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Zuky the BookBum (15 KP) rated Fractured in Books
Mar 15, 2018
Also read my review here: http://bookbum.weebly.com/book-reviews/fractured-by-catherine-mckenzie
AVAILABLE NOW IN THE UK!
<b><i>They say that if a butterfly flaps its wings in the Amazonian rainforest, it can change the weather half a world away. Chaos theory...
All I know is today is that you can think that what you’ve done is only the flap of a butterfly wing, when it’s really a thunderclap.
And both can result in a hurricane.</b></i>
Julie’s life has gotten hard, she’s become a famous author and managed to bag herself a crazed stalker, so she decides to move her family across the country in hope of a new, stalkerless, beginning. And when she meet neighbour John, they hit it off immediately, the future seems brighter. But before long, things start to go wrong again. Who knew moving into a beautiful picturesque new neighbourhood could be so deadly?
I was really worried about reading this because Netgalley classed it as women's fiction and I have serious beef with that genre… but also, I was expecting a suspense thriller, not some family-lovey-dovey bullshit, but after seeing the rave reviews on Goodreads I had a little more hope that this would be bearable for me. And boy was it bearable, more than that in fact, it was exciting and thrilling to read!
As Stephen King says <i><b>“Good books don't give up all their secrets at once.”</i></b> and this book certainly didn’t! I thought it was excellent at keeping you on your toes, feeding you chunks of mystery and suspense a little at a time.
<b>Minor spoilers in this paragraph.</b> I really liked the main characters in this book… separately. Julie was a good mum and loving wife who was dealing with all her issues in a non-annoying way and John was a good dad, and, for the most part, a good husband. But put the two of them together and they got annoying. How could a grown man and woman not realise the friendship they had managed to create out of one conversation the day Julie moved in was inappropriate for so long? Julie especially, as her relationship with Daniel seemed close to perfect! The childishness of their situation had me really irritated and uncomfortable throughout the novel. I never used to have a problem with these kind of relationships in books until me and Matt had been together for a while, not that I <i>ever</i> condoned cheating on a partner before I got into a relationship, just the thought of being cheated on by your other half sets off all kinds of emotions and feelings inside of me that I can’t even begin to describe. <spoiler>So when they kissed each other outside Julie’s house, my stomach dropped, I felt instantly panicky and sick and contemplated putting the novel down as unfinished. I hate, <b>hate</b> reading about affairs.</spoiler>
My favourite character was Daniel though, what a lovely, gentle and understanding man… if not a little naive. Though I didn’t like Hanna, but she had every right to be angry and suspicious with John.
It’s pretty clear from a few chapters in who our criminal is, but McKenzie does well to keep what specifically the “accident” is and who our victim is secret until just the right moment. When we found out what happened and who it happened to I was shocked! It’s been a long time since a book has surprised me in the same way. What a crazy end to this rollercoaster ride of a book!
Overall, this is a fantastic suspense novel, with just the right amount of “women’s fiction” merged with thriller. I seriously recommend this for all thriller/suspense readers out there, I’m sure this won’t disappoint!
<i>(I don’t mean to create any kind of drama with this comment but this whole novel is <i>so American!</i> Wanting to sue someone over small things? Having “block parties” and neighbourhood newsletters and stuff with an immature queen bee in charge of it all? This shit would never go down in the UK.)</i>
I’d like to thank Netgalley and Lake Union Publishing for the opportunity to read this in an exchange for an honest review.
AVAILABLE NOW IN THE UK!
<b><i>They say that if a butterfly flaps its wings in the Amazonian rainforest, it can change the weather half a world away. Chaos theory...
All I know is today is that you can think that what you’ve done is only the flap of a butterfly wing, when it’s really a thunderclap.
And both can result in a hurricane.</b></i>
Julie’s life has gotten hard, she’s become a famous author and managed to bag herself a crazed stalker, so she decides to move her family across the country in hope of a new, stalkerless, beginning. And when she meet neighbour John, they hit it off immediately, the future seems brighter. But before long, things start to go wrong again. Who knew moving into a beautiful picturesque new neighbourhood could be so deadly?
I was really worried about reading this because Netgalley classed it as women's fiction and I have serious beef with that genre… but also, I was expecting a suspense thriller, not some family-lovey-dovey bullshit, but after seeing the rave reviews on Goodreads I had a little more hope that this would be bearable for me. And boy was it bearable, more than that in fact, it was exciting and thrilling to read!
As Stephen King says <i><b>“Good books don't give up all their secrets at once.”</i></b> and this book certainly didn’t! I thought it was excellent at keeping you on your toes, feeding you chunks of mystery and suspense a little at a time.
<b>Minor spoilers in this paragraph.</b> I really liked the main characters in this book… separately. Julie was a good mum and loving wife who was dealing with all her issues in a non-annoying way and John was a good dad, and, for the most part, a good husband. But put the two of them together and they got annoying. How could a grown man and woman not realise the friendship they had managed to create out of one conversation the day Julie moved in was inappropriate for so long? Julie especially, as her relationship with Daniel seemed close to perfect! The childishness of their situation had me really irritated and uncomfortable throughout the novel. I never used to have a problem with these kind of relationships in books until me and Matt had been together for a while, not that I <i>ever</i> condoned cheating on a partner before I got into a relationship, just the thought of being cheated on by your other half sets off all kinds of emotions and feelings inside of me that I can’t even begin to describe. <spoiler>So when they kissed each other outside Julie’s house, my stomach dropped, I felt instantly panicky and sick and contemplated putting the novel down as unfinished. I hate, <b>hate</b> reading about affairs.</spoiler>
My favourite character was Daniel though, what a lovely, gentle and understanding man… if not a little naive. Though I didn’t like Hanna, but she had every right to be angry and suspicious with John.
It’s pretty clear from a few chapters in who our criminal is, but McKenzie does well to keep what specifically the “accident” is and who our victim is secret until just the right moment. When we found out what happened and who it happened to I was shocked! It’s been a long time since a book has surprised me in the same way. What a crazy end to this rollercoaster ride of a book!
Overall, this is a fantastic suspense novel, with just the right amount of “women’s fiction” merged with thriller. I seriously recommend this for all thriller/suspense readers out there, I’m sure this won’t disappoint!
<i>(I don’t mean to create any kind of drama with this comment but this whole novel is <i>so American!</i> Wanting to sue someone over small things? Having “block parties” and neighbourhood newsletters and stuff with an immature queen bee in charge of it all? This shit would never go down in the UK.)</i>
I’d like to thank Netgalley and Lake Union Publishing for the opportunity to read this in an exchange for an honest review.
Lee (2222 KP) rated Pet Sematary (2019) in Movies
Apr 2, 2019 (Updated Apr 5, 2019)
Not only have I not read the Stephen King book that Pet Sematary is based on, I haven't even seen the original 1989 movie either. As much as I feel ashamed for completely missing out on both of those, it also meant that I was able to head into this movie with nothing to compare it to and no idea of what to expect, other than a bit of creepy-burial-ground-raising-the-dead type stuff that the first trailer covered. One quick note on the trailers before I begin though - the most recent one, which luckily I only saw after I had seen the movie, pretty much gives away the entire plot. Granted, if you're a fan of Stephen Kings work, or even the original movie, then you're going to know what to expect anyway. But, if you're like me - someone who enjoys a good horror movie, but doesn't read books and has gaping holes in his movie viewing history, then try and give the trailers a miss on this occasion before heading into the cinema.
Louis Creed (Jason Clarke) is a Boston doctor who moves his family to the (hopefully) less chaotic setting of rural Maine - wife Rachel (Amy Seimetz), 8 year old daughter Ellie (Jeté Laurence), toddler Gage and friendly family cat Church. However, the family soon discover that their house is located right alongside a road which is prone to noisy trucks suddenly speeding past - our first jump scare and something already given away by the trailers! Those trucks also have a tendency to end the lives of any local pets who might happen to wander out in front of them, so it's pretty handy that there happens to be a Native American graveyard out in the woods at the back of the Creed's new house.
The local children make good use of the area, carrying out a funeral procession while wearing masks before burying deceased pets there, and they have also erected a sign - "Pet Sematary", which is nailed to one of the trees outside of it. Unfortunately, it's not too long before Church falls victim to a passing truck, at which point friendly neighbour Jud (John Lithgow) tells Louis of a special burial ritual which can be carried out on an area of ground located even further into the forest. It's a ritual that can bring the dead back to life so, in order to avoid upsetting daughter Ellie, Louis keeps the death a secret until he and Jud can head out late that night to perform the ritual with Church. Sure enough, Church is back with the family the next morning - alive, but looking very disheveled and in a seriously grumpy mood. He's not quite the cute little bundle of joy he once was - as Jud puts it, "Sometimes dead is better".
After banging on earlier about spoilers for movies, I feel it would be wrong of me to go and do the same thing here. If you're familiar with the story, then you'll know what happens anyway, although there is a moderate change of detail in this particular version which has already had a few die hard Stephen King fans up in arms. I'll just say that the special properties of the burial ground get used on a few more occasions during the course of the movie, with increasingly devastating consequences, and I personally felt that the change to the source material totally worked within the confines of this version of the story.
Ok, so what did I think of the movie overall? Well, I found Pet Sematary to be pretty intense, even more so than 'Us' recently. There were a couple of guys to the side of me in the cinema who were sitting forward on the edge of their seat for the majority of the movie just hyperventilating - I thought they were going to have a heart attack at one point! Yes, there are some jump scares, but this was more the kind of nightmare horror that I loved while watching 'Us' and it had me gripped to my seat for a good 80% or so of its run-time. Everyone involved in the movie is on top form - the children are outstanding, as is Jason Clarke, John Lithgow, even the cat! The dread-filled atmosphere, the tragedy and the horror of it all, it really resonated with me and I came away from this exhausted but happy!
Louis Creed (Jason Clarke) is a Boston doctor who moves his family to the (hopefully) less chaotic setting of rural Maine - wife Rachel (Amy Seimetz), 8 year old daughter Ellie (Jeté Laurence), toddler Gage and friendly family cat Church. However, the family soon discover that their house is located right alongside a road which is prone to noisy trucks suddenly speeding past - our first jump scare and something already given away by the trailers! Those trucks also have a tendency to end the lives of any local pets who might happen to wander out in front of them, so it's pretty handy that there happens to be a Native American graveyard out in the woods at the back of the Creed's new house.
The local children make good use of the area, carrying out a funeral procession while wearing masks before burying deceased pets there, and they have also erected a sign - "Pet Sematary", which is nailed to one of the trees outside of it. Unfortunately, it's not too long before Church falls victim to a passing truck, at which point friendly neighbour Jud (John Lithgow) tells Louis of a special burial ritual which can be carried out on an area of ground located even further into the forest. It's a ritual that can bring the dead back to life so, in order to avoid upsetting daughter Ellie, Louis keeps the death a secret until he and Jud can head out late that night to perform the ritual with Church. Sure enough, Church is back with the family the next morning - alive, but looking very disheveled and in a seriously grumpy mood. He's not quite the cute little bundle of joy he once was - as Jud puts it, "Sometimes dead is better".
After banging on earlier about spoilers for movies, I feel it would be wrong of me to go and do the same thing here. If you're familiar with the story, then you'll know what happens anyway, although there is a moderate change of detail in this particular version which has already had a few die hard Stephen King fans up in arms. I'll just say that the special properties of the burial ground get used on a few more occasions during the course of the movie, with increasingly devastating consequences, and I personally felt that the change to the source material totally worked within the confines of this version of the story.
Ok, so what did I think of the movie overall? Well, I found Pet Sematary to be pretty intense, even more so than 'Us' recently. There were a couple of guys to the side of me in the cinema who were sitting forward on the edge of their seat for the majority of the movie just hyperventilating - I thought they were going to have a heart attack at one point! Yes, there are some jump scares, but this was more the kind of nightmare horror that I loved while watching 'Us' and it had me gripped to my seat for a good 80% or so of its run-time. Everyone involved in the movie is on top form - the children are outstanding, as is Jason Clarke, John Lithgow, even the cat! The dread-filled atmosphere, the tragedy and the horror of it all, it really resonated with me and I came away from this exhausted but happy!
BankofMarquis (1832 KP) rated Ralph Breaks the Internet: Wreck-It Ralph 2 (2018) in Movies
Dec 1, 2018
Come for Ralph and Vanelope, stay for the Disney Princesses
I'm pretty sure that this is going to be the only review of WRECK-IT RALPH 2: RALPH BREAKS THE INTERNET that will draw a comparison between Ralph2 and DEADPOOL 2.
Like, DP2, Ralph2 suffers in the first 1/2 hour of the film with an issue - it tries too hard to repeat what was successful in the first film. I spent the first portion of both films thinking "you did this - better - in the first film". But, like DP2, Ralph2 finds it's footing - and it's own voice - after a fashion and becomes a very entertaining film.
And you can thank the Disney Princesses for that.
Without giving too much away, the plot of Ralph2 has Wreck-it Ralph (John C. Reilly) and Vanelope (Sarah Silverman) heading to the Internet (notably E:BAY) to find a replacement part for her game. The main theme of this film is "finding the place where you belong" and along this journey Vanelope enters in the world of Disney and encounters all of the Disney Princesses backstage.
Kudos to The Walt Disney Company - and Disney Animation Studios - for having a sense of humor and poking fun at themselves. These versions of the princesses are funny and don't take themselves too seriously, by taking themselves very seriously (if that makes any sense) - every character acts (and reacts) ways that make sense. It's a tribute to this extended bit that EVERY original voice of these characters (at least the ones that are still alive) agreed to contribute their voice talents to this bit. The funniest bit was the way Disney Animation handled the character of Princess Merida from BRAVE - a Pixar film.
As for the film proper - it is fine enough. John C. Reilly (as Ralph) and Sarah Silverman (as Vanelope) reprise their roles and they are winning enough to hold our attention throughout (though Ralph is sidelined for long stretches as this is really Vanelope's story). Jacks McBrayer's Fix-It Felix is back (for small bits in the beginning and end) as is the great Jane Lynch's Calhoun character. I get that these 2 characters are not really in service to the story - and I applaud the filmmakers for not trying to shoehorn them in - but I can't believe ANY conversation that starts "We have Jane Lynch, so we're going to push her in the background and use very little of her."
As for the other voice cast, Alan Tudyk (the voice of the King Candy in the first Wreck-It Ralph) is back as the voice of an overly-aggressive search engine. Tudyk is this generation's "Man of a Thousand Voices" and I had no idea it was him until the credits, which was fun (for me). Joining the fun this time around - and acquitting herself quite well - is Gal Gadot as an on-line game Race Car Drive that becomes Big Sister/mentor to Vanelope.
One final mention, there are 2 credits scene. The first one is fun enough (and is a callback to the first film), but the 2nd one (at the very end of the credits) had me chuckling - and I was glad I stayed for it.
Come for Ralph and Vanelope, stay for the Disney Princesses. You'll be glad you did.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Like, DP2, Ralph2 suffers in the first 1/2 hour of the film with an issue - it tries too hard to repeat what was successful in the first film. I spent the first portion of both films thinking "you did this - better - in the first film". But, like DP2, Ralph2 finds it's footing - and it's own voice - after a fashion and becomes a very entertaining film.
And you can thank the Disney Princesses for that.
Without giving too much away, the plot of Ralph2 has Wreck-it Ralph (John C. Reilly) and Vanelope (Sarah Silverman) heading to the Internet (notably E:BAY) to find a replacement part for her game. The main theme of this film is "finding the place where you belong" and along this journey Vanelope enters in the world of Disney and encounters all of the Disney Princesses backstage.
Kudos to The Walt Disney Company - and Disney Animation Studios - for having a sense of humor and poking fun at themselves. These versions of the princesses are funny and don't take themselves too seriously, by taking themselves very seriously (if that makes any sense) - every character acts (and reacts) ways that make sense. It's a tribute to this extended bit that EVERY original voice of these characters (at least the ones that are still alive) agreed to contribute their voice talents to this bit. The funniest bit was the way Disney Animation handled the character of Princess Merida from BRAVE - a Pixar film.
As for the film proper - it is fine enough. John C. Reilly (as Ralph) and Sarah Silverman (as Vanelope) reprise their roles and they are winning enough to hold our attention throughout (though Ralph is sidelined for long stretches as this is really Vanelope's story). Jacks McBrayer's Fix-It Felix is back (for small bits in the beginning and end) as is the great Jane Lynch's Calhoun character. I get that these 2 characters are not really in service to the story - and I applaud the filmmakers for not trying to shoehorn them in - but I can't believe ANY conversation that starts "We have Jane Lynch, so we're going to push her in the background and use very little of her."
As for the other voice cast, Alan Tudyk (the voice of the King Candy in the first Wreck-It Ralph) is back as the voice of an overly-aggressive search engine. Tudyk is this generation's "Man of a Thousand Voices" and I had no idea it was him until the credits, which was fun (for me). Joining the fun this time around - and acquitting herself quite well - is Gal Gadot as an on-line game Race Car Drive that becomes Big Sister/mentor to Vanelope.
One final mention, there are 2 credits scene. The first one is fun enough (and is a callback to the first film), but the 2nd one (at the very end of the credits) had me chuckling - and I was glad I stayed for it.
Come for Ralph and Vanelope, stay for the Disney Princesses. You'll be glad you did.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
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Hazel (1853 KP) rated Station Eleven in Books
May 30, 2017
Horrifyingly Plausible
This ARC was provided by the publisher via NetGalley in exchange for an honest review
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between Station Eleven and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled Station Eleven.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of King Lear. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of King Lear, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two Station Eleven comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with Station Eleven is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, Station Eleven is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
Hazel (1853 KP) rated Station Eleven in Books
Dec 7, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review</i>
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
The dystopian idea of a virus wiping out most of the world’s human inhabitants is not a new concept. It has be done and retold over and over again. Emily St. John Mandel’s invention of the Georgian Flu is no different from these. Brought to Canada and the USA by a passenger on a plane from Russia, the highly contagious virus spreads quickly from person to person, town to town, and once caught you are dead within forty-eight hours.
The difference between <i>Station Eleven</i> and other novels of apocalyptic themes is that the story takes place primarily in two time periods – pre-Georgian Flu and twenty years post-Georgian flu – rather than during the outbreak and the immediate days after (although there are a few scenes written within that timeframe). It is difficult to explain the storyline without giving too much away. Although the death of millions of people is a vital feature, it is the lives of the characters that are important. All the significant characters are in some way linked to one man, Arthur Leander, and, particularly in the case of one individual, a graphic novel titled <i>Station Eleven</i>.
The book opens in Toronto with Arthur, a Hollywood actor, starring in a stage production of <i>King Lear</i>. Despite the quick reaction of trainee paramedic Jeevan, Arthur dies of a heart attack after suddenly collapsing during the forth act. Then suddenly, that same night, the Georgian flu makes its first appearance in Canada. Despite this occurring right at the beginning, it is not the last the reader sees of Arthur. Throughout the story the author returns to Arthur, recounting scenes of his life from acting career to his three ex-wives and only child.
Twenty years after the Georgian flu, Kirsten Raymonde, who starred as a child in the same production of <i>King Lear</i>, is part of the Traveling Symphony: a group of actors and musicians walking from decaying-town-to-town performing a number of Shakespeare plays as they go. With her she carries two <i>Station Eleven</i> comics that Arthur gave her before he died – incidentally written and drawn by his first wife. Most people that the Symphony encounter are accommodating and are trying their best to live in a world of no electricity or health care, but then they meet a man who calls himself the Prophet. Believing that he has been given a duty by God to repopulate the world he preaches to the people telling them that everything happens for a reason, likening the epidemic to Noah’s flood in the Bible. However it soon becomes clear that he is a dangerous character.
In a way it is heartening to imagine that high culture (such as Shakespeare and orchestral music) survives in a world that has been destroyed. Shakespeare was born in a time before all the modern inventions relied upon today, and now, in this novel, it is once again an electricity-less era yet these historical things live on.
One problem with <i>Station Eleven</i> is that it is hard to pinpoint the exact plot line. There is the life story of Arthur Leander, his wives and a close friend. Then there is Kirsten living a completely different life. Nonetheless it is still an incredibly fascinating book. Although it flits between time periods it is thankfully not as confusing as some may imagine it would be.
Even though dystopian novels of this nature have been done before, <i>Station Eleven</i> is definitely a book to read; and through it all it poses the question of how you, the reader, would survive in such a world.
BankofMarquis (1832 KP) rated Killers of the Flower moon (2023) in Movies
Oct 27, 2023
Best Thing Scorses (and DeNiro) have done in many, many years
The BankofMarquis would highly recommend you see the latest epic (and we do mean EPIC) film from famed Director Martin Scorsese in a movie theater. Not because of the beautiful Cinematography by Rodrigo Prieto, not because of the Epic-ness of the tale told and not because movie theaters could use your business (all of which are reasons to see it in the movie theaters). You need to see KILLERS OF THE FLOWER MOON in a movie theater so that you cannot be distracted by things around you (most, notably your PHONE). One needs to immerse themselves in the experience of this 3 1/2 movie to totally understand and appreciate it.
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
And that is because KILLERS OF THE FLOWER MOON is as much atmosphere, mood and setting as it is story. Early on, one of the characters warns another one that the Osage people (the central group in this story) “don’t say much, listen more and let long pauses hang between words” and Scorsese does much of the same. Letting the story hang - and be told in - the silence between the words. And it works…if you are paying attention.
Starring Scorsese regulars Leonardo DiCaprio and Robert DeNiro and featuring a wonderful, soon-to-be-Oscar-Nominated performance by newcomer Lily Gladstone, KILLERS OF THE FLOWER MOON is based on the novel of the same name by David Gann and tells the tale of the Osage Nation who discover oil on their land in the 1920’s and the white men who come to try to connive and steal it away from them.
Taken on the surface, this story could be a pretty straight-forward white-man steals from the Indians story (substitute Buffalo for Oil and we have a story told so many times before - most notably in the Oscar winning movie DANCING WITH WOLVES), but in the hands of master craftsman Scorsese, this movie is much, much more than that.
Easily his best work in at least 10 years, Scorsese lets this story breathe and focuses in on the mood and atmosphere of the period - and the disparate people that inhabit…and battle for…this land and oil. It is the work of a maestro nearing the end of his tenure, skillfully conducting the Orchestra, one last, loving, magnificent time.
Like Scorsese, this is Oscar winner Robert DeNiro’s best performance in years and will not be surprised if he garners his first Oscar nomination in many, many years. Gone are the histrionics and over-the-top gestures and facial ticks that mar his comedic work (and in some cases his non-comedic work). DeNiro returns to the compact, internal “method” acting that was the hallmark of his early (best) work. You can see that this player still has “game” and he gives the role of William “King” Hale some dimension. This is good for this character could have, in lesser hands, turned into a “mustache-twirling” villain tying the heroine to the railroad tracks but in DeNiro’s capable hands (with Scorsese skillfully leading him) it is so much more.
Speaking of the Heroine, newcomer Lily Gladstone is just a strong and compact in her portrayal of Mollie Burkhart - the Osage woman in the center of the story. She gives Lily some sharp edges along with the rounded corners she is given in the script and the story and more than holds her own with the likes of DeNiro and DiCaprio in the many, many scenes she has with them. Most of the time, she needs to express quite a bit with a look or silence (while looking away) and she is able to convey that very, very well.
Fairing less well in this film is Leonardo DiCaprio as Ernest Burkhart, the sad-sack that is the pawn of “King” Hale and the love interest of Lily…or is he? DiCaprio is very good as Burkhart (when has he ever given a bad performance) but this character is thinly written and you can almost see the puppet strings on him. This, probably, is on purpose by Scorsese…but against two solid characters like DeNiro’s “King” Hale and Gladstone’s Molly, there just needed to be a bit more to DiCaprio’s character to make him more interesting.
Since this is a Scorsese film, it is fleshed out by some wonderful character actors led by the always watchable Jesse Plemons as the FBI agent sent to unpack what is going on. Joining him in what are (essentially) extended cameos are John Lithgow, newly minted Oscar winner Brendan Fraser, the always good Tantoo Cardinal, Scott Shepherd (as Leo’s brother) and a myriad of “that guy” and “interesting looking roughnecks” to flesh the feel of the film out - both on the white man as well as the Osage sides of the story.
The aforementioned Cinematography by Rodrigo Prieto along with the Costuming (Jacqueline West), Production Design (Jack Fisk) and Score (Robbie Peterson) all add to the mood of the piece and makes it very successful, indeed.
Just be forewarned, it is as every bit of 3 1/2 hours as it’s runtime dictates. There will be long, slow, silent parts that will make you tempted to pick up your phone - but resist that and enjoy the epic mood piece that is KILLERS OF THE FLOWER MOON. You won’t regret it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis).
Cyn Armistead (14 KP) rated Unusual Suspects: Stories of Mystery & Fantasy in Books
Mar 1, 2018
Another uneven anthology. I still have it in my hands, so I'll try to hit each story briefly.
"Lucky" by Charlaine Harris - Sookie is much easier to take in short form. I can't help it, the woman grates on me (in the TV show even worse than in the books). The other characters keep me reading.
"Bogieman" by Carole Nelson Douglas - Delilah Street does more than grate on my nerves in long form. She's more palatable in short form, too, but there are reminders of why I don't intend to read more in that series.
"Looks are Deceiving" by Michael A. Stackpole - If I've read any of Stackpole's work before, it's been in anthologies, and I don't remember it. I did wonder if this short story is set in a universe he uses in longer works, though. It wasn't bad at all.
"The House of Seven Spirits" by Sharon Shinn - I loved this story! And how often do you say that about a haunted house tale? I must track down and read some of Shinn's novels. Any suggestions?
"Glamour" by Mike Doogan - The Peasantry Anti-Defamation League might be after Doogan if he isn't careful (at least, representatives of the male peasantry). The story was cute, and it did make me laugh.
"Spellbound" by Donna Andrews - This is another author whose books are going on my (groaning) to-read shelf. The story hit a few clichés, but was fun enough to get away with them.
"The Duh Vice" by Michael Armstrong - Ugh. A little too preachy, and way too much anti-fat prejudice.
"Weight of the World" by John Straley - Where does Santa Claus go in the off-season? That's the biggest question answered in this piece. The "mystery" was "solved" nearly as soon as it was discovered.
"Illumination" by Laura Anne Gilman - Bonnie's back story! I think a bit of this story is used in the first chapter of Gilman's first PUPI novel, but I'll know more when I get my hands on it. It's a must-read for fans of the Cosa Nostradamus universe, though.
"The House" by Laurie R. King - could we maybe call a hiatus on the abused-kid stories? Maybe I'm hypersensitive, but I'm tired of them.
"Appetite for Murder" by Simon R. Green - another dark Nightside story. I don't think I'll ever need to read more in that universe.
"A Woman's Work" by Dana Stabenow - I'm an unabashed Stabenow fangirl. Despite that, I wasn't sure how she'd do in a fantasy setting. She proved herself, certainly. I can only hope that we'll see longer fantasy works from her in print at some juncture.
"Lucky" by Charlaine Harris - Sookie is much easier to take in short form. I can't help it, the woman grates on me (in the TV show even worse than in the books). The other characters keep me reading.
"Bogieman" by Carole Nelson Douglas - Delilah Street does more than grate on my nerves in long form. She's more palatable in short form, too, but there are reminders of why I don't intend to read more in that series.
"Looks are Deceiving" by Michael A. Stackpole - If I've read any of Stackpole's work before, it's been in anthologies, and I don't remember it. I did wonder if this short story is set in a universe he uses in longer works, though. It wasn't bad at all.
"The House of Seven Spirits" by Sharon Shinn - I loved this story! And how often do you say that about a haunted house tale? I must track down and read some of Shinn's novels. Any suggestions?
"Glamour" by Mike Doogan - The Peasantry Anti-Defamation League might be after Doogan if he isn't careful (at least, representatives of the male peasantry). The story was cute, and it did make me laugh.
"Spellbound" by Donna Andrews - This is another author whose books are going on my (groaning) to-read shelf. The story hit a few clichés, but was fun enough to get away with them.
"The Duh Vice" by Michael Armstrong - Ugh. A little too preachy, and way too much anti-fat prejudice.
"Weight of the World" by John Straley - Where does Santa Claus go in the off-season? That's the biggest question answered in this piece. The "mystery" was "solved" nearly as soon as it was discovered.
"Illumination" by Laura Anne Gilman - Bonnie's back story! I think a bit of this story is used in the first chapter of Gilman's first PUPI novel, but I'll know more when I get my hands on it. It's a must-read for fans of the Cosa Nostradamus universe, though.
"The House" by Laurie R. King - could we maybe call a hiatus on the abused-kid stories? Maybe I'm hypersensitive, but I'm tired of them.
"Appetite for Murder" by Simon R. Green - another dark Nightside story. I don't think I'll ever need to read more in that universe.
"A Woman's Work" by Dana Stabenow - I'm an unabashed Stabenow fangirl. Despite that, I wasn't sure how she'd do in a fantasy setting. She proved herself, certainly. I can only hope that we'll see longer fantasy works from her in print at some juncture.
BankofMarquis (1832 KP) rated Wreck-It-Ralph (2012) in Movies
Nov 12, 2018
Deserves greater credit than it currently is getting
Not being a big video game guy, I was late to the party to the original WRECK-IT RALPH in 2012 and when I saw it, I thought "it's fine" and didn't really think more about it. Now that it's sequel is coming out, I thought it would be good time to revisit this film (and to also remind me of the characters of the first one). And I'm glad I did, for I enjoyed myself much more this go around with this film than I did in my initial experience.
Taking a page out of PIXAR, this WALT DISNEY ANIMATION STUDIOS picture tells the "inside story" of what happens to Video Game characters when the lights go off. Following a "villain" in a game, WRECK-IT RALPH tells the story of Ralph's attempt to become a hero by winning a medal in another video game, only to become something more when he encounters a "glitch" in another game.
This is a well made, smart animation film that has enough action, suspense and silliness to appeal to children, but enough "adult content" (read: smart humor that goes over the heads of the kids) to appeal to the adults that have taken the kids to the movies. It pays great homage to video games - many of which went over my head, but (I am assured) were well played (at least according to the video gamers that I am acquainted).
Like all animated movies, a good percentage of the joy of this film is in the voice work - and this picture has very good ones from Sarah Silverman's Vanellope to Jack McBrayer's Fix-It Felix and Jane Lynch's kick-butt Calhoun, the voices strongly portray the character - and character types - quickly and easily. Special mention should be made of Allan Tudyk's King Candy (an homage to the the great Vaudeville and early film comedian Ed Wynn) and, especially, John C. Reilly in the title role. He is perfectly cast as Ralph, showing the weight of the size of the character in his voice with a sweetness and vulnerability that shows the size of the character's heart.
This is a wonderful and winning film, one that deserves greater praise than it is currently given, and I, for one, am looking forward to the sequel coming out.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
Taking a page out of PIXAR, this WALT DISNEY ANIMATION STUDIOS picture tells the "inside story" of what happens to Video Game characters when the lights go off. Following a "villain" in a game, WRECK-IT RALPH tells the story of Ralph's attempt to become a hero by winning a medal in another video game, only to become something more when he encounters a "glitch" in another game.
This is a well made, smart animation film that has enough action, suspense and silliness to appeal to children, but enough "adult content" (read: smart humor that goes over the heads of the kids) to appeal to the adults that have taken the kids to the movies. It pays great homage to video games - many of which went over my head, but (I am assured) were well played (at least according to the video gamers that I am acquainted).
Like all animated movies, a good percentage of the joy of this film is in the voice work - and this picture has very good ones from Sarah Silverman's Vanellope to Jack McBrayer's Fix-It Felix and Jane Lynch's kick-butt Calhoun, the voices strongly portray the character - and character types - quickly and easily. Special mention should be made of Allan Tudyk's King Candy (an homage to the the great Vaudeville and early film comedian Ed Wynn) and, especially, John C. Reilly in the title role. He is perfectly cast as Ralph, showing the weight of the size of the character in his voice with a sweetness and vulnerability that shows the size of the character's heart.
This is a wonderful and winning film, one that deserves greater praise than it is currently given, and I, for one, am looking forward to the sequel coming out.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)