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LilyLovesIndie (123 KP) rated Star of Bethlehem (Flowering, #1.6) in Books
Nov 5, 2018
I remember when I was first given this book, and I was very excited to get my hands on it. Then, when I actually started reading it, I relived that excitement as it really is wonderful. A tale of that fateful evening when you introduce your new partner to your parents for the first time. Always scary, always charged with lots of different emotions, and Daltry manages this brilliantly, hence the four star review!
I thoroughly enjoyed so many parts of this book. Perhaps the first thing I feel needs pointing out is how easy it is to read. I was given the earlier books in the series by the author (reviews will follow when I get a spare few moments!) but I went into this book ÔcoldÕ as it were, but I honestly couldnÕt have known there were earlier books. Daltry gives enough information about her characters to keep you involved if you are new to the series, but not too much to overwhelm you if you have already read them. Add to that a smooth pace and impeccable flow and you have, in a kindle sized nutshell, the perfect easy read for after a tough day in the classroom. I could dip in and out of this book to suit my schedule (a godsend Ð thankyou!) all without ever losing my thread of the characters or events.
Something else I really enjoyed was the relationship between Jack and Lily. TheyÕre both great characters, and their passion and love is so wonderful to read. ItÕs full of the trials and difficulties that you could expect in a real relationship, even down to the last tiny detail of the annoying ÔexÕ in the background. The sex scenes are well written and not too Ôin your faceÕ, taking a back seat (quite literally at times!) in the story telling which suits me perfectly. In addition, the emotions between them was all incredibly well written and very tangible throughout. This adds a lovely believability to the story and makes it that much more enjoyable and easy to read.
In addition, the family dynamic in LilyÕs life, contrasted with that of JackÕs is also fantastic. Although itÕs never made fully clear what has happened in JackÕs past, Daltry weaves the contrast between their families very carefully and without over-exaggerating it. LilyÕs family are a mad bunch, but they remind me of so many of my own family that I found it really easy to invest emotionally in the characters. To me, this is an important part of a story as, if done properly, it makes it a joy to read, and IÕm pleased to say that is exactly what Daltry managed.
In conclusion, although this story may be slightly on the shorter side, it had a lot of fantastic plot and plenty of great characters. The two viewpoints of Lily and Jack are woven with skill and detail throughout and the entire story was an absolute pleasure to read. Daltry is most definitely a talented author and one I am looking forward to reading more of in the near future!
Review first posted to Lily Loves Indie (ARC received with thanks) - http://lilylovesindie.co.uk/?p=272
I thoroughly enjoyed so many parts of this book. Perhaps the first thing I feel needs pointing out is how easy it is to read. I was given the earlier books in the series by the author (reviews will follow when I get a spare few moments!) but I went into this book ÔcoldÕ as it were, but I honestly couldnÕt have known there were earlier books. Daltry gives enough information about her characters to keep you involved if you are new to the series, but not too much to overwhelm you if you have already read them. Add to that a smooth pace and impeccable flow and you have, in a kindle sized nutshell, the perfect easy read for after a tough day in the classroom. I could dip in and out of this book to suit my schedule (a godsend Ð thankyou!) all without ever losing my thread of the characters or events.
Something else I really enjoyed was the relationship between Jack and Lily. TheyÕre both great characters, and their passion and love is so wonderful to read. ItÕs full of the trials and difficulties that you could expect in a real relationship, even down to the last tiny detail of the annoying ÔexÕ in the background. The sex scenes are well written and not too Ôin your faceÕ, taking a back seat (quite literally at times!) in the story telling which suits me perfectly. In addition, the emotions between them was all incredibly well written and very tangible throughout. This adds a lovely believability to the story and makes it that much more enjoyable and easy to read.
In addition, the family dynamic in LilyÕs life, contrasted with that of JackÕs is also fantastic. Although itÕs never made fully clear what has happened in JackÕs past, Daltry weaves the contrast between their families very carefully and without over-exaggerating it. LilyÕs family are a mad bunch, but they remind me of so many of my own family that I found it really easy to invest emotionally in the characters. To me, this is an important part of a story as, if done properly, it makes it a joy to read, and IÕm pleased to say that is exactly what Daltry managed.
In conclusion, although this story may be slightly on the shorter side, it had a lot of fantastic plot and plenty of great characters. The two viewpoints of Lily and Jack are woven with skill and detail throughout and the entire story was an absolute pleasure to read. Daltry is most definitely a talented author and one I am looking forward to reading more of in the near future!
Review first posted to Lily Loves Indie (ARC received with thanks) - http://lilylovesindie.co.uk/?p=272
Bong Mines Entertainment (15 KP) rated Seven Dollar Paycheck by Arms Akimbo in Music
Jun 17, 2019
Arms Akimbo is a four-piece indie-rock band. Not too long ago, they released a heartfelt alternative tune, entitled, “Pitchfork”.
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/
“I feel like the song is a letter to my band and my loved ones back home. I wanted to tell the people in my life that even though it’s not the easiest path that we’re on, it’s the right path and we’re not going to give up. We don’t play music because we want to. We play music because we have to. And, as we say in the song, ‘if we’re patient then we’ll make it eventually’.”
‘Pitchfork’ tells an interesting tale of a young musician who is out on the road, on tour in west New Mexico, very far away from a special woman who has his heart.
Apparently, it was hard for him to goodbye to her, and shortly after his departure, he felt that he had let her down. Her emotional wellbeing made him question if she will still want him when he returns home.
While on tour, he thinks about her text message which states how he always let love slip away. Deep down, he wishes she’s wrong about that statement.
Later, things aren’t the same and a tad bit quiet when they talk on the phone. Also, the thoughts of losing her and not fulfilling his musical goals scares him. But he remains patient and hopes that everything works out in his favor.
“I wrote ‘Pitchfork’ on a non-stop drive back to LA from Austin, Texas, after SXSW 2018. Facing the existential dread that comes with finishing a tour, I couldn’t help but think about the way that being a musician connects you with so many people while simultaneously being extremely isolating. Music is our form of communication to reach people who might be feeling the same way that we are and we use that to build a community. But functioning as a musician means being on the road and being away from the people that you care about. This dichotomy can be tough to balance.”
Arms Akimbo’s consists of Peter Schrupp (vocals, guitar), Chris Kalil (guitar, vocals), Matthew Sutton (drums), and Colin Boppell (bass).
They labeled their single ‘Pitchfork’ in reference to the lyrics at the end of the song.
The likable tune encourages those in the music industry to never give up. Also, it narrates the existential dread which comes with finishing a tour.
“The song was written in two parts, with the first section functioning almost like a tour diary, a vignette of our life on the road. The second part is more of a personal plea to my loved ones to stick by me on this journey. It’s also my attempt to explain why I have to play music and why it’s so deeply instilled into who I am.”
‘Pitchfork’ contains a relatable storyline, warm vocal tones, and summery instrumentation flavored with melodic guitars.
The song is featured on Arms Akimbo’s latest EP, entitled, “Seven Dollar Paycheck”.
https://www.bongminesentertainment.com/arms-akimbo-pitchfork/
Kirk Bage (1775 KP) rated Wheels (2014) in Movies
Mar 3, 2020 (Updated Mar 12, 2020)
According to the film’s IMDb page, this low budget indie production, filmed in Los Angeles is the greatest film of all time! A month ago it sat at 9.3, which is better than The Godfather and The Shawshank Redemption! As I am writing and compiling a book about the best 200 films of the 21st century, up to the end of 2019, I was obliged to check this out. With almost 18,000 votes to its name, there must be something in it being rated that highly, right?
Well, obviously not. Someone smart behind the film, listed variously as a 2014 or 2017 production, depending on where you look, had clearly gone out of their way to manipulate its online presence in the hope of gaining viewers. Look, it worked – I watched it, and now I’m writing about it. Pretty shameful really, as you find that almost no website has a bad review or rating for it out there; it has pretty much been scrubbed clean. How they did it, I do not know, but it is indefensible to be honest. The real shame being that it isn’t a bad film for the budget at all, and may have got more views and respect the old fashioned way.
The story revolves around a recently paralysed man becoming suicidal and finding another guy in a wheelchair to ask if he will blow his brains out with a gun. From there the two go on a rampage of drug addiction, self harm and anti-social misbehaviour. For every cliche in there, there is another moment which is quite well done, and although you can see the cracks here and there it is mostly a watchable and enjoyable film, with some laughs and some genuine emotion. Acting wise, the two leads (writer and co-director Donavon Warren and Patrick Hume) have their moments too; perhaps lacking anything hugely inciteful, but certainly competent enough to compare favourably to some higher profile movies.
Ultimately, it is merely fine. Not something you would recommend or especially remember, but not a complete waste of 2 hours either. It is clearly going for the idea that disabled people are helpless victims on its head, and does largely succeed in not condescending or amping up the pity. That doesn’t stop either of them being unlikable people, however – perhaps that is the point.
More interesting than the film by far is how these guys manipulated the publicity system to get it seen. So many films worth seeing drift into obscurity for lack of money, take the films of Shane Caruth, Primer and Upstream Color. Both incredible, original and intelligent movies that no one saw, and only word of mouth many years later puts them on anyone’s radar. Then there are the endless festival films that do the rounds and can’t pick up distribution, no matter how good. Perhaps a film like Wheels needs to employ these kind of tactics to survive. It is really a question of ethics. I have to say, as an honest reviewer, it does bother me that fake ratings and reviews can exist and slip under the wire. But maybe that is just me…?
Well, obviously not. Someone smart behind the film, listed variously as a 2014 or 2017 production, depending on where you look, had clearly gone out of their way to manipulate its online presence in the hope of gaining viewers. Look, it worked – I watched it, and now I’m writing about it. Pretty shameful really, as you find that almost no website has a bad review or rating for it out there; it has pretty much been scrubbed clean. How they did it, I do not know, but it is indefensible to be honest. The real shame being that it isn’t a bad film for the budget at all, and may have got more views and respect the old fashioned way.
The story revolves around a recently paralysed man becoming suicidal and finding another guy in a wheelchair to ask if he will blow his brains out with a gun. From there the two go on a rampage of drug addiction, self harm and anti-social misbehaviour. For every cliche in there, there is another moment which is quite well done, and although you can see the cracks here and there it is mostly a watchable and enjoyable film, with some laughs and some genuine emotion. Acting wise, the two leads (writer and co-director Donavon Warren and Patrick Hume) have their moments too; perhaps lacking anything hugely inciteful, but certainly competent enough to compare favourably to some higher profile movies.
Ultimately, it is merely fine. Not something you would recommend or especially remember, but not a complete waste of 2 hours either. It is clearly going for the idea that disabled people are helpless victims on its head, and does largely succeed in not condescending or amping up the pity. That doesn’t stop either of them being unlikable people, however – perhaps that is the point.
More interesting than the film by far is how these guys manipulated the publicity system to get it seen. So many films worth seeing drift into obscurity for lack of money, take the films of Shane Caruth, Primer and Upstream Color. Both incredible, original and intelligent movies that no one saw, and only word of mouth many years later puts them on anyone’s radar. Then there are the endless festival films that do the rounds and can’t pick up distribution, no matter how good. Perhaps a film like Wheels needs to employ these kind of tactics to survive. It is really a question of ethics. I have to say, as an honest reviewer, it does bother me that fake ratings and reviews can exist and slip under the wire. But maybe that is just me…?
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Bob Mann (459 KP) rated Thor: Ragnarok (2017) in Movies
Sep 29, 2021
Guaranteeing a “safe passage through the anus”!
I’m neither a Marvel fan, nor (in particular) a Thor fan….. but I have to admit “Thor: Ragnarok” was brilliant from beginning to end.
Thor (Chris Hemsworth) has been travelling the universe in search of… stuff… (I neither remember nor care)… but returns to his home planet of Asgard with a dire warning of impending ‘Raganrok’: this being the ‘End of Days’ for Asgard. But he finds the court engaged in serious leisure time!
ragnarok4
“Shave and a hair cut… two stripes”
Things go from bad to worse when Hela (Cate Blanchett, “Carol“) – someone with more than a passing relationship to Thor – arrives with a mission to assume the throne. Teamed uncomfortably with half-brother Loki (Tom Hiddleston, “High Rise”), the brothers get cast millions of light years away to a planet lorded over by a ‘grand master’ (a lovely performance, that I will leave anonymous here) who pits new gladiators in an arena against his latest champion. You’ll never guess who his champion is? Well, OK (cos the trailer gives it away)… he’s big and green!
ragnarok2
The grand master’s champion. Opponents are green with envy.
The film’s script is hilarious. It generates an enormous volume of entertainment with laugh-out loud moments throughout; the unforseen involvement of other Marvel characters; some startling cameos all mixed with the usual brand of spectacular fights and action. Some of the action is surprising: a real eye-opener you might say.
ragnarok3
Tessa Thompson as the Valkyrie in full flight.
The lead cast (Hemsworth, Hiddleston, Blanchett and Ruffalo) all perform admirably and are joined by heavyweight cameos from Anthony Hopkins (“Westworld”) and Idris Elba (“Bastille Day“) reprising their roles from “Thor: The Dark World”. Particularly impressive is Tessa Thompson (“Creed“) as Thor’s Valkyrie warrior side-kick and Karl Urban (“Star Trek: Into Darkness“) as the turn-coat Asgardian Skurge.
ragnarok5
The real McCoy. Karl Urban as the Skurge of Asgard.
Directed by young New Zealander Taika Waititi (behind last year’s successful indie hit “Hunt for the Wilderpeople”) it’s a breath of fresh air for the Thor franchise, more similar to the style of “Guardians of the Galaxy” rather than the previous films in the series. Waititi also saves all the best comedy lines for himself as the ‘rock warrior’ character Korg: his New Zealand twang delivering just side-splitting dialogue.
Hela (Cate Blanchett)
Hela may be a super-villain, but she still hasn’t learned to hold a hammer by the right end.
As with most Marvel films, its a little bit flabby in places, running to 130 minutes: some of the dialogue, particularly scenes between Hemsworth and Ruffalo, feel like they needed tightening up in the editing suite. This time of course includes the scrolling of endless teams of visual effect artists in the closing titles which – naturally – 90% of the audience stay for to see if there are any “monkeys“. In fact,there are two: one fairly early on; the other right at the end. (To be honest, I thought neither of them was particularly worth waiting for).
However overall the movie is highly recommended for a fun night out at the cinema.
Thor (Chris Hemsworth) has been travelling the universe in search of… stuff… (I neither remember nor care)… but returns to his home planet of Asgard with a dire warning of impending ‘Raganrok’: this being the ‘End of Days’ for Asgard. But he finds the court engaged in serious leisure time!
ragnarok4
“Shave and a hair cut… two stripes”
Things go from bad to worse when Hela (Cate Blanchett, “Carol“) – someone with more than a passing relationship to Thor – arrives with a mission to assume the throne. Teamed uncomfortably with half-brother Loki (Tom Hiddleston, “High Rise”), the brothers get cast millions of light years away to a planet lorded over by a ‘grand master’ (a lovely performance, that I will leave anonymous here) who pits new gladiators in an arena against his latest champion. You’ll never guess who his champion is? Well, OK (cos the trailer gives it away)… he’s big and green!
ragnarok2
The grand master’s champion. Opponents are green with envy.
The film’s script is hilarious. It generates an enormous volume of entertainment with laugh-out loud moments throughout; the unforseen involvement of other Marvel characters; some startling cameos all mixed with the usual brand of spectacular fights and action. Some of the action is surprising: a real eye-opener you might say.
ragnarok3
Tessa Thompson as the Valkyrie in full flight.
The lead cast (Hemsworth, Hiddleston, Blanchett and Ruffalo) all perform admirably and are joined by heavyweight cameos from Anthony Hopkins (“Westworld”) and Idris Elba (“Bastille Day“) reprising their roles from “Thor: The Dark World”. Particularly impressive is Tessa Thompson (“Creed“) as Thor’s Valkyrie warrior side-kick and Karl Urban (“Star Trek: Into Darkness“) as the turn-coat Asgardian Skurge.
ragnarok5
The real McCoy. Karl Urban as the Skurge of Asgard.
Directed by young New Zealander Taika Waititi (behind last year’s successful indie hit “Hunt for the Wilderpeople”) it’s a breath of fresh air for the Thor franchise, more similar to the style of “Guardians of the Galaxy” rather than the previous films in the series. Waititi also saves all the best comedy lines for himself as the ‘rock warrior’ character Korg: his New Zealand twang delivering just side-splitting dialogue.
Hela (Cate Blanchett)
Hela may be a super-villain, but she still hasn’t learned to hold a hammer by the right end.
As with most Marvel films, its a little bit flabby in places, running to 130 minutes: some of the dialogue, particularly scenes between Hemsworth and Ruffalo, feel like they needed tightening up in the editing suite. This time of course includes the scrolling of endless teams of visual effect artists in the closing titles which – naturally – 90% of the audience stay for to see if there are any “monkeys“. In fact,there are two: one fairly early on; the other right at the end. (To be honest, I thought neither of them was particularly worth waiting for).
However overall the movie is highly recommended for a fun night out at the cinema.
Movie Metropolis (309 KP) rated Kong: Skull Island (2017) in Movies
Jun 10, 2019
Beauty and the Beast
The fact that Legendary Pictures are busying themselves with an epic Godzilla vs King Kong showdown is one of the worst kept secrets in Hollywood. Naturally, this presented a problem for Peter Jackson’s Kong who simply doesn’t measure up against the giant lizard in 2013’s Godzilla.
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
And in Hollywood, size really does matter; therefore the monstrous ape has been given a monumental upgrade featuring an all-star cast and some serious talent behind the camera. But is Kong: Skull Island as bananas as its trailers would suggest? Or are we looking at something a little more mainstream?
At the climax of the Vietnam War, a team of explorers and mercenaries head to an unchartered island in the South Pacific in an effort to document its inhabitants. Little do they know they are crossing into the domain of vicious man-eating monsters and the legendary Kong.
With a cast that includes Tom Hiddleston, Brie Larson, John Goodman, Samuel L Jackson and John C Reilly, you’d be forgiven for thinking everything is hunky dory over on Skull Island, but this spectacular film isn’t without its flaws. A lack of character development and a severe tonal imbalance mean it’s a beautiful near miss that thankfully manages to pull itself up from a crash landing.
Jordan Vogt-Roberts in his first big budget feature directs a film that is absolutely staggering to watch, with stunning cinematography and exceptionally well-choreographed battles between the gigantic ape and his many adversaries. Giving indie directors the chance to work with big studios to produce blockbusters is something that seems incredibly popular at the moment.
After all, Gareth Edwards took up the challenge of rebooting Godzilla in 2013 with stunning results and Colin Trevorrow was entrusted by Steven Spielberg to rekindle the public’s love affair with Jurassic Park back in 2015 and that worked a treat too.
Here, Vogt-Roberts utilises both of those franchises to great effect, even managing to shoehorn a tasteful reference to Samuel L Jackson’s Jurassic Park character, Ray Arnold. Elsewhere, though, the film falls a little flat. The constant switch in tone from comedy to action leaves a sour taste in the mouth, though John C Reilly’s stranded pilot is a pleasure to watch and lightens up proceedings.
Tom Hiddleston does well in the leading role, though as an SAS operative, he feels a little miscast and Samuel L Jackson’s Preston Packard is immensely dislikeable and his gripe with Kong is forced. It creates a subplot that doesn’t really need to be there.
The special effects, however, are top notch, helped by the splendid cinematography. The gorgeous sunsets and sweeping tropical landscapes have a whiff of Apocalypse Now and the misty terrain brings back memories of Jurassic Park’s first sequel, The Lost World.
Overall, Kong: Skull Island is a stunning film filled to the brim with colour, charming effects and great performances. However, it is a little light on character development and that tone issue is frustrating at times, but as a precursor to a mighty monster battle, it does a fine job in continuing the franchise and setting its future.
Leaving the cinema, though, I was left with a concern for when the two behemoths, Godzilla and Kong, finally meet. Each film has given their respective creature a ‘personality’, and if one of them must inevitably die, who on earth do you choose to perish?
https://moviemetropolis.net/2017/03/10/beauty-and-the-beast-kong-skull-island-review/
LilyLovesIndie (123 KP) rated Eight Days a Week in Books
Nov 5, 2018
A story about a manny who falls in love with his boss, Eight Days A Week captured my attention from the first time I read the summary. Never normally one for romances, I liked the unique spin it promised and tucked in with enthusiasm, hoping it would deliver so much more than your average boy meets girl romance. And boy did it. As you can see from the 5 star rating, I adored this book and have saved it firmly on my 'favourites' list on my kindle because, quite frankly, it was amazing, and here's why....
Firstly, I have to give credit to our author on the brilliance of the characters. Dee is amazing (and Don) and to see the way he grows throughout this book (no jokes about Don here please!) is just fantastic. Character development is always something I look out for in a book, and Johnson has done that splendidly here. It's believable, it's written with great skill and it really pulls you into the character and his story. Honestly, I could expect to bump into Dee on the street somewhere and he could be real, that's just how detailed and precise this book portrayed him to me. As a reader with limited time to give to different characters, it's great to see a character leap out the pages so well, even if it were to bring Don to visit me in my sleep!
I touched on it, but another thing that I adored about this book was the story line. It was different, fresh and told the story from a different perspective to what I usually encounter in this genre. I think this is in part due to how Dee tells the story himself, but it's so engaging I often found myself up late with eyes closing and smacking myself in the face with my kindle as I tried to read just another chapter. The 'Manny Log' was an excellent addition, and these frequently had me rolling with laughter at Dee and Don's commentary on things.
The book is full of these laugh out loud moments, but it's so much more than just comedy, and I think that is something that really made me enjoy this book that little bit more. The range of human emotions Johnson writes about in just one book is huge. But here's the best part, they're written with such excellent compassion, detail and, I'm harking back to it but it's important, believability that it's almost too much for me to describe. Sadness, love, raw need, sex, it's all there and it's all written so well that it draws you right in and you are compelled to keep reading. Without spoiling it, the ending was fantastic and left me teary eyed to the point I had to stop reading, but in such a good way!
Well, I can't recommend this book highly enough. I laughed, I cried, I cringed and I loved it. There's only two things I'd love right now:
1. Another sampling of Amber Johnson's writing
2. This book made into a movie so I can oggle Dee and Don in the flesh.
But don't take my word for it, pick up a copy and read it for yourselves!
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
Firstly, I have to give credit to our author on the brilliance of the characters. Dee is amazing (and Don) and to see the way he grows throughout this book (no jokes about Don here please!) is just fantastic. Character development is always something I look out for in a book, and Johnson has done that splendidly here. It's believable, it's written with great skill and it really pulls you into the character and his story. Honestly, I could expect to bump into Dee on the street somewhere and he could be real, that's just how detailed and precise this book portrayed him to me. As a reader with limited time to give to different characters, it's great to see a character leap out the pages so well, even if it were to bring Don to visit me in my sleep!
I touched on it, but another thing that I adored about this book was the story line. It was different, fresh and told the story from a different perspective to what I usually encounter in this genre. I think this is in part due to how Dee tells the story himself, but it's so engaging I often found myself up late with eyes closing and smacking myself in the face with my kindle as I tried to read just another chapter. The 'Manny Log' was an excellent addition, and these frequently had me rolling with laughter at Dee and Don's commentary on things.
The book is full of these laugh out loud moments, but it's so much more than just comedy, and I think that is something that really made me enjoy this book that little bit more. The range of human emotions Johnson writes about in just one book is huge. But here's the best part, they're written with such excellent compassion, detail and, I'm harking back to it but it's important, believability that it's almost too much for me to describe. Sadness, love, raw need, sex, it's all there and it's all written so well that it draws you right in and you are compelled to keep reading. Without spoiling it, the ending was fantastic and left me teary eyed to the point I had to stop reading, but in such a good way!
Well, I can't recommend this book highly enough. I laughed, I cried, I cringed and I loved it. There's only two things I'd love right now:
1. Another sampling of Amber Johnson's writing
2. This book made into a movie so I can oggle Dee and Don in the flesh.
But don't take my word for it, pick up a copy and read it for yourselves!
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*