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Word Swag - Cool fonts & typography generator
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You've found the authentic Word Swag™ app! Word Swag magically turns your words into beautiful...
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Frim helps you to meet real people nearby. You can make new friends, meet locals while you travel or...
Kristy H (1252 KP) rated I'd Give Anything in Books
Jun 11, 2020
At eighteen, Ginny "Zinny" Beale is a lighthearted, fun, brave girl with a close group of friends and brother with whom she can unite against their uptight mother. But one night changes all of that. Someone sets the town's high school on fire and in the aftermath, the father of Ginny's best friend, Gray, is dead. The townspeople look for someone to blame--leaving most of it on a troubled teen--but Ginny learns some news that changes her entire world. She tells no one, but the secret alters her life and leaves her an outcast among her friends and family. Over the next twenty years, Ginny transitions, settling down, returning to her hometown and marrying Harris, a professor. They have a daughter, Avery, and Ginny cares for her mother, who is dying. But when scandal rocks the town again--this time focused on Harris--Ginny has to make some choices. It's time to confront the past and the secret she's kept buried all this time.
"In one night, one night, I lost all of them."
I adore Marisa de los Santos and her writing, though this wasn't my favorite of her books. Still, she's just so good at capturing the little moments in life: nailing down the feelings and emotions of her characters. Ginny, Avery, and others spring to life in this one. The story swings between past and present, with older excerpts often told from Ginny's diary entries. It takes a while to learn Ginny's big secret, which is a bit of a pet peeve of mine: I'm not always a fan of dragging out a secret.
This is a poignant and sad read, delving into marriage, love, and parenthood. My favorite character was fifteen-year-old Avery, who is hit hard by the incident involving her father, Harris. In many ways, I was far more invested in Avery's growth than Ginny's--I liked Ginny, but I couldn't quite find myself fully wanting to root for her. Although the juxtaposition between young Zinny and present-day Ginny was quite well-done.
Did you stop being your old selves? Did they fall away? Were you always only the self you were in the present?
The book explores how one secret can so change a person and the ripple effect it has on many lives. Ms. de los Santos examines her characters very closely via her writing, and I will always love picking up her books and getting an intimate look at her cast of players. In the end, this is a touching and well-written novel, even if I couldn't always find myself fully engaged in Ginny's world. 3.75 stars, rounded to 4 here.
"In one night, one night, I lost all of them."
I adore Marisa de los Santos and her writing, though this wasn't my favorite of her books. Still, she's just so good at capturing the little moments in life: nailing down the feelings and emotions of her characters. Ginny, Avery, and others spring to life in this one. The story swings between past and present, with older excerpts often told from Ginny's diary entries. It takes a while to learn Ginny's big secret, which is a bit of a pet peeve of mine: I'm not always a fan of dragging out a secret.
This is a poignant and sad read, delving into marriage, love, and parenthood. My favorite character was fifteen-year-old Avery, who is hit hard by the incident involving her father, Harris. In many ways, I was far more invested in Avery's growth than Ginny's--I liked Ginny, but I couldn't quite find myself fully wanting to root for her. Although the juxtaposition between young Zinny and present-day Ginny was quite well-done.
Did you stop being your old selves? Did they fall away? Were you always only the self you were in the present?
The book explores how one secret can so change a person and the ripple effect it has on many lives. Ms. de los Santos examines her characters very closely via her writing, and I will always love picking up her books and getting an intimate look at her cast of players. In the end, this is a touching and well-written novel, even if I couldn't always find myself fully engaged in Ginny's world. 3.75 stars, rounded to 4 here.
Defiance (Rise of the Iliri #3)
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HER ONLY CHOICE IS TO CHANGE HER WORLD… Salryc Luxx came to the Black Blades as ignorant of her...
World Cricket Championship 2
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Welcome to the Next Generation in Mobile Cricket Gaming! Every cricket lover can now have the most...
Emma @ The Movies (1786 KP) rated The Last Letter from Your Lover (2021) in Movies
Sep 5, 2021
Having missed the Unlimited Screening of this I was having to endure constant enthusiasm of a certain moviegoer until I'd seen it, but even then it didn't quite stop.
When Ellie discovers a random love letter while searching the archives for assignment, it sets in motion a hunt for more letters. With each letter the mystery unfolds and Ellie's life changes with every heartfelt sentence.
This is based on a Jojo Moyes book (that as usual, I haven't read), and I believe that traditionally that means gut-wrenching feels?
A modern day love story that evolves around a love story of letters. As tales of romance go, this is a very compelling one. I understand that the film has been stripped back from the novel (as you'd expect), and from what I've heard about what's missing, it's probably done the film a favour by not getting bogged down in extra backstory.
Let's start at the beginning with Jennifer (played by Shailene Woodley). She's the perfect balance throughout the film, composed and demur, frantic and firey. And my god, I felt all of her emotions in every scene. Her performance was probably my favourite from the cast, especially when combined with Callum Turner as Anthony O'Hare.
The way the two of them interacted was compelling the whole way through, and the emotion felt so horribly real that I was bawling my eyes out. Turner's performance was understated but powerful... and it totally wrecked me.
Meanwhile, in the present, Ellie (Felicity Jones) and Rory (Nabhaan Rizwan) are discovering Jennifer and Anthony's hidden romance through letters uncovered in the archives where they work. These sections of the film gave me very strong vibes of Love Actually mixed with Last Christmas. On their own they were funny and cute moments, but I think the balance was just right. Any more of them and I'm not sure the film would have held quite the same appeal.
The historic scenes were beautiful, the settings, the costumes, absolutely stunning. It makes you nostalgic for a style that some of us have never even experienced.
As I said, I bawled my eyes out, but that wasn't how I felt all the way through. At the beginning of the film I was a little bored if I'm honest. I wasn't really getting along with what was happening, and I was a little annoyed that the first cut didn't clearly switch between past and present. But there was one point that had me sold, my heart was in my throat and the tears started... and I'm not convinced they stopped until the credits rolled.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/09/the-last-letter-from-your-lover-movie.html
When Ellie discovers a random love letter while searching the archives for assignment, it sets in motion a hunt for more letters. With each letter the mystery unfolds and Ellie's life changes with every heartfelt sentence.
This is based on a Jojo Moyes book (that as usual, I haven't read), and I believe that traditionally that means gut-wrenching feels?
A modern day love story that evolves around a love story of letters. As tales of romance go, this is a very compelling one. I understand that the film has been stripped back from the novel (as you'd expect), and from what I've heard about what's missing, it's probably done the film a favour by not getting bogged down in extra backstory.
Let's start at the beginning with Jennifer (played by Shailene Woodley). She's the perfect balance throughout the film, composed and demur, frantic and firey. And my god, I felt all of her emotions in every scene. Her performance was probably my favourite from the cast, especially when combined with Callum Turner as Anthony O'Hare.
The way the two of them interacted was compelling the whole way through, and the emotion felt so horribly real that I was bawling my eyes out. Turner's performance was understated but powerful... and it totally wrecked me.
Meanwhile, in the present, Ellie (Felicity Jones) and Rory (Nabhaan Rizwan) are discovering Jennifer and Anthony's hidden romance through letters uncovered in the archives where they work. These sections of the film gave me very strong vibes of Love Actually mixed with Last Christmas. On their own they were funny and cute moments, but I think the balance was just right. Any more of them and I'm not sure the film would have held quite the same appeal.
The historic scenes were beautiful, the settings, the costumes, absolutely stunning. It makes you nostalgic for a style that some of us have never even experienced.
As I said, I bawled my eyes out, but that wasn't how I felt all the way through. At the beginning of the film I was a little bored if I'm honest. I wasn't really getting along with what was happening, and I was a little annoyed that the first cut didn't clearly switch between past and present. But there was one point that had me sold, my heart was in my throat and the tears started... and I'm not convinced they stopped until the credits rolled.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/09/the-last-letter-from-your-lover-movie.html
Bob Mann (459 KP) rated The Wife (2017) in Movies
Sep 28, 2021 (Updated Sep 28, 2021)
Glenn Close … #robbed.
I missed “The Wife” when it came out in September, but finally caught it a few weeks ago. (Been a busy time at work so have a bit of a backlog of reviews!).
The Plot.
Joan Castleman (Glenn Close) is the doting wife of internationally renowned writer Joe Castleman (Jonathan Pryce). As we start the film, Joe has just received a call from Stockholm. No, it’s not an “amusing story about a goat” (for any MM2 fans out there). It’s notification that he is to receive the Nobel prize for literature. As Joan listens to the news on the extension, there is something in her eyes that betrays mixed emotions.
They travel to Sweden (on Concorde, obviously) with their son Max (Max Irons) – a writer at the start of his career. Max and Joe have a strained relationship.
Also in Stockholm is Nathanial Bone (Christian Slater) – the bane of Joe’s life, since he seems insistent on writing the biography of the great man. As Nathanial picks through the history of the couple, things start to unravel in unexpected ways.
What a performance!
The heart of this film, and the main reason for watching what is really a bit of a pot-boiler, is the performance by Glenn Close. It’s a remarkable demonstration of the acting craft and 110% Oscar worthy.
Don’t get me wrong…. as I watched the Oscars live in the wee-hours of Monday morning I let out a WHOOP of joy when our own national treasure Olivia Colman picked up the award. But I have to say that I think Glenn Close was rather robbed. Close can act brilliantly without saying a single word. In fact most of her best scenes are reaction shots to what she is listening to.
In comparison I found Jonathan Pryce to be a soupçon over-the-top as the feted writer, and I didn’t find the portrayal of Bone by Slater to be terribly convincing. So it’s a very mixed acting bag in my view.
Utterly gorgeous in a way that only Swedish women can be is Karin Franz Körlof as the personal photographer Linnea. She can also act!
A perfectly pleasant movie
Directed by Swedish director Björn Runge and with a screenplay by Jane Anderson, it’s a perfectly pleasant way to spend a couple of hours. The story is intriguing enough to keep your interest, although it plays its hand so early that the simmering suspense element ebbs out of the film. A final “Sixth Sense” style of reveal might have been much more effective.
But this is above all a film to relish the performance of Close: the facial acting during the speech at the awards ceremony is something that should be studied at acting schools for years to come.
The Plot.
Joan Castleman (Glenn Close) is the doting wife of internationally renowned writer Joe Castleman (Jonathan Pryce). As we start the film, Joe has just received a call from Stockholm. No, it’s not an “amusing story about a goat” (for any MM2 fans out there). It’s notification that he is to receive the Nobel prize for literature. As Joan listens to the news on the extension, there is something in her eyes that betrays mixed emotions.
They travel to Sweden (on Concorde, obviously) with their son Max (Max Irons) – a writer at the start of his career. Max and Joe have a strained relationship.
Also in Stockholm is Nathanial Bone (Christian Slater) – the bane of Joe’s life, since he seems insistent on writing the biography of the great man. As Nathanial picks through the history of the couple, things start to unravel in unexpected ways.
What a performance!
The heart of this film, and the main reason for watching what is really a bit of a pot-boiler, is the performance by Glenn Close. It’s a remarkable demonstration of the acting craft and 110% Oscar worthy.
Don’t get me wrong…. as I watched the Oscars live in the wee-hours of Monday morning I let out a WHOOP of joy when our own national treasure Olivia Colman picked up the award. But I have to say that I think Glenn Close was rather robbed. Close can act brilliantly without saying a single word. In fact most of her best scenes are reaction shots to what she is listening to.
In comparison I found Jonathan Pryce to be a soupçon over-the-top as the feted writer, and I didn’t find the portrayal of Bone by Slater to be terribly convincing. So it’s a very mixed acting bag in my view.
Utterly gorgeous in a way that only Swedish women can be is Karin Franz Körlof as the personal photographer Linnea. She can also act!
A perfectly pleasant movie
Directed by Swedish director Björn Runge and with a screenplay by Jane Anderson, it’s a perfectly pleasant way to spend a couple of hours. The story is intriguing enough to keep your interest, although it plays its hand so early that the simmering suspense element ebbs out of the film. A final “Sixth Sense” style of reveal might have been much more effective.
But this is above all a film to relish the performance of Close: the facial acting during the speech at the awards ceremony is something that should be studied at acting schools for years to come.
Kristy H (1252 KP) rated One Night on the Island in Books
Feb 14, 2022
Cleo is heading to the remote Irish island of Salvation for work, but it's personal too. She's about to turn thirty, an age her father never reached, and she's trying to reconcile where she is in life. A columnist who writes about finding love, she's yet to discover it herself. On Salvation, she plans to "self-couple"--a concept brought up by her boss, but Cleo can't help but feel there's something to finding herself. As for Mack Sullivan, he's heading to Salvation to research his ancestry and photograph the island he's heard so much about from his mother and grandmother. Escaping his estranged wife and crumbling life is a bonus, though he'll miss his two sons terribly. It's only when they arrive on the island that Mack and Cleo realize they've booked the same one room cottage--a terrible mix-up on a tiny island with no other accommodations. Forced to live together until the next ferry arrives, the two can barely stand being in the same space. But as time passes on the lovely island, their attitudes change.
This is a very slow moving, slow burn romance that focuses on being thoughtful and deliberate in its descriptions. There's less action and a lot of focus on the island and tons and tons of focus on Cleo and Mack's emotions and thoughts. So many thoughts, so much angst!
As for my thoughts... seriously, even on a small island, no one had a spare room? Not even a little one? Enjoying this book means buying into the premise that two complete strangers were truly willing to share a ONE ROOM cottage--sleeping across from another in a bed and a sofa. Thanks but no thanks. Also odd was Cleo's self-coupling (aka marrying herself) concept, which both she and her boss seemed quite into and even Mack accepted. Hmm...
Far more delightful was Salvation Island and its inhabitants. I could have read an entire book just focused on the enjoyable folks Cleo and Mack ran across, particularly the women Cleo joined at knitting circle and the lively group who gathered at the local pub. And while there were plenty of descriptions of this island, some were quite fun (otters!).
The book is told in a back and forth point of view from Cleo and Mack. They grow on you. It's not their fault they were trapped in the same lodge. This one was a little too slow and emotional for me in the beginning, but I still got a bit tearful at the ending.
I received a copy of this book from Random House / Ballantine and Netgalley in return for an unbiased review.
This is a very slow moving, slow burn romance that focuses on being thoughtful and deliberate in its descriptions. There's less action and a lot of focus on the island and tons and tons of focus on Cleo and Mack's emotions and thoughts. So many thoughts, so much angst!
As for my thoughts... seriously, even on a small island, no one had a spare room? Not even a little one? Enjoying this book means buying into the premise that two complete strangers were truly willing to share a ONE ROOM cottage--sleeping across from another in a bed and a sofa. Thanks but no thanks. Also odd was Cleo's self-coupling (aka marrying herself) concept, which both she and her boss seemed quite into and even Mack accepted. Hmm...
Far more delightful was Salvation Island and its inhabitants. I could have read an entire book just focused on the enjoyable folks Cleo and Mack ran across, particularly the women Cleo joined at knitting circle and the lively group who gathered at the local pub. And while there were plenty of descriptions of this island, some were quite fun (otters!).
The book is told in a back and forth point of view from Cleo and Mack. They grow on you. It's not their fault they were trapped in the same lodge. This one was a little too slow and emotional for me in the beginning, but I still got a bit tearful at the ending.
I received a copy of this book from Random House / Ballantine and Netgalley in return for an unbiased review.
BankofMarquis (1832 KP) rated Finch (2021) in Movies
Nov 18, 2021
Very Effective
There are times when there is a “Perfect Storm” of film material, performance, mood, style and execution of said material and the headspace that I am in when I sit down to view the movie that elevates a film viewing experience above the norm.
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)