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Kaysee Hood (83 KP) rated All the Crooked Saints in Books
Nov 17, 2017
Music (2 more)
Mental Illness
Family
Saints Have Darkness, Too
Forget all you know about Stiefvater's previous books.
Okay, don't forget everything. Let me make it a bit clearer. Forget the characters you've known before. Forget the twists and turns, plots, and bits of information before. You'll need your mind clear to process All the Crooked Saints because a whole new world has been created in 1962 Colorado on a ranch in Bicho Raro where miracles take place, yet not the type of miracles you may have in mind.
The Sorias have a gift to perform these miracles on people who come, called pilgrims, where the darkness within a person becomes tangible. Some come believing once it is done then all is well. This is not the case. Drawing out the darkness is the first part. The second part is on the pilgrim to figure out on their own or darkness shall overcome the Soria who attempts to help. This is how it has always been. This is what the Sorias have been told. This is what the cousins, who the story is greatly based around, have been told. Yet is this the truth?
This is what the cousins (Beatriz and Joaquin) are trying to figure out when Daniel, the oldest of their trio, breaks the rule in aiding one of the pilgrims. They know neither can directly interfere. So Beatriz goes out on a limb using the radio system she has built for Joaquin to see if the broadcasting can help the others and let Daniel know he is not alone until they figure out how to change his fate. They've noticed the broadcast has done well for the other pilgrims, so why not their dear cousin, too? They have to figure it out before he dies out in the valley from the darkness, starvation, dehydration, or the elements.
However, there may be a slight problem with this plan. Well, two problems. One, Pete Wyatt arrived with a pilgrim to do odd jobs around the ranch to earn the box truck. The very box truck Beatriz fixed up and built the radio station in. As well as he is doing Pete may earn the truck before they can help Daniel. It's hard enough working under the time frame they have without the ticking time of Pete. Two, a Soria recognized Joaquin's voice. This means their secret is no longer a secret. This means they may not be able to help Daniel anyway.
They're pressed for time. Can Pete be talked to? Can Daniel, the saint, who should have known better, even be saved from his darkness? Or will the little bit of work be all in vain?
All this can be found out in the tale that will have you turning pages to find out if Daniel can be saved from his darkness, why he risked his life, and if the other pilgrims can be helped without bringing darkness to them all.
Okay, don't forget everything. Let me make it a bit clearer. Forget the characters you've known before. Forget the twists and turns, plots, and bits of information before. You'll need your mind clear to process All the Crooked Saints because a whole new world has been created in 1962 Colorado on a ranch in Bicho Raro where miracles take place, yet not the type of miracles you may have in mind.
The Sorias have a gift to perform these miracles on people who come, called pilgrims, where the darkness within a person becomes tangible. Some come believing once it is done then all is well. This is not the case. Drawing out the darkness is the first part. The second part is on the pilgrim to figure out on their own or darkness shall overcome the Soria who attempts to help. This is how it has always been. This is what the Sorias have been told. This is what the cousins, who the story is greatly based around, have been told. Yet is this the truth?
This is what the cousins (Beatriz and Joaquin) are trying to figure out when Daniel, the oldest of their trio, breaks the rule in aiding one of the pilgrims. They know neither can directly interfere. So Beatriz goes out on a limb using the radio system she has built for Joaquin to see if the broadcasting can help the others and let Daniel know he is not alone until they figure out how to change his fate. They've noticed the broadcast has done well for the other pilgrims, so why not their dear cousin, too? They have to figure it out before he dies out in the valley from the darkness, starvation, dehydration, or the elements.
However, there may be a slight problem with this plan. Well, two problems. One, Pete Wyatt arrived with a pilgrim to do odd jobs around the ranch to earn the box truck. The very box truck Beatriz fixed up and built the radio station in. As well as he is doing Pete may earn the truck before they can help Daniel. It's hard enough working under the time frame they have without the ticking time of Pete. Two, a Soria recognized Joaquin's voice. This means their secret is no longer a secret. This means they may not be able to help Daniel anyway.
They're pressed for time. Can Pete be talked to? Can Daniel, the saint, who should have known better, even be saved from his darkness? Or will the little bit of work be all in vain?
All this can be found out in the tale that will have you turning pages to find out if Daniel can be saved from his darkness, why he risked his life, and if the other pilgrims can be helped without bringing darkness to them all.
Interesting and engaging mystery
It's a bright May day when Cedar Valley Detective Gemma Monroe is called to Lost Lake. Sari Chesney, who was camping with her boyfriend, his brother, and her best friend, has gone missing. Sari hated the water, and the group is convinced she would never go missing on her own so near the lake. Sari was scheduled to work at a big gala at Cedar Valley's museum later that evening--a huge event she had been working on for months. Her friends insist she would never miss it. It's still chilly in Colorado in May, the lake still tinged in ice. Gemma begins the search for Sari, not realizing how quickly one woman's disappearance will lead to so much more.
"Later, much later, I would regret every decision I made that morning."
This is the third book in Emily Littlejohn's Gemma Monroe series, and I really enjoy both Gemma's character and the series. The books stand alone, but it's an enjoyable series, and I do recommend reading them from the beginning. At this point, Gemma has a six-month-old daughter, Grace, with her fiance, Brody, and one of my favorite things about the books is how realistically Littlejohn paints Gemma's struggles as a working mom. She loves her career and yet finds it difficult to leave Grace and juggle working and caring for her daughter.
Gemma is a great character overall, and I always enjoy reading a strong mystery that features a female detective. We find Gemma not only dealing with Sari's disappearance, but several more things that happen in the aftermath, which lead to her becoming quite busy, and allow us a solid set of cases to follow. This one kept me guessing the whole way, with a few good twists thrown in too. There's occasionally a bit of telling versus showing, but overall Littlejohn is a strong writer, and you can't help but root for Gemma.
In this one, I especially felt like Gemma was growing as a person, as we find her struggling in her partnership with Finn (her fellow detective) and second guessing some of the decisions she makes in Sari's case. It's nice to see a story where everything isn't easy, cut and dried, and our heroine seems so human and regular. One of the things I like so much about Gemma is that she seems like someone you could befriend (if maybe she let her walls down once in a while). It leads to an insightful and thoughtful book coupled with a good mystery (or two) as well.
Overall, I enjoyed this one. I feel like I can always count on Littlejohn for some excellent characterization with Gemma, and I found the plot to be interesting. It kept me engaged and guessing.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!)
"Later, much later, I would regret every decision I made that morning."
This is the third book in Emily Littlejohn's Gemma Monroe series, and I really enjoy both Gemma's character and the series. The books stand alone, but it's an enjoyable series, and I do recommend reading them from the beginning. At this point, Gemma has a six-month-old daughter, Grace, with her fiance, Brody, and one of my favorite things about the books is how realistically Littlejohn paints Gemma's struggles as a working mom. She loves her career and yet finds it difficult to leave Grace and juggle working and caring for her daughter.
Gemma is a great character overall, and I always enjoy reading a strong mystery that features a female detective. We find Gemma not only dealing with Sari's disappearance, but several more things that happen in the aftermath, which lead to her becoming quite busy, and allow us a solid set of cases to follow. This one kept me guessing the whole way, with a few good twists thrown in too. There's occasionally a bit of telling versus showing, but overall Littlejohn is a strong writer, and you can't help but root for Gemma.
In this one, I especially felt like Gemma was growing as a person, as we find her struggling in her partnership with Finn (her fellow detective) and second guessing some of the decisions she makes in Sari's case. It's nice to see a story where everything isn't easy, cut and dried, and our heroine seems so human and regular. One of the things I like so much about Gemma is that she seems like someone you could befriend (if maybe she let her walls down once in a while). It leads to an insightful and thoughtful book coupled with a good mystery (or two) as well.
Overall, I enjoyed this one. I feel like I can always count on Littlejohn for some excellent characterization with Gemma, and I found the plot to be interesting. It kept me engaged and guessing.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!)
BankofMarquis (1832 KP) rated BlacKkKlansman (2018) in Movies
Aug 20, 2018
The first real Oscar contender of 2018
The first shot of the 2018 Oscar race has been fired and it is Spike Lee's BLACKkKLANSMAN. If you are an "Oscar completest" I highly recommend you check this film out as you will be hearing it's name called (probably many times) when the Oscar nominations are revealed.
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
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BankofMarquis (1832 KP) rated The Black Phone (2022) in Movies
Jul 19, 2022
Tense and Suspenseful
Part STRANGER THINGS and Part IT, the new Blumhouse film, THE BLACK PHONE, is a surprisingly effective horror/thriller that is reminiscent of the better Stephen King stories - and that just might be because the short story for which this film is based on is written by Joe Hill - Stephen King’s son.
Wisely set in a time before cell phones (like both Stranger Things and It), THE BLACK PHONE tells the tale of a small town in Colorado that suddenly falls victim to “THE GRABBER” - an individual who grabs young teenage boys and kills them.
Smartly Directed by Scott Derrickson (the first DOCTOR STRANGE film), THE BLACK PHONE is effective for it focuses on the isolation of being in captivity, the anxiety of not knowing when someone is going to come through the door of the cell and the relationships of the young teens caught in “The Grabber’s” web. Credit for this, of course, goes to Derrickson who dropped out of Directing DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (over “creative differences”) and chose this passion project as his salve - and the passion shows. It must also be pointed out that Derrickson, wisely, opts to up the tension of this film, rather than the gore, so this movie becomes a suspense flick and not torture-porn.
Derrickson also draws very good performances from the young actors playing the main roles of this film - Mason Thames (Finney), Madeleine McGraw (Gwen), Tristan Pravong (Bruce), Jacob Moran (Billy) and Miguel Cazarez Mora (Robin). All are believable in their well written roles bringing more than just one-dimension to their characters.
These kids are more than ably joined by adult actors like James Ransone (IT: CHAPTER TWO), Jeremy Davies (TV’s LOST) and E. Roger Mitchell (OUTER BANKS). All of these folks bring gravitas and reality to a story that does drift into the un-reality at times.
And then there is the performance of the always good Ethan Hawke as the villain of this piece - THE GRABBER. It is a masterful performance by Hawke who brings humanity to this monster. Almost every actor that plays a villain say that they try to see the film from the villain’s point of view and Hawke brings that to this character in spades and (almost) makes one want to root for him. It is one of the better villains realized on film in the last few years.
One quibble with The Black Phone, is that it does have a tendency to sag a bit (especially in the middle). It is in the middle of the film that one can tell that this movie was based on a SHORT story and so, by necessity, there is some padding.
But that is picking a nit in what is a smart and tense film, one that will have you on the edge of your seat until the end.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Wisely set in a time before cell phones (like both Stranger Things and It), THE BLACK PHONE tells the tale of a small town in Colorado that suddenly falls victim to “THE GRABBER” - an individual who grabs young teenage boys and kills them.
Smartly Directed by Scott Derrickson (the first DOCTOR STRANGE film), THE BLACK PHONE is effective for it focuses on the isolation of being in captivity, the anxiety of not knowing when someone is going to come through the door of the cell and the relationships of the young teens caught in “The Grabber’s” web. Credit for this, of course, goes to Derrickson who dropped out of Directing DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (over “creative differences”) and chose this passion project as his salve - and the passion shows. It must also be pointed out that Derrickson, wisely, opts to up the tension of this film, rather than the gore, so this movie becomes a suspense flick and not torture-porn.
Derrickson also draws very good performances from the young actors playing the main roles of this film - Mason Thames (Finney), Madeleine McGraw (Gwen), Tristan Pravong (Bruce), Jacob Moran (Billy) and Miguel Cazarez Mora (Robin). All are believable in their well written roles bringing more than just one-dimension to their characters.
These kids are more than ably joined by adult actors like James Ransone (IT: CHAPTER TWO), Jeremy Davies (TV’s LOST) and E. Roger Mitchell (OUTER BANKS). All of these folks bring gravitas and reality to a story that does drift into the un-reality at times.
And then there is the performance of the always good Ethan Hawke as the villain of this piece - THE GRABBER. It is a masterful performance by Hawke who brings humanity to this monster. Almost every actor that plays a villain say that they try to see the film from the villain’s point of view and Hawke brings that to this character in spades and (almost) makes one want to root for him. It is one of the better villains realized on film in the last few years.
One quibble with The Black Phone, is that it does have a tendency to sag a bit (especially in the middle). It is in the middle of the film that one can tell that this movie was based on a SHORT story and so, by necessity, there is some padding.
But that is picking a nit in what is a smart and tense film, one that will have you on the edge of your seat until the end.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated BlacKkKlansman (2018) in Movies
Mar 7, 2019
Important Movie
Set in the 1970’s, the first black police officer on the Colorado Springs police force attempts to infiltrate the Klu Klux Klan by becoming one of them.
Acting: 10
I don’t know who I liked better throughout the movie, John David Washington as Ron Stallworth or Adam Driver playing Jewish cop Flip Zimmerman. Not only were they amazing individually, but they complimented each other with great chemistry on screen. Whatever emotion director Spike Lee was trying to make you feel was amplified in their joint scenes. Washington is charming, funny, and witty, all the things you want from a leading role. His heroic character is one of my favorites from the year.
Beginning: 10
Characters: 10
Cinematography/Visuals: 9
The visuals are amazingly crisp, poignant for each scene. It transports you perfectly into the time period without feeling overdone. While the film is largely a comedy, it succeeds in spots by relying on tension and intense moments. Spike Lee has a way of capturing those moments with sheer perfection. It has an artsy feel to it, sometimes over the top, but never unrelatable. Relatable Art. I think that’s the best way to describe it.
Conflict: 10
Whether subtle or in your face, conflict comes in waves throughout BlackkKlansman. You keep waiting for bad things to happen and sometimes they do. When they don’t, you know it’s only a matter of time before things get harry again. There was never a point where I was bored in the movie. Even the planning scenes where they were trying to figure out just how to get a black man to infiltrate a white supremacist organization was fun to watch.
Genre: 10
One of the most important dramas of our generation. Period. Nothing else needs to be said here.
Memorability: 10
The story in and of itself brings an originality you won’t soon forget. On paper, it sounds absolutely nuts. Watching it unfold on the big screen is even more nuts. Even though it’s based on a true story, it’s still very much hard to believe. It’s powerful and real with solid messaging that translates to the now. Even the comedy in certain moments has a way of leaving a real impact.
Pace: 10
The film is long, but it’s a smooth long. The pacing feels like a brisk jog. You always know the direction you’re heading and it never feels like it has to cheat or take shortcuts to properly tell the story. Not boring in the least. Engaging and entertaining throughout.
Plot: 8
Again, much respect for an original story. My one gripe: I don’t think the love story was necessary. It didn’t really contribute to the movie as a whole. Everything outside of that was wonderful and beautifully done.
Resolution: 10
Overall: 97
Expected to like BlackkKlansman, but I fell in love with this movie. It tells a wonderful story that leaves you talking long after it’s over. I’ve said this already, but it bears repeating: This is one of the most important films of our generation. See it. Don’t think twice.
Acting: 10
I don’t know who I liked better throughout the movie, John David Washington as Ron Stallworth or Adam Driver playing Jewish cop Flip Zimmerman. Not only were they amazing individually, but they complimented each other with great chemistry on screen. Whatever emotion director Spike Lee was trying to make you feel was amplified in their joint scenes. Washington is charming, funny, and witty, all the things you want from a leading role. His heroic character is one of my favorites from the year.
Beginning: 10
Characters: 10
Cinematography/Visuals: 9
The visuals are amazingly crisp, poignant for each scene. It transports you perfectly into the time period without feeling overdone. While the film is largely a comedy, it succeeds in spots by relying on tension and intense moments. Spike Lee has a way of capturing those moments with sheer perfection. It has an artsy feel to it, sometimes over the top, but never unrelatable. Relatable Art. I think that’s the best way to describe it.
Conflict: 10
Whether subtle or in your face, conflict comes in waves throughout BlackkKlansman. You keep waiting for bad things to happen and sometimes they do. When they don’t, you know it’s only a matter of time before things get harry again. There was never a point where I was bored in the movie. Even the planning scenes where they were trying to figure out just how to get a black man to infiltrate a white supremacist organization was fun to watch.
Genre: 10
One of the most important dramas of our generation. Period. Nothing else needs to be said here.
Memorability: 10
The story in and of itself brings an originality you won’t soon forget. On paper, it sounds absolutely nuts. Watching it unfold on the big screen is even more nuts. Even though it’s based on a true story, it’s still very much hard to believe. It’s powerful and real with solid messaging that translates to the now. Even the comedy in certain moments has a way of leaving a real impact.
Pace: 10
The film is long, but it’s a smooth long. The pacing feels like a brisk jog. You always know the direction you’re heading and it never feels like it has to cheat or take shortcuts to properly tell the story. Not boring in the least. Engaging and entertaining throughout.
Plot: 8
Again, much respect for an original story. My one gripe: I don’t think the love story was necessary. It didn’t really contribute to the movie as a whole. Everything outside of that was wonderful and beautifully done.
Resolution: 10
Overall: 97
Expected to like BlackkKlansman, but I fell in love with this movie. It tells a wonderful story that leaves you talking long after it’s over. I’ve said this already, but it bears repeating: This is one of the most important films of our generation. See it. Don’t think twice.
Kristy H (1252 KP) rated All the Crooked Saints in Books
Jan 10, 2018 (Updated Jan 10, 2018)
Story of love, loss, and sadness that everyone can appreciate
Maggie Stiefvater's latest--a stand-alone novel--tells the tale of the Soria family, who live in Bicho Raro, Colorado in the 1960s. On the family compound, you'll find the extended Soria family, including the three cousins: Beatriz, Daniel, and Joaquin. Beatriz is scientific-minded; so much, in fact, that she believes she has no feelings. Daniel is the Saint of Bicho Raro, and performs miracles for the Pilgrims who come in droves for the magic the Sorias can offer. Joaquin loves music and performs as Diablo Diablo on an illegal radio station he operates. The Sorias live apart from the Pilgrims they serve, believing helping and interfering with them after performing the first miracle will only bring on darkness. After all, it happened with Daniel's late parents. But when Daniel becomes involved with a Pilgrim named Marisita and a young man named Pete arrives at Bicho Raro looking for work, the Sorias are forced to confront many of their long-held beliefs.
I won't lie: it's a little hard to review this book, beyond saying that it's very much a Maggie Stiefvater novel. If you haven't read one of Stiefvater's novels before, I'm not sure I'd start with this one, even if it is one of her few stand-alone books. Her novels are typically full of all things fancy and fantastical, forcing the reader to suspend reality and be prepared to come along fully for the ride. If you can't do that, or don't enjoy such books, this isn't for you. Even I, who am familiar with her style, had a little trouble with this one at points.
Stiefvater has a way with language; she loves words and weaving a spell with them, and her novels are dense with beauty and picturesque scenes. She uses a repetitious style here in many of her sentences and the overall structure: again, something you might have to get used to.
Still, this book is bizarre but compelling. I put it aside the first night I started it and wasn't sure I'd enjoy it, but when I picked it up again, I was sucked into the Soria's story. The cousins are all rather enthralling characters, and you truly become a part of their journey. Sure, the miracle idea seems a little crazy, but it really just is part of the book, along with the owls, a giant, the moving earth, etc. It's really lovely at times, and I enjoyed the comparisons between miracles and radio waves.
As mentioned, Daniel, Beatriz, and Joaquin are all fascinating characters, and I also really grew to care for Pete, as well, along with another character named Tony. Even Marisita grew on me. There's a bit of suspense and tension to the novel, and you'll find yourself intrigued to see how things turn out. The themes of humanity, darkness, and family are well-done overall.
This probably isn't my favorite of Stiefvater's books; I love the Shiver series and The Raven Boys series, much like this novel, is even more mystical, but features the same sort of compelling characters as here. However, the story and characters grew on me, and I don't regret reading it. It's enjoyable, albeit somewhat odd at times. The story of love, loss, and sadness at its core is one everyone can appreciate.
I won't lie: it's a little hard to review this book, beyond saying that it's very much a Maggie Stiefvater novel. If you haven't read one of Stiefvater's novels before, I'm not sure I'd start with this one, even if it is one of her few stand-alone books. Her novels are typically full of all things fancy and fantastical, forcing the reader to suspend reality and be prepared to come along fully for the ride. If you can't do that, or don't enjoy such books, this isn't for you. Even I, who am familiar with her style, had a little trouble with this one at points.
Stiefvater has a way with language; she loves words and weaving a spell with them, and her novels are dense with beauty and picturesque scenes. She uses a repetitious style here in many of her sentences and the overall structure: again, something you might have to get used to.
Still, this book is bizarre but compelling. I put it aside the first night I started it and wasn't sure I'd enjoy it, but when I picked it up again, I was sucked into the Soria's story. The cousins are all rather enthralling characters, and you truly become a part of their journey. Sure, the miracle idea seems a little crazy, but it really just is part of the book, along with the owls, a giant, the moving earth, etc. It's really lovely at times, and I enjoyed the comparisons between miracles and radio waves.
As mentioned, Daniel, Beatriz, and Joaquin are all fascinating characters, and I also really grew to care for Pete, as well, along with another character named Tony. Even Marisita grew on me. There's a bit of suspense and tension to the novel, and you'll find yourself intrigued to see how things turn out. The themes of humanity, darkness, and family are well-done overall.
This probably isn't my favorite of Stiefvater's books; I love the Shiver series and The Raven Boys series, much like this novel, is even more mystical, but features the same sort of compelling characters as here. However, the story and characters grew on me, and I don't regret reading it. It's enjoyable, albeit somewhat odd at times. The story of love, loss, and sadness at its core is one everyone can appreciate.
Lee (2222 KP) rated The Front Runner (2018) in Movies
Jan 8, 2019
Hugh Jackman (1 more)
J.K. Simmons
Enjoyable, great performances from all
I don't really follow, or know very much about American politics. Trying to cope with whatever Brexit nonsense is happening here in the UK on a daily basis is more than enough for me, so aside from face palming at whatever rubbish Donald Trump is currently spewing on Twitter, I'm fairly oblivious to it all. Back in 1988, I would have more likely been playing Super Mario World, than taking interest in former Colorado senator Gary Hart, who became the front runner for the Democratic presidential nomination. So why then would I be interested in watching a movie about him and the scandal he became involved in so close to achieving his dream of presidency? Well, when the movie stars versatile man of the moment Hugh Jackman as Gary Hart, along with another two of my favourite actors (Vera Farmiga and J.K. Simmons), then I'm more than happy to give it a shot!
The movie opens with Hart currently riding high, with only three weeks to go until the nomination. He's a very charismatic man, intelligent, and clearly striking a chord with the voters. His path to the White House seems clear and certain. But, as the opening on-screen titles remind us, a lot can happen in three weeks...
Those three weeks, for the most part, run pretty smoothly, giving us a chance to get to know Hart and the vast number of supporting characters as the campaign progresses through its final stages. J.K. Simmons is campaign manager Bill Dixon, brilliant and often hilarious in every scene he's in. Vera Farmiga plays Harts wife Lee, slightly underused in the role of supportive wife placed in a difficult position. Elsewhere, there are plenty of strong supporting characters, both throughout the campaign team and within the news teams that are tasked with following Hart around the country. One of those reporters eventually gets wind of a potential story, although he initially doesn't believe the young nervous girl phoning his office one night, telling him about her friend who is due to go and meet with Hart at the weekend. A last minute change in Harts schedule for the weekend leads the reporter to suspect there may be some truth to the phone call and he follows up on the lead, staking out Harts townhouse in a bid to get some dirt on him.
When the dirt does start to come out, Hart attempts to brush it aside. We've already seen what a private man he is, baffled as to why anyone would want to see him posing for photos with his family in People magazine. He believes that his policies and the politician that he is are all that matters, and that the public aren't interested in his private life at all, so all of this will just blow over. His staff rally round to try and contain the story and work out what to do with the woman involved in the scandal, while Harts wife and daughter deal with the fallout back home. All the while, the reporters and TV are having a field day. Every part of the story is interesting, and the characters involved are all superb. What always helps a movie like this though is when it is based on true events and what helps it even more is the fantastic cast, who all do a brilliant job at making this a very enjoyable movie.
The movie opens with Hart currently riding high, with only three weeks to go until the nomination. He's a very charismatic man, intelligent, and clearly striking a chord with the voters. His path to the White House seems clear and certain. But, as the opening on-screen titles remind us, a lot can happen in three weeks...
Those three weeks, for the most part, run pretty smoothly, giving us a chance to get to know Hart and the vast number of supporting characters as the campaign progresses through its final stages. J.K. Simmons is campaign manager Bill Dixon, brilliant and often hilarious in every scene he's in. Vera Farmiga plays Harts wife Lee, slightly underused in the role of supportive wife placed in a difficult position. Elsewhere, there are plenty of strong supporting characters, both throughout the campaign team and within the news teams that are tasked with following Hart around the country. One of those reporters eventually gets wind of a potential story, although he initially doesn't believe the young nervous girl phoning his office one night, telling him about her friend who is due to go and meet with Hart at the weekend. A last minute change in Harts schedule for the weekend leads the reporter to suspect there may be some truth to the phone call and he follows up on the lead, staking out Harts townhouse in a bid to get some dirt on him.
When the dirt does start to come out, Hart attempts to brush it aside. We've already seen what a private man he is, baffled as to why anyone would want to see him posing for photos with his family in People magazine. He believes that his policies and the politician that he is are all that matters, and that the public aren't interested in his private life at all, so all of this will just blow over. His staff rally round to try and contain the story and work out what to do with the woman involved in the scandal, while Harts wife and daughter deal with the fallout back home. All the while, the reporters and TV are having a field day. Every part of the story is interesting, and the characters involved are all superb. What always helps a movie like this though is when it is based on true events and what helps it even more is the fantastic cast, who all do a brilliant job at making this a very enjoyable movie.
Gareth von Kallenbach (980 KP) rated On the Basis of Sex (2018) in Movies
Jul 2, 2019
In the year 2018, it’s easy to forget how much the times have changed over the last century. We now carry computers around in our pockets, have the internet to conduct worldwide business in a matter of seconds and cars that run on electricity. Considering all of these amazing technological advancements you would think something as simple and no-brainer as equal rights must have been around for hundreds and hundreds of years, right? Well, the new movie On the Basis of Sex humbly reminded me that the equal rights movement was not too much longer ago than the invention of the internet and it was just the type of reminder I needed to once again appreciate just how far we have come.
On the Basis of Sex is a biopic detailing Ruth Bader Ginsburg’s (Felicity Jones) rise from one of the first women “invited” to attend Harvard Law School to becoming the 2nd woman nominated to the U.S. Supreme Court. The first part of the movie aptly chronicles Mrs. Ginsburg’s experience as a woman at Harvard Law School and then getting her first job as a professor at Rutgers Law School in 1963. Considering she graduated at the top of her class being a professor was not her dream job, but law firms were not looking to hire female lawyers, so she made the best of it. This all leads up to the main focus of the film which is Mrs. Ginsburg representing a Colorado man who has been denied caretaker tax benefits because the tax code specifically applied to women. The movie shows both her struggles and triumphs with the case and why equal rights were so important to her. Although the movie focused on this one case, it was crystal clear that Ruth Bader Ginsburg was a force to be reckoned with and this was just one of many cases she would take on to ensure greater equality for woman.
Felicity Jones does an incredible job portraying Mrs. Ginsburg. She brings a swagger to the character and used an authentic sounding Brooklyn accent to boot. Armie Hammer also does a great job playing the ever supportive and unshakable husband Marty Ginsburg. They had great chemistry on screen and did an excellent job showing just how supportive they were to one another. Even though their relationship was not the focus of the film, it was very touching and added a little extra heart to the story. Speaking of the story, it was both engaging and thought provoking, so much so that its effects are still there even after leaving the theater. I enjoyed how the story unfolded and the fact that it never got to preachy or political. As biopics go, there were a few spots that seemed to drag on a bit, but generally the pace never lingered in one spot for too long and it kept my interest the whole time.
On the Basis of Sex was a very good movie and a welcome addition to this year’s holiday movie offerings. If you are looking for something different after a couple of hours with web slinging spider-folk and yellow cars that turn into giant robots then this would be a great movie to check out. With excellent acting, a great inspirational story and even a little bit of heart, I really couldn’t ask for anything more.
On the Basis of Sex is a biopic detailing Ruth Bader Ginsburg’s (Felicity Jones) rise from one of the first women “invited” to attend Harvard Law School to becoming the 2nd woman nominated to the U.S. Supreme Court. The first part of the movie aptly chronicles Mrs. Ginsburg’s experience as a woman at Harvard Law School and then getting her first job as a professor at Rutgers Law School in 1963. Considering she graduated at the top of her class being a professor was not her dream job, but law firms were not looking to hire female lawyers, so she made the best of it. This all leads up to the main focus of the film which is Mrs. Ginsburg representing a Colorado man who has been denied caretaker tax benefits because the tax code specifically applied to women. The movie shows both her struggles and triumphs with the case and why equal rights were so important to her. Although the movie focused on this one case, it was crystal clear that Ruth Bader Ginsburg was a force to be reckoned with and this was just one of many cases she would take on to ensure greater equality for woman.
Felicity Jones does an incredible job portraying Mrs. Ginsburg. She brings a swagger to the character and used an authentic sounding Brooklyn accent to boot. Armie Hammer also does a great job playing the ever supportive and unshakable husband Marty Ginsburg. They had great chemistry on screen and did an excellent job showing just how supportive they were to one another. Even though their relationship was not the focus of the film, it was very touching and added a little extra heart to the story. Speaking of the story, it was both engaging and thought provoking, so much so that its effects are still there even after leaving the theater. I enjoyed how the story unfolded and the fact that it never got to preachy or political. As biopics go, there were a few spots that seemed to drag on a bit, but generally the pace never lingered in one spot for too long and it kept my interest the whole time.
On the Basis of Sex was a very good movie and a welcome addition to this year’s holiday movie offerings. If you are looking for something different after a couple of hours with web slinging spider-folk and yellow cars that turn into giant robots then this would be a great movie to check out. With excellent acting, a great inspirational story and even a little bit of heart, I really couldn’t ask for anything more.