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Lottie disney bookworm (1056 KP) rated The Odd Sisters: A Villains Novel (Villains #6) in Books
May 16, 2020
The Odd Sisters is the latest addition to the Disney Villains collection written by Serena Valentino. In truth I read this as soon as it came out but I have been so slow with my reviews that I am now looking forward to the next instalment this summer which focuses on the formidable Cruella De Vil.
As you may expect, the Odd Sisters focuses on the three witches whom we have come to recognise from every novel in the villain’s collection. When we left the sisters, they were trapped in the dreamscape; punished by Circe for the roles they had played in creating and revelling in the misfortune of others. This novel leads directly on from ‘Mother Knows Best’, with Circe scouring journals alongside Snow, revealing more and more of the story behind the sisters and their madness.
This is the one review of Serena’s novels that I have really struggled to write. Not because the book is not good! The story itself ties up all the loose ends from ‘Mother Knows Best’ but still leaves room for character development in the form of Tulip and Popinjay who have embarked upon their own adventure: I am sure it is not the last we will hear from them.
My struggles lie in not spoiling the story for a potential reader. This is one story which you just have to experience and read in the correct order! There is an established order for a reason people! Serena Valentino does not write and release these books on a whim- you must pay attention!
A unique characteristic of this novel is the addition of illustrations. The cover art for the series of villain tales is arguably iconic, yet, this is the first book which has included internal illustrations. These illustrations are beautiful as standalone drawings but they also bring a level of humanity to the Odd Sisters: quite apt, as this is the story which explains how they came to be so inhuman in their behaviour and values.
The inclusion of illustrations also allows the seamless addition of the sisters’ journal which eager readers have fallen on and devoured for clues of future villain tales. Later Serena Valentino herself (@blackbirdpirate) would reveal on Instagram that one fan had deduced these clues perfectly, leading us to expect upcoming tales from the likes of Lady Tremaine, Hades and the Shadowman.
‘The Odd Sisters’, although obviously centering around the three witches, seems to bend to Snow White as the main character in the tale. Snow’s journey concludes in this novel, finally allowing her to end her-frankly unhealthy- relationship with her stepmother. It also transpires that the odd sisters’ journey into madness began with Snow…but you will have to read the book to find out how.
Despite being significantly different from the previous villain tales, Valentino continues to keep us gripped with this almost cathartic novel. In tying up the loose ends such as the significance of the teacups (that has been bugging me for ages!), Valentino is able to build suspense in Circe’s journey and focus on dropping teasers for where the books will lead next. I for one, cannot wait to find out.
As you may expect, the Odd Sisters focuses on the three witches whom we have come to recognise from every novel in the villain’s collection. When we left the sisters, they were trapped in the dreamscape; punished by Circe for the roles they had played in creating and revelling in the misfortune of others. This novel leads directly on from ‘Mother Knows Best’, with Circe scouring journals alongside Snow, revealing more and more of the story behind the sisters and their madness.
This is the one review of Serena’s novels that I have really struggled to write. Not because the book is not good! The story itself ties up all the loose ends from ‘Mother Knows Best’ but still leaves room for character development in the form of Tulip and Popinjay who have embarked upon their own adventure: I am sure it is not the last we will hear from them.
My struggles lie in not spoiling the story for a potential reader. This is one story which you just have to experience and read in the correct order! There is an established order for a reason people! Serena Valentino does not write and release these books on a whim- you must pay attention!
A unique characteristic of this novel is the addition of illustrations. The cover art for the series of villain tales is arguably iconic, yet, this is the first book which has included internal illustrations. These illustrations are beautiful as standalone drawings but they also bring a level of humanity to the Odd Sisters: quite apt, as this is the story which explains how they came to be so inhuman in their behaviour and values.
The inclusion of illustrations also allows the seamless addition of the sisters’ journal which eager readers have fallen on and devoured for clues of future villain tales. Later Serena Valentino herself (@blackbirdpirate) would reveal on Instagram that one fan had deduced these clues perfectly, leading us to expect upcoming tales from the likes of Lady Tremaine, Hades and the Shadowman.
‘The Odd Sisters’, although obviously centering around the three witches, seems to bend to Snow White as the main character in the tale. Snow’s journey concludes in this novel, finally allowing her to end her-frankly unhealthy- relationship with her stepmother. It also transpires that the odd sisters’ journey into madness began with Snow…but you will have to read the book to find out how.
Despite being significantly different from the previous villain tales, Valentino continues to keep us gripped with this almost cathartic novel. In tying up the loose ends such as the significance of the teacups (that has been bugging me for ages!), Valentino is able to build suspense in Circe’s journey and focus on dropping teasers for where the books will lead next. I for one, cannot wait to find out.
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BankofMarquis (1832 KP) rated Nope (2022) in Movies
Jul 26, 2022
Original...Tense...and Entertaining
Producer/Writer/Director Jordan Peele has managed to accomplish something with his latest horror film - he has managed to make a completely original film both in concept and in execution.
To tell too much about the story of NOPE would be to spoil it - and letting this unique film unfold in front of you is a large part of the journey - but, to sum up…Hollywood Horse Wrangler, Otis Haywood Sr. (the great Keith David, THE THING), his son, Otis Haywood, Jr. - or as he is called in this film OJ (the incomparable Oscar-winner Daniel Kaluuya) and his daughter, Emerald (Keke Palmer of Disney Channel fame, amongst others) encounter some strange phenomena. Their investigation will draw in their neighbor, former child star Ricky “Jupe” Park (Steven Yeun, THE WALKING DEAD), a tech from the local IT Hardware store, Angel Torres (Brandon Perea, THE OA) and a wildlife cinematographer, Antlers Holst, who specializes in getting the “impossible” shot (Michael Wincott, THE CROW).
It’s a wildly entertaining, grip-your-armchair type of film that unfolds on the screen in clever ways (without getting “too” weird) - all with the pragmatic sensibilities of Peele, the former member of the comedy duo KEYE & PEELE. Jordan has grown into a filmmaker that must not be missed and in NOPE he showcases his skill with strong effect, being in complete control of the artistic point of view while delivering a highly entertaining thriller.
Of course, it helps that you have a performer as interesting to watch as Kaluuya - one of the finest performers in film today. He plays the taciturn OJ with complete “taciturn-ness” (if that is a word) and, in his skilled body, this performance works very, very well. He says more with a glance or a shrug than most people can say with a 1,000 words and he draws you into the screen and into his thoughts with tremendous intimacy.
Keke Palmer, by contrast, is the exact opposite. Her Emerald is flamboyant, chatty, up-beat and beset by inner demons made manifest by drugs, alcohol and smoke. It is a movie-saving performance by Palmer as she brings the heart and the energy to the proceedings while Kaluuya is the quiet brains and the soul.
Perea, Yeun, David and (especially) Wincott all add to the tapestry of the events and bring something interesting and worth looking at (and into) during the course of this film.
Peele ratchets the tension throughout this film like an expert and the Special Effects are used in exactly the right way that they needed to be used and showcased throughout the film - filling you with awe when that is called for and having you think to yourself “you’ve got to be kidding me” when that is exactly what the characters are thinking.
A masterful, original concept of a film by Peele - one that is not for everyone - but those that are into this type of thing are going to be in for a unique and original film filled with unique characters and more than one jump along the way.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
To tell too much about the story of NOPE would be to spoil it - and letting this unique film unfold in front of you is a large part of the journey - but, to sum up…Hollywood Horse Wrangler, Otis Haywood Sr. (the great Keith David, THE THING), his son, Otis Haywood, Jr. - or as he is called in this film OJ (the incomparable Oscar-winner Daniel Kaluuya) and his daughter, Emerald (Keke Palmer of Disney Channel fame, amongst others) encounter some strange phenomena. Their investigation will draw in their neighbor, former child star Ricky “Jupe” Park (Steven Yeun, THE WALKING DEAD), a tech from the local IT Hardware store, Angel Torres (Brandon Perea, THE OA) and a wildlife cinematographer, Antlers Holst, who specializes in getting the “impossible” shot (Michael Wincott, THE CROW).
It’s a wildly entertaining, grip-your-armchair type of film that unfolds on the screen in clever ways (without getting “too” weird) - all with the pragmatic sensibilities of Peele, the former member of the comedy duo KEYE & PEELE. Jordan has grown into a filmmaker that must not be missed and in NOPE he showcases his skill with strong effect, being in complete control of the artistic point of view while delivering a highly entertaining thriller.
Of course, it helps that you have a performer as interesting to watch as Kaluuya - one of the finest performers in film today. He plays the taciturn OJ with complete “taciturn-ness” (if that is a word) and, in his skilled body, this performance works very, very well. He says more with a glance or a shrug than most people can say with a 1,000 words and he draws you into the screen and into his thoughts with tremendous intimacy.
Keke Palmer, by contrast, is the exact opposite. Her Emerald is flamboyant, chatty, up-beat and beset by inner demons made manifest by drugs, alcohol and smoke. It is a movie-saving performance by Palmer as she brings the heart and the energy to the proceedings while Kaluuya is the quiet brains and the soul.
Perea, Yeun, David and (especially) Wincott all add to the tapestry of the events and bring something interesting and worth looking at (and into) during the course of this film.
Peele ratchets the tension throughout this film like an expert and the Special Effects are used in exactly the right way that they needed to be used and showcased throughout the film - filling you with awe when that is called for and having you think to yourself “you’ve got to be kidding me” when that is exactly what the characters are thinking.
A masterful, original concept of a film by Peele - one that is not for everyone - but those that are into this type of thing are going to be in for a unique and original film filled with unique characters and more than one jump along the way.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Prey (2022) in Movies
Aug 12, 2022
Less Is More - And It Works!
In 1987, at the height of the ‘80’s action movie craze with the likes of Stallone, Van Damme, Segal, Norris and Willis, Arnold Schwarzenegger came out with what on the surface looked like a throw away macho, sci-fi action flick, PREDATOR. What it turned out to be was one of the all-time classic action films.
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated Movies Are Prayers in Books
Jun 18, 2017
An Interesting Perspective
This eBook was provided by the publisher via NetGalley in exchange for an honest review
Subtitled How Films Voice Our Deepest Longings, film critic and committed Christian, Josh Larsen, writes Movies Are Prayers to explain his perspective that films are one of our ways of communicating with God. Films, or movies as they are oftentimes referred to in this book, can be many things from a form of escapism to historical information and artistic expression, but as Larsen maintains, they can also be prayers.
“Movies are our way of telling God what we think about this world and our place in it.” Apart from those based on Biblical characters or Christian messages, films are not usually a deliberate attempt at speaking to God. What Larsen is suggesting is that God can be found in places you would not expect – the cinema, for instance. Prayer is a human instinct, even for those who have no religious ties. We are forever asking “why am I here?” or “why me?” alongside feelings of gratitude and love for our positive experiences in life.
Josh Larsen explores several expressions of prayer, including the tenets of the Lord’s Prayer, to examine numerous films from popular classics to contemporary Disney. Beginning with wonder at the natural world (Avatar, Into The Wild), positive forms of prayer are identified in well-known cinematography, such as reconciliation (Where the Wild Things Are), meditation (Bambi), joy (Top Hat, and most musicals) and confession (Toy Story, Trainwreck). But Larsen does not stop there, he goes on to use examples of emotions that many may not consider forms of prayer: anger (Fight Club, The Piano) and lament (12 Years a Slave, Godzilla).
To back up his theory, Josh Larsen relates film sequences with Bible passages, for example, the prayers of David and Job. He likens the ending of Children of Men with the Christmas story and identifies the worshipping of false gods with Wizard of Oz. Larsen also suggests the obedience of the main character in It’s a Wonderful Life reflects the experiences of Jonah.
As well as Biblical theory, Larsen refers to citations from other respected Christian writers on the matter of prayer, challenging preconceived notions of both the religious and the atheist. Despite the fact Movies Are Prayers is heavily steeped in religious connotations, it may appeal to film buffs who wish to delve deeper into the hidden meanings of films.
Although the examples in this book are mostly well-known titles, it is unlikely that readers will have watched all the films. Helpfully, Josh Larsen provides details and descriptions of the scenes he has chosen to focus on so that even if you are not familiar with the story, it is possible to understand the author’s perspective. Having said that, Movies Are Prayers contains a lot of spoilers.
Everyone has their own personal view on Christian theory and prayer, so Movies Are Prayers can only be treated as an idea rather than gospel. However, Josh Larsen has developed an interesting theory that makes you think more about the ways we can communicate with God, even when we may not have deliberately chosen to. Being easy to read and not overly long (200 pages), Movies Are Prayers is the ideal book for film-loving Christians.
Subtitled How Films Voice Our Deepest Longings, film critic and committed Christian, Josh Larsen, writes Movies Are Prayers to explain his perspective that films are one of our ways of communicating with God. Films, or movies as they are oftentimes referred to in this book, can be many things from a form of escapism to historical information and artistic expression, but as Larsen maintains, they can also be prayers.
“Movies are our way of telling God what we think about this world and our place in it.” Apart from those based on Biblical characters or Christian messages, films are not usually a deliberate attempt at speaking to God. What Larsen is suggesting is that God can be found in places you would not expect – the cinema, for instance. Prayer is a human instinct, even for those who have no religious ties. We are forever asking “why am I here?” or “why me?” alongside feelings of gratitude and love for our positive experiences in life.
Josh Larsen explores several expressions of prayer, including the tenets of the Lord’s Prayer, to examine numerous films from popular classics to contemporary Disney. Beginning with wonder at the natural world (Avatar, Into The Wild), positive forms of prayer are identified in well-known cinematography, such as reconciliation (Where the Wild Things Are), meditation (Bambi), joy (Top Hat, and most musicals) and confession (Toy Story, Trainwreck). But Larsen does not stop there, he goes on to use examples of emotions that many may not consider forms of prayer: anger (Fight Club, The Piano) and lament (12 Years a Slave, Godzilla).
To back up his theory, Josh Larsen relates film sequences with Bible passages, for example, the prayers of David and Job. He likens the ending of Children of Men with the Christmas story and identifies the worshipping of false gods with Wizard of Oz. Larsen also suggests the obedience of the main character in It’s a Wonderful Life reflects the experiences of Jonah.
As well as Biblical theory, Larsen refers to citations from other respected Christian writers on the matter of prayer, challenging preconceived notions of both the religious and the atheist. Despite the fact Movies Are Prayers is heavily steeped in religious connotations, it may appeal to film buffs who wish to delve deeper into the hidden meanings of films.
Although the examples in this book are mostly well-known titles, it is unlikely that readers will have watched all the films. Helpfully, Josh Larsen provides details and descriptions of the scenes he has chosen to focus on so that even if you are not familiar with the story, it is possible to understand the author’s perspective. Having said that, Movies Are Prayers contains a lot of spoilers.
Everyone has their own personal view on Christian theory and prayer, so Movies Are Prayers can only be treated as an idea rather than gospel. However, Josh Larsen has developed an interesting theory that makes you think more about the ways we can communicate with God, even when we may not have deliberately chosen to. Being easy to read and not overly long (200 pages), Movies Are Prayers is the ideal book for film-loving Christians.
Ross (3284 KP) rated Avengers: Infinity War (2018) in Movies
Apr 30, 2018
Non-stop action (2 more)
Tugs at the heart strings
Moments of goosebumps
Scenes in Edinburgh Waverley station reminded me of my morning commute and therefore work :( (1 more)
Obvious impermanence
Just stops short of perfect
Contains spoilers, click to show
Contains spoilers, look away now.
You have been warned.
OK, here goes. On leaving the cinema I felt a mix of emotions. Excitement at the events I had witnessed, Anxiety for the wait for the next film, Thoughtful over the conclusion (Thanos, work complete, settling down for some time on the farm). But no sadness. Not a jot. I had just watched some of my favourite characters perish: the excellent new incarnation of Spider-man, the strong principled leader of Black Panther, all of GotG except the rabbit one, etc etc. One click of Thanos' fingers and they were gone. But ... I just didn't really care. I knew that the next film is going to involve another click of his (or more likely someone else's - my money is on Nebula) fingers and all his actions will be un-done and it turns out nobody died after all, because Disney.
The fact that it was all the new members of the team/universe that perished and all the original avengers survived (hawkeye TBC) was a total cop-out. I am so bored of Captain America and Iron Man (though I like Stark's comedy quips), and Hulk is fatally flawed as a hero due to being totally uncontrollable. Prior to Ragnarok I strongly disliked Thor, but now I do seem to dislike him less. Plus it is hard to see how any of those are strong enough to overpower Thanos and fix what he has done (if it comes down to a sombre, from-the-heart Cap speech that makes Thanos see the error of his ways then the cinema will see ROSS SMASH).
The whole movie is outstanding, don't get me wrong. The action, the pacing, the different new interactions, the story and backstory and the humour. Oh my, the humour. I think this is possibly the funniest MCU film yet - the writers really have nailed the one-liners this time. It could be that there is more tension and the humour cuts through it, that you notice it more, but so funny. The scenes with Spider-man (IRON SPIDER!!!), Iron Man and Star Lord and Drax were awesome.
Outstanding moments for me:
Thor's appearance in Wakanda (kicking names and taking asses) - proper goose-bumps
The first conflict in New York - Spidey, Iron Man and Dr Strange against Ebony Maw
The battle on Titan
Annoying moments for me:
Star-Lord ruining everything - twice! All he had to do was kill Gamora when she asked him to (before Thanos realised and made his gun shoot bubbles!). And then when they were so close to getting the gauntlet off Thanos (I was convinced they would get it off and Nebula would take it and be so much worse than Thanos). I guess this showed the human side and how emotional attachments are what define us blah blah but it was another moment where an illogical action from one person ruined the endeavours.
Still, the emotional rollercoaster was better than I expected and I am so looking forward to Ant-Man and the Wasp, Captain Marvel and part 2.
You have been warned.
OK, here goes. On leaving the cinema I felt a mix of emotions. Excitement at the events I had witnessed, Anxiety for the wait for the next film, Thoughtful over the conclusion (Thanos, work complete, settling down for some time on the farm). But no sadness. Not a jot. I had just watched some of my favourite characters perish: the excellent new incarnation of Spider-man, the strong principled leader of Black Panther, all of GotG except the rabbit one, etc etc. One click of Thanos' fingers and they were gone. But ... I just didn't really care. I knew that the next film is going to involve another click of his (or more likely someone else's - my money is on Nebula) fingers and all his actions will be un-done and it turns out nobody died after all, because Disney.
The fact that it was all the new members of the team/universe that perished and all the original avengers survived (hawkeye TBC) was a total cop-out. I am so bored of Captain America and Iron Man (though I like Stark's comedy quips), and Hulk is fatally flawed as a hero due to being totally uncontrollable. Prior to Ragnarok I strongly disliked Thor, but now I do seem to dislike him less. Plus it is hard to see how any of those are strong enough to overpower Thanos and fix what he has done (if it comes down to a sombre, from-the-heart Cap speech that makes Thanos see the error of his ways then the cinema will see ROSS SMASH).
The whole movie is outstanding, don't get me wrong. The action, the pacing, the different new interactions, the story and backstory and the humour. Oh my, the humour. I think this is possibly the funniest MCU film yet - the writers really have nailed the one-liners this time. It could be that there is more tension and the humour cuts through it, that you notice it more, but so funny. The scenes with Spider-man (IRON SPIDER!!!), Iron Man and Star Lord and Drax were awesome.
Outstanding moments for me:
Thor's appearance in Wakanda (kicking names and taking asses) - proper goose-bumps
The first conflict in New York - Spidey, Iron Man and Dr Strange against Ebony Maw
The battle on Titan
Annoying moments for me:
Star-Lord ruining everything - twice! All he had to do was kill Gamora when she asked him to (before Thanos realised and made his gun shoot bubbles!). And then when they were so close to getting the gauntlet off Thanos (I was convinced they would get it off and Nebula would take it and be so much worse than Thanos). I guess this showed the human side and how emotional attachments are what define us blah blah but it was another moment where an illogical action from one person ruined the endeavours.
Still, the emotional rollercoaster was better than I expected and I am so looking forward to Ant-Man and the Wasp, Captain Marvel and part 2.
Amanda (96 KP) rated Alex, Approximately in Books
Mar 14, 2019
“My name is Bailey Rydell, and I’m a habitual evader.”
This was one of those books that I’ve seen everywhere from Kindle store to the Target book section. I did grab it while it was on sale, so that’s a bonus for me. This book read almost like a teenager version of You’ve Got Mail. I’m not saying that’s a bad thing at all. I actually enjoyed this book.
Bailey “Mink” moves from her mother’s home and into her father’s home in California. Before that, she was chatting with a classic movie buff online with someone by the SN Alex. He happens to live in California and wants Bailey to accompany him to a film festival where classics are shown, including North by Northwest. Bailey doesn’t tell Alex that she up and moved to California, and for some reason, wants to try and find him on her own.
Why she would want to do that…I had no idea but I kept reading. Her father gets her a summer job and during the first day of training, she meets a guy she titles him her ‘arch nemesis’. Only villains from Disney have arch nemesis, I’m just saying.
Porter Roth is rude, inappropriate and gets on Bailey’s nerves – you can’t help but like the guy anyway; and clearly, neither could she.
So, I say that it almost read like You’ve Got Mail, because when Bailey starts to see Porter, she kind of stops messaging Alex – and so does he, but the summary gives it away that Alex IS Porter, so I don’t have to worry about spoiling it. Then again, the movie already lets you know he’s the one anyway.
Bailey is an evader and wants to avoid any kind of conflict, confrontation, etc. I can relate to that, so I can’t really fault her on being that way. I really found it disheartening that her mother didn’t bother to give her a call or even a simple text to see how she’s doing after she moved in with her father. That is addressed, but it’s still hard for me to grasp it. I know she feels guilty (sorry, won’t spoil as to why she does), but it’s still disheartening to make your daughter think that you don’t really care about her.
“That’s the thing about being an evader. You have to be flexible and know when to bail before it all gets weird. Better for everyone, really. I’m a giver.”
This is the first novel I’ve read by Jenn Bennett. There was an excerpt from her other novel in the ebook, but I didn’t read it. I don’t know why. I don’t like reading excerpts from other books after I’ve finished one. I always want to read it straight from the book itself. I’m not sure if that made any sense at all.
The book was a cute read. Don’t let Bailey get to you right away, she has her reasons and she’s a good and strong person. Porter is a goober, but you’ll love him just as much as Bailey does. I ADORE Grace. Wish she was a bigger part in the story, just because I like her that much. And now the book makes me want to check some of the older classic movies I have not seen yet.
This was one of those books that I’ve seen everywhere from Kindle store to the Target book section. I did grab it while it was on sale, so that’s a bonus for me. This book read almost like a teenager version of You’ve Got Mail. I’m not saying that’s a bad thing at all. I actually enjoyed this book.
Bailey “Mink” moves from her mother’s home and into her father’s home in California. Before that, she was chatting with a classic movie buff online with someone by the SN Alex. He happens to live in California and wants Bailey to accompany him to a film festival where classics are shown, including North by Northwest. Bailey doesn’t tell Alex that she up and moved to California, and for some reason, wants to try and find him on her own.
Why she would want to do that…I had no idea but I kept reading. Her father gets her a summer job and during the first day of training, she meets a guy she titles him her ‘arch nemesis’. Only villains from Disney have arch nemesis, I’m just saying.
Porter Roth is rude, inappropriate and gets on Bailey’s nerves – you can’t help but like the guy anyway; and clearly, neither could she.
So, I say that it almost read like You’ve Got Mail, because when Bailey starts to see Porter, she kind of stops messaging Alex – and so does he, but the summary gives it away that Alex IS Porter, so I don’t have to worry about spoiling it. Then again, the movie already lets you know he’s the one anyway.
Bailey is an evader and wants to avoid any kind of conflict, confrontation, etc. I can relate to that, so I can’t really fault her on being that way. I really found it disheartening that her mother didn’t bother to give her a call or even a simple text to see how she’s doing after she moved in with her father. That is addressed, but it’s still hard for me to grasp it. I know she feels guilty (sorry, won’t spoil as to why she does), but it’s still disheartening to make your daughter think that you don’t really care about her.
“That’s the thing about being an evader. You have to be flexible and know when to bail before it all gets weird. Better for everyone, really. I’m a giver.”
This is the first novel I’ve read by Jenn Bennett. There was an excerpt from her other novel in the ebook, but I didn’t read it. I don’t know why. I don’t like reading excerpts from other books after I’ve finished one. I always want to read it straight from the book itself. I’m not sure if that made any sense at all.
The book was a cute read. Don’t let Bailey get to you right away, she has her reasons and she’s a good and strong person. Porter is a goober, but you’ll love him just as much as Bailey does. I ADORE Grace. Wish she was a bigger part in the story, just because I like her that much. And now the book makes me want to check some of the older classic movies I have not seen yet.