone referring to a policeman as "DI something" or ""your DCI said this". It just totally jars and again comes across as the author simply inserting their voice into the mouths of characters that they could not be bothered to properly consider.
This brings me on to the dialogue gripe. I have always struggled to accept the formality in the way fictional detectives speak to members of the public. I get that interviews etc have to be carried out in a certain way, but at one point DCI Turner is speaking to a 17 year old boy about the death of his mother and she says "I cannot leave someone who might be a danger to themselves without establishing first-hand contact". This just struck me as the author inserting a piece of research into dialogue rather than considering how that point would be addressed in a human conversation. Similarly, at one point a DC refers to one of the victims as "she" and Callanach snapped at her "We use victims' names not pronouns", which just struck me as an odd thing to say, and at several times throughout the book he himself refers to victims with pronouns.
And finally, while there was never a great deal of swearing in the first two books, it was believable swearing. Here we have the occasional use of "frigging" instead of the other "f" word, which I cannot think I have ever heard a Scottish person say, unless singing along to the Sex Pistols sea shanty.
Overall, I give this book 4 stars for the plot, 3 stars for the writing, then averaged out and rounded down for the annoying little things.
A definite step down from the second book, and a more slapdash feel to it.
Sophia (Bookwyrming Thoughts) (530 KP) rated Six of Crows in Books
Jan 23, 2020
I know. I KNOW. I SLACK A LOT LATELY. 😳
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I’ve finally read <em>Six of Crows,</em> the book that everyone keeps talking about and won’t stop talking about (now everyone keeps talking about <i>Crooked Kingdom</i>, among other books), and <i>hellooo </i>this is better than the <i>Grisha </i>trilogy. I didn’t even like Alina or Mal from the first series - if anything, I liked the Darkling (bless his dark heart) and Stormhound (I keep wondering if he’ll appear and he doesn’t seem to have despite the fact there might be mentions of him 🤔).
Yet with <i>Six of Crows</i>… I like maybe 85% of the main characters. I say maybe because my math might actually be off and I’m too lazy to actually pull out a calculator and punch in some numbers to get what might be 0.84999. And it’s 85% because I might hate them later. That’s more than who I liked from the <i>Grisha </i>trilogy. 😱
<i>Six of Crows</i> technically has six main characters: Kaz, Inej, Nina, Matthias, Jesper, and Wylan (the odd little bean with no spotlight and therefore no prowling in his mind). All of whom are outcasts sent on a suicidal mission to rescue the creator of a drug that increases a Grisha’s power exponentially yet kills them in the end.
Five of which all have POVs switching around every chapter. I’m not a <i>huge </i>fan of multiple POVs because it can easily get confusing, but Bardugo wrote all five in a way that I’m not confused and running around like a little hamster who lost hold of how to stop its wheel.
The group of six are <i>fantastic </i>as a group - despite their differences, they get along pretty well and have a great dynamic together. They’re even better as pairs: Kaz and Inej, Nina and Matthias, Jesper and Wylan. I am all for witty and snark and just great dialogue. 😍
<blockquote class="tr_bq">Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.”
Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.”
“My ghost won’t associate with your ghost,” Matthias said primly.</blockquote>
In case anyone wonders…. I ship Kaz and Inej. They are, simply out, badass and go well together perfectly (apparently my ship doesn’t sail in the sequel, which I’m extremely disappointed about). Kaz is a brilliant leader leading the Dregs with all kinds of tricks and plans up his cane and never backs down from a mission no matter how impossible it may be. Inej is a highly skilled assassin who has a knack for sneaking up on people without them ever knowing. Have I mentioned under their tough exteriors, they’re occasionally softies and it’s cute?
Onto ze world… <i>Six of Crows</i> brings us back to the world of Grisha, onto a small little island off the coast of Ravka and Shu Han, and into a little area called Ketterdam where criminals and misfits of society lurk together. I really loved the drastic change from palaces to a complete polar opposite where one has to constantly watch their back. Throughout the duration of the book, I really liked Bardugo’s descriptions of each place the six travel on their way, especially with how Fjerda has this ice court with a palace virtually impossible to break into with all the top notch security that they have.
<i>Six of Crows</i> can be read regardless of whether or not the <i>Grisha </i>trilogy has been read - there’s excellent character dynamics, great dialogue that might cause a laugh or two, and a cast that come from all kinds of backgrounds.
<a href="https://bookwyrmingthoughts.com/six-of-crows-by-leigh-bardugo-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<div class="separator" style="clear: both; text-align: center;"><a style="margin-left: 1em; margin-right: 1em;" href="https://1.bp.blogspot.com/-hcqoJiAtqoU/WP49XaJ2bwI/AAAAAAAAHOA/OnF5g0zvczILdnf3D8tiOTTTG2Uhr1_7gCLcB/s1600/hiding-gif.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2017/05/hiding-gif.gif"; width="320" height="168" border="0" /></a></div>
I’ve finally read <em>Six of Crows,</em> the book that everyone keeps talking about and won’t stop talking about (now everyone keeps talking about <i>Crooked Kingdom</i>, among other books), and <i>hellooo </i>this is better than the <i>Grisha </i>trilogy. I didn’t even like Alina or Mal from the first series - if anything, I liked the Darkling (bless his dark heart) and Stormhound (I keep wondering if he’ll appear and he doesn’t seem to have despite the fact there might be mentions of him 🤔).
Yet with <i>Six of Crows</i>… I like maybe 85% of the main characters. I say maybe because my math might actually be off and I’m too lazy to actually pull out a calculator and punch in some numbers to get what might be 0.84999. And it’s 85% because I might hate them later. That’s more than who I liked from the <i>Grisha </i>trilogy. 😱
<i>Six of Crows</i> technically has six main characters: Kaz, Inej, Nina, Matthias, Jesper, and Wylan (the odd little bean with no spotlight and therefore no prowling in his mind). All of whom are outcasts sent on a suicidal mission to rescue the creator of a drug that increases a Grisha’s power exponentially yet kills them in the end.
Five of which all have POVs switching around every chapter. I’m not a <i>huge </i>fan of multiple POVs because it can easily get confusing, but Bardugo wrote all five in a way that I’m not confused and running around like a little hamster who lost hold of how to stop its wheel.
The group of six are <i>fantastic </i>as a group - despite their differences, they get along pretty well and have a great dynamic together. They’re even better as pairs: Kaz and Inej, Nina and Matthias, Jesper and Wylan. I am all for witty and snark and just great dialogue. 😍
<blockquote class="tr_bq">Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.”
Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.”
“My ghost won’t associate with your ghost,” Matthias said primly.</blockquote>
In case anyone wonders…. I ship Kaz and Inej. They are, simply out, badass and go well together perfectly (apparently my ship doesn’t sail in the sequel, which I’m extremely disappointed about). Kaz is a brilliant leader leading the Dregs with all kinds of tricks and plans up his cane and never backs down from a mission no matter how impossible it may be. Inej is a highly skilled assassin who has a knack for sneaking up on people without them ever knowing. Have I mentioned under their tough exteriors, they’re occasionally softies and it’s cute?
Onto ze world… <i>Six of Crows</i> brings us back to the world of Grisha, onto a small little island off the coast of Ravka and Shu Han, and into a little area called Ketterdam where criminals and misfits of society lurk together. I really loved the drastic change from palaces to a complete polar opposite where one has to constantly watch their back. Throughout the duration of the book, I really liked Bardugo’s descriptions of each place the six travel on their way, especially with how Fjerda has this ice court with a palace virtually impossible to break into with all the top notch security that they have.
<i>Six of Crows</i> can be read regardless of whether or not the <i>Grisha </i>trilogy has been read - there’s excellent character dynamics, great dialogue that might cause a laugh or two, and a cast that come from all kinds of backgrounds.
<a href="https://bookwyrmingthoughts.com/six-of-crows-by-leigh-bardugo-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Gareth von Kallenbach (971 KP) rated The Way Way Back (2013) in Movies
Aug 6, 2019
Prior to the press screening for The Way, Way Back I had little knowledge of the film. Despite the heavy hitters in this film, including Steve Carell, Toni Collette and Sam Rockwell, I did not expect to be amazed by the movie. Even as I entered the theater and the studio reps were handing out sunglasses, t-shirts and beach balls I had little hope for the movie. Typically, great films are not promoted through cheap novelties.
Fortunately for us all, The Way, Way Back turned out to be a surprisingly delightful movie with a lot of heart. IT is way, way better than its marketing campaign, that’s for sure.
The movie centers on 14-year-old Duncan (Liam James), a kind of dorky and awkward teenager whose mother, Pam (Toni Collette), brings him along to an extended summer vacation on the Massachusetts coast. Duncan would rather be spending time with his father than his mother and her unlikeable boyfriend, Trent (Steve Carell), and his stuck up teenage drama-queen daughter, Steph (Zoe Levlin).
Duncan finds little of interest in the small beach town, and immediately feels alienated from the rest of his group. This is until he meets Susanna (AnnaSophia Robb), the brainy, older woman (16) who is staying next door with her hilariously blunt mother, Betty (Allison Janney), a friend of Trent’s. The two teens make an immediate, if not awkward connection, and share in the bond of thinking the town sucks, both being children of divorce, and their families are unbearable.
Aside from Susanna, Duncan finds an even better excuse to disappear and avoid the likes of his would-be family at the local water park, where he develops an unlikely friendship with Owen (Sam Rockwell), owner of Water Wizz. Sensing that Duncan is a lonely, outcast teen looking for place to belong, Owen hires him to work at the water park. Duncan is so alienated from his family that he doesn’t even bother mention to them that he is employed. Instead, he pretends to that he is just hanging out all day not really doing anything.
If this all sounds eerily familiar, it’s because The Way, Way Back follows a formula that most standard-issue summer vacation/coming of age movie does. But familiar isn’t always bad. The Way, Way Back has genuinely funny humor to it, and the characters are very relatable. It wouldn’t surprise me to find out that you were comparing them to others in your life, or that you may have met along the way. I know I was.
In fact, the film’s undeniable charm lies in its appealing, and not so appealing, characters, all portrayed excellently by a cast with a surprising amount of credibility for a film of this genre. James, a relatively new name, plays Duncan superbly, displaying the sort of low self-esteem that drives other kids to mock him. Anyone who does, or has, ever retreated into a lonely, nerdy, self-absorbed world will understand his angst and immediately attach themselves to Duncan. Especially in the early scenes that Duncan shares with Susanna, who obviously terrifies him with her confidence and beauty.
Rockwell steals every scene he is in as the ever-wisecracking Owen. He is your typical summer comedy character that you see in every film of this sort – the fast-talking adult male prankster whom all the kids flock to – but Rockwell plays the part with great depth. Beneath all of his bravado and clowning, there is clearly a man who has a lot of soul and cares about those around him. This side of Owen is brought out by Caitlin (Maya Rudolph), Owen’s park manager and sometimes girlfriend.
Carell takes on an unusual to most role as Trent, the films antagonist, if there really is one in this genre. He is one of the guys who is kind of a jerk, but not enough for you to really hate. Collette plays her part well, but doesn’t really get a significant amount of focus in the film. The funniest character of the fill is the over-the-top inappropriate Betty, a mom with a mean steak who does her best to embarrass her children and make everyone cringe with her nosy questions and open sexual frankness. Janney plays her with perfect comic timing.
I spoke with a friend, who also screened this movie, and he felt the movie played it too safe. He wanted it to explore the film’s darker themes more (family dysfunction, career frustration, teenage alienation) with much more insight. The one point I did agree with him was that Collette’s character was too underwritten to fully explain Pam’s tense relationships with, well… everyone. This is accentuated by the ending of the film where based on the buildup, I expected a much different action from her.
Still, The Way, Way Back is a delightful and smartly funny film that is sure to entertain you, and has a bit more gravitas than most summer comedies. I can tell you that I will be sporting my white “Ray-Ban”-esque sunglasses.
Fortunately for us all, The Way, Way Back turned out to be a surprisingly delightful movie with a lot of heart. IT is way, way better than its marketing campaign, that’s for sure.
The movie centers on 14-year-old Duncan (Liam James), a kind of dorky and awkward teenager whose mother, Pam (Toni Collette), brings him along to an extended summer vacation on the Massachusetts coast. Duncan would rather be spending time with his father than his mother and her unlikeable boyfriend, Trent (Steve Carell), and his stuck up teenage drama-queen daughter, Steph (Zoe Levlin).
Duncan finds little of interest in the small beach town, and immediately feels alienated from the rest of his group. This is until he meets Susanna (AnnaSophia Robb), the brainy, older woman (16) who is staying next door with her hilariously blunt mother, Betty (Allison Janney), a friend of Trent’s. The two teens make an immediate, if not awkward connection, and share in the bond of thinking the town sucks, both being children of divorce, and their families are unbearable.
Aside from Susanna, Duncan finds an even better excuse to disappear and avoid the likes of his would-be family at the local water park, where he develops an unlikely friendship with Owen (Sam Rockwell), owner of Water Wizz. Sensing that Duncan is a lonely, outcast teen looking for place to belong, Owen hires him to work at the water park. Duncan is so alienated from his family that he doesn’t even bother mention to them that he is employed. Instead, he pretends to that he is just hanging out all day not really doing anything.
If this all sounds eerily familiar, it’s because The Way, Way Back follows a formula that most standard-issue summer vacation/coming of age movie does. But familiar isn’t always bad. The Way, Way Back has genuinely funny humor to it, and the characters are very relatable. It wouldn’t surprise me to find out that you were comparing them to others in your life, or that you may have met along the way. I know I was.
In fact, the film’s undeniable charm lies in its appealing, and not so appealing, characters, all portrayed excellently by a cast with a surprising amount of credibility for a film of this genre. James, a relatively new name, plays Duncan superbly, displaying the sort of low self-esteem that drives other kids to mock him. Anyone who does, or has, ever retreated into a lonely, nerdy, self-absorbed world will understand his angst and immediately attach themselves to Duncan. Especially in the early scenes that Duncan shares with Susanna, who obviously terrifies him with her confidence and beauty.
Rockwell steals every scene he is in as the ever-wisecracking Owen. He is your typical summer comedy character that you see in every film of this sort – the fast-talking adult male prankster whom all the kids flock to – but Rockwell plays the part with great depth. Beneath all of his bravado and clowning, there is clearly a man who has a lot of soul and cares about those around him. This side of Owen is brought out by Caitlin (Maya Rudolph), Owen’s park manager and sometimes girlfriend.
Carell takes on an unusual to most role as Trent, the films antagonist, if there really is one in this genre. He is one of the guys who is kind of a jerk, but not enough for you to really hate. Collette plays her part well, but doesn’t really get a significant amount of focus in the film. The funniest character of the fill is the over-the-top inappropriate Betty, a mom with a mean steak who does her best to embarrass her children and make everyone cringe with her nosy questions and open sexual frankness. Janney plays her with perfect comic timing.
I spoke with a friend, who also screened this movie, and he felt the movie played it too safe. He wanted it to explore the film’s darker themes more (family dysfunction, career frustration, teenage alienation) with much more insight. The one point I did agree with him was that Collette’s character was too underwritten to fully explain Pam’s tense relationships with, well… everyone. This is accentuated by the ending of the film where based on the buildup, I expected a much different action from her.
Still, The Way, Way Back is a delightful and smartly funny film that is sure to entertain you, and has a bit more gravitas than most summer comedies. I can tell you that I will be sporting my white “Ray-Ban”-esque sunglasses.
Bob Mann (459 KP) rated Pixie (2020) in Movies
Nov 2, 2020
Olivia Cooke - utterly enchanting (1 more)
Just the right balance of black humour and Tarantino-esque violence
Once upon a Time in the West... of Ireland
You know sometimes when you see a trailer you think "oh yeah - this is a must see"! The trailer for "Pixie" (see below) was one such moment for me. A spaghetti western set in Sligo? With Alec Baldwin as a "deadly gangster priest"? Yes, yes, yes!
In a remote Irish church, two Irish priests and two "visiting Afghan Catholic priests" are gunned down by a couple of losers in animal masks - Fergus (Fra Fee) and Colin (Rory Fleck Byrne) - over a stash of MDMA worth a million Euros. This reignites a simmering gang war between the gangster families of Dermot O'Brien (Colm Meaney) and Father Hector McGrath (Alec Baldwin). Linking everything together is Pixie (Olivia Cooke), O'Brien's daughter, who has a magnetic effect on men. She is somehow subtly the woman controlling everything going on.
Drawn into the mayhem are hapless teens Frank (Ben Hardy) and Harland (Daryl McCormack) - both of who have the hots for Pixie - who embark on a wild and bloody road-trip around southern Ireland.
Key to your belief in the ridiculous story is that the character of Pixie has to have the beauty and charisma to utterly enslave the poor men she crosses paths with: taking a "Kalashnikov to their hearts" as drug dealer Daniel (Chris Walley) puts it. And Olivia Cooke - so good in "Ready Player One" - absolutely and completely nails the role. I'm utterly in love with her after this movie, and she's thirty years too young for me! There's a sparkle and a mischief behind her that reminded me strongly of a young Audrey Hepburn.
Supporting her really well are the "Harry and Ron" to Cooke's Hermione - Ben Hardy (Roger Taylor in "Bohemian Rhapsody") and Daryl McCormack. And the trio make a truly memorable "love triangle". A bedroom scene manages to be both quietly erotic and excruciatingly funny in equal measure.
The direction here is by Barnaby Thompson, who's better known as a producer with the only previous movie directing credits being the St Trinian's reboots in 2007/09. Here he manages to channel some of the quirky camera shots of the likes of Guy Ritchie and Matthew Vaughn and mix them with the black humour and comedic gore of Quentin Tarantino. The taciturn hit-man Seamus (Ned Dennehy) typifies the comedy on offer, using a Land Rover to drag a poor victim round in a figure of eight on a soggy moor to make him talk!
Where I think the movie wimps out a bit is in an ecclesiastical shoot-out finale. Vaughn's "Kingsman: The Secret Service" set the bar here for completely outrageous and out-there church-based violence. Here, the scene is both tame by comparison (not necessarily a bad thing!), but also highly predictable. Given this is supposed to be "a plan", none of it feels to be very well thought-through! As such, belief can only be suspended for so long.
The visuals and music are fab. The cinematography - by veteran John de Borman - makes the west Ireland coast look utterly glorious and the Irish tourist board must have been delighted. There are also some beautifully-framed shots: a boot-eye (US: trunk-eye) perspective is fabulous, and there's a gasp-inducing fade-back to Pixie's face following a flashback. And a shout-out too to the editing by Robbie Morrison, since some of the plot twists are delivered as expert surprises.
The music - by Gerry Diver and David Holmes - is also spectacularly good at propelling the action and maintaining the feel-good theme.
Where I did have issues was with the audio mix. I'm sure there were a bunch of clever one-liners buried in there, but the combination of the accents (and I've worked in Northern Ireland for 20 years and am "tuned in"!) and the sound quality meant I missed a number of them. I will need another watch with subtitles to catch them all.
Thanks to ANOTHER WRETCHED LOCKDOWN in the UK this was my last trip to the cinema for at least a month: I was one of only four viewers in the "Odeon" cinema for this showing. Because it's a great shame that so few people will get to see this (at least for a while), since its the sort of feelgood movie that we all need right now. Slick and utterly entertaining, I'll quietly predict that this one will gain a following as a mini-cult-classic when it gets to streaming services. Recommended.
(For the full graphical review, please check-out the bob the movie man review here - https://bob-the-movie-man.com/2020/11/02/pixie-once-upon-a-time-in-the-west-of-ireland/. Thanks.)
In a remote Irish church, two Irish priests and two "visiting Afghan Catholic priests" are gunned down by a couple of losers in animal masks - Fergus (Fra Fee) and Colin (Rory Fleck Byrne) - over a stash of MDMA worth a million Euros. This reignites a simmering gang war between the gangster families of Dermot O'Brien (Colm Meaney) and Father Hector McGrath (Alec Baldwin). Linking everything together is Pixie (Olivia Cooke), O'Brien's daughter, who has a magnetic effect on men. She is somehow subtly the woman controlling everything going on.
Drawn into the mayhem are hapless teens Frank (Ben Hardy) and Harland (Daryl McCormack) - both of who have the hots for Pixie - who embark on a wild and bloody road-trip around southern Ireland.
Key to your belief in the ridiculous story is that the character of Pixie has to have the beauty and charisma to utterly enslave the poor men she crosses paths with: taking a "Kalashnikov to their hearts" as drug dealer Daniel (Chris Walley) puts it. And Olivia Cooke - so good in "Ready Player One" - absolutely and completely nails the role. I'm utterly in love with her after this movie, and she's thirty years too young for me! There's a sparkle and a mischief behind her that reminded me strongly of a young Audrey Hepburn.
Supporting her really well are the "Harry and Ron" to Cooke's Hermione - Ben Hardy (Roger Taylor in "Bohemian Rhapsody") and Daryl McCormack. And the trio make a truly memorable "love triangle". A bedroom scene manages to be both quietly erotic and excruciatingly funny in equal measure.
The direction here is by Barnaby Thompson, who's better known as a producer with the only previous movie directing credits being the St Trinian's reboots in 2007/09. Here he manages to channel some of the quirky camera shots of the likes of Guy Ritchie and Matthew Vaughn and mix them with the black humour and comedic gore of Quentin Tarantino. The taciturn hit-man Seamus (Ned Dennehy) typifies the comedy on offer, using a Land Rover to drag a poor victim round in a figure of eight on a soggy moor to make him talk!
Where I think the movie wimps out a bit is in an ecclesiastical shoot-out finale. Vaughn's "Kingsman: The Secret Service" set the bar here for completely outrageous and out-there church-based violence. Here, the scene is both tame by comparison (not necessarily a bad thing!), but also highly predictable. Given this is supposed to be "a plan", none of it feels to be very well thought-through! As such, belief can only be suspended for so long.
The visuals and music are fab. The cinematography - by veteran John de Borman - makes the west Ireland coast look utterly glorious and the Irish tourist board must have been delighted. There are also some beautifully-framed shots: a boot-eye (US: trunk-eye) perspective is fabulous, and there's a gasp-inducing fade-back to Pixie's face following a flashback. And a shout-out too to the editing by Robbie Morrison, since some of the plot twists are delivered as expert surprises.
The music - by Gerry Diver and David Holmes - is also spectacularly good at propelling the action and maintaining the feel-good theme.
Where I did have issues was with the audio mix. I'm sure there were a bunch of clever one-liners buried in there, but the combination of the accents (and I've worked in Northern Ireland for 20 years and am "tuned in"!) and the sound quality meant I missed a number of them. I will need another watch with subtitles to catch them all.
Thanks to ANOTHER WRETCHED LOCKDOWN in the UK this was my last trip to the cinema for at least a month: I was one of only four viewers in the "Odeon" cinema for this showing. Because it's a great shame that so few people will get to see this (at least for a while), since its the sort of feelgood movie that we all need right now. Slick and utterly entertaining, I'll quietly predict that this one will gain a following as a mini-cult-classic when it gets to streaming services. Recommended.
(For the full graphical review, please check-out the bob the movie man review here - https://bob-the-movie-man.com/2020/11/02/pixie-once-upon-a-time-in-the-west-of-ireland/. Thanks.)
Lee Ronaldo recommended Anthem of the Sun by Grateful Dead in Music (curated)
Ivana A. | Diary of Difference (1171 KP) rated The Hidden Beach in Books
Aug 3, 2020
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I had the most amazing opportunity this month! Thanks to the team at Tandem Collective UK, I participated in a #Readalong on Instagram for The Hidden Beach by Karen Swan. The book is published by the amazing team at Pan Macmillan.
And I can immediately say - this experience was, so far, the highlight of my reading year!
Together with a number of amazing bookstagrammers, we read this book in 5 days, chatting about the plot twists and the ending. By the end of the second day, we were all in love with Karen Swan's writing and decided to do another read along for August. I also had the chance to participate in a Live Q&A session with Karen Swan herself and win a prize for being a runner-up to the quiz. And on top of everything, I visited my mum on the weekend, and we talked about books we're reading. And to my surprise, she owns FOUR books of Karen Swan already! So we decided to swap some books, and I came home with four more books I want to read!
We will be reading The Greek Escape by Karen Swan in August - so please shout if you have this book and want to join us!
I shared my readalong journey on my Instagram, and the highlights are still up, in case you want to have a look at my journey! I always share posts and stories of the books I am currently reading - so don't forget to follow for more updates.
<b><i>Synopsis:</i></b>
In the oldest part of Stockholm, Bell Everhurst is working as a nanny for an affluent family. Hanna and Max Von Greyerz are parents to 7 year-old Linus, and 5-year old twins Ellinor and Tilde, and Bell has been with the family for over two years.
One early Spring morning, as she’s rushing out to take the children to school, she answers the phone – and everything changes. A woman from a clinic she’s never heard of asks her to pass on the message that Hanna’s husband is awake.Bell is confused. She clearly just saw Max walking out of the house a few minutes earlier, but the woman mentioned Hanna by name...
When she gets hold of her employer, the truth is revealed: Hanna’s first husband fell into a coma seven years earlier, following a terrible accident. He has been in a Persistent Minimally Conscious State since and there was very little hope of further improvement. But now he’s awake. And life is going to change for them all.
<b><i>My Thoughts:</i></b>
I absolutely adored this book! I loved it so much, that I am unsure how to contain all my impressions in a well-written review.
Let's start with the setting.
It is set in Stockholm, on the coast, during summer. The descriptions about the place and the season really fit the mood. There is also a midsummer festival in the book which made me feel as if I was transported there, dancing with people from the town and enjoying the sunshine.
The characters have that aura about them, that makes you want to know them. Or they happen to remind you of someone you know, but you can't just recall where you know them from. They are so familiar, but distant at the same time. Each of them carrying their weight on their shoulders and each of them having their separate story.
We meet Bell - the nanny, who has her own reasons of why she decides to become a nanny and stay in Stockholm longer than she needed to. Her love for the children, especially for Linus is so adorable, and I can understand why she is so protective of him.
<b><i>I felt for Linus.</i></b>
The trauma he is going through in this book is heartbreaking, he's introduced to his real father, but he doesn't remember him. The way some situations are handled also doesn't do him any favours and just contributes to his confusion and anger, and I completely understand him. It is a very difficult situation to be in.
The most intriguing character in this book is definitely the husband that was in coma. Losing seven years of your life is devastating. One day - you have everything, and then you wake up to find out that your wife is with another person, happy, and has more children of her own with another man. And all you want to do is bring them back. Just like it was. Like time never passed. But time did pass. And people continued living...
<b><i>Very emotional read.</i></b>
I had all emotions flowing in me at certain moments. Sometimes I had conflicted opinions about some decisions the characters made. I had suspicions, hopes and anticipated a lot. And I loved it. It ended on a very (for me) satisfying ending, and I got the result I was hoping to get.
<b><i>I definitely recommend you pick up this book straight ahead - it's simply amazing! The perfect summer read with thriller elements, plot twists like you've never seen before and a subtle touch of romance.</i></b>
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<img src="https://diaryofdifference.com/wp-content/uploads/2020/07/Book-Review-Banner-72.png"/>;
I had the most amazing opportunity this month! Thanks to the team at Tandem Collective UK, I participated in a #Readalong on Instagram for The Hidden Beach by Karen Swan. The book is published by the amazing team at Pan Macmillan.
And I can immediately say - this experience was, so far, the highlight of my reading year!
Together with a number of amazing bookstagrammers, we read this book in 5 days, chatting about the plot twists and the ending. By the end of the second day, we were all in love with Karen Swan's writing and decided to do another read along for August. I also had the chance to participate in a Live Q&A session with Karen Swan herself and win a prize for being a runner-up to the quiz. And on top of everything, I visited my mum on the weekend, and we talked about books we're reading. And to my surprise, she owns FOUR books of Karen Swan already! So we decided to swap some books, and I came home with four more books I want to read!
We will be reading The Greek Escape by Karen Swan in August - so please shout if you have this book and want to join us!
I shared my readalong journey on my Instagram, and the highlights are still up, in case you want to have a look at my journey! I always share posts and stories of the books I am currently reading - so don't forget to follow for more updates.
<b><i>Synopsis:</i></b>
In the oldest part of Stockholm, Bell Everhurst is working as a nanny for an affluent family. Hanna and Max Von Greyerz are parents to 7 year-old Linus, and 5-year old twins Ellinor and Tilde, and Bell has been with the family for over two years.
One early Spring morning, as she’s rushing out to take the children to school, she answers the phone – and everything changes. A woman from a clinic she’s never heard of asks her to pass on the message that Hanna’s husband is awake.Bell is confused. She clearly just saw Max walking out of the house a few minutes earlier, but the woman mentioned Hanna by name...
When she gets hold of her employer, the truth is revealed: Hanna’s first husband fell into a coma seven years earlier, following a terrible accident. He has been in a Persistent Minimally Conscious State since and there was very little hope of further improvement. But now he’s awake. And life is going to change for them all.
<b><i>My Thoughts:</i></b>
I absolutely adored this book! I loved it so much, that I am unsure how to contain all my impressions in a well-written review.
Let's start with the setting.
It is set in Stockholm, on the coast, during summer. The descriptions about the place and the season really fit the mood. There is also a midsummer festival in the book which made me feel as if I was transported there, dancing with people from the town and enjoying the sunshine.
The characters have that aura about them, that makes you want to know them. Or they happen to remind you of someone you know, but you can't just recall where you know them from. They are so familiar, but distant at the same time. Each of them carrying their weight on their shoulders and each of them having their separate story.
We meet Bell - the nanny, who has her own reasons of why she decides to become a nanny and stay in Stockholm longer than she needed to. Her love for the children, especially for Linus is so adorable, and I can understand why she is so protective of him.
<b><i>I felt for Linus.</i></b>
The trauma he is going through in this book is heartbreaking, he's introduced to his real father, but he doesn't remember him. The way some situations are handled also doesn't do him any favours and just contributes to his confusion and anger, and I completely understand him. It is a very difficult situation to be in.
The most intriguing character in this book is definitely the husband that was in coma. Losing seven years of your life is devastating. One day - you have everything, and then you wake up to find out that your wife is with another person, happy, and has more children of her own with another man. And all you want to do is bring them back. Just like it was. Like time never passed. But time did pass. And people continued living...
<b><i>Very emotional read.</i></b>
I had all emotions flowing in me at certain moments. Sometimes I had conflicted opinions about some decisions the characters made. I had suspicions, hopes and anticipated a lot. And I loved it. It ended on a very (for me) satisfying ending, and I got the result I was hoping to get.
<b><i>I definitely recommend you pick up this book straight ahead - it's simply amazing! The perfect summer read with thriller elements, plot twists like you've never seen before and a subtle touch of romance.</i></b>
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