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A Bibliophagist (113 KP) rated Space Opera in Books
Jan 25, 2020 (Updated Jan 25, 2020)
Fun writing (2 more)
Creative
Witty
Overwritten (3 more)
Lacking plot
Disjointed and distracted
Boring
Technicolor Encyclopedia entry
Space Opera seems to be a book, that based on other reviews, you either love or hate. The love reviewers can't seem to tell me why they love it, most attempting to replicate the style of the author and relying on a menagerie of adjectives to express themselves. "A glitter punk, Eurovision romp!" "Technicolor whirlwind!" but not actually saying WHY they liked it, or just saying "well you didn't get the humor". The ones who disliked it are pretty clear, and as I struggled with this book I found I agreed with their complaints. However, I have to thank the sheer number of DNFs from the disliked group for causing me to, ironically, finish it. I hate DNFing books, to begin with, but when I saw just how many bad reviews didn't make it through, it felt as bad as the good reviews not actually reviewing anything. So I powered through, and honestly, it was worth finishing. The author really got back on track and it was a great ending.
Valente has in fact given us a Eurovision, glitter punk, electric baby with Douglas Adams, her writing fantastical and humorous, her characters vapid but in a washed-out musician kind of way. She really thought about this book, creating droves of aliens and probably destroying a number of thesauri to bring them to life. We follow Decibel Jones of the "oh you haven't heard of it, well we used to be a thing" Decibel Jones and the Absolute Zeros. A washed-up, no longer active glitter punk band who is an amalgam of every band you probably are thinking of when trying to grasp what that description means.
The book opens with a wonderfully witty description of how there is in fact other life out there in the universe, life is easy to come by, they've just been off doing a galactic war and while they were gone we kind of popped up. Life is stupid. This part is the best part of the book. The humor is on point, the prose magnificant. She is spot on and very pointed in her argument for why war happens. It's people vs meat, and how does one determine something isn't meat, but in fact sentient? Well, no one really figured that out, hence the galactic war, but NOW post-war they think they've figured it out. Intergalactic Music competition. Makes sense, only something sentient could create music right?
Well, this year is a special year because Earth is invited, we've been deemed "may be sentient", but questionable enough that they'd rather not let us just hang out and become annoying someday. So we have to present a band and performance for consideration. We just have to not place last. If we don't place last, we're part of the club and we'll be a-ok. If we place last, we'll be destroyed, because they already think we're annoying and that will mean we're meat. People vs meat remember?
So, one day everyone on the planet earth, everyone, awake or sleeping is visited by the blue birdlike projection of our assigned guides, the Esca, and alien species that are new to the whole being accepted as a sentient thing, and will guide us through the competition. Which it is now telling us about, Suprise! They've chosen a list of musicians they think will do well, however it's outdated and only one band is really able to do it, the has-beens, who are they, Decibel Jones and the Absolute Zeros. Time was rough on our glam-punk friends as it tends to be on musicians, they lost the third member about a decade ago, the two remaining no longer talk. Decibel is a trainwreck, and Oort St Ultraviolet is now just a dad who very much wants to be a regular dude. But now they're being whisked off into space to sing for the world's salvation.
Sounds pretty fun right? This plus Douglas Adams type prose and humor? A real knock out. Unfortunately, that story I just described takes up... maybe a quarter of the book, MAYBE. You can pull the main story out and put it into a book that might be too small to be a novella. Because of this, the backstory, development, and exploration of these characters are slim to nothing. There is some mind you, but very little. It isn't until the 180pg mark or so that Valente actually decides to focus on the plot, giving very little time to do the entire Grand Prix, the actual competition takes up a page. A 288-page book about a singing competition and only 1-2 pages is actually the singing competition. Tack on another 10 maybe for the weird cocktail death party right before, that didn't have enough attempted death to make any real point of it, plus maybe another 5-10 scattered throughout the book on the back story and leading up to the story, and we've got MAYBE 25 pages of the actual plot. My math is wrong, I know, but it sure FEELS like this.
So, in a 288-page book, with 25 pages being the actual story, what are the other 263 pages? It was the author being somewhat... I don't mean to sound mean, but full of herself? She tried WAY too hard on this style she was going for. It felt like an "oh, you liked that opening chapter, didn't you? You totally read it out loud to your boyfriend, well here let me give it to you again, and again, and ... again". This book suffers from a severe case of needing to be edited. Of someone saying "that's enough now dear, but what about the story". Every few pages of the backstory of the plot we got were met with full chapters, sometimes multiple of Valente describing yet another alien species she's created, in yet another chain of witty simile and metaphor. To the point where sometimes I no longer knew what was happening, they were all interchangeable, which alien are we talking about now? It went on and on and on, and I never knew how such humorous writing could be just so soul suckingly boring. When she ran out of aliens it was describing previous grand prix's and how the aliens sang. In the exact same, formulaic, witty simile, witty simile, witty simile. Don't get me wrong, there were some absolute gems in here. Some that made me laugh out loud. But it's all about the ratio. I would trade in a heartbeat the ratio in this book. 263 pages of plot, and 25 pages of aliens described in witty simile. It took everything in my power after the third alien chapter to not skim. But she fit so much into a sentence that I was scared somewhere hiding would be a plot point (spoiler alert, there wasn't, skim away).
Then around the 180 page mark, a flip was switched, it was almost as if she went "crap, a story!" the adjective use was slimmed down dramatically and we actually got more than one chapter in a row with a plot point. But at this point, it was too late, the end of the book was hurdling at us and very little had happened and the book pretty much fizzled out with an "oh yeah, the Grand Prix happened". Mind you, the finale was very heartwarming and I liked it a lot. I just wish I hadn't had to read a full chapter about hairbrush interspecies sex to get there, and instead had more of it. But ironically, the hairbrush sex had more plot advancement that the majority of the book.
The ending did, however, for one moment, make me forget that I had just read an encyclopedia of descriptors and was happy for a few minutes. So good on her for that. That proves to me that she can write more than glittery descriptions, which then made me sad I didn't have more of that writing. With just a spattering of the gold of her opening chapters. I am glad I finished the book, the story, what little there was, was worth the read. However, I have no desire to read any other of Valente's writing now, and if there was a sequel, I just don't think I have it in me to read another 263 pages of description. Cool idea, good ability, just terribly executed. She could easily have released a separate book, expanding on a handful of species she established in the book, like an alien compendium, and I would have read it, and laughed, and been okay because I went into it expecting it. But I went into this wanting a story, not a neon throwup encyclopedia of just how "oh so creative" Valente is. That came off harsh, I know, but they blew past the fine line of interesting and well into the self-serving, look what I can do, territory. What suffered for it wasn't just a large number of DNFs, and my sanity for a few days, but an actually interesting, fun, Eurovision, glitter punk, heartwarming story about loss, life, how stupid it is, how beautiful it is, and why we should fight for it. It's in there, hiding beneath the layers and layers of word vomit. I want that story. Please release a second edition that is just that, the opening, and say... 3-5 of your favorite aliens Valente, I promise I'll give it another try if you do.
Valente has in fact given us a Eurovision, glitter punk, electric baby with Douglas Adams, her writing fantastical and humorous, her characters vapid but in a washed-out musician kind of way. She really thought about this book, creating droves of aliens and probably destroying a number of thesauri to bring them to life. We follow Decibel Jones of the "oh you haven't heard of it, well we used to be a thing" Decibel Jones and the Absolute Zeros. A washed-up, no longer active glitter punk band who is an amalgam of every band you probably are thinking of when trying to grasp what that description means.
The book opens with a wonderfully witty description of how there is in fact other life out there in the universe, life is easy to come by, they've just been off doing a galactic war and while they were gone we kind of popped up. Life is stupid. This part is the best part of the book. The humor is on point, the prose magnificant. She is spot on and very pointed in her argument for why war happens. It's people vs meat, and how does one determine something isn't meat, but in fact sentient? Well, no one really figured that out, hence the galactic war, but NOW post-war they think they've figured it out. Intergalactic Music competition. Makes sense, only something sentient could create music right?
Well, this year is a special year because Earth is invited, we've been deemed "may be sentient", but questionable enough that they'd rather not let us just hang out and become annoying someday. So we have to present a band and performance for consideration. We just have to not place last. If we don't place last, we're part of the club and we'll be a-ok. If we place last, we'll be destroyed, because they already think we're annoying and that will mean we're meat. People vs meat remember?
So, one day everyone on the planet earth, everyone, awake or sleeping is visited by the blue birdlike projection of our assigned guides, the Esca, and alien species that are new to the whole being accepted as a sentient thing, and will guide us through the competition. Which it is now telling us about, Suprise! They've chosen a list of musicians they think will do well, however it's outdated and only one band is really able to do it, the has-beens, who are they, Decibel Jones and the Absolute Zeros. Time was rough on our glam-punk friends as it tends to be on musicians, they lost the third member about a decade ago, the two remaining no longer talk. Decibel is a trainwreck, and Oort St Ultraviolet is now just a dad who very much wants to be a regular dude. But now they're being whisked off into space to sing for the world's salvation.
Sounds pretty fun right? This plus Douglas Adams type prose and humor? A real knock out. Unfortunately, that story I just described takes up... maybe a quarter of the book, MAYBE. You can pull the main story out and put it into a book that might be too small to be a novella. Because of this, the backstory, development, and exploration of these characters are slim to nothing. There is some mind you, but very little. It isn't until the 180pg mark or so that Valente actually decides to focus on the plot, giving very little time to do the entire Grand Prix, the actual competition takes up a page. A 288-page book about a singing competition and only 1-2 pages is actually the singing competition. Tack on another 10 maybe for the weird cocktail death party right before, that didn't have enough attempted death to make any real point of it, plus maybe another 5-10 scattered throughout the book on the back story and leading up to the story, and we've got MAYBE 25 pages of the actual plot. My math is wrong, I know, but it sure FEELS like this.
So, in a 288-page book, with 25 pages being the actual story, what are the other 263 pages? It was the author being somewhat... I don't mean to sound mean, but full of herself? She tried WAY too hard on this style she was going for. It felt like an "oh, you liked that opening chapter, didn't you? You totally read it out loud to your boyfriend, well here let me give it to you again, and again, and ... again". This book suffers from a severe case of needing to be edited. Of someone saying "that's enough now dear, but what about the story". Every few pages of the backstory of the plot we got were met with full chapters, sometimes multiple of Valente describing yet another alien species she's created, in yet another chain of witty simile and metaphor. To the point where sometimes I no longer knew what was happening, they were all interchangeable, which alien are we talking about now? It went on and on and on, and I never knew how such humorous writing could be just so soul suckingly boring. When she ran out of aliens it was describing previous grand prix's and how the aliens sang. In the exact same, formulaic, witty simile, witty simile, witty simile. Don't get me wrong, there were some absolute gems in here. Some that made me laugh out loud. But it's all about the ratio. I would trade in a heartbeat the ratio in this book. 263 pages of plot, and 25 pages of aliens described in witty simile. It took everything in my power after the third alien chapter to not skim. But she fit so much into a sentence that I was scared somewhere hiding would be a plot point (spoiler alert, there wasn't, skim away).
Then around the 180 page mark, a flip was switched, it was almost as if she went "crap, a story!" the adjective use was slimmed down dramatically and we actually got more than one chapter in a row with a plot point. But at this point, it was too late, the end of the book was hurdling at us and very little had happened and the book pretty much fizzled out with an "oh yeah, the Grand Prix happened". Mind you, the finale was very heartwarming and I liked it a lot. I just wish I hadn't had to read a full chapter about hairbrush interspecies sex to get there, and instead had more of it. But ironically, the hairbrush sex had more plot advancement that the majority of the book.
The ending did, however, for one moment, make me forget that I had just read an encyclopedia of descriptors and was happy for a few minutes. So good on her for that. That proves to me that she can write more than glittery descriptions, which then made me sad I didn't have more of that writing. With just a spattering of the gold of her opening chapters. I am glad I finished the book, the story, what little there was, was worth the read. However, I have no desire to read any other of Valente's writing now, and if there was a sequel, I just don't think I have it in me to read another 263 pages of description. Cool idea, good ability, just terribly executed. She could easily have released a separate book, expanding on a handful of species she established in the book, like an alien compendium, and I would have read it, and laughed, and been okay because I went into it expecting it. But I went into this wanting a story, not a neon throwup encyclopedia of just how "oh so creative" Valente is. That came off harsh, I know, but they blew past the fine line of interesting and well into the self-serving, look what I can do, territory. What suffered for it wasn't just a large number of DNFs, and my sanity for a few days, but an actually interesting, fun, Eurovision, glitter punk, heartwarming story about loss, life, how stupid it is, how beautiful it is, and why we should fight for it. It's in there, hiding beneath the layers and layers of word vomit. I want that story. Please release a second edition that is just that, the opening, and say... 3-5 of your favorite aliens Valente, I promise I'll give it another try if you do.
BackToTheMovies (56 KP) rated Child's Play (2019) in Movies
Jun 21, 2019
After moving to a new city, young Andy Barclay receives a special present from his mother. A seemingly innocent Buddi doll that becomes his best friend. When the doll suddenly takes on a life of its own, Andy unites with other neighborhood children to stop the sinister toy from wreaking bloody havoc.
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
Chris Sawin (602 KP) rated Doctor Strange in the Multiverse of Madness (2022) in Movies
May 4, 2022
The noticeable Sam Raimi elements. (2 more)
The film is great when it's able to showcase horror.
The second end credits sequence is amazing.
The film is incredibly formulaic outside of its horror elements. (2 more)
You don't really care about any of the new characters.
No one is going to get that first end credits sequence.
Sam Raimi Finally Brings Horror to the MCU
Even with all of the universe jumping and Sam Raimi being able to add his filmmaking trademarks, Doctor Strange in the Multiverse of Madness is a bit too formulaic for its own good. Doctor Strange (Benedict Cumberbatch) has been having dreams of a different version of himself dying while seeking a mythical book known as The Book of Ashanti. In his dream, Strange encounters America Chavez (Xochitl Gomez), a young girl with the uncontrollable power of universe jumping.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
But then Strange meets America in his universe and learns that dreams are actually us seeing different versions of ourselves in different universes. Still blinded by the events in WandaVision, Scarlet Witch (Elizabeth Olsen) intends to capture America and utilize her universe jumping ability to reunite with the children she created with magic.
Doctor Strange in the Multiverse of Madness relies on what feels like a simplistic storyline to drive what is essentially the MCU’s first horror film. Strange really only seems driven to protect America because he dreamed about her and Wanda Maximoff has only turned evil because there’s suddenly this very thin line between being a mother and becoming a monster. Most of the film feels like a typical MCU film featuring the standard humor and wisecracking you’ve come to expect from superhero films along with the fate of the world (and possibly every other) probably being at stake.
The most refreshing moments of Doctor Strange in the Multiverse of Madness are the moments that you can tell Raimi had a hand in writing, directing, or having some sort of input in some capacity. This is Raimi’s first directorial gig since 2013’s Oz: The Great and Powerful and it becomes quite obvious that audiences have missed his work. The Shuma Gorath sequence (renamed Gargantos for trademark purposes) is outstanding. Doctor Strange, Wong, and America battling a giant one eyed octopus is something so awesome that it kind of writes itself. Not only is it the film’s first big action sequence, but you can see a lot of Doctor Octopus and Spider-Man 2 influences as Gargantos destroys skyscrapers and gets his tentacles chopped off. The slicing of the bus as it’s thrown at Doctor Strange and America is also legitimately one of the coolest moments of the film.
There is a ton of homage to Evil Dead and Drag Me to Hell buried within the film. The final 20 minutes are overflowing with concepts seemingly pulled from classic Sam Raimi films. Doctor Strange in the Multiverse of Madness revolves around a book of the damned not unlike the Necronomicon. There are at least two major eyeball gags and a ridiculous amount of burning candles in the film. Like most Sam Raimi films, there’s an emphasis on corniness. His sense of humor has always been on the corny side and the heartfelt moments always seem to be milked and over exaggerated ever so slightly. All of these elements are in Doctor Strange in the Multiverse of Madness and they are the moments that make the film feel more unique in comparison to the other 28 films in the MCU.
Strange saves America from Scarlet Witch by knocking her and himself into her own star shaped portal that sees them both falling through multiple universes. It’s a gloriously disorienting sequence, but it’s also incredibly similar to not only what we saw in the first Doctor Strange film but also a lot like the 700 space jumps in Guardians of the Galaxy Vol. 2. This film is meant to open the door even further when it comes to the cosmic side of the MCU and now the horror side of it as well. Doctor Strange in the Multiverse of Madness is not Spider-Man: No Way Home. There are not a ton of nostalgic cameos sprinkled throughout the film. There’s one sequence that combines fan speculation and other universes, but there aren’t a lot of hidden cameos like the internet speculated.
What is perhaps most interesting about this superhero sequel is that Stephen Strange is still learning to be more humble. His only play during Infinity War that ended up costing so many their lives for five long years is still weighing heavily on his mind. He also still loves Christine (Rachel McAdams) despite the fact that she’s moved on and struggles with whether he’s now happy or not. Throughout the film he’s constantly compared to the Doctor Strange of that universe and yet the film goes out of its way to show that this Doctor Strange is different. He will break the rules if he has to, but he will only do so when it’s the only option.
With so many universes and alternate versions of himself, it was naturally only a matter of time before Doctor Strange would have to fight himself. The musical note war Strange has with the Darkhold obsessed version of himself in the collapsed universe in the second half of the film does some really intriguing stuff with musical notes that essentially borrows visuals from the Chuck Jones directed animated short, “High Note,” from 1960 as well as the battle or reactionary element found in video games such as Dance Dance Revolution and Guitar Hero. It’s an unusual fight that seems to be inspired solely by Strange bumping into a piano during the magical brawl.
Doctor Strange in the Multiverse of Madness is dark, silly, and fan pleasing. The film is at is most bewitching when Sam Raimi can let his horror roots be showcased. It will satisfy horror and superhero film fans alike, but would have and could have been even better if Raimi was allowed to dive even further into the horror genre. Be sure to stay after the credits, as well. There are two after credits sequences with the final one being so absurdly on the nose for Sam Raimi that it may be the most entertaining part of the film.
Haley Mathiot (9 KP) rated Soul Catcher (The Outsider #1) in Books
Apr 27, 2018
Soul Catcher by Leigh Bridger
Genre: Sci-fi, Romance
ISBN: 9780982175682
Rating: 4
Livia hasn't had a perfect life—in fact she hasn't even had a good life. It all started when her father died when she was young, then got worse when her mother and baby brother died in a fire that she may or may not have started. She also starts painting pictures of evil horrible demons in her sleep, and is forced to burn the pictures and ban them… but one demon escapes, and comes for her.
She finds out that he had been pursuing her in every life—she's been reincarnated? what?—and has killed her every time for the past 200+ years. She also finds out that she has a soul mate, (who jumped into the body that the demon had used to hurt her, and now she can't look at him without getting sick) but has hidden herself from him in almost every life, subconsciously, because of something that happened in the past. She and Ian set off to find answers and to kill the pig-faced demon… for good this time. But this time ends up being the most dangerous life she's ever lived.
Soul Catcher was an addicting read. I would have read it in one sitting if I'd been allowed. It actually stuck with me all night and I'm pretty sure I dreamed about it.
I liked the philosophy of the world that Livia lived in. There were soul jumpers, like Ian and Dante, who could jump into any body he needed to be in at the time. There were soul catchers like her, who could banish dark spirits and talk to the light ones. The plot itself was very complex, and every chapter added something new to the story. One thing that made Soul Catcher stand out was how Livia and Ian's love grew. It wasn't immediate you're-my-soul-mate-you're-perfect-for-me kind of love. It was a lot more real than that. Livia starts by trying to avoid him at all costs, but ends up having to go on a trip with him to find out about their pasts. You could say they "bonded," or you could say that Ian finally got to her—even while he was in the body she hated passionately—either way, their love was real enough to be believable.
I really liked Livia, even though she had her downfalls and her insecurities. She was definitely the bad-ass heroine we know and love: slightly sarcastic, very obnoxious, stubborn as an ox, and head over heels in love but unwilling to admit it because she sees it as a weakness. Ian was a great character: he'd have to be to put up with Livia. He'd do anything for her, is dying for her to love him, thinks she is the most beautiful girl in the world—and even bends so low as to trick her into kissing him (she didn't appreciate that.). But he's all light-hearted, fun to be around, with a sexy Irish accent.
I really liked the ending. The whole story had good humor and good comic relief, but the ending was sweet, cute, and funny. It pulled everything together nicely, and left you with a smirk on your face. I say take it to the beach with an umbrella and lemonade. Or whatever other drink you like best.
Content/recommendation: some sex and sexual references, heavy language, ages 18+
~ Haleyknitz
Genre: Sci-fi, Romance
ISBN: 9780982175682
Rating: 4
Livia hasn't had a perfect life—in fact she hasn't even had a good life. It all started when her father died when she was young, then got worse when her mother and baby brother died in a fire that she may or may not have started. She also starts painting pictures of evil horrible demons in her sleep, and is forced to burn the pictures and ban them… but one demon escapes, and comes for her.
She finds out that he had been pursuing her in every life—she's been reincarnated? what?—and has killed her every time for the past 200+ years. She also finds out that she has a soul mate, (who jumped into the body that the demon had used to hurt her, and now she can't look at him without getting sick) but has hidden herself from him in almost every life, subconsciously, because of something that happened in the past. She and Ian set off to find answers and to kill the pig-faced demon… for good this time. But this time ends up being the most dangerous life she's ever lived.
Soul Catcher was an addicting read. I would have read it in one sitting if I'd been allowed. It actually stuck with me all night and I'm pretty sure I dreamed about it.
I liked the philosophy of the world that Livia lived in. There were soul jumpers, like Ian and Dante, who could jump into any body he needed to be in at the time. There were soul catchers like her, who could banish dark spirits and talk to the light ones. The plot itself was very complex, and every chapter added something new to the story. One thing that made Soul Catcher stand out was how Livia and Ian's love grew. It wasn't immediate you're-my-soul-mate-you're-perfect-for-me kind of love. It was a lot more real than that. Livia starts by trying to avoid him at all costs, but ends up having to go on a trip with him to find out about their pasts. You could say they "bonded," or you could say that Ian finally got to her—even while he was in the body she hated passionately—either way, their love was real enough to be believable.
I really liked Livia, even though she had her downfalls and her insecurities. She was definitely the bad-ass heroine we know and love: slightly sarcastic, very obnoxious, stubborn as an ox, and head over heels in love but unwilling to admit it because she sees it as a weakness. Ian was a great character: he'd have to be to put up with Livia. He'd do anything for her, is dying for her to love him, thinks she is the most beautiful girl in the world—and even bends so low as to trick her into kissing him (she didn't appreciate that.). But he's all light-hearted, fun to be around, with a sexy Irish accent.
I really liked the ending. The whole story had good humor and good comic relief, but the ending was sweet, cute, and funny. It pulled everything together nicely, and left you with a smirk on your face. I say take it to the beach with an umbrella and lemonade. Or whatever other drink you like best.
Content/recommendation: some sex and sexual references, heavy language, ages 18+
~ Haleyknitz
Phillip McSween (751 KP) rated Avengers: Age of Ultron (2015) in Movies
May 12, 2018
Awesome
When an artificial intelligence outthinks its creator and forms itself into dozens of destructive robots, Earth's mightiest heroes come together once again to put a stop to the threat.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Acting: 10
Beginning: 10
As most MCU (Marvel Cinematic Universe) films tend to do, Avengers: Age of Ultron gets off to a really quick start wasting no time with action. Everyone gets a piece in the first ten minutes and they're working even better together than they did in the first film. While Hulk (Mark Ruffalo) and Thor (Chris Hemsworth) flex their muscle and rip tanks in half, Hawkeye Jeremy Renner) pierces through dudes like the modern-day Legolas.
Characters: 10
A part of what works so well for these characters is how grossly different their backstories and personalities are. Hawkeye is a family man that uses humor to mask his annoyance in certain situations. Tony Stark (Robert Downey Jr.) is constantly pushing the boundary envelope and acts superior to the ideas and thoughts of the rest of the group. Normally you hate a guy like this but he wears the hat so well. Throw in Vision, a benevolent AI with a sense of purpose, and the rest of the crew and you have a pretty solid character-base.
AI of the hour Ultron (James Spader) is a villain with a surprising amount of depth. He fights for his own cause which, in his mind, is the only necessary option for balance and preservation. His smooth, even-keeled voice can be chilling at times making for some pretty solid scenes.
Cinematography/Visuals: 10
Conflict: 10
There is enough action in the film for two films. The plot steamrolls into new scenes of combat, one after the next. Dull moments are nonexistent. There is something about having all of these characters on the screen at the same time that keeps the film exciting and fresh. Teamups are especially cool, watching pairs like Captain America (Chris Evans) and Thor perform unique combo moves. You want eye candy? The film delivers.
Genre: 8
Not the best superhero film I've seen, although I believe that says more about the emergence of the genre than the film itself. This century has ushered in some phenomenal superhero movies that do the genre proud, including ones that set themselves apart by having enriched characters and deeper meaning. Age of Ultron is solid, but falls just slightly out of the Cream of the Crop territory.
Memorability: 9
The action sequences alone played throughout my mind well after having watched the film. Among other things, Age of Ultron gives you a falling city along with a classic matchup between Hulk and Stark in the Hulkbuster suit. Perhaps the most memorable part came at the very end when Ultron and Vision are having a conversation about the fate of humanity. Part foreshadowing, part introspection, it was a very fitting way to bring the curtain down on the action.
Pace: 10
Plot: 9
Resolution: 8
Overall: 94
No, it's not the best MCU film made to date, but it's still a high-quality film with a solid story and memorable sequences that keep you glued to your seat. Thankful for the rewatch as I enjoyed it even more the second time around.
Phillip McSween (751 KP) rated Lost In Translation (2003) in Movies
May 13, 2018
Solid Film
When a famous actor hops over to Tokyo to shoot a commercial, he meets a young woman that fills an empty void in his life.
Acting: 10
Beginning: 10
My son hates dramas and rightfully so as he's a thirteen-year-old boy. He wants to see things blowing up and people getting thrown through walls. Yet somehow, the first ten minutes of Lost In Translation sucked him in as much as it did me prompting him to watch the whole thing. From the time he touches down in Tokyo, Bob Harris (Bill Murray) sucks you in and holds on to your attention for dear life. You're anxious to see what this man is going to do next.
Characters: 10
Staying on Bob for a moment, his character made the film. His dry sense of humor and pure disinterest in everything going on around him is so sincere and captured just perfectly. He's torn between his sense of duty with work and family, so much so that he's almost forgotten how to enjoy life. When Charlotte (Scarlett Johansson) comes along, everything changes for him. Charlotte is innocent and sweet and is somehow drawn to Bob like a moth to a flame. Like most "opposites attract" relationships, the two fit extremely well together and add a sense of appeal to the film. Watching them both interact with the Japanese people and try to bridge cultural and language gaps was easy comedy that works everytime.
Cinematography/Visuals: 10
Conflict: 7
Genre: 10
Memorability: 9
There are a number of memorable scenes that stick out in my head with a couple of favorites I keep replaying. The first is where he's trying to shoot his commercial. The director is trying to relay something to Bob in Japanese which a translator is telling Bob in English. The scene is only five minutes long and had me cracking up from start to finish. In my other favorite scene, Bob has a run-in in his hotel room with a Japanese prostitute. Again, the language disparity makes the entire interaction one hilarious situation.
Outside of memorable scenes, Lost In Translation gives you a pause for introspection and contemplative thought. Oftentimes we wander aimlessly through the relationships in our lives...but what do they really mean? What are relationships without happiness or closeness? What is the real meaning of a connection?
Pace: 9
Plot: 10
Had this film's story taken place in North America somewhere, it wouldn't have been nearly as impactful. With the setting in Japan, it throws a monkey-wrench into a plot that could have been extremely simple and makes it way more intriguing. Are Bob and Charlotte truly falling for each other or are they just connecting because they are lonely and so far from home? Definite food for thought.
Resolution: 8
Ah, the famous ending of Lost In Translation. What did she say? What does it all mean? How does the story end anyway? The ending, while it does leave you hanging, is an intriguing one for sure. I understand the ambiguity and I don't love it, but I'm ok with it.
Overall: 92
Bill Murray is like the Marvel Cinematic Universe...on steroids. They have been putting out hits for a decade now. Murray has been starring in classics for decades. This film is another notch on his belt. Loved it!
Acting: 10
Beginning: 10
My son hates dramas and rightfully so as he's a thirteen-year-old boy. He wants to see things blowing up and people getting thrown through walls. Yet somehow, the first ten minutes of Lost In Translation sucked him in as much as it did me prompting him to watch the whole thing. From the time he touches down in Tokyo, Bob Harris (Bill Murray) sucks you in and holds on to your attention for dear life. You're anxious to see what this man is going to do next.
Characters: 10
Staying on Bob for a moment, his character made the film. His dry sense of humor and pure disinterest in everything going on around him is so sincere and captured just perfectly. He's torn between his sense of duty with work and family, so much so that he's almost forgotten how to enjoy life. When Charlotte (Scarlett Johansson) comes along, everything changes for him. Charlotte is innocent and sweet and is somehow drawn to Bob like a moth to a flame. Like most "opposites attract" relationships, the two fit extremely well together and add a sense of appeal to the film. Watching them both interact with the Japanese people and try to bridge cultural and language gaps was easy comedy that works everytime.
Cinematography/Visuals: 10
Conflict: 7
Genre: 10
Memorability: 9
There are a number of memorable scenes that stick out in my head with a couple of favorites I keep replaying. The first is where he's trying to shoot his commercial. The director is trying to relay something to Bob in Japanese which a translator is telling Bob in English. The scene is only five minutes long and had me cracking up from start to finish. In my other favorite scene, Bob has a run-in in his hotel room with a Japanese prostitute. Again, the language disparity makes the entire interaction one hilarious situation.
Outside of memorable scenes, Lost In Translation gives you a pause for introspection and contemplative thought. Oftentimes we wander aimlessly through the relationships in our lives...but what do they really mean? What are relationships without happiness or closeness? What is the real meaning of a connection?
Pace: 9
Plot: 10
Had this film's story taken place in North America somewhere, it wouldn't have been nearly as impactful. With the setting in Japan, it throws a monkey-wrench into a plot that could have been extremely simple and makes it way more intriguing. Are Bob and Charlotte truly falling for each other or are they just connecting because they are lonely and so far from home? Definite food for thought.
Resolution: 8
Ah, the famous ending of Lost In Translation. What did she say? What does it all mean? How does the story end anyway? The ending, while it does leave you hanging, is an intriguing one for sure. I understand the ambiguity and I don't love it, but I'm ok with it.
Overall: 92
Bill Murray is like the Marvel Cinematic Universe...on steroids. They have been putting out hits for a decade now. Murray has been starring in classics for decades. This film is another notch on his belt. Loved it!
graveyardgremlin (7194 KP) rated Would-Be Witch (Southern Witch, #1) in Books
Feb 15, 2019
While at first (in the first four pages) it seemed that the character of Tammy Jo Trask would be a good one, that was quickly proven to be a false notion. To put it quite simply, she was a helpless moron. Now, I don't expect a MC to be invulnerable or a genius, but I would still hope for someone who can think and act for herself. As if her ex-husband with benefits is an Alpha of the worst kind isn't enough, he also belittles her just about all the time and tells her what and what not to do. But that's okay because he comes to her rescue and shows an occasional kindness. Excuse me? That makes his emotional abuse alright? I don't think so! And Bryn (whose name seems female to me), her other love interest, isn't much better. He is also derogatory towards her and orders her around, so basically he's just as big a jackass as her ex. To make matters even worse, Bryn is on this list, that was written ages ago, of people the Trask women cannot fraternize with, and Tammy doesn't even question why. She just accepts everything she is told, and all she's says about the list is that it has "something to do with the family being destroyed for all of eternity." Mmm-hmm, likely. Ever heard of family feuds or women scorned? Now I'm not saying it's not totally impossible, but how can I like or respect a character who doesn't look into things herself and let's people (re: men) treat her the way they do? And I don't care how sheltered someone is, how can Tammy not know what a red light district is? There is a difference between sheltered and stupidity, and Tammy Jo doesn't even straddle the line (most of the time she's on the side of stupid). Now, to be fair, she does do some things on her own that aren't always moronic, but for me, that's all trumped by her numerous negative attributes.
Onto the plot, which is pretty convoluted to say the least. Finding her locket is supposed to be the main storyline, but it quickly gets lost in the midst of zombies, werewolves, and who-knows-what? because I couldn't take anymore and stopped reading on page 180. What little so-called humor came across mean-spirited and close-minded and made me cringe more than once. Also, all the terms of endearments were very annoying and distracting to read, especially when it wasn't used in the dialogue. Honestly, I know it's a small Texas town, where they might use sugar, honey, sweetie, etc. more than, well anywhere, but it seemed overdone and far-fetched. Still, if only Tammy had been more sympathetic and had more qualities that I admire, I might have made it to the end. While I did read the last chapter or two and it looks as if she may have gotten a little better by that point, it's way too little, too late for this reader. How Mercutio puts up with her is beyond me, because cats are smart and regal creatures (the majority anyway :P). Good luck to future readers out there, maybe you won't have any problems with what I did, but I'd advise anyone who finds what I mentioned annoying, to skip the book then.
Onto the plot, which is pretty convoluted to say the least. Finding her locket is supposed to be the main storyline, but it quickly gets lost in the midst of zombies, werewolves, and who-knows-what? because I couldn't take anymore and stopped reading on page 180. What little so-called humor came across mean-spirited and close-minded and made me cringe more than once. Also, all the terms of endearments were very annoying and distracting to read, especially when it wasn't used in the dialogue. Honestly, I know it's a small Texas town, where they might use sugar, honey, sweetie, etc. more than, well anywhere, but it seemed overdone and far-fetched. Still, if only Tammy had been more sympathetic and had more qualities that I admire, I might have made it to the end. While I did read the last chapter or two and it looks as if she may have gotten a little better by that point, it's way too little, too late for this reader. How Mercutio puts up with her is beyond me, because cats are smart and regal creatures (the majority anyway :P). Good luck to future readers out there, maybe you won't have any problems with what I did, but I'd advise anyone who finds what I mentioned annoying, to skip the book then.
Fun, intriguing novel that keeps you guessing until the end
Jack is eleven when his pregnant mother goes for help after their car breaks down by the side of the road. She leaves him in charge of his two younger sisters. But she's gone too long and Jack and his siblings eventually go in search of her. But they do not find her: just a broken pay phone. Jack never sees his mother again, and it's eventually revealed she's been murdered. Three years later, Jack is doing the best to support his sisters, especially since his dad went out for milk and never came back. Meanwhile, another pregnant woman named Catherine While is startled when her house is broken into--while she's home--and the intruder leaves her a disturbing note. A strange set of occurrences leaves Catherine feeling unsettled and watched. And Jack is starting to wonder if he's getting closer to finding out who killed his mother.
This was a really bizarre book in many ways, but I totally enjoyed it. It's mainly told from the point of view of Jack, Catherine, and two policemen: Reynolds, a fastidious Detective Sergeant and Marvel, a disgruntled DCI. It often quickly changes viewpoints between these characters, but somehow, it all works. In fact, while the novel is compulsively readable in terms of finding out what happened to Jack's mother, it's also oddly funny at times: there's a dry wit running underneath the story.
Even more, the characters are really enjoyable. Catherine, eh, she wasn't my favorite (her decision-making leaves a lot to be desired), but Jack was great: I was rooting for him the entire time, even in cases where I probably shouldn't have been, based on some of his behavior. The poor kid has a lot to deal with, trying to care for his kid sisters. And Marvel and Reynolds: they can be annoying and even spiteful in their actions at times, but they are really fun to read about. The whole combination of this group somehow works, and it kept me flipping the pages, wondering what on earth had transpired and how, when, and why. The novel is creepy at times, funny at times, and sad and heartbreaking at times: impressive.
There are definitely a lot of characters in this book, and sometimes keeping track of them all was a bit of a challenge, but I was impressed at how Bauer connected them all eventually. And, seriously, you get attached to them, or annoyed with them as if they are real people--which I find doesn't always happen to me with a thriller. Some of what the police do seems a little much--part of why I say the book seems a little bizarre, as does some of the plot, but I found myself enjoying the book so much that none of it mattered. Bauer lets us put the pieces together simultaneously as her characters do, and the story in this one was just compelling, fun, and different.
Overall, this was a fun, intriguing novel that keeps you guessing until the end. The characters are interesting and draw you in immediately. There's humor and heartbreak, but also a great puzzle to solve as well.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
This was a really bizarre book in many ways, but I totally enjoyed it. It's mainly told from the point of view of Jack, Catherine, and two policemen: Reynolds, a fastidious Detective Sergeant and Marvel, a disgruntled DCI. It often quickly changes viewpoints between these characters, but somehow, it all works. In fact, while the novel is compulsively readable in terms of finding out what happened to Jack's mother, it's also oddly funny at times: there's a dry wit running underneath the story.
Even more, the characters are really enjoyable. Catherine, eh, she wasn't my favorite (her decision-making leaves a lot to be desired), but Jack was great: I was rooting for him the entire time, even in cases where I probably shouldn't have been, based on some of his behavior. The poor kid has a lot to deal with, trying to care for his kid sisters. And Marvel and Reynolds: they can be annoying and even spiteful in their actions at times, but they are really fun to read about. The whole combination of this group somehow works, and it kept me flipping the pages, wondering what on earth had transpired and how, when, and why. The novel is creepy at times, funny at times, and sad and heartbreaking at times: impressive.
There are definitely a lot of characters in this book, and sometimes keeping track of them all was a bit of a challenge, but I was impressed at how Bauer connected them all eventually. And, seriously, you get attached to them, or annoyed with them as if they are real people--which I find doesn't always happen to me with a thriller. Some of what the police do seems a little much--part of why I say the book seems a little bizarre, as does some of the plot, but I found myself enjoying the book so much that none of it mattered. Bauer lets us put the pieces together simultaneously as her characters do, and the story in this one was just compelling, fun, and different.
Overall, this was a fun, intriguing novel that keeps you guessing until the end. The characters are interesting and draw you in immediately. There's humor and heartbreak, but also a great puzzle to solve as well.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
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.
Kristy H (1252 KP) rated All I Ever Wanted in Books
Mar 20, 2019
Fun, enjoyable book with great characters
Callie Grey is turning thirty, and her life simply isn't going as planned. She's not married--or even dating--and now her boss, Mark, whom she's loved for years, is marrying Muriel, a perfect specimen from California. Even worse, Muriel is honing in on Callie's territory at the advertising agency where she works. Her mother runs the family business: a funeral home, where Callie's thirtieth birthday was held (sharing space with a wake). Her father, meanwhile, is trying to win her mother back, despite the fact that she hates him for cheating on her--when Callie was eight. Hester, her sister, despises all men due to said cheating incident. And no matter how hard she tries, Callie can't get over Mark and the five weeks they "dated." Still, it seems like maybe that could change when she meets Ian, the town's new sulky but handsome veterinarian. But can Callie put the past behind her to find her own happiness? And is Ian ready to move on himself?
So, as part of my reading goals for 2019, I'm going to try to read more books that I own. I've been "practicing" a bit here at the end of 2018, and ALL I EVER WANTED was part of that. I read two of Higgins' recent releases lately and really loved them, so decided to go with this one. While I didn't find it quite as modernly witty and wonderful as those two (a few scenes describing characters' weight and a few other things rubbed me a bit wrong), it was still a really enjoyable read.
Well, I read another romance recently and while it was good, I just couldn't fall fully for the characters. Not the case here. While I worried a bit early on that Callie would be too much of a whiner, she grew on me quickly. Higgins is just so good with the slow build of her characters and storylines. You get the gruff but charming Ian and all these wonderful scenes that make you smile. Her books have just the right balance of sweet and funny (there always seems to be a classic dinner party scene that makes me laugh out loud). There's a great moment where Callie and Ian are on a hike, and a wonderfully humorous time where Callie dates someone who is, yes, a human hair artisan.
The point is, we really get to know the characters--their flaws and foibles plus their good sides--and it just helps make the story. I care about them. I know Callie's family (a great cast of ancillary characters, including her grandfather and nieces), I know her backstory, and we even get to know Ian's tale. The book deals, deftly, with some complicated emotions and heartache along with the fun and fluff. (And well, there's an incident with a wild turkey that's pretty awesome.) And because we get these two fleshed out characters--even if we know they are probably destined to get together--we're invested along the way to find out how and why. That's what I love about Higgins. It's not just some token scenes along the way to an inevitable conclusion. There's real meat and depth, along with humor. And I really enjoyed the ending, too.
Overall, this is just a fun, enjoyable book with some depth to back itself up. The characters are interesting, and parts of it will make you laugh out loud. I recommend it, and I'm glad I picked it up off my bookshelf!
So, as part of my reading goals for 2019, I'm going to try to read more books that I own. I've been "practicing" a bit here at the end of 2018, and ALL I EVER WANTED was part of that. I read two of Higgins' recent releases lately and really loved them, so decided to go with this one. While I didn't find it quite as modernly witty and wonderful as those two (a few scenes describing characters' weight and a few other things rubbed me a bit wrong), it was still a really enjoyable read.
Well, I read another romance recently and while it was good, I just couldn't fall fully for the characters. Not the case here. While I worried a bit early on that Callie would be too much of a whiner, she grew on me quickly. Higgins is just so good with the slow build of her characters and storylines. You get the gruff but charming Ian and all these wonderful scenes that make you smile. Her books have just the right balance of sweet and funny (there always seems to be a classic dinner party scene that makes me laugh out loud). There's a great moment where Callie and Ian are on a hike, and a wonderfully humorous time where Callie dates someone who is, yes, a human hair artisan.
The point is, we really get to know the characters--their flaws and foibles plus their good sides--and it just helps make the story. I care about them. I know Callie's family (a great cast of ancillary characters, including her grandfather and nieces), I know her backstory, and we even get to know Ian's tale. The book deals, deftly, with some complicated emotions and heartache along with the fun and fluff. (And well, there's an incident with a wild turkey that's pretty awesome.) And because we get these two fleshed out characters--even if we know they are probably destined to get together--we're invested along the way to find out how and why. That's what I love about Higgins. It's not just some token scenes along the way to an inevitable conclusion. There's real meat and depth, along with humor. And I really enjoyed the ending, too.
Overall, this is just a fun, enjoyable book with some depth to back itself up. The characters are interesting, and parts of it will make you laugh out loud. I recommend it, and I'm glad I picked it up off my bookshelf!