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Mark @ Carstairs Considers (2200 KP) rated The Missing Chums in Books
Jan 20, 2019
Who Kidnapped Chet and Biff?
The only thing that could make summer vacation better for Frank and Joe Hardy is a mystery, and one is handed to them by Chief Collig when he asks them to go undercover at the homeless encampment outside of town and find out what is causing the increased fighting down there. Before the teens can begin their assignment, they witness a bank robbery, however. Then, after a costume party hosted by Callie Shaw and Iola Morton, their friends Chet and Biff vanish. Can the brothers figure out what happened to their friends? Are all these events connected?
I was a bit worried that the book had bitten off more than it could successfully resolve, but it did a good job of reigning in these plots and bringing them to a successful conclusion. I enjoyed seeing how Frank and Joe figured things out and successfully wrapped everything up. The characters are shallow as always, but it's not something I remember as a kid, so I bet today's kids will not notice either. They might notice how dated some elements are, including the word "chum" in the title. However, that kind of things never stopped me as a kid, and I bet most will get caught up in the fast-moving action of the story.
I was a bit worried that the book had bitten off more than it could successfully resolve, but it did a good job of reigning in these plots and bringing them to a successful conclusion. I enjoyed seeing how Frank and Joe figured things out and successfully wrapped everything up. The characters are shallow as always, but it's not something I remember as a kid, so I bet today's kids will not notice either. They might notice how dated some elements are, including the word "chum" in the title. However, that kind of things never stopped me as a kid, and I bet most will get caught up in the fast-moving action of the story.
ClareR (5721 KP) rated The Water Dancer in Books
Feb 9, 2023
The Water Dancer byTa-Nehisi Coates is a book of contradictions: a book beautifully written about a shameful time in history.
Hiram is taken away from his mother as a child when she is sold to another owner. When his feats of memory are recognised by his owner/ father, he is taken in to the big house and educated. As he gets older, all Hiram wants is to be free to choose his own life and to have his own family.
When Hiram runs away, he eventually finds himself involved with the Underground Railway. And that is where he learns to control his ability to “conduct” himself to different places to help people.
I love magical realism and the way it makes us think about the way the world works in reality, as opposed to how we’d all like it to work. Hiram’s ability to conduct himself immediately to another place takes all the risk out of capture, the miles of struggle and needing to stay hidden. Of course, Hiram only gets to this stage after he experiences the trauma and inhumanity of being caught by the slave catchers himself.
I thoroughly enjoyed this - I listened on audiobook, and the narrator Joe Morton was amazing. Especially his singing - his voice just brought the characters to life.
A fabulous novel.
Hiram is taken away from his mother as a child when she is sold to another owner. When his feats of memory are recognised by his owner/ father, he is taken in to the big house and educated. As he gets older, all Hiram wants is to be free to choose his own life and to have his own family.
When Hiram runs away, he eventually finds himself involved with the Underground Railway. And that is where he learns to control his ability to “conduct” himself to different places to help people.
I love magical realism and the way it makes us think about the way the world works in reality, as opposed to how we’d all like it to work. Hiram’s ability to conduct himself immediately to another place takes all the risk out of capture, the miles of struggle and needing to stay hidden. Of course, Hiram only gets to this stage after he experiences the trauma and inhumanity of being caught by the slave catchers himself.
I thoroughly enjoyed this - I listened on audiobook, and the narrator Joe Morton was amazing. Especially his singing - his voice just brought the characters to life.
A fabulous novel.
Joe Wright’s 2011 film version of Hanna starring Saoirse Ronan, Cate Blanchett and Eric Bana is an odd movie. It isn’t bad. It just doesn’t work. The idea at its heart is great, as are some of the action sequences, there is just something over styled about it that is jarring. I’ve been back to it a few times to see if age helps, but it really doesn’t – Hanna the movie is an admirable failure.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.