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Acanthea Grimscythe (300 KP) rated Bird Box in Books
May 16, 2018
If you're looking for something that is fast-paced and just might give you an anxiety attack, Josh Malerman's debut novel Bird Box may be exactly what you need. Set in the very near future, Bird Box is a book that simultaneously takes place during and after the apocalypse. Human beings find their minds under assault by an unseen force, one that drives them toward homicidal and suicidal tendencies. The only way to remain safe is to never, ever open your eyes.
Imagine with me what living in a world, robbed suddenly of sight, might be like. We rely heavily on our senses and, as an avid reader, I highly value my ability to be able to see the written word. I can't even begin to fathom what it would be like to find myself forced into an eternally dark void, and never have I thought of a scenario in which I would choose to be blind.
In Bird Box, Malorie and her children aren't given that option. Stranded in a home that is not her own, and faced with dwindling supplies and a lack of social interaction with anyone but her two children, Malorie must embark on a dangerous mission to find a new, safer haven for her small family: only their destination isn't very close to them, and they are not alone. There's a fourth party traveling with them and they are helpless to identify the newcomer.
The entire story does not follow that journey alone, though. In fact, it simultaneously takes place prior to Malorie's endeavor, introducing us to an entire cast of characters ranging from lovable to untrustworthy; from the purely innocent to those whose madness goes beyond all help. Though I'm not a huge fan of the constant back and forth chronology (in fact, I find it to be extremely distracting), the manner in which Malerman reveals bits and pieces of his story is crucial to progression: it gives readers the opportunity to develop their own feelings for Malorie and how she handles her problems. I also found that the odd way in which he split the story kept me reading, if only because more often that not, I found myself wondering how or why something was the way it was presently if, at the beginning of the end, everything seemed to be headed in a totally different direction.
Like most stories that take place after the world as we know it has met its doom, whether by nuclear fallout, bio-warfare, or the collapse of government, Bird Box brings out the best, and more readily, the worst in people. They become desperate or panicked, sometimes to the point that their actions defy all logic: such as the voluntary or involuntary blinding of oneself to avoid madness. Perhaps I so easily love post-apocalyptic books for that reason alone. They have a habit of reminding us exactly how pathetic and disgusting our own race can be; how often we are willing to put ourselves first, despite the suffering of others, should the situation call for it.
Imagine with me what living in a world, robbed suddenly of sight, might be like. We rely heavily on our senses and, as an avid reader, I highly value my ability to be able to see the written word. I can't even begin to fathom what it would be like to find myself forced into an eternally dark void, and never have I thought of a scenario in which I would choose to be blind.
In Bird Box, Malorie and her children aren't given that option. Stranded in a home that is not her own, and faced with dwindling supplies and a lack of social interaction with anyone but her two children, Malorie must embark on a dangerous mission to find a new, safer haven for her small family: only their destination isn't very close to them, and they are not alone. There's a fourth party traveling with them and they are helpless to identify the newcomer.
The entire story does not follow that journey alone, though. In fact, it simultaneously takes place prior to Malorie's endeavor, introducing us to an entire cast of characters ranging from lovable to untrustworthy; from the purely innocent to those whose madness goes beyond all help. Though I'm not a huge fan of the constant back and forth chronology (in fact, I find it to be extremely distracting), the manner in which Malerman reveals bits and pieces of his story is crucial to progression: it gives readers the opportunity to develop their own feelings for Malorie and how she handles her problems. I also found that the odd way in which he split the story kept me reading, if only because more often that not, I found myself wondering how or why something was the way it was presently if, at the beginning of the end, everything seemed to be headed in a totally different direction.
Like most stories that take place after the world as we know it has met its doom, whether by nuclear fallout, bio-warfare, or the collapse of government, Bird Box brings out the best, and more readily, the worst in people. They become desperate or panicked, sometimes to the point that their actions defy all logic: such as the voluntary or involuntary blinding of oneself to avoid madness. Perhaps I so easily love post-apocalyptic books for that reason alone. They have a habit of reminding us exactly how pathetic and disgusting our own race can be; how often we are willing to put ourselves first, despite the suffering of others, should the situation call for it.
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Zuky the BookBum (15 KP) rated Bird Box in Books
Mar 15, 2018
Read my review here! https://bookbumzuky.wordpress.com/2017/01/27/bird-box-by-josh-malerman/
<b><i>The sky is falling, the sky is dying, the sky is dead.</b></i>
One day you wake up and read a horrifying news story, there are people who are seeing things that make them go insane. So insane that they are driven to kill themselves. Soon, the entire world is infected with this <i>thing</i> and your only hope of survival is this: <b>do not open your eyes.</b>
This book was skin crawling-ly creepy! The plot is so unique and it really chills you to the bone at times. I liked how, as a reader, you were left just as blind as Malorie was, with Malerman giving you the opportunity to believe if there was something evil lurking, or not. This novel plays into one of my deepest fears. Being blind. Thinking about going blind has always scared me, but especially the thought of having to become blind involuntarily. Not being able to use your sight when you have the ability to do so would be excruciating and terrifying.
Malorie was such a refreshing, interesting and bold character. I loved her from page one and I never stopped loving her throughout. Her being a paranoid, helpless mother really brought out the scariness of the entire apocalyptic situation so well that you just know this book would have been nowhere near as good if Malerman has chosen to lead with another character, such as Tom, or Shannon.
Throughout, this book had me on the edge of my seat with fear and trepidation. One scene that really got to me in this novel was the scene in the bar. Malorie not being able to open her eyes to see what Victor was fussing about or having the ability to know if there was danger in the room with her really gave me goosebumps.
My only qualm with this novel was one aspect of the main plot line that I felt was left at a bit of a loose end. I guess, in some ways, it was good that it was left unspoken. We only have our thoughts about it to simmer in, to make our decisions as we did with so much of this book. But on the other hand, I would have liked an outcome of why and where.
This is by far one of the scariest novels Ive read in a long time and I want more of Malermans writing, right now!
<b><i>The sky is falling, the sky is dying, the sky is dead.</b></i>
One day you wake up and read a horrifying news story, there are people who are seeing things that make them go insane. So insane that they are driven to kill themselves. Soon, the entire world is infected with this <i>thing</i> and your only hope of survival is this: <b>do not open your eyes.</b>
This book was skin crawling-ly creepy! The plot is so unique and it really chills you to the bone at times. I liked how, as a reader, you were left just as blind as Malorie was, with Malerman giving you the opportunity to believe if there was something evil lurking, or not. This novel plays into one of my deepest fears. Being blind. Thinking about going blind has always scared me, but especially the thought of having to become blind involuntarily. Not being able to use your sight when you have the ability to do so would be excruciating and terrifying.
Malorie was such a refreshing, interesting and bold character. I loved her from page one and I never stopped loving her throughout. Her being a paranoid, helpless mother really brought out the scariness of the entire apocalyptic situation so well that you just know this book would have been nowhere near as good if Malerman has chosen to lead with another character, such as Tom, or Shannon.
Throughout, this book had me on the edge of my seat with fear and trepidation. One scene that really got to me in this novel was the scene in the bar. Malorie not being able to open her eyes to see what Victor was fussing about or having the ability to know if there was danger in the room with her really gave me goosebumps.
My only qualm with this novel was one aspect of the main plot line that I felt was left at a bit of a loose end. I guess, in some ways, it was good that it was left unspoken. We only have our thoughts about it to simmer in, to make our decisions as we did with so much of this book. But on the other hand, I would have liked an outcome of why and where.
This is by far one of the scariest novels Ive read in a long time and I want more of Malermans writing, right now!
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A gothic boarding school tale that falls flat
Rose Christie is nervous but excited when she's hired on as the new Head of Classics at Caldonbrae Hall, a boarding school for girls in Scotland. A renowned establishment for 150 years, Caldonbrae is a far step above Rose's current teaching gig and will offer a chance to help her mother, who is struggling with MS. Rose is the first external hire in over a decade, making her an immediate outsider, along with her youthful age. She quickly feels over her head at Caldonbrae, where the teachers and students alike seem to lord over her. But soon Rose realizes that everyone seems to be on to a secret, except her. Why did the last Classics teacher, Jane, leave so suddenly? As Rose learns more about Caldonbrae, she quickly realizes it is nothing like she expected.
"One way or another someone was going to get eaten alive here, Rose realized. She'd be damned if it was her."
I'm a sucker for boarding school stories, but this one did not live up to the promised hype for me. It grew on me a small bit by the end, but when I say this is a slow burning tale, I mean SLOW. I was incredibly tempted to "DNF" this book, but stuck with it, skimming or fast reading portions of it. The big twist, so to speak, doesn't come until halfway through (55% in fact). At that point, we have sat through lots of classics lessons and pontificating about Caldonbrae and gotten to know a lot of girls at the school.
Although, "getting to know" is probably generous, as there's a lack of character development throughout most of MADAM. There are a variety of girls at Caldonbrae thrust upon us, but I found it nearly impossible to keep many of them straight. (It doesn't help that the UK version of schooling is hard to follow, with thirds, fourths, and more tossed about, but rarely ages. Woe to us idiotic Americans!)
We know little about Rose, are offered a scarce backstory, and pieces about her father that are supposed to form her personality seem tossed in haphazardly. Instead she drove me crazy with her dithering and inability to make decisions. Most of the time I just wanted to shake her. She was in an impossible situation, perhaps, but she seemed unable to grasp anything for much of the book, or realize the seriousness of her circumstances.
I think MADAM was going for ominous and creepy--everything building up to its explosive ending (which is hinted at in the beginning pages), but it falls short. Instead, it seems more annoying and perplexing. When the twist is revealed, it's an interesting one, yes, but I couldn't help but question it, wonder how such a thing could be sustainable. MADAM just couldn't keep up the eerie tone it was trying for.
There's definite storytelling potential here, and I did find myself somewhat attached to a few of the girls by the end, when things pick up slightly. MADAM tries to align the classics (think tales of Medea and Antigone and such) with its boarding school girls, but often the tacked on tales of these mythical and classical women feel like unnecessary, added on pieces. It reaches too high, trying for a feminist angle, but falls short, with a fast ending that cannot possibly live up to all those classical, high-reaching aims.
"...she wondered how an establishment that promised to educate 'girls of the world' could somehow make its women feel so small."
Overall, there's a lot going on in MADAM, but it just didn't gel for me. I couldn't root for Rose for most of the novel, and the classic pieces inserted into the plot didn't work. There were sparks I enjoyed, but overall, this wasn't a favorite. 2.5 stars.
"One way or another someone was going to get eaten alive here, Rose realized. She'd be damned if it was her."
I'm a sucker for boarding school stories, but this one did not live up to the promised hype for me. It grew on me a small bit by the end, but when I say this is a slow burning tale, I mean SLOW. I was incredibly tempted to "DNF" this book, but stuck with it, skimming or fast reading portions of it. The big twist, so to speak, doesn't come until halfway through (55% in fact). At that point, we have sat through lots of classics lessons and pontificating about Caldonbrae and gotten to know a lot of girls at the school.
Although, "getting to know" is probably generous, as there's a lack of character development throughout most of MADAM. There are a variety of girls at Caldonbrae thrust upon us, but I found it nearly impossible to keep many of them straight. (It doesn't help that the UK version of schooling is hard to follow, with thirds, fourths, and more tossed about, but rarely ages. Woe to us idiotic Americans!)
We know little about Rose, are offered a scarce backstory, and pieces about her father that are supposed to form her personality seem tossed in haphazardly. Instead she drove me crazy with her dithering and inability to make decisions. Most of the time I just wanted to shake her. She was in an impossible situation, perhaps, but she seemed unable to grasp anything for much of the book, or realize the seriousness of her circumstances.
I think MADAM was going for ominous and creepy--everything building up to its explosive ending (which is hinted at in the beginning pages), but it falls short. Instead, it seems more annoying and perplexing. When the twist is revealed, it's an interesting one, yes, but I couldn't help but question it, wonder how such a thing could be sustainable. MADAM just couldn't keep up the eerie tone it was trying for.
There's definite storytelling potential here, and I did find myself somewhat attached to a few of the girls by the end, when things pick up slightly. MADAM tries to align the classics (think tales of Medea and Antigone and such) with its boarding school girls, but often the tacked on tales of these mythical and classical women feel like unnecessary, added on pieces. It reaches too high, trying for a feminist angle, but falls short, with a fast ending that cannot possibly live up to all those classical, high-reaching aims.
"...she wondered how an establishment that promised to educate 'girls of the world' could somehow make its women feel so small."
Overall, there's a lot going on in MADAM, but it just didn't gel for me. I couldn't root for Rose for most of the novel, and the classic pieces inserted into the plot didn't work. There were sparks I enjoyed, but overall, this wasn't a favorite. 2.5 stars.
Movie Metropolis (309 KP) rated Ghost in the Shell (2017) in Movies
Jun 10, 2019
Turning the beloved Ghost in the Shell manga franchise into a Hollywood film that’ll please picky Western audiences was always going to be a tough job for director Rupert Sanders (Snow White & the Huntsman).
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Casting the central lead, The Major, proved even more difficult. When Scarlett Johansson’s name was attached to play the role, Hollywood was once again accused of white-washing, a tag lobbied at Gods of Egypt last year. The finished product is now in cinemas around the globe, but is it the disaster many predicted?
In the near future, Major (Scarlett Johansson) is the first of her kind: a human who has been cyber-enhanced to create a perfect soldier devoted to stopping the world’s most dangerous criminals. When terrorism reaches a new level that includes the ability to hack into people’s minds and control them, Major is uniquely qualified to stop it. As she prepares to face a new enemy, Major finds truths about her past that changes her view on the world forever.
The greatest accolade that can be given to Ghost in the Shell is that its pre-release detractors haven’t stopped people from going to see it. The cinema was busy on its opening night, with many itching to see how such a universally loved manga could be fine-tuned for a Western palate.
Visually; the film is absolutely stunning and is best viewed on the biggest screen possible. Each frame is dripping with detail and the naturally heavy use of CGI doesn’t detract from creating a vibrant metropolis that feels every bit alive.
The story is simple to follow and easy to enjoy. It’s exciting, emotional and boosted by a fine, if slightly uninspiring performance from Johansson. The rest of the cast can also be described as fine, with only Juliette Binoche’s mother-like Dr. Ouélet creating any sort of lasting impact.
And this is Ghost in the Shell’s fundamental weakness. Outside of Binoche, the rest of the cast are largely forgettable and that’s a real shame considering the characters in its excellent source material were, for want of a better word, magical. Even the villain is devoid any sort of tyranny.
Thankfully though, the impressive set design and well-choreographed action sequences mask the disappointing array of characters well and steamroll this thrilling adventure to a very satisfying conclusion. It’s also accompanied by a gorgeous soundtrack by Clint Mansell and Lorne Balfe that compliments the futuristic nature of the film beautifully.
Sitting in the theatre, it felt at times like I was watching an updated version of Total Recall, and that’s no bad thing. Comparing it to a cult classic is probably what director Rupert Sanders was trying to achieve and despite its poor characters, Ghost in the Shell has every opportunity to succeed as a film we look back on in 30 years and think “hey, that’s actually pretty good”.
Overall, Ghost in the Shell is one hell of a good-looking film. Couple this with impressive special effects and a rollercoaster ride of a story and you have a big screen experience that’s great for 106 minutes, but probably won’t have any lasting impact once the end credits roll.
https://moviemetropolis.net/2017/03/31/not-without-its-faults-ghost-in-the-shell-review/
Darren (1599 KP) rated Our Kind of Traitor (2016) in Movies
Sep 16, 2019
Characters – Perry is a university professor, he is trying to make amends with his wife on a romantic holiday, he reluctantly gets involved in the information trade with his good nature being used by both sides. Gail is the lawyer wife of Perry, she has become distant from him while still loving him and does question his decision to help Dima. Dima is the Russian mafia handling the accounts, but he wants out to help his own children become safe, he uses his connection with Perry to get MI6 involved in the truth. Hector is the MI6 agent that is willing to work with Dima for the information in exchange for the family, he does have his own grudge with the man they are trying to take down too.
Performances – The performances through the film show us just what Le Carre does with his characters, he gives them good moments, without making them stand out. McGregor is good, but you feel a younger up and comer would have been perfect here, Harris is good and doesn’t put a foot wrong, while Skarsgard enjoys his role, shady but loyal. Damian Lewis brings back his true English role which at times does feel weird knowing how often he has been an American character recently.
Story – The story comes from a John Le Carre novel, so instantly we know we are going to get a thriller that keeps us guessing on what everyone’s motivation will be. The idea that a normal couple get mixed up in the middle of an international information exchange is different and does work for the film because it helps us stay on edge thinking and wondering if they do have a bigger involvement. The story does feel like that one moment to make it great is missing, as everything does end up feeling just normal and good only.
Crime – The crime side of the film follows a criminal looking for a safe way out of the life for his family in exchange for bringing down the mafia’s dealings in London.
Settings – The film splits the settings between London, for the deals, Morocco for the exchanges and the final location for the next chapter of the lives, they work because they show how this world would operate.
Scene of the Movie – The escape.
That Moment That Annoyed Me – It lacks the edge of your seat style of Le Carre novels have given us.
Final Thoughts – This is a solid thriller even if it lacks that final factor to make it one of the best ones, it does the by the book material well, but never develops the characters enough to understand the situation they put themselves in.
Overall: Simple thriller.
Performances – The performances through the film show us just what Le Carre does with his characters, he gives them good moments, without making them stand out. McGregor is good, but you feel a younger up and comer would have been perfect here, Harris is good and doesn’t put a foot wrong, while Skarsgard enjoys his role, shady but loyal. Damian Lewis brings back his true English role which at times does feel weird knowing how often he has been an American character recently.
Story – The story comes from a John Le Carre novel, so instantly we know we are going to get a thriller that keeps us guessing on what everyone’s motivation will be. The idea that a normal couple get mixed up in the middle of an international information exchange is different and does work for the film because it helps us stay on edge thinking and wondering if they do have a bigger involvement. The story does feel like that one moment to make it great is missing, as everything does end up feeling just normal and good only.
Crime – The crime side of the film follows a criminal looking for a safe way out of the life for his family in exchange for bringing down the mafia’s dealings in London.
Settings – The film splits the settings between London, for the deals, Morocco for the exchanges and the final location for the next chapter of the lives, they work because they show how this world would operate.
Scene of the Movie – The escape.
That Moment That Annoyed Me – It lacks the edge of your seat style of Le Carre novels have given us.
Final Thoughts – This is a solid thriller even if it lacks that final factor to make it one of the best ones, it does the by the book material well, but never develops the characters enough to understand the situation they put themselves in.
Overall: Simple thriller.
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Rachel King (13 KP) rated Thorn Queen (Dark Swan, #2) in Books
Feb 11, 2019
I liked this book more than the first in the series, Storm Born, simply because the complaints I had about the first book were answered to in this one. I thought that Dorian was by far a better match for Eugenie than Kiyo, and really, Kiyo just becomes a major wimp in this book. Even his ability in the bedroom is shown up by Eugenie's mere memories of Dorian - and that's just sad.
The second complaint I had in the first book is also answered for - but definitely not in a good way, as it was about how Richelle Mead wrote Eugenie's reactions to the multiple rape attempts made on her. This book took things much further and really drew an emotional reaction from me. I really hope that the next two books don't revisit this issue. Moving on.
Dorian is nearly perfect in every way in this book, answering to Eugenie's many sensitivities and internal struggles, as well as exacting justice when Kiyo was too cowardly to do the deed. Honestly, I'm at the point where if Dorian says to do it, Eugenie should do it. After all, I loved that Dorian tricked Eugenie into claiming Aeson's kingdom, as she genuinely cares about and wants to help her people just as much as she would want to in the human world.
Oh yes, and some of the other quirks of this plot were quite enjoyable, such as watching Eugenie gain greater access to her storm abilities, as well as her angsty half-sister Jasmine coming to her aid at the end. I look forward to reading the next installment, Iron Crowned.
The second complaint I had in the first book is also answered for - but definitely not in a good way, as it was about how Richelle Mead wrote Eugenie's reactions to the multiple rape attempts made on her. This book took things much further and really drew an emotional reaction from me. I really hope that the next two books don't revisit this issue. Moving on.
Dorian is nearly perfect in every way in this book, answering to Eugenie's many sensitivities and internal struggles, as well as exacting justice when Kiyo was too cowardly to do the deed. Honestly, I'm at the point where if Dorian says to do it, Eugenie should do it. After all, I loved that Dorian tricked Eugenie into claiming Aeson's kingdom, as she genuinely cares about and wants to help her people just as much as she would want to in the human world.
Oh yes, and some of the other quirks of this plot were quite enjoyable, such as watching Eugenie gain greater access to her storm abilities, as well as her angsty half-sister Jasmine coming to her aid at the end. I look forward to reading the next installment, Iron Crowned.