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Eddie's Bastard
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In this rich, deeply resonant literary debut, twenty-eight-year-old William Kowalski explores the...
fiction literary fiction contemporary American
A film with dodgy voices.
Catching up here with a review of a film I saw a couple of weeks ago.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
What a great film “Get Out” was. Jordan Peele’s classic which unpeeled (sic) race relations in a wholly novel and horrifying way. Yes, the story was a bit ‘out there’ and unbelievable, but he pulled it off with great chutzpah.
With his follow-up film – “Us”…. sorry but, for me, it just didn’t work.
From great beginnings
It all starts so promisingly. Young Adelaide Wilson (a fine debut performance by Madison Curry) is on a seaside holiday with her mother and careless father when she wanders onto the deserted Santa Cruz beach at night. There sits, like some gothic horror ghost train, the Hall of Mirrors. “Find Yourself” it taunts. She makes the mistake of entering and changes her life forever.
Spin forwards 30 years and Adelaide, now a married mother of two, is back in Santa Cruz with a terrifying feeling that things are about to go pear-shaped. And of course they do!
Why oh why oh why those voices?
This film had me gripped until a particular point. Having people stand still and silent at the end of your drive is an incredibly spooky thing to show. But then, for me, the wheels came off big time. The “reveal” of who these people were I could take. But the manner of their behaviour and – particularly – how they talked was horrifying; and not in a good way. When “Red” started speaking I couldn’t believe my ears: Joe Pasquale after swallowing Donald Duck.
From there, the film became farcical for me, descending in progressive stages to a tunnel-based apocalypse: a plot element that was just so paper thin it bore no scrutiny at all.
This was, no doubt, an attempt at a satirical dig at the class structure of America (“We are Americans” adding a double meaning to the name of the film). If it had been played as a deliberate comedy farce it might have worked. But otherwise no.
Flashes of Peele brilliance
This is not to say that there are not positives in the film. The excellent Lupita Nyong’o gives the whacky material her all, and the other adult female lead – Elisabeth Moss (from TV’s “The Handmaid’s Tale”) – is good value as Kitty Tyler: a diabolical incarnation in either form!
Peele also delivers flashes of directorial brilliance. The “hands across America”, disappearing into the sea, is a sight that stays with you. I also liked the twist at the end, although in retrospect it’s difficult to relate it to the rest of the story and strikes of desperation in the storytelling.
Overall, a big disappointment
I know there are some who really like this movie. Each to their own, but I was not one of them. After “Get Out” I was hoping for something much better. I hope that was just Jordan Peele’s “difficult second album”.
Clare Parrott (294 KP) created a post
Jul 24, 2017
Jamie (131 KP) rated Shimmer and Burn in Books
Jul 30, 2017
Unique magic concept (2 more)
Fast paced and engaging story
Dreamy male lead
Bland main character (1 more)
Details about the world and magic is mildly confusing
Threading blood magic in a dying world
Shimmer and Burn was much much darker than I expected and I LOVED it. A locked away kingdom ruled by a ruthless king, forbidden blood magic that is both beautiful and deadly, a power hungry princess, a dying world infested with diseased cannibals–this book had it all. That is, except for the main character, Faris.
This book was almost perfect for me, but I just wish that Faris wasn’t so bland. The book is carried by an extremely strong plot and well developed side characters but.. well the story just sort of happens to Faris. She is constantly made out to be a fighter but she ends up running or needing to be saved almost every time. She has one central motivation, her sister, and some heartbreak over Thaelan, but that’s really all her character really has going for her.
Thankfully the other characters help drive the plot forward. I’ve never been one to fawn over book boyfriends but that changed with North. I really like North and Faris together, even though their romance sort of shows up out of thin air in a mild case of instalove. I would expect characters to talk and have more interaction before they go falling “in love.” It’s not the worst thing in the world, I still liked the characters and their romance so I was willing to look past that.
My favorite part of the book is the absolutely incredible magic system which is unlike any other I’ve ever read. Magic is described as being beautiful like threads that can just as easily fray and destroy the magic wielder if not handled with care. It is treated as something alien, even for the humans with a natural born ability to wield it. I can’t overstate enough how much I love this concept. The intricate political relationships in this novel is also extremely well done and I’m so excited to read the next book.
A fair warning though, this book is definitely not for the faint of heart. While the romance may be clean, the violence definitely isn’t. This book isn’t the goriest I’ve ever read but it does not shy away from the gruesome details. If you can stomach the gritty content then I highly recommend this book, it’s one of the best YA books I’ve read in a while.
This book was almost perfect for me, but I just wish that Faris wasn’t so bland. The book is carried by an extremely strong plot and well developed side characters but.. well the story just sort of happens to Faris. She is constantly made out to be a fighter but she ends up running or needing to be saved almost every time. She has one central motivation, her sister, and some heartbreak over Thaelan, but that’s really all her character really has going for her.
Thankfully the other characters help drive the plot forward. I’ve never been one to fawn over book boyfriends but that changed with North. I really like North and Faris together, even though their romance sort of shows up out of thin air in a mild case of instalove. I would expect characters to talk and have more interaction before they go falling “in love.” It’s not the worst thing in the world, I still liked the characters and their romance so I was willing to look past that.
My favorite part of the book is the absolutely incredible magic system which is unlike any other I’ve ever read. Magic is described as being beautiful like threads that can just as easily fray and destroy the magic wielder if not handled with care. It is treated as something alien, even for the humans with a natural born ability to wield it. I can’t overstate enough how much I love this concept. The intricate political relationships in this novel is also extremely well done and I’m so excited to read the next book.
A fair warning though, this book is definitely not for the faint of heart. While the romance may be clean, the violence definitely isn’t. This book isn’t the goriest I’ve ever read but it does not shy away from the gruesome details. If you can stomach the gritty content then I highly recommend this book, it’s one of the best YA books I’ve read in a while.
Jayme (18 KP) rated Turtles All The Way Down in Books
Apr 15, 2018 (Updated Apr 15, 2018)
Characters (3 more)
Plot
Accurate depiciton of mental illness
Didn't have an "easy" or cliche "fairytale" ending
I’ve been meaning to pick up a John Green book for a very long time, but it wasn’t until I heard good reviews of this book that I finally did. My initial thought after finishing the book is this: I now understand all the hype.
I read a great deal of YA fiction, but it is not very often that I finish the book feeling whole. Not because the ending was that of a fairy tale — John Green has a reputation for ensuring those endings don’t exist in his novels — but because the book was just so well-written. I feel as if many YA writers sit down to write books, but forget who their audience is. They are writing a much more washed out and juvenile version of what teenagers are actually like today. They are afraid to let their characters cuss or talk about sex, as if neither action actually exists among young adults. YA authors tend to stray away from the reality of teen behavior, but this book faced realities in a compelling way.
The novel follows Aza, a sixteen year old with an obsessive compulsive disorder, as she navigates the implications of her illness on her relationships with other people. Simultaneously, Aza and her best friend Daisy make it their mission to find Davis Pickett’s billionaire father wanted by the police, and it just so happens that Davis is an old friend of Aza’s from camp.
I appreciated the way the Aza, Daisy, and Davis (as well as the other secondary characters) were facing so many different conflicts (i.e. grief, financial classes, love, mental health, college decisions) at once, because that is exactly how the world works. Real teenagers do not fixate their lives on one specific conflict for extended periods of time, rather they balance several conflicts. I love the way this book was able to depict that struggle to maintain a balance in such a way that allowed readers to follow each plot line to the very end.
I loved the characterization, as they all felt tangible. Their mannerisms and tendancies were displayed through each appearance on the page. There was not a single moment in any interaction that made me feel as if the personalities of these characters were lost, not even in the dialogue (which was also incredible). This attention to detail is something that will drive me to pick up another John Green novel in the near future.
I read a great deal of YA fiction, but it is not very often that I finish the book feeling whole. Not because the ending was that of a fairy tale — John Green has a reputation for ensuring those endings don’t exist in his novels — but because the book was just so well-written. I feel as if many YA writers sit down to write books, but forget who their audience is. They are writing a much more washed out and juvenile version of what teenagers are actually like today. They are afraid to let their characters cuss or talk about sex, as if neither action actually exists among young adults. YA authors tend to stray away from the reality of teen behavior, but this book faced realities in a compelling way.
The novel follows Aza, a sixteen year old with an obsessive compulsive disorder, as she navigates the implications of her illness on her relationships with other people. Simultaneously, Aza and her best friend Daisy make it their mission to find Davis Pickett’s billionaire father wanted by the police, and it just so happens that Davis is an old friend of Aza’s from camp.
I appreciated the way the Aza, Daisy, and Davis (as well as the other secondary characters) were facing so many different conflicts (i.e. grief, financial classes, love, mental health, college decisions) at once, because that is exactly how the world works. Real teenagers do not fixate their lives on one specific conflict for extended periods of time, rather they balance several conflicts. I love the way this book was able to depict that struggle to maintain a balance in such a way that allowed readers to follow each plot line to the very end.
I loved the characterization, as they all felt tangible. Their mannerisms and tendancies were displayed through each appearance on the page. There was not a single moment in any interaction that made me feel as if the personalities of these characters were lost, not even in the dialogue (which was also incredible). This attention to detail is something that will drive me to pick up another John Green novel in the near future.
RəX Regent (349 KP) rated We Own the Night (2007) in Movies
Feb 25, 2019
Crime movie for crime movie fans
Contains spoilers, click to show
This is a crime film for crime movie fans. It has it all, from sex, violence, wires and gritty hits. But at its heart is family, here driven by the two leads, Mark Wahlberg and Jequium Phoenix, reunited in yet another of James Grey's films. The tone is dark, with a realistic look as we are taken on trip back to 1988 and a fictional cop family, led by the Deputy Chief Of Police (NYPD) Robert Duvall, who is the father to Wahlberg's up and coming cop, with Phoenix's nightclub manager, who is not a criminal as such, but is a disappointment to his family.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.
As the trio become embroiled in an organised crime syndicate, they find themselves under a very personal attack and must take down the mob boss to save their lives. The problem with this film is that it plods its way through, lacking enough tension or high key performances to carry, what to me, should have been a taunt screenplay. Instead, it's a bit flat, with Phoenix's trademark sleepy performance. On the other hand, it's quite good, driven by real motivations and characters, is what saves this from 5/10 rating is a fantastically low-key car chase which looked and felt phenomenal, ending with tragedy which would drive the story in a more dubious direction.
Phoenix will end up being granted special dispensation to become a cop in order to track down the mobster, a plot point that I found to be a little far-fetched, though maybe this sort of thing has happened, I don't know but it just tipped the film over the edge of plausibility. I feel that We Own The Night, the motto of the now disbanded NYPD Street Crime Unit, which is headed up here by the fictional Captain Joseph Grusinsky (Wahlberg) thinks very highly of itself as a top quality crime drama, up there with the likes of The Godfather (1972) and Heat (1995), but it is not. It's good and better if you like the genre, but this is a film set in the late 80′s, made in the style of The Godfather light, which was a quintessential 1970′s movie. It needed to pack more of a punch or have some of the style which films such as those of Michael Mann or Martin Scorsese.
A decent story, good cinematography and noble effort but failed to blow me away.
Carma (21 KP) rated Just Right (Just Everyday Heroes: Day Shift, #1) in Books
Jun 17, 2019
Just Right is the first book in the Bradford series by Erin Nicholas. Nurse Jessica Bradford has loved looking at Dr Ben Torres these past 6 months in the ER Department. Tonights tragedy has them all on edge, when Ben enters the ER and strikes a patient, Jessica doesnt know how to help him. It becomes her duty to keep an eye on him during his suspension and keep him on the straight and narrow to be able to return to the ER Department. She doesnt count on falling for him quite so easily and quickly.
Dr Ben Torres is having a hell of a night in the ER. Hes lost 2 young patients and their mother is looking to be next all because a guy he put back together on the operating table a few months back decided to drink and drive. He cant stand by anymore while people take advantage of each other anymore. Why doesnt anyone appreciate the life they are living any longer? When he sees that patient put his hands on Jessica he loses control. He has kept his distance from Jessica for 6 months, he has to keep his eyes off the prize, but he wont stand by while someone hurts her. He has tossed around the idea of quitting for a while and this tips the scale big time.
When both Jessicas brother Sam and boss Russ ask her to keep an eye on Ben until he can return to the ER she does so eagerly. She grows closer to him while he tags along with her in everyday life. He helps her at her familys youth center, she helps him at his new barrista job. Their adventures together have quite a few funny situations and of course the secondary characters help the humor move along.
Ben and Jessica both have tragedy in their pasts, both have a self doubt they are working to erase from their beings. Even though they think theyve taken different roads to end up where they are now, they are actually quite similar.
I read this authors Counting on Love series first, which is a spin off of this series, so I was already pretty familiar with all the main and secondary characters in this book. Erin Nicholas is a wonderful writer with a style I love to follow along with. I have no idea how I ended up reading her first to me novel but I am so glad I did. Now on to the next Bradford book ..
Dr Ben Torres is having a hell of a night in the ER. Hes lost 2 young patients and their mother is looking to be next all because a guy he put back together on the operating table a few months back decided to drink and drive. He cant stand by anymore while people take advantage of each other anymore. Why doesnt anyone appreciate the life they are living any longer? When he sees that patient put his hands on Jessica he loses control. He has kept his distance from Jessica for 6 months, he has to keep his eyes off the prize, but he wont stand by while someone hurts her. He has tossed around the idea of quitting for a while and this tips the scale big time.
When both Jessicas brother Sam and boss Russ ask her to keep an eye on Ben until he can return to the ER she does so eagerly. She grows closer to him while he tags along with her in everyday life. He helps her at her familys youth center, she helps him at his new barrista job. Their adventures together have quite a few funny situations and of course the secondary characters help the humor move along.
Ben and Jessica both have tragedy in their pasts, both have a self doubt they are working to erase from their beings. Even though they think theyve taken different roads to end up where they are now, they are actually quite similar.
I read this authors Counting on Love series first, which is a spin off of this series, so I was already pretty familiar with all the main and secondary characters in this book. Erin Nicholas is a wonderful writer with a style I love to follow along with. I have no idea how I ended up reading her first to me novel but I am so glad I did. Now on to the next Bradford book ..
Strategic Modelling and Business Dynamics: A Feedback Systems Approach + Website
Book
Insightful modelling of dynamic systems for better business strategy The business environment is...
Phillip McSween (751 KP) rated The King of Staten Island (2020) in Movies
Jan 25, 2021
Incredible
An amateur tattoo artist is forced to grow up when his mom (who he is living with) falls in love with a new boo.
Acting: 10
Beginning: 7
The very first few moments sees main character Scott Carlin (Pete Davidson) driving on the highway with his eyes closed, seemingly trying to off himself. It’s a powerful scene followed quickly by Scott and his friends tripping out with the typical hilarious banter you find in a Judd Apatow movie. While both great scenes, you still don’t get a full sense of where the story is going after the first ten minutes hence the score.
Characters: 10
Cinematography/Visuals: 9
Shot in a memorable style that brings out the best and worst of Staten Island at the same time. Director Apatow has a knack for capturing extremely impactful moments, especially the awkward ones. Every scene, no matter how short makes the most of its time and tells its own story. It’s such a hard thing to do yet Apatow finds a way to do it repeatedly.
Conflict: 10
It’s funny, I can’t look at Scott’s character without thinking about my 16-year-old son. He’s kind of drifting about in the same aimless way and, like Scott, doesn’t seem to understand how his now actions will affect his later. The beauty of having a character like this is the ability to be able to drive external conflict through Scott’s internal growth. He is struggling for selfish reasons. He wants his mom to be happy, but not at his expense. The dynamic of conflict is perfect.
Entertainment Value: 9
Memorability: 10
Pace: 8
The story flows along pretty smoothly, although I wasn’t happy with the 147-minute runtime. That’s a bit extensive for a comedy in my opinion. Again, I was impressed about how time was maximized for the most part, but there were a few spots where I felt things could have been trimmed.
Plot: 7
The movie does cheat to meet its end, but I was ultimately ok with it because the rest of the story was pretty incredible. The cheat is a blip on an otherwise quality story that really enhances the growth of the characters. Every scene really does come together well to tell a great story.
Resolution: 10
Overall: 90
From jump, The King of Staten Island hits you in the mouth and keeps you entertained. I enjoyed this movie for multiple reasons, but mostly because it checks all the boxes. Even the things it falls short on is just slightly missing the mark. Highly recommended.
Acting: 10
Beginning: 7
The very first few moments sees main character Scott Carlin (Pete Davidson) driving on the highway with his eyes closed, seemingly trying to off himself. It’s a powerful scene followed quickly by Scott and his friends tripping out with the typical hilarious banter you find in a Judd Apatow movie. While both great scenes, you still don’t get a full sense of where the story is going after the first ten minutes hence the score.
Characters: 10
Cinematography/Visuals: 9
Shot in a memorable style that brings out the best and worst of Staten Island at the same time. Director Apatow has a knack for capturing extremely impactful moments, especially the awkward ones. Every scene, no matter how short makes the most of its time and tells its own story. It’s such a hard thing to do yet Apatow finds a way to do it repeatedly.
Conflict: 10
It’s funny, I can’t look at Scott’s character without thinking about my 16-year-old son. He’s kind of drifting about in the same aimless way and, like Scott, doesn’t seem to understand how his now actions will affect his later. The beauty of having a character like this is the ability to be able to drive external conflict through Scott’s internal growth. He is struggling for selfish reasons. He wants his mom to be happy, but not at his expense. The dynamic of conflict is perfect.
Entertainment Value: 9
Memorability: 10
Pace: 8
The story flows along pretty smoothly, although I wasn’t happy with the 147-minute runtime. That’s a bit extensive for a comedy in my opinion. Again, I was impressed about how time was maximized for the most part, but there were a few spots where I felt things could have been trimmed.
Plot: 7
The movie does cheat to meet its end, but I was ultimately ok with it because the rest of the story was pretty incredible. The cheat is a blip on an otherwise quality story that really enhances the growth of the characters. Every scene really does come together well to tell a great story.
Resolution: 10
Overall: 90
From jump, The King of Staten Island hits you in the mouth and keeps you entertained. I enjoyed this movie for multiple reasons, but mostly because it checks all the boxes. Even the things it falls short on is just slightly missing the mark. Highly recommended.
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