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Grace and Tippi are conjoined twins, after being homeschooled for 16 years they are forced to attend Hornbeacon High.
The city can longer fund the girls homeschooling, nor can the family afford it, together they must venture the real world of stares, nasty comments, cruelty and obstacles they have to overcome.
Will they make friends? love! could it even be a possibility?
The girls realise they have to make a heart wrenching decision not only for the family but for themselves.
Easy money
<I> If I owned a pistol i could rob a bank.
I could stick a gun in a teller's face
and demand a stack of cash
then motor off in a stolen Maserati.
I could sell drugs to kids on the street corners
or pimp out girls to the highest bidder.
I could break and law I wanted.
If they imprisoned me,
they'd have to lock up Tippi too,
which is false arrest,
Illegal,
and would never stand up in a
court of law.
If I didn't have this damn conscience,
we'd be rich.</I>
I loved this verse (above) It made me laugh at the thought, she has a point, how would that work?
My thoughts,
I loved this book, i have never read anything like this before and it was thought-provoking. I had never thought of things such as when one of them is ill, the other stays in bed until recuperation, or what if one of them falls in love? If one drinks alcohol, will the other get drunk? There were times during this book where i would stop reading and do a thinking pose like J.D from Scrubs and ponder.
This book has made me want to learn more about conjoined twins and the effects on their lives, if anyone know any other books like this let me know, even if its non fiction.
Characters:
The parents - I felt no connection to the parents whatsoever, it felt like they had given up, What with the father being made redundant, depressed, and an alcoholic. The mum was overworked in a bank. However saying that it does show you the effects and costs,strain that it can have on families.
Yasmeen - has her own problems and with that she has become hardened to bullies, the twins need a friend like this
Grace was they shyer of the two whereas Tippi was most outspoken and bitchy.
Jon - I felt no connection with him at all, I just felt he was in the story as Sarah Crossan wanted to touch on the subject of love.
Dragon I felt sorry for as she was having to fend for herself in the sense that her parents couldn't afford ballet lessons so she had to find alternative ways to carry on with her dance,
This is the first book that I have ever read in verse and it was so different, easy to read and quick. the book is 430 pages and read this in less than a day.
Its told in Grace's POV, however it would have been nice to hear from Tippi too.
Sarah Crossan touches very slightly on other subjects but doesn't delve deep into them.
She also shows you that these 2 girls have such a bond that if the possibility of separation was an option they would refuse, despite the health scares, remarks and challenges they will come across.
Overall I rate this book 4 out of 5 stars
The city can longer fund the girls homeschooling, nor can the family afford it, together they must venture the real world of stares, nasty comments, cruelty and obstacles they have to overcome.
Will they make friends? love! could it even be a possibility?
The girls realise they have to make a heart wrenching decision not only for the family but for themselves.
Easy money
<I> If I owned a pistol i could rob a bank.
I could stick a gun in a teller's face
and demand a stack of cash
then motor off in a stolen Maserati.
I could sell drugs to kids on the street corners
or pimp out girls to the highest bidder.
I could break and law I wanted.
If they imprisoned me,
they'd have to lock up Tippi too,
which is false arrest,
Illegal,
and would never stand up in a
court of law.
If I didn't have this damn conscience,
we'd be rich.</I>
I loved this verse (above) It made me laugh at the thought, she has a point, how would that work?
My thoughts,
I loved this book, i have never read anything like this before and it was thought-provoking. I had never thought of things such as when one of them is ill, the other stays in bed until recuperation, or what if one of them falls in love? If one drinks alcohol, will the other get drunk? There were times during this book where i would stop reading and do a thinking pose like J.D from Scrubs and ponder.
This book has made me want to learn more about conjoined twins and the effects on their lives, if anyone know any other books like this let me know, even if its non fiction.
Characters:
The parents - I felt no connection to the parents whatsoever, it felt like they had given up, What with the father being made redundant, depressed, and an alcoholic. The mum was overworked in a bank. However saying that it does show you the effects and costs,strain that it can have on families.
Yasmeen - has her own problems and with that she has become hardened to bullies, the twins need a friend like this
Grace was they shyer of the two whereas Tippi was most outspoken and bitchy.
Jon - I felt no connection with him at all, I just felt he was in the story as Sarah Crossan wanted to touch on the subject of love.
Dragon I felt sorry for as she was having to fend for herself in the sense that her parents couldn't afford ballet lessons so she had to find alternative ways to carry on with her dance,
This is the first book that I have ever read in verse and it was so different, easy to read and quick. the book is 430 pages and read this in less than a day.
Its told in Grace's POV, however it would have been nice to hear from Tippi too.
Sarah Crossan touches very slightly on other subjects but doesn't delve deep into them.
She also shows you that these 2 girls have such a bond that if the possibility of separation was an option they would refuse, despite the health scares, remarks and challenges they will come across.
Overall I rate this book 4 out of 5 stars
Emma @ The Movies (1786 KP) rated The Rhythm Section (2019) in Movies
Mar 5, 2020
The Rhythm Section popped up almost out of nowhere when it hit screens. Seeing the cast line-up I was very interested in seeing what it had to offer.
Stephanie has been a broken woman ever since her family died in a plane crash. The situation would be tough for anyone to deal with but it's made worse by the fact she was supposed to be on the plane too. Life in tatters, addicted to drugs and turning tricks for money she's all but given up on life. That's when Proctor appears.
Proctor is an investigative journalist who is tracking down the people responsible for the tragedy. He takes her in and she paws over his evidence. With a new found rage she goes off on her own, but actions have consequences and it's a steep learning curve.
There is something in The Rhythm Section, the story has a definite spark, but this final product didn't hit the right note for me. It's a classic story of revenge but the film doesn't seem to make much out of it. Littering it with flashbacks to fill in story and attempt to get us in Stephanie's head just adds to the jumpiness throughout. That jumpiness wasn't just reserved for the story, I noted that the camera movements early on were bizarre, I imagine in an effort to emulate her physical and mental state, but it was particularly jarring to watch.
The Rhythm Section seems to have no real way to follow the passage of time, which I feel was a mistake as it would have helped to make things more believable. Somehow B (Law) managed to get Stephanie off drugs, markedly improve her fitness levels and train her to be an (admittedly mediocre) assassin. With some concept of time elapsing I might have been on board with that transformation.
All that training seems to be for nought as she mainly survives off dumb luck during her travels. Her natural luck would also explain how she managed to capture the only bit of information she needed at the beginning of the film to find Proctor's well trained and secret source.
Law and Lively had some good moments in her training montage. There was some humour and friendship, of a sort, but the combative nature of both characters outside of that felt strained and neither appeared comfortable in the role. Sterling K. Brown playing Mark Serra seemed to be the most at home in the role, there was a spark there that gave him a confidence in what he was doing.
With a script written by the author of the source material I'm at a bit of a loss, this scenario should mean that it's a proper representation of the book but I'm left with little desire to experience any of the other three stories in this series having seen Rhythm Section.
As I said, there feels like there's something in this idea that would have made a great film, but it feels rushed and a little confused. The film ends in a way that could see a sequel, and that is possible given the other books in the series, but I can't see it progressing beyond one film off the back of this.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-rhythm-section-movie-review.html
Stephanie has been a broken woman ever since her family died in a plane crash. The situation would be tough for anyone to deal with but it's made worse by the fact she was supposed to be on the plane too. Life in tatters, addicted to drugs and turning tricks for money she's all but given up on life. That's when Proctor appears.
Proctor is an investigative journalist who is tracking down the people responsible for the tragedy. He takes her in and she paws over his evidence. With a new found rage she goes off on her own, but actions have consequences and it's a steep learning curve.
There is something in The Rhythm Section, the story has a definite spark, but this final product didn't hit the right note for me. It's a classic story of revenge but the film doesn't seem to make much out of it. Littering it with flashbacks to fill in story and attempt to get us in Stephanie's head just adds to the jumpiness throughout. That jumpiness wasn't just reserved for the story, I noted that the camera movements early on were bizarre, I imagine in an effort to emulate her physical and mental state, but it was particularly jarring to watch.
The Rhythm Section seems to have no real way to follow the passage of time, which I feel was a mistake as it would have helped to make things more believable. Somehow B (Law) managed to get Stephanie off drugs, markedly improve her fitness levels and train her to be an (admittedly mediocre) assassin. With some concept of time elapsing I might have been on board with that transformation.
All that training seems to be for nought as she mainly survives off dumb luck during her travels. Her natural luck would also explain how she managed to capture the only bit of information she needed at the beginning of the film to find Proctor's well trained and secret source.
Law and Lively had some good moments in her training montage. There was some humour and friendship, of a sort, but the combative nature of both characters outside of that felt strained and neither appeared comfortable in the role. Sterling K. Brown playing Mark Serra seemed to be the most at home in the role, there was a spark there that gave him a confidence in what he was doing.
With a script written by the author of the source material I'm at a bit of a loss, this scenario should mean that it's a proper representation of the book but I'm left with little desire to experience any of the other three stories in this series having seen Rhythm Section.
As I said, there feels like there's something in this idea that would have made a great film, but it feels rushed and a little confused. The film ends in a way that could see a sequel, and that is possible given the other books in the series, but I can't see it progressing beyond one film off the back of this.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/the-rhythm-section-movie-review.html
Gareth von Kallenbach (980 KP) rated Interstellar (2014) in Movies
Aug 6, 2019
For my money, Christopher Nolan is the best director and storyteller in the film industry today. Over the years he has grown with each film he has created. In his early work, like Following, Memento, and Insomniac, he experimented with different notions of how we as an audience perceived a story unfold on film. In each of those films he learned techniques that he carried with him as he moved onto bigger commercial success’ like The Dark Knight Trilogy and The Prestige. All of those techniques, culminated in my humble opinion, his masterpiece with 2010s Inception. Now he is back, with a space exploration film for this generation that rivals Stanley Kubrick’s 2001: A Space odyssey with an added dash of 1997s Contact.
Everything you expect from a Nolan film his here. Stunning visuals that not only leave us breathless at the vastness and beauty of space and other worlds, but also character driven framing that is subtle enough for us to be able to understand and focus on this character driven story. We are driven forward by one man’s mission to save the earth, but on a more humanizing level, his family. It is this constant thread, especially the bond of Love between a father and daughter, which holds this majestic film together from start to finish. Those who miss this focus or nitpick at the science of it all may be disappointed and feel the film is too big to be concluded with such a simple notion. However those who are willing to concede that impressive visuals do not need to be concluded on an ostentatious scale for there to be a grandiose impact, will find satisfaction at a film that makes us contemplate our place in time and space.
If these stunning visuals are the face of this film, then the score is undoubtedly the emotion. Nolan once again teams up with Academy Award winning composer Hans Zimmer, to produce a stunningly moving and heartfelt score that not only propels forward in our exploration of the unknown, but at times is our only friend in letting us know it is ok to breath.
Perhaps it is just the gravity of the work that Nolan has done in the last few years, but the actors in this film know the stakes and each came to play. The cast each elevate their performances not only for themselves but for each other. Led by Academy Award Winner winners Mathew McConaughey and Anne Hathaway, as well as Academy Award Nominee Jessica Chastain, the entire cast of Interstellar deliver excellent performances that cause us not only relate, but to feel the world at large and the relationships with each other. I was especially impressed with the young Mackenzie Foy, whose relationship with McConaughey is crucial to the story being able to hold together for the entire film.
In closing, Interstellar is a beautiful film to behold with a story that revolves around exploration, survival, and love told in an epic way both visually and audibly. For some there may be a few make or break moments, but if you just focus on the story and world being told to you, it will all make sense. The film’s running time is 2 hours and 49 minutes which may seem like much to some, however because Interstellar is an experience, not just a film, the length is hardly noticeable as a bad thing. After walking away, you will want to see this experience in the theaters again, especially in IMAX for the best possible visuals and audio.
Everything you expect from a Nolan film his here. Stunning visuals that not only leave us breathless at the vastness and beauty of space and other worlds, but also character driven framing that is subtle enough for us to be able to understand and focus on this character driven story. We are driven forward by one man’s mission to save the earth, but on a more humanizing level, his family. It is this constant thread, especially the bond of Love between a father and daughter, which holds this majestic film together from start to finish. Those who miss this focus or nitpick at the science of it all may be disappointed and feel the film is too big to be concluded with such a simple notion. However those who are willing to concede that impressive visuals do not need to be concluded on an ostentatious scale for there to be a grandiose impact, will find satisfaction at a film that makes us contemplate our place in time and space.
If these stunning visuals are the face of this film, then the score is undoubtedly the emotion. Nolan once again teams up with Academy Award winning composer Hans Zimmer, to produce a stunningly moving and heartfelt score that not only propels forward in our exploration of the unknown, but at times is our only friend in letting us know it is ok to breath.
Perhaps it is just the gravity of the work that Nolan has done in the last few years, but the actors in this film know the stakes and each came to play. The cast each elevate their performances not only for themselves but for each other. Led by Academy Award Winner winners Mathew McConaughey and Anne Hathaway, as well as Academy Award Nominee Jessica Chastain, the entire cast of Interstellar deliver excellent performances that cause us not only relate, but to feel the world at large and the relationships with each other. I was especially impressed with the young Mackenzie Foy, whose relationship with McConaughey is crucial to the story being able to hold together for the entire film.
In closing, Interstellar is a beautiful film to behold with a story that revolves around exploration, survival, and love told in an epic way both visually and audibly. For some there may be a few make or break moments, but if you just focus on the story and world being told to you, it will all make sense. The film’s running time is 2 hours and 49 minutes which may seem like much to some, however because Interstellar is an experience, not just a film, the length is hardly noticeable as a bad thing. After walking away, you will want to see this experience in the theaters again, especially in IMAX for the best possible visuals and audio.
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Emma @ The Movies (1786 KP) rated The Dead Don't Die (2019) in Movies
Jun 20, 2020
I'm a little sad to say that I spent real money on this film. It wasn't showing at my Cineworld and the chance of a second stage release with the summer holidays approaching was unlikely. Luckily one of my Showcase Cinemas had it on and I ventured out into the real world to see it.
I won't bother with an extended synopsis because honestly I don't know what the point would be... it's zombies, everyone is trying to stay alive, literally nothing else is really happening in the story.
Up until this point I never really understood people using the word "meta" (unless it was DC related), I get it now. Officer Peterson, played by Adam Driver, is so meta that there actually may not be any more to go around.
The cast felt like it was just quirky enough to work together, especially as this wasn't going to be a traditional zombie movie. Looking back at the actors now I'm wondering if I might have enjoyed this movie more if it had unknown actors in it. I don't think it would have risen much higher in the rankings but I would have been less annoyed by some of the happenings.
Bill Murray plays Chief Robertson, a man who is seemingly always slightly confused by everything and also never becomes more than mildly alarmed by what's going on. The character and the performance were both rather boring. Murray came alive about as much as any of the zombies did.
The same can be said for Adam Driver, though I actually think that's par for the course with the way he acts rather than anything else. He always feels like mid-tier Keanu Reeves without the range. Once you realise that Peterson has the meta inside track it becomes a challenge to see anything he says in any other way. The script became rather frustrating because of this.
We're shown a very strange Tilda Swinton in the trailer and you have to wonder if the make-up direction was just "I want her to be the palest she's ever been and throw in a little "Ring" vibe for good measure." Zelda is probably the perfect zombie apocalypse companion, but she doesn't make for very dynamic viewing.
All of this negative feeling can be laid squarely at the script's door. It has little of interest to warrant a story at all, which is weird because there are elements that you think lead somewhere and then inexplicably don't. The ending is particularly bad and is what I've dubbed the "Stephen King ending". I won't expand on that here because it definitely constitutes spoilers if you haven't seen it.
There are some nice touches. The animal behaviour, the character of Mallory, and some of the effects on Selena Gomez. There's also some that left me questioning how they've portrayed zombies in this compared to other z-movies, but it's not in the trailer and while it's in my notes I'm wondering if I didn't just imagine the whole thing.
Those few little snippets can't save this movie. The poor script has several (that's me being generous) holes in it that just don't stand up when you look closely, and it's not good enough to give you anything else to look at apart from those holes. From its "maybe sciency things will cover the lack of reasoning" beginning to the "Stephen King ending" I was very disappointed.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/the-dead-dont-die-movie-review.html
I won't bother with an extended synopsis because honestly I don't know what the point would be... it's zombies, everyone is trying to stay alive, literally nothing else is really happening in the story.
Up until this point I never really understood people using the word "meta" (unless it was DC related), I get it now. Officer Peterson, played by Adam Driver, is so meta that there actually may not be any more to go around.
The cast felt like it was just quirky enough to work together, especially as this wasn't going to be a traditional zombie movie. Looking back at the actors now I'm wondering if I might have enjoyed this movie more if it had unknown actors in it. I don't think it would have risen much higher in the rankings but I would have been less annoyed by some of the happenings.
Bill Murray plays Chief Robertson, a man who is seemingly always slightly confused by everything and also never becomes more than mildly alarmed by what's going on. The character and the performance were both rather boring. Murray came alive about as much as any of the zombies did.
The same can be said for Adam Driver, though I actually think that's par for the course with the way he acts rather than anything else. He always feels like mid-tier Keanu Reeves without the range. Once you realise that Peterson has the meta inside track it becomes a challenge to see anything he says in any other way. The script became rather frustrating because of this.
We're shown a very strange Tilda Swinton in the trailer and you have to wonder if the make-up direction was just "I want her to be the palest she's ever been and throw in a little "Ring" vibe for good measure." Zelda is probably the perfect zombie apocalypse companion, but she doesn't make for very dynamic viewing.
All of this negative feeling can be laid squarely at the script's door. It has little of interest to warrant a story at all, which is weird because there are elements that you think lead somewhere and then inexplicably don't. The ending is particularly bad and is what I've dubbed the "Stephen King ending". I won't expand on that here because it definitely constitutes spoilers if you haven't seen it.
There are some nice touches. The animal behaviour, the character of Mallory, and some of the effects on Selena Gomez. There's also some that left me questioning how they've portrayed zombies in this compared to other z-movies, but it's not in the trailer and while it's in my notes I'm wondering if I didn't just imagine the whole thing.
Those few little snippets can't save this movie. The poor script has several (that's me being generous) holes in it that just don't stand up when you look closely, and it's not good enough to give you anything else to look at apart from those holes. From its "maybe sciency things will cover the lack of reasoning" beginning to the "Stephen King ending" I was very disappointed.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/the-dead-dont-die-movie-review.html
Kristy H (1252 KP) rated Trouble Girls in Books
Jun 3, 2021
A queer Thelma & Louise that doesn't live up to its potential
High school best friends Trixie and Lux are headed for a much-needed weekend getaway. Trixie needs to forget about her depressing waitress job, where all the men are "hogs" and her sick mom, and Lux needs to escape her overbearing dad. But a horrific night of violence changes everything and Trixie and Lux find themselves fugitives, running away from their tiny West Virginia town and everything they've ever known. Before they know it, they are wanted by the police, their faces splashed across social media. The girls are scared and horrified--on an unplanned road trip where the only thing they can count on is each other.
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
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