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Neon's Nerd Nexus (360 KP) created a post
May 28, 2019
Phillip McSween (751 KP) rated The Kid Brother (1927) in Movies
Jul 25, 2019
Great Conflict, Great Story
When a huge town fund goes missing, Harold (Harold Lloyd) sees a grand opportunity to prove himself to his family while winning the heart of a girl he likes. When the movie first started, I had no idea what to expect as it was my very first silent film. Once I got settled in and used to the concept, I was thoroughly impressed.
Acting: 10
Beginning: 6
If the movie continued on like it started, I would have hated it. For such a short run time, The Kid Brother didn’t exactly come out of the gates swinging. It’s like an old car: Gotta warm up first. Once it gets going…
Characters: 10
So what if all the other characters were one-dimensional? The movie revolves completely around Harold and Harold delivers. You’ve gotta respect the kid as he’s just trying to live up to his family name. His father has never thought much of him and his brothers are always roughing him up and, for once, Harold is hoping to come out on top. Not only does he deal with a number of moral dilemmas, but you can’t help but fall in love with the dude’s craft and cunning. Harold will make you laugh and cheer by the end of it.
Cinematography/Visuals: 10
Conflict: 10
This movie has one of the coolest action scenes that I’ve seen in an earlier film. It involves a big fight on an abandoned ship. Between that, a cool chariot-style race, and Harold constantly trying to avoid awkward scrapes there is plenty of conflict to go around.
Entertainment Value: 10
Memorability: 10
Pace: 10
Slow start but quickly picks up steam. It’s a short ride, but the directors made sure they used up every ounce of time available. I appreciated that all the scenes really were necessary and they never overstayed their welcome.
Plot: 10
The story is succinct and very well-written. There weren’t any cheats as each plot point moved seamlessly to the next. Great character-development is weaved in as well. All the ingredients for a great story.
Resolution: 10
Overall: 96
If it weren’t for a weaker beginning, The Kid Brother would rank right up there with the all-time best. It had me looking forward to a deeper dive into the silent film world.
Acting: 10
Beginning: 6
If the movie continued on like it started, I would have hated it. For such a short run time, The Kid Brother didn’t exactly come out of the gates swinging. It’s like an old car: Gotta warm up first. Once it gets going…
Characters: 10
So what if all the other characters were one-dimensional? The movie revolves completely around Harold and Harold delivers. You’ve gotta respect the kid as he’s just trying to live up to his family name. His father has never thought much of him and his brothers are always roughing him up and, for once, Harold is hoping to come out on top. Not only does he deal with a number of moral dilemmas, but you can’t help but fall in love with the dude’s craft and cunning. Harold will make you laugh and cheer by the end of it.
Cinematography/Visuals: 10
Conflict: 10
This movie has one of the coolest action scenes that I’ve seen in an earlier film. It involves a big fight on an abandoned ship. Between that, a cool chariot-style race, and Harold constantly trying to avoid awkward scrapes there is plenty of conflict to go around.
Entertainment Value: 10
Memorability: 10
Pace: 10
Slow start but quickly picks up steam. It’s a short ride, but the directors made sure they used up every ounce of time available. I appreciated that all the scenes really were necessary and they never overstayed their welcome.
Plot: 10
The story is succinct and very well-written. There weren’t any cheats as each plot point moved seamlessly to the next. Great character-development is weaved in as well. All the ingredients for a great story.
Resolution: 10
Overall: 96
If it weren’t for a weaker beginning, The Kid Brother would rank right up there with the all-time best. It had me looking forward to a deeper dive into the silent film world.
Phil Leader (619 KP) rated The Taking (Afterlife #2) in Books
Nov 26, 2019
After her actions at the end of the first book in the series - Fledgling - the human-turned-angel Aurora has drawn the unwelcome attention of Separus, one of the most powerful of the demons. He covets her power and is determined to capture her and turn her to the side of darkness.
Aware of this Archangel Michael, leader of the angels, assigns her and her friends to be further trained by Zacharias, a rather bad tempered 'earthbound' angel who is an expert in fighting and weapons. As their - at times brutal - training takes place the demons are plotting to capture the three angel friends by using the ultimate bait for Aurora - Ethan. Aurora will need to make a choice, and not an easy one.
The Taking continues more-or-less where Fledgling left off although there is a distinct change of tone. Whereas in the first book Aurora, Cindy and Ben are out and about in the world saving innocents, here they are in training for very much of the time. In other hands this might be a disappointment, but Cope has an eye for telling the interesting bits of stories and not labouring the mundane. It also helps that the training is somewhat unusual, as is the teacher. As the major new character Zacharias is very well drawn, suitably grumpy and terse at being given 'humans' to train, as he sees it.
When conflict with the demons arises Cope again shows the flair for describing fight scenes from the first book and these, as would be expected, are far more intense battles with much more at stake. These are not serene angels gently guiding their human charges through life. These are kick-ass super heroes who are not afraid to put themselves in the way of extreme danger for what they believe is right.
Aurora must also confront her feelings for both Ethan, her human love, and Ben her angel friend. Both relationships are forbidden and this just complicates things further. I suspect that this aspect of the books would appeal more to female young adult readers but they are well written even if you will probably be shouting at the book telling Aurora not to be so silly at points.
Overall a second strong showing in this series and very recommended. If the angel/demon theme doesn't sound like your cup of tea then just give it a go. You will be pleasantly surprised
Aware of this Archangel Michael, leader of the angels, assigns her and her friends to be further trained by Zacharias, a rather bad tempered 'earthbound' angel who is an expert in fighting and weapons. As their - at times brutal - training takes place the demons are plotting to capture the three angel friends by using the ultimate bait for Aurora - Ethan. Aurora will need to make a choice, and not an easy one.
The Taking continues more-or-less where Fledgling left off although there is a distinct change of tone. Whereas in the first book Aurora, Cindy and Ben are out and about in the world saving innocents, here they are in training for very much of the time. In other hands this might be a disappointment, but Cope has an eye for telling the interesting bits of stories and not labouring the mundane. It also helps that the training is somewhat unusual, as is the teacher. As the major new character Zacharias is very well drawn, suitably grumpy and terse at being given 'humans' to train, as he sees it.
When conflict with the demons arises Cope again shows the flair for describing fight scenes from the first book and these, as would be expected, are far more intense battles with much more at stake. These are not serene angels gently guiding their human charges through life. These are kick-ass super heroes who are not afraid to put themselves in the way of extreme danger for what they believe is right.
Aurora must also confront her feelings for both Ethan, her human love, and Ben her angel friend. Both relationships are forbidden and this just complicates things further. I suspect that this aspect of the books would appeal more to female young adult readers but they are well written even if you will probably be shouting at the book telling Aurora not to be so silly at points.
Overall a second strong showing in this series and very recommended. If the angel/demon theme doesn't sound like your cup of tea then just give it a go. You will be pleasantly surprised
Gareth von Kallenbach (980 KP) rated Mr. Peabody & Sherman (2014) in Movies
Aug 6, 2019
Mr. Peabody and Sherman were first introduced to the world via the
1950s-1960s legendary kids cartoon "The Rocky and Bullwinkle Show." Mr.
Peabody (Ty Burell), a Nobel prize winning brainiac canine, whose
intelligence is beyond that of any human being; there is nothing this
Beagle cannot do. He was able to put his brilliant mind to use and adopt
a young boy named Sherman (Max Charles) and he also invents a time
travelling machine he calls the WABAC (pronounced way-back). He uses the
WABAC as a teaching tool by travelling back in time with Sherman to
experience some of the most famous moments in history.
On Sherman's first day school, he finds that some of the history lessons
being taught in school were not accurate to how the events actually took
place. Remember, he traveled in time and witnessed it all first hand.
Sherman finds himself clashing with his classmate Penny (Ariel Winter),
who spends most of her time teasing and bullying Sherman for 'knowing too
much' and for being raised by a dog. In an attempt to bring peace among
Sherman's classmates and to also avoid the impending threat from child
services who would like nothing more than to prove that a dog does not have
the right to raise human child, Mr. Peabody invites Penny and her parents
over to their home for dinner. Sherman tries to impress Penny by breaking
Mr. Peabody's rules and introduces Penny to the WABAC. Nothing good comes
of two kids travelling in time and disrupting the space time continuum.
Enter Mr. Peabody, who uses the WABAC to try and rectify the disruptions
that were caused by Penny and Sherman's adventure through time.
This movie is not the story of "man's best friend!" It is geared more
towards the father-son relationship. A very likeable film that brings us
back to some significant moments in history, such as Leonardo DaVinci's
painting of the Mona Lisa, the Trojan War, the time when King Tut ruled
Ancient Egypt, and the French Revolution. In true Dreamwork fashion, there
was just the perfect of amount of humor for kids and adults alike to
enjoy. What sets this movie apart from others is its ability to embrace
education as an adventure and how it challenges the 'traditional' family
stereotype and that love can be found in all creatures and at any time.
4 out of 5 stars.
1950s-1960s legendary kids cartoon "The Rocky and Bullwinkle Show." Mr.
Peabody (Ty Burell), a Nobel prize winning brainiac canine, whose
intelligence is beyond that of any human being; there is nothing this
Beagle cannot do. He was able to put his brilliant mind to use and adopt
a young boy named Sherman (Max Charles) and he also invents a time
travelling machine he calls the WABAC (pronounced way-back). He uses the
WABAC as a teaching tool by travelling back in time with Sherman to
experience some of the most famous moments in history.
On Sherman's first day school, he finds that some of the history lessons
being taught in school were not accurate to how the events actually took
place. Remember, he traveled in time and witnessed it all first hand.
Sherman finds himself clashing with his classmate Penny (Ariel Winter),
who spends most of her time teasing and bullying Sherman for 'knowing too
much' and for being raised by a dog. In an attempt to bring peace among
Sherman's classmates and to also avoid the impending threat from child
services who would like nothing more than to prove that a dog does not have
the right to raise human child, Mr. Peabody invites Penny and her parents
over to their home for dinner. Sherman tries to impress Penny by breaking
Mr. Peabody's rules and introduces Penny to the WABAC. Nothing good comes
of two kids travelling in time and disrupting the space time continuum.
Enter Mr. Peabody, who uses the WABAC to try and rectify the disruptions
that were caused by Penny and Sherman's adventure through time.
This movie is not the story of "man's best friend!" It is geared more
towards the father-son relationship. A very likeable film that brings us
back to some significant moments in history, such as Leonardo DaVinci's
painting of the Mona Lisa, the Trojan War, the time when King Tut ruled
Ancient Egypt, and the French Revolution. In true Dreamwork fashion, there
was just the perfect of amount of humor for kids and adults alike to
enjoy. What sets this movie apart from others is its ability to embrace
education as an adventure and how it challenges the 'traditional' family
stereotype and that love can be found in all creatures and at any time.
4 out of 5 stars.
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LeftSideCut (3776 KP) rated Bloodshot (2020) in Movies
Jul 27, 2020
Contains spoilers, click to show
Man, I expected this to be absolute gutter trash based on some of the reviews I've seen here and there, but honestly, found this to be a pretty passable dumb comic book origin story.
The cast are mostly good (minus a couple of generic jumped-up-alpha-male-arseholes). Vin Diesel just being Vin Diesel (which I used to hate but these days kind of love-hate), Guy Pearce playing a typically shady villain, Eiza González representing the badass female quota nicely, and Lamorne Morris playing the sometimes amusing comic relief. They all gel well for the most part.
It also doesn't take itself to seriously - I was ready to hate Bloodshot within the first ten minutes due to some really on the nose dumbfuckery to do with Toby Kebbell's character, but later on, the movie references said scene and pokes fun at it, thankfully.
There's one particular great action set piece during the first third of the film (the one that made up a fair amount of the trailer) which earns Bloodshot more points than it otherwise would have, and the semi-Groundhog Day plot keeps the movie interesting for the most part.
However, and it's a big however, although Bloodshot is fairly good for a fair portion of the runtime, it absolutely shits the bed in the final third.
Opting for a big CGI blowout (of course), the big final sequence just looks horrible.
The character models used in the fight sequences reminded me of Neo from The Matrix Reloaded, and that looked bad 17 years ago!
It's a loud, ugly mess that unfortunately de-rails any good that came before.
It also doesn't make a lick of sense, but WHO CARES, EXPLOSIONS AND CGI VIN DIESEL, WOOOOAHHH. It sucks.
I get the feeling that the ending (after the shitty fight scene) was supposed to be deep and left open to interpretation, but it just felt thrown on and confusing, and I also, I didn't really care by this point.
Ultimately, I would like to see Bloodshot get a sequel. This first outing is truly an origin film, and it would be interesting to see how further entries could flesh out the story, and borrow more from the comics.
I just hope this crappy Coronavirus pandemic is taken into account by the suits when looking at the poor box office.
The cast are mostly good (minus a couple of generic jumped-up-alpha-male-arseholes). Vin Diesel just being Vin Diesel (which I used to hate but these days kind of love-hate), Guy Pearce playing a typically shady villain, Eiza González representing the badass female quota nicely, and Lamorne Morris playing the sometimes amusing comic relief. They all gel well for the most part.
It also doesn't take itself to seriously - I was ready to hate Bloodshot within the first ten minutes due to some really on the nose dumbfuckery to do with Toby Kebbell's character, but later on, the movie references said scene and pokes fun at it, thankfully.
There's one particular great action set piece during the first third of the film (the one that made up a fair amount of the trailer) which earns Bloodshot more points than it otherwise would have, and the semi-Groundhog Day plot keeps the movie interesting for the most part.
However, and it's a big however, although Bloodshot is fairly good for a fair portion of the runtime, it absolutely shits the bed in the final third.
Opting for a big CGI blowout (of course), the big final sequence just looks horrible.
The character models used in the fight sequences reminded me of Neo from The Matrix Reloaded, and that looked bad 17 years ago!
It's a loud, ugly mess that unfortunately de-rails any good that came before.
It also doesn't make a lick of sense, but WHO CARES, EXPLOSIONS AND CGI VIN DIESEL, WOOOOAHHH. It sucks.
I get the feeling that the ending (after the shitty fight scene) was supposed to be deep and left open to interpretation, but it just felt thrown on and confusing, and I also, I didn't really care by this point.
Ultimately, I would like to see Bloodshot get a sequel. This first outing is truly an origin film, and it would be interesting to see how further entries could flesh out the story, and borrow more from the comics.
I just hope this crappy Coronavirus pandemic is taken into account by the suits when looking at the poor box office.
Merissa (13597 KP) rated Once Upon a Dream (Mystic Beach #1) by Aislinn Archer in Books
May 13, 2022 (Updated Jun 20, 2023)
ONCE UPON A DREAM is the first full-length story in the Mystic Beach series. I first met Ellie and Hunter in their short story - Here Comes the Sun - which takes place when they are six years old. This one takes place over a longer amount of time, and they both grow and change in a number of ways.
Both of them lose their mothers and neither of their fathers will ever win a 'Father of the Year' award! Ellie - who changes her name to Brighid - is hands down my favourite. She deals with what life throws at her, loves her best friend, and does the best she can. Hunter - I love him and hate him at the same time. He's got a long way to go before I'll forgive him for how he treated both Ellie and himself. And those pathetic excuses he makes to himself just aren't going to cut it. Too many excuses and not enough thought. Being completely honest here, the longer the book went on, the more I disliked him!!!
There is enough mysticism here to keep me happy whilst definitely leaving me wanting more. In fact, that's the feeling I've got now that I've finished this story. I want - no, I NEED - more! I want to see how the paranormal becomes normal for Brighid. I want to know more about Mystic Beach. I want to know more about the guys in the band, especially Kieran! And not forgetting Mace.
The world-building - whether in Virginia, Delaware, or New York - is first class. The characters are all different and don't blend into each other. The pacing is perfect. And the part near the end in New York? Had me in tears! Good on Brighid for showing backbone though and doing what was best for her. Still had me in tears though.
A fantastic book that I thoroughly enjoyed and can't wait for the next one. Highly recommended by me.
PS - LOVED the Robin of Sherwood references!!!
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
May 12, 2022
Both of them lose their mothers and neither of their fathers will ever win a 'Father of the Year' award! Ellie - who changes her name to Brighid - is hands down my favourite. She deals with what life throws at her, loves her best friend, and does the best she can. Hunter - I love him and hate him at the same time. He's got a long way to go before I'll forgive him for how he treated both Ellie and himself. And those pathetic excuses he makes to himself just aren't going to cut it. Too many excuses and not enough thought. Being completely honest here, the longer the book went on, the more I disliked him!!!
There is enough mysticism here to keep me happy whilst definitely leaving me wanting more. In fact, that's the feeling I've got now that I've finished this story. I want - no, I NEED - more! I want to see how the paranormal becomes normal for Brighid. I want to know more about Mystic Beach. I want to know more about the guys in the band, especially Kieran! And not forgetting Mace.
The world-building - whether in Virginia, Delaware, or New York - is first class. The characters are all different and don't blend into each other. The pacing is perfect. And the part near the end in New York? Had me in tears! Good on Brighid for showing backbone though and doing what was best for her. Still had me in tears though.
A fantastic book that I thoroughly enjoyed and can't wait for the next one. Highly recommended by me.
PS - LOVED the Robin of Sherwood references!!!
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
May 12, 2022
Lottie disney bookworm (1056 KP) rated Cinderella is Dead in Books
Jun 6, 2020
Contains spoilers, click to show
Thank you to Netgalley and Kalynn Bayron for giving me the opportunity to read an advance copy of Cinderella is Dead in exchange for an honest review.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.