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Honest Review for Free Copy of Book
Readers should not be fooled by the title The Geek Who Came From The Cold: Surviving The Post-USSR Era On A Hollywood Diet by Leon Kaminsky has nothing to do with food or dieting at all. The “Hollywood Diet” mentioned in the title is movies, mainly those from the US. A little bit of knowledge about Russia and their policies would be helpful when reading this book but is not required.
Leon is a young boy growing up in Russia at the end of the 1900s. He has a nervous problem (possibly anxiety) and has a hard time at school and with other people in general. Leon quickly falls in love with movies, specifically those from Hollywood after seeing them for the first time. Like so many other people who are not exactly social for one reason or another, he trades social interaction for watching films. His love for movies over the years borders on the edge of obsession as he knows not only actors and directors but also the Russian’s who voice over the tapes to translate them. His daily and weekly schedule revolves around what movies are being played on TV or at the theaters.
He takes readers through the difficulty of obtaining some of the popular movies that can be found just about anywhere here in the United States. This difficulty is not only because of how much Russia censored movies from just about anywhere but because the titles are often changed as well. Leon shares his excitement and the challenges he faced to get his first VCR play and to transport his VHS collection when his family moved. He even talks about when owning a VCR was illegal in Russia and when people would give anything to have one, including offering to trade a boat for a VCR.
What I liked best was that the informative quality of the book was wonderful and the author clearly did his research (I even wondered at times if the book was based on the author’s own childhood). I appreciated the human qualities of the book, such as the struggles Leon faces at school. New facts about Russia was presented to the readers in a way that prevented anything from feeling too overly informative. What I did not like was the fact that the book ends fairly abruptly. I would have liked to see at least one chapter about after the family’s move to Germany. There were also multiple sections where it would begin on one topic and end on another, seemingly unrelated topic.
Movie fans will enjoy this book but it is recommended that they be somewhat familiar with movies from the 1980s (I think was the time period of most movies mentioned in the book, I myself am far from a movie buff at all) and newer. High school students may not be able to fully appreciate the cinematic history in this book and may feel more like a history book to them. It should also be noted as VHS tapes are already a thing of the past (I am holding on to a few to show my children in the future) upcoming generations may not know what the book is talking about without asking their parents or google. Finally, I give this book a rating of 3 out of 4. This book is very informative about a topic not many people are probably aware of. Sadly this gives it a very narrow target audience. The way the book is written makes it feel like it is an autobiography about a movie lover growing up where movies are largely controlled. The plot of the book is frequently lost through during all the movie talk.
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Leon is a young boy growing up in Russia at the end of the 1900s. He has a nervous problem (possibly anxiety) and has a hard time at school and with other people in general. Leon quickly falls in love with movies, specifically those from Hollywood after seeing them for the first time. Like so many other people who are not exactly social for one reason or another, he trades social interaction for watching films. His love for movies over the years borders on the edge of obsession as he knows not only actors and directors but also the Russian’s who voice over the tapes to translate them. His daily and weekly schedule revolves around what movies are being played on TV or at the theaters.
He takes readers through the difficulty of obtaining some of the popular movies that can be found just about anywhere here in the United States. This difficulty is not only because of how much Russia censored movies from just about anywhere but because the titles are often changed as well. Leon shares his excitement and the challenges he faced to get his first VCR play and to transport his VHS collection when his family moved. He even talks about when owning a VCR was illegal in Russia and when people would give anything to have one, including offering to trade a boat for a VCR.
What I liked best was that the informative quality of the book was wonderful and the author clearly did his research (I even wondered at times if the book was based on the author’s own childhood). I appreciated the human qualities of the book, such as the struggles Leon faces at school. New facts about Russia was presented to the readers in a way that prevented anything from feeling too overly informative. What I did not like was the fact that the book ends fairly abruptly. I would have liked to see at least one chapter about after the family’s move to Germany. There were also multiple sections where it would begin on one topic and end on another, seemingly unrelated topic.
Movie fans will enjoy this book but it is recommended that they be somewhat familiar with movies from the 1980s (I think was the time period of most movies mentioned in the book, I myself am far from a movie buff at all) and newer. High school students may not be able to fully appreciate the cinematic history in this book and may feel more like a history book to them. It should also be noted as VHS tapes are already a thing of the past (I am holding on to a few to show my children in the future) upcoming generations may not know what the book is talking about without asking their parents or google. Finally, I give this book a rating of 3 out of 4. This book is very informative about a topic not many people are probably aware of. Sadly this gives it a very narrow target audience. The way the book is written makes it feel like it is an autobiography about a movie lover growing up where movies are largely controlled. The plot of the book is frequently lost through during all the movie talk.
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Christine (14 KP) rated Me Before You in Books
Jul 4, 2017
Ham Handedly Dealing with Sensitive Materials
Contains spoilers, click to show
I did NOT like this book. In fact, there were several sections of this book where I actively hated the book. Before you continue reading, note that I do intend to spoil the story.
First, the only character that has more than 5 lines that I didn't think was awful was Nathan the nurse. Lou, Will and their whole families were terrible! Selfish, rude, cold and uncaring. Maybe my sister is too supportive even at the worst of times, but Treena made me want to scream with her selfishness.
Second, I feel as though they took an exceptionally sensitive subject and kicked it around in the dirt for a while. I would be interested in sitting around discussing the concept of euthanasia. However, I feel like this story focused on all the wrong arguments.
Third, this book did a huge disservice to the paraplegic and quadriplegic community. Even with the addition of the chat rooms with the other members of the community, there is a lot of emphasis on how life will inevitably blow until the end of time if you're in a wheelchair. It felt like a book that was intended to educate and inform people who maybe don't know much about this life and instead, they wrote an extremely whiny story about one man who's a giant asshole.
Fourth, Louisa's rape should have been a major plot point, treated as a juxtaposition to Will's accident. Instead, the treat Lou getting raped by a group of men as an after thought that Will cures with one conversation.
Fifth, the writing was lazy and the pacing was bad. It felt overly long and things were dragged out farther than they needed to be. Also, Will's family's money was a bit of an easy fix. Will could have top of the line everything. He could afford to go on fancy expensive trips. He could afford a nurse to come over several times a day. Imagine how much more real this story would be if Lou was the disabled person. Lou's mom would be the one responsible for her care. This would be a much more dire situation. Will comes across whiny because he has to rely on other people. He doesn't seem like a sad man in a bad situation. He seems like a whiny selfish asshole
Finally, what do these people have against therapy. When someone has been through an experience as traumatic as a car accident that leaves you paralyzed, you should probably speak to a therapist. I do not mean Nathan, the physical therapist. I mean a psychologist. I'm not saying Will wouldn't have ultimately made the same decision, but somehow I think trained licensed professional might have been a better option for Camilla Traynor to hire as opposed to unemployed waitress.
I know I'm apparently in the minority in this, but I HATED this book.
First, the only character that has more than 5 lines that I didn't think was awful was Nathan the nurse. Lou, Will and their whole families were terrible! Selfish, rude, cold and uncaring. Maybe my sister is too supportive even at the worst of times, but Treena made me want to scream with her selfishness.
Second, I feel as though they took an exceptionally sensitive subject and kicked it around in the dirt for a while. I would be interested in sitting around discussing the concept of euthanasia. However, I feel like this story focused on all the wrong arguments.
Third, this book did a huge disservice to the paraplegic and quadriplegic community. Even with the addition of the chat rooms with the other members of the community, there is a lot of emphasis on how life will inevitably blow until the end of time if you're in a wheelchair. It felt like a book that was intended to educate and inform people who maybe don't know much about this life and instead, they wrote an extremely whiny story about one man who's a giant asshole.
Fourth, Louisa's rape should have been a major plot point, treated as a juxtaposition to Will's accident. Instead, the treat Lou getting raped by a group of men as an after thought that Will cures with one conversation.
Fifth, the writing was lazy and the pacing was bad. It felt overly long and things were dragged out farther than they needed to be. Also, Will's family's money was a bit of an easy fix. Will could have top of the line everything. He could afford to go on fancy expensive trips. He could afford a nurse to come over several times a day. Imagine how much more real this story would be if Lou was the disabled person. Lou's mom would be the one responsible for her care. This would be a much more dire situation. Will comes across whiny because he has to rely on other people. He doesn't seem like a sad man in a bad situation. He seems like a whiny selfish asshole
Finally, what do these people have against therapy. When someone has been through an experience as traumatic as a car accident that leaves you paralyzed, you should probably speak to a therapist. I do not mean Nathan, the physical therapist. I mean a psychologist. I'm not saying Will wouldn't have ultimately made the same decision, but somehow I think trained licensed professional might have been a better option for Camilla Traynor to hire as opposed to unemployed waitress.
I know I'm apparently in the minority in this, but I HATED this book.
Kyera (8 KP) rated Frozen (Heart of Dread, #1) in Books
Feb 1, 2018
The story Frozen, by Melissa de la Cruz and Michael Johnston, is a tale about a girl with powers who lives in a world unlike our own. In post-apocalyptic New Vegas, Nat fins the one object that might allow her to escape the frozen landscape. The map to help her find the Blue, a promised land untainted by the cold and destruction her world knows. A place that maybe she can live a good life and not spend each day fearful that she will be discovered.
For an established YA writer, this book is surprisingly wrought with errors and would make an English major cringe. It was a poorly written novel with a multitude of punctuation, grammar, and spelling errors. Those completely detracted from the book and made it difficult to read the novel fluidly. There was an overuse of commas, "For days upon days she had been left in the room, alone, in total silence, with little food and water, the weight of solitude becoming ever more oppressive, the silence a heaviness that she could not shake, punishment for refusing to do as she was told, punishment for being what she was." I ran out of breath just reading that incredibly long, run on sentence. It also illustrates another example, the banal repetitiveness. Some examples would be, "She walked down the road, the road that was smooth." Or "The fire that raged within her. The fire that destroyed and consumed. The fire that would destroy and consume her..." How many times does one need to write the fire? Many of the sentences are just reworded versions of the one that came before it. Unnecessarily repetitive and it makes the book sound like a novice writer threw it together in a slap-dash manner with no editor to speak of.
It also cannot decide what genre it wishes to fall under. The magical elements and new species lend itself to a label of fantasy, like books about faeries or nymphs. Paranormal romance perhaps, for the love story that blossoms over the course of the novel? Or the more recently popular zombie novels, with their diseases and alterations of the human dNA, like Forest of Teeth and Bones? Perhaps its a post-apocalyptic or dystopian style novel, akin to Divergent or the Hunger Games - with its frozen world, scarce resources, and tyrannical governments. Whatever it is, the fact that it cannot decide makes the book quite confusing. It does not flow well as a result of the colliding and conflicting worlds. There also is no world-building, which is incredibly important to me in a book. And character building, or even character personalities? Almost non-existent. I would recommend this book to young teen readers, but not anyone who finds themselves frequently noticing errors in novels (even minor ones)as this will drive you crazy. I almost didn't finish the first chapter because the book was so poorly written, but I wanted to see if it would improve.
For an established YA writer, this book is surprisingly wrought with errors and would make an English major cringe. It was a poorly written novel with a multitude of punctuation, grammar, and spelling errors. Those completely detracted from the book and made it difficult to read the novel fluidly. There was an overuse of commas, "For days upon days she had been left in the room, alone, in total silence, with little food and water, the weight of solitude becoming ever more oppressive, the silence a heaviness that she could not shake, punishment for refusing to do as she was told, punishment for being what she was." I ran out of breath just reading that incredibly long, run on sentence. It also illustrates another example, the banal repetitiveness. Some examples would be, "She walked down the road, the road that was smooth." Or "The fire that raged within her. The fire that destroyed and consumed. The fire that would destroy and consume her..." How many times does one need to write the fire? Many of the sentences are just reworded versions of the one that came before it. Unnecessarily repetitive and it makes the book sound like a novice writer threw it together in a slap-dash manner with no editor to speak of.
It also cannot decide what genre it wishes to fall under. The magical elements and new species lend itself to a label of fantasy, like books about faeries or nymphs. Paranormal romance perhaps, for the love story that blossoms over the course of the novel? Or the more recently popular zombie novels, with their diseases and alterations of the human dNA, like Forest of Teeth and Bones? Perhaps its a post-apocalyptic or dystopian style novel, akin to Divergent or the Hunger Games - with its frozen world, scarce resources, and tyrannical governments. Whatever it is, the fact that it cannot decide makes the book quite confusing. It does not flow well as a result of the colliding and conflicting worlds. There also is no world-building, which is incredibly important to me in a book. And character building, or even character personalities? Almost non-existent. I would recommend this book to young teen readers, but not anyone who finds themselves frequently noticing errors in novels (even minor ones)as this will drive you crazy. I almost didn't finish the first chapter because the book was so poorly written, but I wanted to see if it would improve.
Dana (24 KP) rated Queen of Shadows in Books
Mar 23, 2018
Warning, if you have not read this book or any of the other ones before this, this review will have some minor spoilers, so if you don't want to find out stuff, do not read this review!!
I think this may have become my favorite of this series! After being somewhat disappointed with Heir of Fire (in relation to the other books in the series), Queen of Shadows had me jumping for joy.
I have loved how much the relationships between the characters have grown and have continuously evolved in the four books (plus The Assassin's Blade). In Heir of Fire, I couldn't really get into the story with Manon and her thirteen, but in this book, their story brought a lot more to the table. Her relationship with Eldie made me feel like she was more than she was in Heir of Fire. The fact that characters from the other books got such big parts in this novel. (Lysanna for the win!) Kaltain (from the first novel) and Lysanna (from The Assassin's Blade) became so important to this story line. It was great to see Aelin interacting with another female again in a way that wasn't just violence and heartache. I even love Rowan from this book. In the last book, he was kind if distant and unapproachable, but in Queen of Shadows, we got to see more of who he really was.
Chaol's development in this story was very good to see as well. From being a whiny little brat in Heir of Fire to being a decent human being in this book was fun to witness.
Abraxos is the freaking cutest little dragon I have ever read. I love him and I want my own!!!
It was cool to get to see Aelin slip on her Celaena mask again. The contrasts between the two is amazing to witness. Without those scenes, we wouldn't have been able to see how much she had actually grown--from being the bitchy assassin to being a badass queen, that was amazing. I think it was also very important to be able to see everyone's reactions to her slipping on the mask as well.
The changing of the narrators in this novel felt a lot more natural in the story than it did in Heir of Fire. It was as if they had all developed to a point where they cold tell their own stories in a way that made sense.
It is definitely important to read The Assassin's Blade before this book because without it, you won't get the weight of the actions that play out as much. You get more of the history behind Aelin, Lysanna, and Arobynn that make everything that happens make sense.
The action scenes were very well done. I enjoyed how the frenzied actions that were happening in the battles were equal to the frenzied writing on the page.
I think this may have become my favorite of this series! After being somewhat disappointed with Heir of Fire (in relation to the other books in the series), Queen of Shadows had me jumping for joy.
I have loved how much the relationships between the characters have grown and have continuously evolved in the four books (plus The Assassin's Blade). In Heir of Fire, I couldn't really get into the story with Manon and her thirteen, but in this book, their story brought a lot more to the table. Her relationship with Eldie made me feel like she was more than she was in Heir of Fire. The fact that characters from the other books got such big parts in this novel. (Lysanna for the win!) Kaltain (from the first novel) and Lysanna (from The Assassin's Blade) became so important to this story line. It was great to see Aelin interacting with another female again in a way that wasn't just violence and heartache. I even love Rowan from this book. In the last book, he was kind if distant and unapproachable, but in Queen of Shadows, we got to see more of who he really was.
Chaol's development in this story was very good to see as well. From being a whiny little brat in Heir of Fire to being a decent human being in this book was fun to witness.
Abraxos is the freaking cutest little dragon I have ever read. I love him and I want my own!!!
It was cool to get to see Aelin slip on her Celaena mask again. The contrasts between the two is amazing to witness. Without those scenes, we wouldn't have been able to see how much she had actually grown--from being the bitchy assassin to being a badass queen, that was amazing. I think it was also very important to be able to see everyone's reactions to her slipping on the mask as well.
The changing of the narrators in this novel felt a lot more natural in the story than it did in Heir of Fire. It was as if they had all developed to a point where they cold tell their own stories in a way that made sense.
It is definitely important to read The Assassin's Blade before this book because without it, you won't get the weight of the actions that play out as much. You get more of the history behind Aelin, Lysanna, and Arobynn that make everything that happens make sense.
The action scenes were very well done. I enjoyed how the frenzied actions that were happening in the battles were equal to the frenzied writing on the page.
Zuky the BookBum (15 KP) rated Mentor, The in Books
Mar 15, 2018
Oh, Im so sad I can only give this book a 3 star review. I really wanted to love this one! The synopsis sounds so dark, intense and creepy, but it let me down in that department
almost completely!
The first 40% of this book was definitely enthralling, at times silly and over the top, but still exciting to read. The characters were interesting, the story was moving along nicely and the writing was simple, but not bad. It was about when I got to 50% that I realised I was getting a little bit bored by this novel.
Characters in this one werent so bad. They were well developed and even though there were a fair few number of them, we did get to know them individually, quite well. My problem was that they were pretty unbelievable and I didnt really like any of them. Im not sure if Kyle was meant to come across as an anti-hero, but thats kind of what he felt like although for me, it was mostly anti, less hero. I really didnt like the introduction to the character as being a semi-graphic description of the sex he had with his girlfriend.
The plot for this book sounded amazing! An English professor writes a depraved book that sounds like an unsolved murder case from years ago? Is it just a coincidence or is it something more sinister? Doesnt that sounds amazing? Well, it isnt, I hate to say! Yes, this professor does write a depraved, and terribly written, book about kidnapping a girl but it doesnt allude to the fact it might be about a cold case until around the 60% mark, which is ridiculous!
At 336 pages, this isnt a long novel, but it definitely could have been cut down! Most of this novel was a very repetitive back and forth between Kyle and his mad professor. Repetition like this in books is something I absolutely despise and with each new chapter, I could feel myself losing the will to read this book.
That was my first issue with the writing, and then my annoyance moved on to the number of spelling, grammatical and sentence structure errors. Considering this novel was about an editor, you would have thought the real editor would have caught the vast number of cock ups in this book!
I got very irritated by this novel towards the end. The story was convoluted, silly and unrealistic. I got to the point of skimming pages in the ending chapters, yes, it was that disappointing. Not to mention this wasnt creepy or tense at all. It was pretty predictable all the way through and the ending was a cheap way out.
Overall, I wouldnt recommend this novel. It gets 3 stars because I did enjoy the first 40% or so, but the story became silly and I couldnt get over the number of errors in the writing.
The first 40% of this book was definitely enthralling, at times silly and over the top, but still exciting to read. The characters were interesting, the story was moving along nicely and the writing was simple, but not bad. It was about when I got to 50% that I realised I was getting a little bit bored by this novel.
Characters in this one werent so bad. They were well developed and even though there were a fair few number of them, we did get to know them individually, quite well. My problem was that they were pretty unbelievable and I didnt really like any of them. Im not sure if Kyle was meant to come across as an anti-hero, but thats kind of what he felt like although for me, it was mostly anti, less hero. I really didnt like the introduction to the character as being a semi-graphic description of the sex he had with his girlfriend.
The plot for this book sounded amazing! An English professor writes a depraved book that sounds like an unsolved murder case from years ago? Is it just a coincidence or is it something more sinister? Doesnt that sounds amazing? Well, it isnt, I hate to say! Yes, this professor does write a depraved, and terribly written, book about kidnapping a girl but it doesnt allude to the fact it might be about a cold case until around the 60% mark, which is ridiculous!
At 336 pages, this isnt a long novel, but it definitely could have been cut down! Most of this novel was a very repetitive back and forth between Kyle and his mad professor. Repetition like this in books is something I absolutely despise and with each new chapter, I could feel myself losing the will to read this book.
That was my first issue with the writing, and then my annoyance moved on to the number of spelling, grammatical and sentence structure errors. Considering this novel was about an editor, you would have thought the real editor would have caught the vast number of cock ups in this book!
I got very irritated by this novel towards the end. The story was convoluted, silly and unrealistic. I got to the point of skimming pages in the ending chapters, yes, it was that disappointing. Not to mention this wasnt creepy or tense at all. It was pretty predictable all the way through and the ending was a cheap way out.
Overall, I wouldnt recommend this novel. It gets 3 stars because I did enjoy the first 40% or so, but the story became silly and I couldnt get over the number of errors in the writing.
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Janeeny (200 KP) rated English Pastoral in Books
Sep 7, 2021
A love letter to Old English farming
English Pastoral is a beautiful love letter to traditional English farming.
Rebanks takes us through the journey of three generations on the farm in three parts. The first part talks about his childhood on the farm and his grandfather teaching him the ways of the land. The second part is Rebanks in his twenties, he’s experienced modern farming overseas and has ideas on how to move the farm forward, this includes using chemicals to protect the crops and enhance the livestock. Part three is Rebank’s time on the farm and their realisation that all they’ve been doing to keep up with modern farming has actually been having a counterproductive event.
It is a story of hope, a farming family brought to the brink of collapse that realise, in time, the real way forward can sometimes be backwards.
There is just too much goodness in this book to cover it all here. It’s beautifully written, it’s heartfelt and evocative. It pulls you into the pages, and I could have quite happily stayed living on that hardworking little farm on the fells.
There are some charming little anecdotes in this book, and the reverence with which Rebanks tells them is palpable. Rebanks is acutely aware of the contrast in farming techniques and frequently draws comparisons. From his grandfather gently moving a nest from one part of a field he’s cutting back (then moving in back again), to modern-day combines just hacking their way through a field regardless of the wildlife within.
This also re-affirms his grandfathers earlier statement that modern-day farmers sitting up in the cabs of their tractors have lost touch with the land.
This modern-way of farming doesn’t quite sit right with Rebanks and his father, they know that something is not quite right with the way they do things, but what else can they do to keep up with modern demands. The pivotal moment comes when Harry passes away. Harry is a local farmer of the same generation as Redbank’s grandfather, he’s stayed connected to the land and hasn’t gone in for all these modern ways. Another farmer who plans to buy the land gets the soil tested (in anticipation of what nutrients he may have to put into it) the soil inspector explains that the soil is healthy. In fact, it’s some of the best soil he’s ever seen.
This is when Rebanks begins to realise that the farmers themselves are the problem with the land. The ultimate irony that the very people who are supposed to be caring for the land are also the ones slowly destroying it.
Not only is this an exquisite little memoir, it is also a lesson on looking after the land. Rebanks lays it out as it is; in cold hard detail, this is what happened this is what he did about it. There is no preaching, but if we’re lucky we’ll learn something from it
Rebanks takes us through the journey of three generations on the farm in three parts. The first part talks about his childhood on the farm and his grandfather teaching him the ways of the land. The second part is Rebanks in his twenties, he’s experienced modern farming overseas and has ideas on how to move the farm forward, this includes using chemicals to protect the crops and enhance the livestock. Part three is Rebank’s time on the farm and their realisation that all they’ve been doing to keep up with modern farming has actually been having a counterproductive event.
It is a story of hope, a farming family brought to the brink of collapse that realise, in time, the real way forward can sometimes be backwards.
There is just too much goodness in this book to cover it all here. It’s beautifully written, it’s heartfelt and evocative. It pulls you into the pages, and I could have quite happily stayed living on that hardworking little farm on the fells.
There are some charming little anecdotes in this book, and the reverence with which Rebanks tells them is palpable. Rebanks is acutely aware of the contrast in farming techniques and frequently draws comparisons. From his grandfather gently moving a nest from one part of a field he’s cutting back (then moving in back again), to modern-day combines just hacking their way through a field regardless of the wildlife within.
This also re-affirms his grandfathers earlier statement that modern-day farmers sitting up in the cabs of their tractors have lost touch with the land.
This modern-way of farming doesn’t quite sit right with Rebanks and his father, they know that something is not quite right with the way they do things, but what else can they do to keep up with modern demands. The pivotal moment comes when Harry passes away. Harry is a local farmer of the same generation as Redbank’s grandfather, he’s stayed connected to the land and hasn’t gone in for all these modern ways. Another farmer who plans to buy the land gets the soil tested (in anticipation of what nutrients he may have to put into it) the soil inspector explains that the soil is healthy. In fact, it’s some of the best soil he’s ever seen.
This is when Rebanks begins to realise that the farmers themselves are the problem with the land. The ultimate irony that the very people who are supposed to be caring for the land are also the ones slowly destroying it.
Not only is this an exquisite little memoir, it is also a lesson on looking after the land. Rebanks lays it out as it is; in cold hard detail, this is what happened this is what he did about it. There is no preaching, but if we’re lucky we’ll learn something from it
Justin Patchett (42 KP) rated Roma (2018) in Movies
Mar 3, 2019
Caught in a bad Roma
Contains spoilers, click to show
It’s been a long while since I watched a film deserving of a truly, harshly negative review. I have gotten so close so many times, and I’ll be damned if Netflix hadn’t gotten close to earning that with the fridge-logic that ruined Bird Box. Even Bird Box, though, feels enjoyable in retrospect compared to another Netflix exclusive: Alfonso Cuarón’s Roma.
Since I’m in a clear minority on this film, I feel obligated to preemptively address some common criticisms. If Roma had been produced in English, presented in color and with any score, it couldn’t fix the fact that I simply dislike Roma’s genre. Sure, I’ve liked slice-of-life drama films, and modern period pieces do fine by me. Pretentious Oscar-farming arthouse flicks like this, though, never win my praise.
Roma follows Cleo, a housemaid in Mexico City. Cleo has gotten pregnant and the presumed father, Fermín, leaves her to buy cigarettes before the baby’s even born. Her employer, Sofía, is dealing with a cheating spouse. What follows is two hours of both of these women marginally helping each other with their respective situations. As slice-of-life films do.
Since it's a slice-of-life film, much of the story just basically happens. You'll remember a scene here or there that happened, even if it was ultimately insignificant. In one scene for instance, Cleo goes to confront the baby daddy, who’s at a huge martial arts class. She spectates and proves to be the only one able to perform a certain yoga pose. Which is important because it helped add another few minutes to the film.
Cleo goes into labor not long after this confrontation, but her daughter ends up being stillborn. This all happens in the midst of the Corpus Christi Massacre. What the heck was the Corpus Christi Massacre, you may ask? According to this film, it was a brutal inconvenience on Cleo’s way to the hospital after her water breaks. This actual historical event simply happens and is never addressed for one second more. You know, just like in Titanic where the shipwreck just makes things inconvenient for Rose and Jack.
The last major scene in the film comes when Sofía invites Cleo to come with her family on a trip to the beach, not as staff but to help Cleo cope with the tragedy of losing her child. While they’re there, Sofía leaves the children in Cleo’s care for two freaking minutes, and two of the kids nearly drown. Cleo, though, can’t swim, and so she stands out in the water as the kids rescue each other. And that's about as close as Roma gets to a cohesive plot. Cleo only came with them to help her grieving, which meant she could be there to be powerless while her employer’s kids save each other’s lives. Bad things happen to us, the film teaches, so that good things can coincidentally happen in our proximity.
In fact, coincidence seems to be the running theme, here. Remember the Corpus Christi Massacre? No? What if I call it “the scene where Cleo goes into labor”? Maybe that helps? Fermín briefly held Cleo at gunpoint in the middle of it. Again, mere coincidence. Just like it’s a mere coincidence that she goes into labor the same day as a massacre that killed 120 people. As coincidences do.
Roma isn’t an aggressively bad film. There are a rare few moments within Roma’s 2-hour runtime where you think, “I can see that clip showing up during a Facebook video binge,” but again: These are moments more rare than our current president ordering a rare steak. That rarity has everything to do with the fact that the movie has so few moments, at all. The rest is shots that linger too long from angles that repeat themselves all too often. It’s like Cuarón asked someone, “What does a movie like Juno need to be better?” They responded, “Nothing.” So Cuarón packed Roma with nothing.
Which brings up one of my biggest criticisms of Roma: The cinematography is bland. Cuarón shot practically the entire film on one camera, set a specific distance from the subject, and kept takes running as longer than they should have, padding out a short-film’s worth of content to feature length. It’s bland cinematography that somehow earned an Oscar for Best Cinematography.
Gravity showed us what Cuarón was capable of. Beyond bringing a seemingly authentic view of space to the big screen, Gravity offered variety. Yes, the huge collision scene in Gravity takes on the feel of a one-take scene, but even then, the camera moves with the action. And if your attention moves away from the foreground the shot, you’re able to see other important things going on. With Roma, though, your foreground is your film. Period. And to be sure, you'll be kept at arm's length from that foreground at all times, both metaphorically and cinematically.
There's a number of reasons why Roma wasn't the Best Picture, this year. Gravity proved that Roma is not Cuarón’s best film. Bo Burnham–yes, that Bo Burnham–wrote and directed a better slice-of-life film with Eighth Grade. And Roma might not even be the past year’s best black-and-white film; I dare suggest that Cold War may have been better.
To give it the credit it’s due, Roma’s cast rightly earned nominations for their performances. Yalitza Aparicio and Marina de Tavira earned Best Actress nominations for their roles, and for their part, their performances were authentic as can be. It's the least the Academy could do for having them endure Cuarón's lengthy takes.
But now that I've given it credit, I demand my time back for the scene of Fermín going Star Wars Kid meets Full Monty.
Since I’m in a clear minority on this film, I feel obligated to preemptively address some common criticisms. If Roma had been produced in English, presented in color and with any score, it couldn’t fix the fact that I simply dislike Roma’s genre. Sure, I’ve liked slice-of-life drama films, and modern period pieces do fine by me. Pretentious Oscar-farming arthouse flicks like this, though, never win my praise.
Roma follows Cleo, a housemaid in Mexico City. Cleo has gotten pregnant and the presumed father, Fermín, leaves her to buy cigarettes before the baby’s even born. Her employer, Sofía, is dealing with a cheating spouse. What follows is two hours of both of these women marginally helping each other with their respective situations. As slice-of-life films do.
Since it's a slice-of-life film, much of the story just basically happens. You'll remember a scene here or there that happened, even if it was ultimately insignificant. In one scene for instance, Cleo goes to confront the baby daddy, who’s at a huge martial arts class. She spectates and proves to be the only one able to perform a certain yoga pose. Which is important because it helped add another few minutes to the film.
Cleo goes into labor not long after this confrontation, but her daughter ends up being stillborn. This all happens in the midst of the Corpus Christi Massacre. What the heck was the Corpus Christi Massacre, you may ask? According to this film, it was a brutal inconvenience on Cleo’s way to the hospital after her water breaks. This actual historical event simply happens and is never addressed for one second more. You know, just like in Titanic where the shipwreck just makes things inconvenient for Rose and Jack.
The last major scene in the film comes when Sofía invites Cleo to come with her family on a trip to the beach, not as staff but to help Cleo cope with the tragedy of losing her child. While they’re there, Sofía leaves the children in Cleo’s care for two freaking minutes, and two of the kids nearly drown. Cleo, though, can’t swim, and so she stands out in the water as the kids rescue each other. And that's about as close as Roma gets to a cohesive plot. Cleo only came with them to help her grieving, which meant she could be there to be powerless while her employer’s kids save each other’s lives. Bad things happen to us, the film teaches, so that good things can coincidentally happen in our proximity.
In fact, coincidence seems to be the running theme, here. Remember the Corpus Christi Massacre? No? What if I call it “the scene where Cleo goes into labor”? Maybe that helps? Fermín briefly held Cleo at gunpoint in the middle of it. Again, mere coincidence. Just like it’s a mere coincidence that she goes into labor the same day as a massacre that killed 120 people. As coincidences do.
Roma isn’t an aggressively bad film. There are a rare few moments within Roma’s 2-hour runtime where you think, “I can see that clip showing up during a Facebook video binge,” but again: These are moments more rare than our current president ordering a rare steak. That rarity has everything to do with the fact that the movie has so few moments, at all. The rest is shots that linger too long from angles that repeat themselves all too often. It’s like Cuarón asked someone, “What does a movie like Juno need to be better?” They responded, “Nothing.” So Cuarón packed Roma with nothing.
Which brings up one of my biggest criticisms of Roma: The cinematography is bland. Cuarón shot practically the entire film on one camera, set a specific distance from the subject, and kept takes running as longer than they should have, padding out a short-film’s worth of content to feature length. It’s bland cinematography that somehow earned an Oscar for Best Cinematography.
Gravity showed us what Cuarón was capable of. Beyond bringing a seemingly authentic view of space to the big screen, Gravity offered variety. Yes, the huge collision scene in Gravity takes on the feel of a one-take scene, but even then, the camera moves with the action. And if your attention moves away from the foreground the shot, you’re able to see other important things going on. With Roma, though, your foreground is your film. Period. And to be sure, you'll be kept at arm's length from that foreground at all times, both metaphorically and cinematically.
There's a number of reasons why Roma wasn't the Best Picture, this year. Gravity proved that Roma is not Cuarón’s best film. Bo Burnham–yes, that Bo Burnham–wrote and directed a better slice-of-life film with Eighth Grade. And Roma might not even be the past year’s best black-and-white film; I dare suggest that Cold War may have been better.
To give it the credit it’s due, Roma’s cast rightly earned nominations for their performances. Yalitza Aparicio and Marina de Tavira earned Best Actress nominations for their roles, and for their part, their performances were authentic as can be. It's the least the Academy could do for having them endure Cuarón's lengthy takes.
But now that I've given it credit, I demand my time back for the scene of Fermín going Star Wars Kid meets Full Monty.
Kristy H (1252 KP) rated 13 Minutes in Books
Feb 13, 2018
When they pull Natasha out of the river, she's been dead for thirteen minutes. Thirteen dark, cold minutes. It's amazing the teenager even lives; in fact, it's just pure luck that a man and his dog stumble upon her and pull her from the river's icy clutches. Tasha, as she's known, has no memory of how she wound up in the river, but she knows it wasn't intentional on her part. In fact, she's pretty sure two of her closest friends, Hayley and Jenny, had something to do with it. The two seemed weird in the days leading up to the incident. The trio of beautiful, popular girls--known as "the Barbies" at school--were supposedly the best of friends. But after the accident, Tasha feels drawn to her former friend, Becca, whom she dropped in middle school. Becca isn't sure why Tasha is suddenly being so nice to her. Tasha isn't sure either. And no one is exactly sure how or why Tasha ended up in that river.
I've never read a novel by [a:Sarah Pinborough|457300|Sarah Pinborough|https://images.gr-assets.com/authors/1463056151p2/457300.jpg] before, and I was pretty impressed. She's a great writer, and <i>she certainly knows how to capture the voice of the teenagers within the pages of her novel</i>. I don't think I realized this book would be quite so YA, if that makes any sense. I <i>kept waiting for there to be a bit more to the story than teenage politics</i>, but it's truly sort of a <i>Pretty Little Liars</i>-type tale. That's not to say it's not well-done. It may have just been a tad bit young for me; still, <i>it's an excellent novel and would be a truly wonderful read for most teens</i>, too.
Part of the novel's brilliance comes in its format. It's told from the point of view of Becca and Tasha, but we also get excerpts from Tasha's diary; case files from the Inspector on Tasha's case; notes from Tasha's psychologist; texts between the teens; and more. <i>I enjoyed the format, and it was quite effective at building suspense and tension. </i>
Because,<i> wow, yes, the book is certainly tense and compelling.</i> You're constantly wondering how reliable our teenage narrators are and questioning everything that happens. Now, as mentioned, there's a lot of teenage drama. A LOT. <i>These teens are truly a little scary</i>, and this was yet another book that makes me a tiny bit frightened for my five-year-old daughters to grow up. My goodness. At times, I got a bit bogged down in all the teen antics, but it was still quite interesting.
Becca was definitely a bit of a kid, but I still liked her (for the most part). She was well-written, just a little young for me. Pinborough is truly amazing at getting in the head of these teenagers--capturing the pettiness, meanness, and honestly, sometimes the dumbness, of their mindset. But she also caught the brutal neediness behind some of their actions: that raw need of kids that age to fit in with their peers.
I had a decent idea how this one was going to play out pretty early on, but that didn't stop me from reading (as mentioned, I tore through this in about 24 hours). There's something oddly compelling about this book and its characters. Pinborough weaves in <i>The Crucible</i> as a backdrop--it's the school play--which is a really clever move, as there are a lot of parallels between said drama and the melodrama unfolding among Tasha, Hayley, and Jenny.
Overall, this novel really just hinges on the duality of the hatefulness and vulnerability of teenagers. It may come across as a little too YA and predictable for some adults, but I can't deny that it's well-written and crisp. It's hard to like some of the characters, but I think it would make a great book for teens (albeit it's rather freaking scary). I was leaning toward 3.5 stars before writing this review, but I think I'll do 3.75 and bump up to 4 stars here on Goodreads (that's not complicated at all, right? Perhaps fitting for this complicated and twisty novel).
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 10/03/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
I've never read a novel by [a:Sarah Pinborough|457300|Sarah Pinborough|https://images.gr-assets.com/authors/1463056151p2/457300.jpg] before, and I was pretty impressed. She's a great writer, and <i>she certainly knows how to capture the voice of the teenagers within the pages of her novel</i>. I don't think I realized this book would be quite so YA, if that makes any sense. I <i>kept waiting for there to be a bit more to the story than teenage politics</i>, but it's truly sort of a <i>Pretty Little Liars</i>-type tale. That's not to say it's not well-done. It may have just been a tad bit young for me; still, <i>it's an excellent novel and would be a truly wonderful read for most teens</i>, too.
Part of the novel's brilliance comes in its format. It's told from the point of view of Becca and Tasha, but we also get excerpts from Tasha's diary; case files from the Inspector on Tasha's case; notes from Tasha's psychologist; texts between the teens; and more. <i>I enjoyed the format, and it was quite effective at building suspense and tension. </i>
Because,<i> wow, yes, the book is certainly tense and compelling.</i> You're constantly wondering how reliable our teenage narrators are and questioning everything that happens. Now, as mentioned, there's a lot of teenage drama. A LOT. <i>These teens are truly a little scary</i>, and this was yet another book that makes me a tiny bit frightened for my five-year-old daughters to grow up. My goodness. At times, I got a bit bogged down in all the teen antics, but it was still quite interesting.
Becca was definitely a bit of a kid, but I still liked her (for the most part). She was well-written, just a little young for me. Pinborough is truly amazing at getting in the head of these teenagers--capturing the pettiness, meanness, and honestly, sometimes the dumbness, of their mindset. But she also caught the brutal neediness behind some of their actions: that raw need of kids that age to fit in with their peers.
I had a decent idea how this one was going to play out pretty early on, but that didn't stop me from reading (as mentioned, I tore through this in about 24 hours). There's something oddly compelling about this book and its characters. Pinborough weaves in <i>The Crucible</i> as a backdrop--it's the school play--which is a really clever move, as there are a lot of parallels between said drama and the melodrama unfolding among Tasha, Hayley, and Jenny.
Overall, this novel really just hinges on the duality of the hatefulness and vulnerability of teenagers. It may come across as a little too YA and predictable for some adults, but I can't deny that it's well-written and crisp. It's hard to like some of the characters, but I think it would make a great book for teens (albeit it's rather freaking scary). I was leaning toward 3.5 stars before writing this review, but I think I'll do 3.75 and bump up to 4 stars here on Goodreads (that's not complicated at all, right? Perhaps fitting for this complicated and twisty novel).
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 10/03/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>