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BankofMarquis (1832 KP) rated A Fish Called Wanda (1988) in Movies
Jul 2, 2020
A Jolly Good Time
A member of my family mentioned when discussing the 1988 John Cleese comedy A FISH CALLED WANDA that you can tell much about a person over what part of this film that you like the most. Do you like:
a). The John Cleese/Jamie Lee Curtis love story
b). The "caper"
c). The beleaguered, unsuccessful hit-man Ken
d). The old lady and her 3 dogs
e). Kevin Kline as Otto
For me, that's easy - ALL OF IT! I find that A FISH CALLED WANDA is a very funny, richly acted comedy/caper that brings forth 4 characters that are easy to spend 2 hours with. Starting with John Cleese as Barrister Archie Leach. Cleese conceived, wrote, starred-in and (at times) directed this film and his "British humor" (honed from years as a member of the MONTY PYTHON comedy troupe) is in full force here. He has a reserved appearance about him that covers a wild man underneath yearning to break free.
Jamie Lee Curtis is quite good as the center of the film, Wanda Gershwitz, a cunning conman who will stop at nothing - and step over everyone - to get what she wants. I find that Curtis is under-rated as an actress and a comedienne and this picture shows that she can hold her own against 3 comedy greats at the top of their game.
The 2nd member of the Monty Python troupe to appear in this film is the remarkable Michael Palin as hapless hit-man, Ken. He becomes increasingly frustrated and frantic -and increasingly funny - as he attempts to complete his assignment throughout the course of this film.
But...the real star of this film...and the actor/character that steals the film away from everyone else...is Kevin Kline's Oscar winning performance as Otto, Wanda's erstwhile love who has a very high opinion of himself. It is rare that a comedic performance wins an Oscar - Kline's win is the the last one to do so - but it is easy to see why the Academy decided to reward Kline for it is a committed performance that is wild, wacky and over-the-top, but not overtly so. Kline has been very good in many other pictures/performances before and after this film, but he never reached the height that he reached in this film.
The film has veteran director Charles Crichton listed as Director with Cleese listed as co-Director (though Cleese insisted that Crichton did all the work and he only put his name on it to assuage the fears of studio executives over Crichton's advanced age). Well...Crichton does a wonderful job of letting the lunacy explode on the scene while keeping a lid on it and moving the action along at a brisk pace.
Wanda is one of those films that people remember fondly, but do not revisit. I would highly recommend you do, it's a jolly good time.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
a). The John Cleese/Jamie Lee Curtis love story
b). The "caper"
c). The beleaguered, unsuccessful hit-man Ken
d). The old lady and her 3 dogs
e). Kevin Kline as Otto
For me, that's easy - ALL OF IT! I find that A FISH CALLED WANDA is a very funny, richly acted comedy/caper that brings forth 4 characters that are easy to spend 2 hours with. Starting with John Cleese as Barrister Archie Leach. Cleese conceived, wrote, starred-in and (at times) directed this film and his "British humor" (honed from years as a member of the MONTY PYTHON comedy troupe) is in full force here. He has a reserved appearance about him that covers a wild man underneath yearning to break free.
Jamie Lee Curtis is quite good as the center of the film, Wanda Gershwitz, a cunning conman who will stop at nothing - and step over everyone - to get what she wants. I find that Curtis is under-rated as an actress and a comedienne and this picture shows that she can hold her own against 3 comedy greats at the top of their game.
The 2nd member of the Monty Python troupe to appear in this film is the remarkable Michael Palin as hapless hit-man, Ken. He becomes increasingly frustrated and frantic -and increasingly funny - as he attempts to complete his assignment throughout the course of this film.
But...the real star of this film...and the actor/character that steals the film away from everyone else...is Kevin Kline's Oscar winning performance as Otto, Wanda's erstwhile love who has a very high opinion of himself. It is rare that a comedic performance wins an Oscar - Kline's win is the the last one to do so - but it is easy to see why the Academy decided to reward Kline for it is a committed performance that is wild, wacky and over-the-top, but not overtly so. Kline has been very good in many other pictures/performances before and after this film, but he never reached the height that he reached in this film.
The film has veteran director Charles Crichton listed as Director with Cleese listed as co-Director (though Cleese insisted that Crichton did all the work and he only put his name on it to assuage the fears of studio executives over Crichton's advanced age). Well...Crichton does a wonderful job of letting the lunacy explode on the scene while keeping a lid on it and moving the action along at a brisk pace.
Wanda is one of those films that people remember fondly, but do not revisit. I would highly recommend you do, it's a jolly good time.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated The Forever Purge (2021) in Movies
Jun 30, 2021
In what is being billed as the final Purge movie; “The Forever Purge” has arrived and like elements of the prior films; gains traction from current events which have only made elements of the film more chilling seeing how the film was originally planned for July of 2020.
Following the abolition of the Purge at the end of the “Purge Election Year”; the Holiday where all crime is legal for twelve hours is restored due to radical elements fueling fears of illegal immigration and the increase in crime immigrants will bring to the largely crime-free country.
It is not made clear what happened with the new President who was a staunch critic of the Purge and only that it has been restored so citizens prepare for its return by arming up, barricading themselves, or paying for armed security in a fortified locale.
It is against this backdrop that Adela (Ana de Reguera) has come to America fleeing the violence in her country as she enters illegally and finds work. Dylan Tucker (Josh Lucas) is a wealthy Rancher who along with his family hires friends and family of Adela though having some disdain for them and what they stand for.
The Purge comes and goes with the main cast unaffected and as they prepare to resume their lives; roving bands of armed gangs have continued to Purge in violation of the law similar to those who took to the street in protest of the election and plans to eliminate the Purge years prior.
This new group is well organized and has no issues taking on law enforcement and the military forcing Dylan, Adela, and their family and friends to flee for their lives. As the terror spreads, their only safety is to try to make it to Mexico who along with Canada has agreed to a six hour window to allow people to cross to escape the violence.
As the danger mounts, the severity of the movement is known as the authorities seem powerless to control and stop what is called The Forever Purge.
The film uses a slightly different formula than the prior films which focused mainly on a group of people trying to survive the night and the terrors that come with Purge Night. There is a greater emphasis on racism and Xenophobia this time around directed more towards foreigners than minorities and poverty-stricken individuals but the underlying message is the same.
This time around we are given a longer timeframe of terror and more social commentary as there are elements from the film which seem eerily inspired by headlines past and present which makes the film even more chilling.
While the story is rather bare and the characters do not get much development; the movie should give fans of the series what they look forward to although it lacks the dramatic tension of the previous films.
In the end “The Forever Purge” is an interesting new chapter in the series but not one of the stronger entries and serves as an effective finale to the series should this turn out to be the final film.
3 stars out of 5
Following the abolition of the Purge at the end of the “Purge Election Year”; the Holiday where all crime is legal for twelve hours is restored due to radical elements fueling fears of illegal immigration and the increase in crime immigrants will bring to the largely crime-free country.
It is not made clear what happened with the new President who was a staunch critic of the Purge and only that it has been restored so citizens prepare for its return by arming up, barricading themselves, or paying for armed security in a fortified locale.
It is against this backdrop that Adela (Ana de Reguera) has come to America fleeing the violence in her country as she enters illegally and finds work. Dylan Tucker (Josh Lucas) is a wealthy Rancher who along with his family hires friends and family of Adela though having some disdain for them and what they stand for.
The Purge comes and goes with the main cast unaffected and as they prepare to resume their lives; roving bands of armed gangs have continued to Purge in violation of the law similar to those who took to the street in protest of the election and plans to eliminate the Purge years prior.
This new group is well organized and has no issues taking on law enforcement and the military forcing Dylan, Adela, and their family and friends to flee for their lives. As the terror spreads, their only safety is to try to make it to Mexico who along with Canada has agreed to a six hour window to allow people to cross to escape the violence.
As the danger mounts, the severity of the movement is known as the authorities seem powerless to control and stop what is called The Forever Purge.
The film uses a slightly different formula than the prior films which focused mainly on a group of people trying to survive the night and the terrors that come with Purge Night. There is a greater emphasis on racism and Xenophobia this time around directed more towards foreigners than minorities and poverty-stricken individuals but the underlying message is the same.
This time around we are given a longer timeframe of terror and more social commentary as there are elements from the film which seem eerily inspired by headlines past and present which makes the film even more chilling.
While the story is rather bare and the characters do not get much development; the movie should give fans of the series what they look forward to although it lacks the dramatic tension of the previous films.
In the end “The Forever Purge” is an interesting new chapter in the series but not one of the stronger entries and serves as an effective finale to the series should this turn out to be the final film.
3 stars out of 5
Kristy H (1252 KP) rated Detransition, Baby in Books
Jan 28, 2021
A meandering but insightful look into the lives of an interconnected trio
Reese and Amy nearly had it all--a loving relationship, an apartment, and safety in each other: something extremely difficult for trans women to find. But that all changes when Amy decides to detransition and become Ames. Now Reese feels lost and alone, turning to her old patterns of sleeping with men who treat her poorly. And Ames isn't particularly happy either, though he's found a sort of comfort in his relationship with his boss, Katrina. But when Katrina discovers she's pregnant--with Ames' child--Ames is forced to confront a lot of his fears about masculinity and fatherhood. He also wonders if it's a chance for family. Reese has always longed for a baby; could he, Reese, and Katrina raise this child together?
"Somewhere, somehow, Amy did the impossible. She got herself a baby."
I love that this diverse book was my 300th read for Netgalley. I love love love that there is a story about trans women being celebrated and heralded on "must read" lists. I enjoyed so much about this book. Reese and Amy are detailed and realistic characters who--to me at least--did not seem stereotypical or one-dimensional. I felt like I learned so much reading their raw, emotional, and lovely story.
The tale of Ames becoming a parent--and wanting to involve Reese--was an interesting and dynamic one for me. I could completely understand Reese's longing for motherhood and how she felt on the outside looking in. This part of the book was original and fascinating. Pieces of the story were utterly hilarious, despite some of the serious subject matter. There is a chapter where Reese attends an essential oils party with Katrina and other straight/cis women that made me laugh out loud. Peters captures her voice so perfectly. There's a vulnerability and realness to Reese that makes her a captivating character from the start.
"Reese had already diagnosed her own problem. She didn't know how to be alone. She fled from her own company, from her own solitude."
The hardest part for me about this book had nothing to do with its subject matter (if that's a problem for you, you're the problem), but the fact that it veers between the past and the present, going on tangents about Reese and Amy's past. Sometimes it seemed like it just needed a strong edit, with someone willing to strike about half of those passages. Or perhaps I just wanted to get on with the present, the impending baby, and Reese, Katrina, and Ames' story. I'm not sure. But I was nearly compelled to skim some of these long passages. It was just a lot. And then, after all that, the book just sort of ended, to me, without much resolution, and I felt a bit betrayed.
Still, do not get me wrong. This is an excellent and important story, and more such stories like this need to be told. I definitely recommend it, and I bet any forthcoming books from Peters will only get better and better. 3.5
Reese and Amy nearly had it all--a loving relationship, an apartment, and safety in each other: something extremely difficult for trans women to find. But that all changes when Amy decides to detransition and become Ames. Now Reese feels lost and alone, turning to her old patterns of sleeping with men who treat her poorly. And Ames isn't particularly happy either, though he's found a sort of comfort in his relationship with his boss, Katrina. But when Katrina discovers she's pregnant--with Ames' child--Ames is forced to confront a lot of his fears about masculinity and fatherhood. He also wonders if it's a chance for family. Reese has always longed for a baby; could he, Reese, and Katrina raise this child together?
"Somewhere, somehow, Amy did the impossible. She got herself a baby."
I love that this diverse book was my 300th read for Netgalley. I love love love that there is a story about trans women being celebrated and heralded on "must read" lists. I enjoyed so much about this book. Reese and Amy are detailed and realistic characters who--to me at least--did not seem stereotypical or one-dimensional. I felt like I learned so much reading their raw, emotional, and lovely story.
The tale of Ames becoming a parent--and wanting to involve Reese--was an interesting and dynamic one for me. I could completely understand Reese's longing for motherhood and how she felt on the outside looking in. This part of the book was original and fascinating. Pieces of the story were utterly hilarious, despite some of the serious subject matter. There is a chapter where Reese attends an essential oils party with Katrina and other straight/cis women that made me laugh out loud. Peters captures her voice so perfectly. There's a vulnerability and realness to Reese that makes her a captivating character from the start.
"Reese had already diagnosed her own problem. She didn't know how to be alone. She fled from her own company, from her own solitude."
The hardest part for me about this book had nothing to do with its subject matter (if that's a problem for you, you're the problem), but the fact that it veers between the past and the present, going on tangents about Reese and Amy's past. Sometimes it seemed like it just needed a strong edit, with someone willing to strike about half of those passages. Or perhaps I just wanted to get on with the present, the impending baby, and Reese, Katrina, and Ames' story. I'm not sure. But I was nearly compelled to skim some of these long passages. It was just a lot. And then, after all that, the book just sort of ended, to me, without much resolution, and I felt a bit betrayed.
Still, do not get me wrong. This is an excellent and important story, and more such stories like this need to be told. I definitely recommend it, and I bet any forthcoming books from Peters will only get better and better. 3.5
Emma @ The Movies (1786 KP) rated Death on the Nile (2022) in Movies
Feb 19, 2022
I don't like to go into a film with a negative impression... but... #NotMyPoirot #SlashTheStash.
Linnet Ridgeway goes to Poirot with fears for her safety, and that of her new husband, when an old mutual acquaintance shows up at each new location on their honeymoon.
An Agatha Christie novel always makes for a great plot, and this one has had several different adaptations over the years. Don't go into it expecting a faithful adaptation though, this one comes out a bit spicier. It also takes some liberties with Poirot's backstory, which does add some interesting context to things about him, but at the same time, it's not the source material.
As with Death Train, Death Boat has a star-studded cast. While I love most of them in other things, I found the whole dynamic to be a little all over the place. Tom Bateman and Ali Fazal were solid, Russell Brand was surprisingly good, but everyone else was either rather bland or too over the top. Then there's Kenneth... I'll give it to them, it feels wrong thinking that Poirot is sexy... but there's one moment where even I, a Ken denier, took a sharp intake of breath.
Death on the Nile comes in at 2 hours and 7 minutes, had they cut what felt like 10 minutes of Gal Gadot walking down the length of the ship, it could easily have come in under 2 hours.
I think that identifies the issue I have with these new adaptations. This one in particular has a very theatrical feel to it. A lot of the boat shots early on feel like you're watching it happen on a stage. I don't object to that style, I like watching theatre, but having it thrown in randomly threw me.
My other big gripe was the choice of shots. Death Boat really likes to not show you faces when people are talking. Watching these scenes was off-putting, it felt like they'd been re-edited and had a new audio track overlaid... badly. There's also a scene where the camera swoops backwards and forwards between the people who are talking, and after a while, I could feel the motion sickness building.
It isn't until films like this come out that you realise just how much of one is computer generated. I have to assume that the majority of this budget went on the cast, it certainly wasn't spent on the effects. The de-aging on Branagh in the opening was awful, and must have cost more than hiring a younger actor to do those scenes. The generated scenery wasn't any better, it was painfully obvious which weren't real.
Death on the Nile is, at the end of the day, another classic Christie story, and even with some butchering, there's still a great mystery to unfold. That being said, I would rather sit through one of the other adaptations again if they were all laid out in front of me.
Originally posted on: https://emmaatthemovies.blogspot.com/2022/02/death-on-nile-movie-review.html
Linnet Ridgeway goes to Poirot with fears for her safety, and that of her new husband, when an old mutual acquaintance shows up at each new location on their honeymoon.
An Agatha Christie novel always makes for a great plot, and this one has had several different adaptations over the years. Don't go into it expecting a faithful adaptation though, this one comes out a bit spicier. It also takes some liberties with Poirot's backstory, which does add some interesting context to things about him, but at the same time, it's not the source material.
As with Death Train, Death Boat has a star-studded cast. While I love most of them in other things, I found the whole dynamic to be a little all over the place. Tom Bateman and Ali Fazal were solid, Russell Brand was surprisingly good, but everyone else was either rather bland or too over the top. Then there's Kenneth... I'll give it to them, it feels wrong thinking that Poirot is sexy... but there's one moment where even I, a Ken denier, took a sharp intake of breath.
Death on the Nile comes in at 2 hours and 7 minutes, had they cut what felt like 10 minutes of Gal Gadot walking down the length of the ship, it could easily have come in under 2 hours.
I think that identifies the issue I have with these new adaptations. This one in particular has a very theatrical feel to it. A lot of the boat shots early on feel like you're watching it happen on a stage. I don't object to that style, I like watching theatre, but having it thrown in randomly threw me.
My other big gripe was the choice of shots. Death Boat really likes to not show you faces when people are talking. Watching these scenes was off-putting, it felt like they'd been re-edited and had a new audio track overlaid... badly. There's also a scene where the camera swoops backwards and forwards between the people who are talking, and after a while, I could feel the motion sickness building.
It isn't until films like this come out that you realise just how much of one is computer generated. I have to assume that the majority of this budget went on the cast, it certainly wasn't spent on the effects. The de-aging on Branagh in the opening was awful, and must have cost more than hiring a younger actor to do those scenes. The generated scenery wasn't any better, it was painfully obvious which weren't real.
Death on the Nile is, at the end of the day, another classic Christie story, and even with some butchering, there's still a great mystery to unfold. That being said, I would rather sit through one of the other adaptations again if they were all laid out in front of me.
Originally posted on: https://emmaatthemovies.blogspot.com/2022/02/death-on-nile-movie-review.html
Hazel (1853 KP) rated The Chilbury Ladies' Choir in Books
May 23, 2017
Wartime Fiction
This eBook was provided by the publisher via NetGalley in exchange for an honest review
"Just because the men have gone to war, why do we have to close the choir? And precisely when we need it most!"
Set in the fictional village of Chilbury, Kent during the Second World War, The Chilbury Ladies’ Choir explores the lives of the women left behind whilst the men go off to fight. The remaining villagers are disappointed at the closing of the church choir, which, according to the vicar, cannot go on without any men to sing the tenor and bass parts. However, the arrival of bold, forthright Primrose Trent brings the birth of a new choir, a choir for women only.
Although a war is going on, the ladies of Chilbury have so many other things on their minds. Told through a conflation letters and diary entries, The Chilbury Ladies’ Choir reveals the everyday lives of a handful of characters. Mrs Tilling’s journal provides an overview of the general events, whilst 18-year-old Venetia’s letters divulge the wiles and charms she uses in the name of romance. Other characters, particularly the young teenager, Kitty, offer other insights to the goings on in the village.
From falling in love, to having babies, The Chilbury Ladies’ Choir is full of secrets, schemes and misunderstandings that almost let the villagers forget there is a war on. However, the effects of war do reach the little village, bringing with it terror and grief.
The individual stories that make up the book provide the reader with a number of scenarios that are full of emotion, but equally entertain. One moment the horror of war could leave readers in flood of tears, the next, Mrs B.’s pretentious personality and vaunting comments bring amusement and laughter.
All the while these events are playing out, the Chilbury Ladies’ Choir pulls the women together, providing them with a source of comfort to get them through the terrible times. No matter what disasters befall them, whether caused by war or their own actions, joining together in song gives them a purpose and opportunity to have a break from their fears and grief. War may destroy, but they will carry on singing.
Written in the manner of private letters and journals gives the novel a personal touch. The story is not merely narrated, it is expressed through the emotion and feelings of individual characters, making the scenarios seem more authentic. The downside to this method is the lack of distinction between each character’s voices. With no detectable dialect, the musings of a 13-year-old are composed in much the same manner as the much older Mrs Tilling.
The Chilbury Ladies’ Choir is an enjoyable piece of historical literature, which is bound to appeal to many people. Although set during World War II, its primary focus is on the people in the village, making it more attractive to readers who are fed up of reading about bombs and fighting. A mix of family issues, bribery and romance provide considerably more entertainment than a generic wartime novel. Being Jennifer Ryan’s debut novel, The Chilbury Ladies’ Choir is of a quality that suggests the author has so much more to deliver in the not-so-distant future.
"Just because the men have gone to war, why do we have to close the choir? And precisely when we need it most!"
Set in the fictional village of Chilbury, Kent during the Second World War, The Chilbury Ladies’ Choir explores the lives of the women left behind whilst the men go off to fight. The remaining villagers are disappointed at the closing of the church choir, which, according to the vicar, cannot go on without any men to sing the tenor and bass parts. However, the arrival of bold, forthright Primrose Trent brings the birth of a new choir, a choir for women only.
Although a war is going on, the ladies of Chilbury have so many other things on their minds. Told through a conflation letters and diary entries, The Chilbury Ladies’ Choir reveals the everyday lives of a handful of characters. Mrs Tilling’s journal provides an overview of the general events, whilst 18-year-old Venetia’s letters divulge the wiles and charms she uses in the name of romance. Other characters, particularly the young teenager, Kitty, offer other insights to the goings on in the village.
From falling in love, to having babies, The Chilbury Ladies’ Choir is full of secrets, schemes and misunderstandings that almost let the villagers forget there is a war on. However, the effects of war do reach the little village, bringing with it terror and grief.
The individual stories that make up the book provide the reader with a number of scenarios that are full of emotion, but equally entertain. One moment the horror of war could leave readers in flood of tears, the next, Mrs B.’s pretentious personality and vaunting comments bring amusement and laughter.
All the while these events are playing out, the Chilbury Ladies’ Choir pulls the women together, providing them with a source of comfort to get them through the terrible times. No matter what disasters befall them, whether caused by war or their own actions, joining together in song gives them a purpose and opportunity to have a break from their fears and grief. War may destroy, but they will carry on singing.
Written in the manner of private letters and journals gives the novel a personal touch. The story is not merely narrated, it is expressed through the emotion and feelings of individual characters, making the scenarios seem more authentic. The downside to this method is the lack of distinction between each character’s voices. With no detectable dialect, the musings of a 13-year-old are composed in much the same manner as the much older Mrs Tilling.
The Chilbury Ladies’ Choir is an enjoyable piece of historical literature, which is bound to appeal to many people. Although set during World War II, its primary focus is on the people in the village, making it more attractive to readers who are fed up of reading about bombs and fighting. A mix of family issues, bribery and romance provide considerably more entertainment than a generic wartime novel. Being Jennifer Ryan’s debut novel, The Chilbury Ladies’ Choir is of a quality that suggests the author has so much more to deliver in the not-so-distant future.
Kristy H (1252 KP) rated Good Luck with That in Books
Mar 11, 2019
Powerful, emotional read, but completely worth it
Emerson, Georgia, and Marley have been best friends since they were teens. They met at Camp Copperbrook, a weight-loss camp. They've stayed close ever since, so when Emerson passes away, Georgia and Marley are distraught. Emerson asks her friends to complete a list they made at camp, forcing both Georgia and Marley to confront some long-held fears. Marley still feels guilty since her twin sister, Frankie, died when they were four. And Georgia, has been scarred by the exacting conditions--especially about weight--passed on by her mother and brother. And she's hurt after the ending of her marriage. But Georgia and Marley are determined to complete the items on the list, for Emerson, even if it means getting past their comfort zone and learning to love themselves just as they are.
I'll be honest. I wasn't sure I'd like this one in the beginning. The tell-it-like-it-is weight talk is jarring at first, so are Marley's many, many references to her dead twin. I was confused about who was talking, eventually having to make myself a little cheat sheet to keep Georgia and Marley and their various family members/histories straight. But, pretty quickly, this book grew on me, and became a very powerful, very heartbreaking, very realistic, and very lovely read.
This isn't an easy-to-read book. It's starkly realistic and tells it like it is. Weight, life, reality, friendship, parenting, and more. It's tough to read and touches on the insecurities we all have deep inside ourselves, plus how cruel the world can be to those it deems "different." It made me very sad at times.
Luckily, the novel is also infused with Higgins' trademark humor. The woman can write a darn funny scene and even with the serious topics she covers here, there are plenty of funny times and warmth throughout this novel. She can make piggyback rides humorous. And running! Marley and Georgia become real people throughout the course of this novel, and so much of their friendship is witty and hilarious. I really grew to love them.
The book is also powerful in so many ways. Yes, it can be powerfully sad and heartbreaking at times, but it's also just powerfully well-done. I really think this is a book everyone should read, especially parents or anyone who spends time around teens. Georgia's teenage nephew, Mason, quickly became one of my favorite characters. His storyline has nothing to do with weight, but everything to do with self-acceptance, and I totally adored him.
There's so much going on in this book. The power of friendship. Struggling with weight and loving yourself. And the idea of, What happens when we get everything we want and we still aren't happy? So much resonated with me. The book will make you laugh. It will make you cry. Parts of it are predictable, but in the total Higgins fashion of exactly the way you want them to be.
Overall, this book was nothing like what I expected, but that's totally OK. It's really a powerful, tough, emotional read, but completely worth it. By the end, I was completely immersed in the characters' lives and the story. I found it to be heartbreaking and beautiful, and I certainly recommend it.
I'll be honest. I wasn't sure I'd like this one in the beginning. The tell-it-like-it-is weight talk is jarring at first, so are Marley's many, many references to her dead twin. I was confused about who was talking, eventually having to make myself a little cheat sheet to keep Georgia and Marley and their various family members/histories straight. But, pretty quickly, this book grew on me, and became a very powerful, very heartbreaking, very realistic, and very lovely read.
This isn't an easy-to-read book. It's starkly realistic and tells it like it is. Weight, life, reality, friendship, parenting, and more. It's tough to read and touches on the insecurities we all have deep inside ourselves, plus how cruel the world can be to those it deems "different." It made me very sad at times.
Luckily, the novel is also infused with Higgins' trademark humor. The woman can write a darn funny scene and even with the serious topics she covers here, there are plenty of funny times and warmth throughout this novel. She can make piggyback rides humorous. And running! Marley and Georgia become real people throughout the course of this novel, and so much of their friendship is witty and hilarious. I really grew to love them.
The book is also powerful in so many ways. Yes, it can be powerfully sad and heartbreaking at times, but it's also just powerfully well-done. I really think this is a book everyone should read, especially parents or anyone who spends time around teens. Georgia's teenage nephew, Mason, quickly became one of my favorite characters. His storyline has nothing to do with weight, but everything to do with self-acceptance, and I totally adored him.
There's so much going on in this book. The power of friendship. Struggling with weight and loving yourself. And the idea of, What happens when we get everything we want and we still aren't happy? So much resonated with me. The book will make you laugh. It will make you cry. Parts of it are predictable, but in the total Higgins fashion of exactly the way you want them to be.
Overall, this book was nothing like what I expected, but that's totally OK. It's really a powerful, tough, emotional read, but completely worth it. By the end, I was completely immersed in the characters' lives and the story. I found it to be heartbreaking and beautiful, and I certainly recommend it.
Heather Cranmer (2721 KP) rated The First Mistake in Books
Apr 27, 2019
Predictable but Good
I love a good thriller, so I was very excited to read The First Mistake by Sandie Jones. The synopsis just sucked me in. I was so happy that this book didn't disappoint.
The plot sucked me in right away. I found myself immersed in the world that Sandie Jones had created for her characters. Alice is still grieving over her husband Tom who died years ago. However, she's now married to Nathan and has a daughter with him. Alice soon suspects that Nathan is having an affair. When Alice tries to find out if Nathan is cheating, that's when she begins to realize that no one is who they seem. I will say that while I did find the plot interesting enough, I also found it predictable. Early on, I had predicted the plot twists for this book including the major plot twist. That didn't me enjoy it any less. I kept reading to make sure I was correct in my predictions. What really irked me the most was the ending of The First Mistake. It just seemed really rushed. The truth came out, and then it was all over within a page. I don't want to go into too much detail due to spoilers, but I just felt as if the author couldn't be bothered to write anymore, so she took the easy way out. I would have liked to know what happened to everyone in a few months time instead of the book ending so suddenly.
I thought all of the characters were well written in The First Mistake. Alice was a likable character, and I found myself angry when it seemed like Nathan may have been cheating on her. However, I felt like she was cheating on Nathan in a sense as she was still grieving her dead husband almost 10 years later. Beth was an interesting character, and I enjoyed her backstory. However, I felt like she wasn't around enough in the actual present day story. We learn about her past, but we don't see her and Alice interact too much even though they are best friends. Although I had Nathan figured out, I felt he was fleshed out very well, and I loved how convincing and charming he was towards his wife and how great he was at calming her fears about him having an affair even when all the evidence that he was cheating was there. Olivia was my favorite character. She's Nathan's and Alice's daughter. I just thought she was the cutest little girl!
The pacing was done very well, and the only place I felt like it faltered was during Beth's backstory. I just felt there was too much information that was irrelevant when learning about Beth's past. Apart from that, I felt like the pacing stayed consistent throughout.
Trigger warnings for The First Mistake include sexual situations (though not graphic), drinking alcohol, profanity, violence, and death.
All in all, The First Mistake is an interesting read. Although I found it predictable, and I hated the ending, I still enjoyed this book very much. I would recommend The First Mistake by Sandie Jones to everyone aged 17+ who enjoy a good thriller. This one does not disappoint.
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(A special thank you to the publisher for providing me with an ARC paperback of The First Mistake by Sandie Jones in exchange for an honest and unbiased review.)
The plot sucked me in right away. I found myself immersed in the world that Sandie Jones had created for her characters. Alice is still grieving over her husband Tom who died years ago. However, she's now married to Nathan and has a daughter with him. Alice soon suspects that Nathan is having an affair. When Alice tries to find out if Nathan is cheating, that's when she begins to realize that no one is who they seem. I will say that while I did find the plot interesting enough, I also found it predictable. Early on, I had predicted the plot twists for this book including the major plot twist. That didn't me enjoy it any less. I kept reading to make sure I was correct in my predictions. What really irked me the most was the ending of The First Mistake. It just seemed really rushed. The truth came out, and then it was all over within a page. I don't want to go into too much detail due to spoilers, but I just felt as if the author couldn't be bothered to write anymore, so she took the easy way out. I would have liked to know what happened to everyone in a few months time instead of the book ending so suddenly.
I thought all of the characters were well written in The First Mistake. Alice was a likable character, and I found myself angry when it seemed like Nathan may have been cheating on her. However, I felt like she was cheating on Nathan in a sense as she was still grieving her dead husband almost 10 years later. Beth was an interesting character, and I enjoyed her backstory. However, I felt like she wasn't around enough in the actual present day story. We learn about her past, but we don't see her and Alice interact too much even though they are best friends. Although I had Nathan figured out, I felt he was fleshed out very well, and I loved how convincing and charming he was towards his wife and how great he was at calming her fears about him having an affair even when all the evidence that he was cheating was there. Olivia was my favorite character. She's Nathan's and Alice's daughter. I just thought she was the cutest little girl!
The pacing was done very well, and the only place I felt like it faltered was during Beth's backstory. I just felt there was too much information that was irrelevant when learning about Beth's past. Apart from that, I felt like the pacing stayed consistent throughout.
Trigger warnings for The First Mistake include sexual situations (though not graphic), drinking alcohol, profanity, violence, and death.
All in all, The First Mistake is an interesting read. Although I found it predictable, and I hated the ending, I still enjoyed this book very much. I would recommend The First Mistake by Sandie Jones to everyone aged 17+ who enjoy a good thriller. This one does not disappoint.
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(A special thank you to the publisher for providing me with an ARC paperback of The First Mistake by Sandie Jones in exchange for an honest and unbiased review.)
Movie Metropolis (309 KP) rated It (2017) in Movies
Jun 10, 2019
Make sure you take a pillow
Horror buffs and Stephen King fans everywhere have been waiting for this moment since 2009. It is of course, a modern adaptation of the author’s novel, IT.
Plagued with production problems from the get-go, I see a pattern emerging here, IT has been in the hands of multiple directors with numerous actors in the running to play that iconic clown. I am of course, talking about Pennywise.
Fast forward to 2017, and with Mama Andy Muschietti taking over directorial duties and Bill Skarsgård hopping into that tight-fitting suit we finally have a finished product. But what is it like?Seven young outcasts in Derry, Maine, are about to face their worst nightmare — an ancient, shape-shifting evil that emerges from the sewer every 27 years to prey on the town’s children. Banding together over the course of one horrifying summer, the friends must overcome their own personal fears to battle the murderous, bloodthirsty clown known as Pennywise.
Let’s start off by saying this is much, much better than last month’s The Dark Tower. Stephen King adaptations can go one of two ways and it was feared that IT would follow in the aforementioned film’s footsteps. Thankfully, this isn’t the case.
IT is frankly, an incredible interpretation of King’s iconic novel filled with exceptional performances, stunning cinematography and an emotional heart not normally seen in the genre. It’s unlike anything you will have seen before.
Now, let’s talk about the elephant in the room, Pennywise. Tim Curry played the hell out of that character in the 1990 miniseries and it would be senseless for 27-year-old Bill Skarsgård to follow too closely in his footsteps. At 6ft 3”, Skarsgård is certainly an imposing presence and his Pennywise is much more menacing than Curry’s, but to compare them too much would be unfair to each.
Elsewhere, all the members of the Losers’ Club are brilliant. I have never seen this calibre of acting from such a young group. Jaeden Lieberher as Bill in particular is astonishing. The scenes in which they all work together without the threat of Pennywise are a treat and give the film an uncharacteristically poignant style.
Moreover, the shot choices that Muschietti uses are striking. He rightly stays away from confining the horror to dimly lit corridors and alleyways and whilst this does feature more towards the finale, Derry makes a fine location bathed for the most part in gorgeous sunlight.
Whilst not being completely faithful to King’s novel, Muschietti’s film features all of the iconic scenes that you would expect. The opening sequence from the book in which little Georgie is confronted by Pennywise in the storm drain is shockingly brutal and sets up the tone for the rest of the picture.
This is a truly frightening film, speckled with just enough gore to keep it realistic and whilst it’s true there are one-too-many jump scares, the brilliant source material stops them from feeling too cheap. In the back of your mind, you’re well aware that this is very similar to the book indeed.
Overall, IT is better than anyone could have hoped. It’s scary, deeply emotional, funny and beautifully filmed with an exquisite score by Benjamin Wallfisch. If you’re a horror fan you must watch. If you’re a film fan, you must watch – just take a pillow with you, for protection purposes of course.
https://moviemetropolis.net/2017/09/09/it-review-make-sure-you-take-a-pillow/
Plagued with production problems from the get-go, I see a pattern emerging here, IT has been in the hands of multiple directors with numerous actors in the running to play that iconic clown. I am of course, talking about Pennywise.
Fast forward to 2017, and with Mama Andy Muschietti taking over directorial duties and Bill Skarsgård hopping into that tight-fitting suit we finally have a finished product. But what is it like?Seven young outcasts in Derry, Maine, are about to face their worst nightmare — an ancient, shape-shifting evil that emerges from the sewer every 27 years to prey on the town’s children. Banding together over the course of one horrifying summer, the friends must overcome their own personal fears to battle the murderous, bloodthirsty clown known as Pennywise.
Let’s start off by saying this is much, much better than last month’s The Dark Tower. Stephen King adaptations can go one of two ways and it was feared that IT would follow in the aforementioned film’s footsteps. Thankfully, this isn’t the case.
IT is frankly, an incredible interpretation of King’s iconic novel filled with exceptional performances, stunning cinematography and an emotional heart not normally seen in the genre. It’s unlike anything you will have seen before.
Now, let’s talk about the elephant in the room, Pennywise. Tim Curry played the hell out of that character in the 1990 miniseries and it would be senseless for 27-year-old Bill Skarsgård to follow too closely in his footsteps. At 6ft 3”, Skarsgård is certainly an imposing presence and his Pennywise is much more menacing than Curry’s, but to compare them too much would be unfair to each.
Elsewhere, all the members of the Losers’ Club are brilliant. I have never seen this calibre of acting from such a young group. Jaeden Lieberher as Bill in particular is astonishing. The scenes in which they all work together without the threat of Pennywise are a treat and give the film an uncharacteristically poignant style.
Moreover, the shot choices that Muschietti uses are striking. He rightly stays away from confining the horror to dimly lit corridors and alleyways and whilst this does feature more towards the finale, Derry makes a fine location bathed for the most part in gorgeous sunlight.
Whilst not being completely faithful to King’s novel, Muschietti’s film features all of the iconic scenes that you would expect. The opening sequence from the book in which little Georgie is confronted by Pennywise in the storm drain is shockingly brutal and sets up the tone for the rest of the picture.
This is a truly frightening film, speckled with just enough gore to keep it realistic and whilst it’s true there are one-too-many jump scares, the brilliant source material stops them from feeling too cheap. In the back of your mind, you’re well aware that this is very similar to the book indeed.
Overall, IT is better than anyone could have hoped. It’s scary, deeply emotional, funny and beautifully filmed with an exquisite score by Benjamin Wallfisch. If you’re a horror fan you must watch. If you’re a film fan, you must watch – just take a pillow with you, for protection purposes of course.
https://moviemetropolis.net/2017/09/09/it-review-make-sure-you-take-a-pillow/
Movie Metropolis (309 KP) rated Unfriended (2014) in Movies
Jun 11, 2019
Deeply Unnerving
When was the last time you watched a genuinely scary horror film? For me, Sinister, The Conjuring and You’re Next are three of the most terrifying movies to grace the silver screen in the last few years.
However, for every Sinister, there’s a One Missed Call. Bland, forgettable films litter the genre and we’re still waiting for a 90s-esque resurgence to kick-in. Here, Universal Pictures starts its summer movie campaign with Unfriended, but will it have you watching through your fingers?
Unfriended takes place in real-time on the laptop of a high-school student named Blaire (Shelley Hennig). Blaire, along with her boyfriend (Moses Jacob Storm) and a group of other conventional American teenagers gather together on Skype to have a chat.
However, a sinister account belonging to their deceased friend appears to join in the conversation on the anniversary of her suicide. The ensuing horror not only tests the limits of their friendship, but also their strength as human beings.
Levan Gabriadze directs the film brilliantly and in only using social media and webcam chat services, manages to create a horror movie that is genuinely unique and also impossible to predict, playing on our continuous use of modern technology as a plot device.
The result of this static camera work and point of view shooting is a hideously claustrophobic atmosphere that makes you feel like you’re also a part of the group’s terror – though take your glasses along if you have trouble reading from afar like I do.
Casting reasonably unknown actors in the roles was also a master stroke by the production team. In doing so, they have created a film that feels much more real, and in turn a lot more scary, with the characters coming across as just normal kids caught up in something truly awful.
Of course, the lack of feature film experience is evident in the whole of the cast. Some of the acting is decidedly dodgy and
to fully immerse yourself in what’s going on requires a slight suspension of disbelief in these sequences.
What Unfriended does have in its favour however is a plot featuring different tones. As it begins, it appears to be a typical teen-slasher movie like Scream or I Know What You Did Last Summer – but the clever editing and story that picks up pace from around 20 minutes in throws you off the scent of what is really at work here.
Unfortunately, this intriguing premise isn’t explored to its full extent and with a length just shy of 85 minutes there just isn’t enough time to flesh out the characters.
Much like 2013’s The Purge, Unfriended has a story that’s different to every other mass-market horror flick out there, but it feels like the creators chickened out a little before the end and hastily added in unnecessary violence to make it feel a little more conventional which is a real shame.
Overall, Unfriended is a genuinely scary, if slightly too brief horror film that manages to play on our fears of the unknown and what technology can really do if it gets into the wrong hands. If there was to be a sequel, and a look to the past tells me there may well be, let’s hope it’s more like The Purge: Anarchy than Piranha 3DD.
https://moviemetropolis.net/2015/05/03/deeply-unnerving-unfriended-review/
However, for every Sinister, there’s a One Missed Call. Bland, forgettable films litter the genre and we’re still waiting for a 90s-esque resurgence to kick-in. Here, Universal Pictures starts its summer movie campaign with Unfriended, but will it have you watching through your fingers?
Unfriended takes place in real-time on the laptop of a high-school student named Blaire (Shelley Hennig). Blaire, along with her boyfriend (Moses Jacob Storm) and a group of other conventional American teenagers gather together on Skype to have a chat.
However, a sinister account belonging to their deceased friend appears to join in the conversation on the anniversary of her suicide. The ensuing horror not only tests the limits of their friendship, but also their strength as human beings.
Levan Gabriadze directs the film brilliantly and in only using social media and webcam chat services, manages to create a horror movie that is genuinely unique and also impossible to predict, playing on our continuous use of modern technology as a plot device.
The result of this static camera work and point of view shooting is a hideously claustrophobic atmosphere that makes you feel like you’re also a part of the group’s terror – though take your glasses along if you have trouble reading from afar like I do.
Casting reasonably unknown actors in the roles was also a master stroke by the production team. In doing so, they have created a film that feels much more real, and in turn a lot more scary, with the characters coming across as just normal kids caught up in something truly awful.
Of course, the lack of feature film experience is evident in the whole of the cast. Some of the acting is decidedly dodgy and
to fully immerse yourself in what’s going on requires a slight suspension of disbelief in these sequences.
What Unfriended does have in its favour however is a plot featuring different tones. As it begins, it appears to be a typical teen-slasher movie like Scream or I Know What You Did Last Summer – but the clever editing and story that picks up pace from around 20 minutes in throws you off the scent of what is really at work here.
Unfortunately, this intriguing premise isn’t explored to its full extent and with a length just shy of 85 minutes there just isn’t enough time to flesh out the characters.
Much like 2013’s The Purge, Unfriended has a story that’s different to every other mass-market horror flick out there, but it feels like the creators chickened out a little before the end and hastily added in unnecessary violence to make it feel a little more conventional which is a real shame.
Overall, Unfriended is a genuinely scary, if slightly too brief horror film that manages to play on our fears of the unknown and what technology can really do if it gets into the wrong hands. If there was to be a sequel, and a look to the past tells me there may well be, let’s hope it’s more like The Purge: Anarchy than Piranha 3DD.
https://moviemetropolis.net/2015/05/03/deeply-unnerving-unfriended-review/
Kyera (8 KP) rated Wintersong in Books
Jan 31, 2018
Wintersong is a fairytale re-telling based upon the German poem Der Erlkonig and stories of the Goblin King. The author takes a relatively short poem and breathes life into it, translating the dark words into an entire world. Liesl has heard tales of the Goblin King from her grandmother since she was a small child. Even played make-believe in the Goblin Grove with her Goblin King, but as she grew older she lost her faith in the old stories. Even her brother and sister seemed not to heed the old woman’s warnings. She warned Liesl that she must protect both siblings - she would be faced with a choice and mustn’t choose wrong.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.
This dire warning and her later choices set her on a journey to the Underworld. It is dark, earthy and primal, full of creatures that Liesl does not understand or trust. The land itself is well-described and forms itself within the reader’s mind. Though you would never hope to call it home, it has its own ancient and crude form of beauty.
The characters are unique, although generally not faceted or well-developed in their personalities. Perhaps our main character just does not know them as well as she believes, for her view is quite flat. Her sister, Kathe is beautiful and cares only about similarly pretty and frivolous things. Her brother, Josef is a talented musician who fears his music is a “gift” from the Devil. Her grandmother is superstitious, her mother hard-working and aloof, and her father a drunk. Sadly, we don’t get to see or experience any depth of personality, nor are they given the chance to develop over the course of the novel. As our main character is in the Underworld, the lack of development is understandable which is why I wish they were more fleshed out initially.
Liesl herself is a strange mix of traits with her love of music and composition, intense lack of confidence and anger stemming from her belief that she is ugly and unwanted. Her choices are both selfish and selfless. She is a mass of contradictions and broken beliefs. While she is an interesting character, I don’t find her to be particularly relatable. I didn’t connect with any of the characters in the novel, although I enjoyed the story itself. I’m sure there are others who would find similarities between themselves and one of the characters, making this book more impactful.
Finally, the Goblin King himself – who seems to be like two people in one. At times, we see the younger, more open man that he was and could be again while at others the cold, quick to anger Trickster of the Underworld is at the forefront. More intriguing than his present is his story, you wonder how did he become the Erlkonig? For he is not the first, nor shall he be the last. He is more human than his subjects and thus this difference is what fascinated me. I wanted that story, more than him demanding Liesl in her “entire” and her being unable to give of herself, fully, yet.
It was an interesting story even though I didn’t particularly care for the characters. I recommend this book for older young adult/teen readers who enjoy fantasy and fairytale books. The writing is very poetic and beautifully descriptive. I don’t regret reading this book, but I also wouldn’t personally go out and buy a physical copy of it for my shelf.