Search
Molly J (Cover To Cover Cafe) (106 KP) rated Annie's Recipe in Books
Feb 25, 2019
<p style="text-align: center;"><span style="color: #993300;"><em><strong>Excerpt
</strong></em></span><span style="color: #993300;">The small brown freckle under Annie’s right eye that he’d teased her about as a kid had developed into something of a beauty mark. It belonged there. To Levi’s dismay, his pulse picked up speed. He wanted more time with her. She was of Rumspringa age, so she could do non-Amish things. But that would only be for a couple of years, not forever.</span>
<div style="text-align: center;"><span style="color: #993300;">Behind them, Aunt Abigail followed in a separate buggy with Aidan and Elijah. As Levi glanced back at Jake, the kid responded with a big grin. To Levi’s surprise, an unexpected appreciation for the ambience in the buggy, often referred to as the fiberglass box, welled in his chest. He sat back as the horses stepped it up.
</span></div>
<p style="text-align: center;"><span style="color: #993300;">Automatically, Levi looked down. There wasn’t a trace of dirt on the beautiful navy velvet cushion that softened the hard bench. He remembered when his mother had used a lint brush to clean their buggy. On the sides were two small viewing windows and one in the back. A blue homemade quilt was rolled up and slightly draped over the backseat. He’d forgotten what it was like being in a means of transportation with no seat belts or radio. Levi missed the music. He was used to driving his dad’s truck and had traversed country roads long before he’d gotten his license a few years before.
</span>
<div style="text-align: center;"></div>
<p style="text-align: center;"> <span style="color: #993300;">As they traveled, Levi glanced back to smile at little Jake. The response was a large toothless grin and eyes wide with excitement. Levi knew the child was dying to spend time with him. Levi had nearly decided not to come today. Even though there had been no mention of the shunning, everyone knew it had happened. He had never discussed it with anyone. He and Annie had shared everything when they were young. And despite their unbreakable bond, she was still Amish.
</span>
<div style="text-align: center;"></div>
<p style="text-align: center;"> <span style="color: #993300;">I’ve got to stop thinking about her.</span>
<p style="text-align: center;"><span style="color: #008080;"><strong>My Thoughts
I love a good Amish novel, and this is one that I thoroughly enjoyed. Ms. Baker is a supremely talented author who brings the perfect amount of humor, faith, and romance to a book that is filled with hope, forgiveness and understanding. Each page turn was something new, and kept me reading long into the night.</strong></span>
<p style="text-align: center;"><strong><span style="color: #008080;">Annie and Levi's characters were absolutely perfect for the story! I loved Annie's strong will and wit and I loved Levi's charming character. He really stole my heart from the start. After all they've both been through,I loved their interactions! Watching them together was so refreshing, especially after they have been a part for so long. </span>
</strong>
<p style="text-align: center;"><strong><span style="color: #008080;">This story of forgiveness, understanding, and faith is one that I highly recommend with 4 stars. Ms. Baker makes her stories pop and come to life before the reader. Not only does she do that, she adds recipes to the story making the reader hungry by the end. If you love Amish novels and books with characters who steal your heart forever, look no further! Grab you a copy of this talented lady's book. </span>
</strong>
<p style="text-align: center;"><span style="color: #ff0000;"><em><strong><span style="color: #000000;">Giveaway</span>
</strong></em><strong>Lisa will be awarding a $50 Amazon or B/N GC to a randomly drawn winner via</strong></span>
<span style="color: #ff0000;"><strong>rafflecopter during the tour.</strong></span>
<a id="rcwidget_57weeeuj" class="rcptr" href="http://www.rafflecopter.com/rafl/display/28e4345f2227/"; rel="nofollow" data-raflid="28e4345f2227" data-theme="classic" data-template="">a Rafflecopter giveaway</a>
<p style="text-align: center;"><script src="https://widget-prime.rafflecopter.com/launch.js"></script><a href="http://cafinatedreads.com/goddess-fish-promotions-blog-tour-review-annies-recipe-by-lisa-jones-baker/"; target="_blank">This review was originally posted on Cafinated Reads</a>
</strong></em></span><span style="color: #993300;">The small brown freckle under Annie’s right eye that he’d teased her about as a kid had developed into something of a beauty mark. It belonged there. To Levi’s dismay, his pulse picked up speed. He wanted more time with her. She was of Rumspringa age, so she could do non-Amish things. But that would only be for a couple of years, not forever.</span>
<div style="text-align: center;"><span style="color: #993300;">Behind them, Aunt Abigail followed in a separate buggy with Aidan and Elijah. As Levi glanced back at Jake, the kid responded with a big grin. To Levi’s surprise, an unexpected appreciation for the ambience in the buggy, often referred to as the fiberglass box, welled in his chest. He sat back as the horses stepped it up.
</span></div>
<p style="text-align: center;"><span style="color: #993300;">Automatically, Levi looked down. There wasn’t a trace of dirt on the beautiful navy velvet cushion that softened the hard bench. He remembered when his mother had used a lint brush to clean their buggy. On the sides were two small viewing windows and one in the back. A blue homemade quilt was rolled up and slightly draped over the backseat. He’d forgotten what it was like being in a means of transportation with no seat belts or radio. Levi missed the music. He was used to driving his dad’s truck and had traversed country roads long before he’d gotten his license a few years before.
</span>
<div style="text-align: center;"></div>
<p style="text-align: center;"> <span style="color: #993300;">As they traveled, Levi glanced back to smile at little Jake. The response was a large toothless grin and eyes wide with excitement. Levi knew the child was dying to spend time with him. Levi had nearly decided not to come today. Even though there had been no mention of the shunning, everyone knew it had happened. He had never discussed it with anyone. He and Annie had shared everything when they were young. And despite their unbreakable bond, she was still Amish.
</span>
<div style="text-align: center;"></div>
<p style="text-align: center;"> <span style="color: #993300;">I’ve got to stop thinking about her.</span>
<p style="text-align: center;"><span style="color: #008080;"><strong>My Thoughts
I love a good Amish novel, and this is one that I thoroughly enjoyed. Ms. Baker is a supremely talented author who brings the perfect amount of humor, faith, and romance to a book that is filled with hope, forgiveness and understanding. Each page turn was something new, and kept me reading long into the night.</strong></span>
<p style="text-align: center;"><strong><span style="color: #008080;">Annie and Levi's characters were absolutely perfect for the story! I loved Annie's strong will and wit and I loved Levi's charming character. He really stole my heart from the start. After all they've both been through,I loved their interactions! Watching them together was so refreshing, especially after they have been a part for so long. </span>
</strong>
<p style="text-align: center;"><strong><span style="color: #008080;">This story of forgiveness, understanding, and faith is one that I highly recommend with 4 stars. Ms. Baker makes her stories pop and come to life before the reader. Not only does she do that, she adds recipes to the story making the reader hungry by the end. If you love Amish novels and books with characters who steal your heart forever, look no further! Grab you a copy of this talented lady's book. </span>
</strong>
<p style="text-align: center;"><span style="color: #ff0000;"><em><strong><span style="color: #000000;">Giveaway</span>
</strong></em><strong>Lisa will be awarding a $50 Amazon or B/N GC to a randomly drawn winner via</strong></span>
<span style="color: #ff0000;"><strong>rafflecopter during the tour.</strong></span>
<a id="rcwidget_57weeeuj" class="rcptr" href="http://www.rafflecopter.com/rafl/display/28e4345f2227/"; rel="nofollow" data-raflid="28e4345f2227" data-theme="classic" data-template="">a Rafflecopter giveaway</a>
<p style="text-align: center;"><script src="https://widget-prime.rafflecopter.com/launch.js"></script><a href="http://cafinatedreads.com/goddess-fish-promotions-blog-tour-review-annies-recipe-by-lisa-jones-baker/"; target="_blank">This review was originally posted on Cafinated Reads</a>
Bob Mann (459 KP) rated Downton Abbey (2019) in Movies
Sep 28, 2021
Very little happens…. and it’s totally glorious!
The “Downton Abbey” TV show is comfortingly bland. The tales of the well-heeled Grantham family and the below-stairs antics of their servants. But for those who have followed Julian Fellowes‘ pot-boiler drama through all six seasons, and a number of Christmas specials, it’s like a favourite jumper… or rediscovering your comfy slippers just as the nights start getting colder.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.
But in a world where TV spin-off movies are notoriously dire, would this movie by the nail in Downton’s coffin?
Thankfully not.
It’s a glorious production! The opening of this film will, I’m sure, fill all Downton fans with utter glee. John Lunn‘s music builds progressively as a royal letter wends its way through the 1927 postal system, eventually ending up (as the famous theme finally emerges spectacularly) at the doors of Downton Abbey. (Downton is of course the gorgeous Highclere Castle near Newbury, acting as a star of the film in its own right. Somewhere I was lucky enough to visit just a couple of weeks before filming began).
The plot(s).
In a year of Thanos-crushing drama, there really is nothing very substantial going on here!
The King (George V, an almost unrecognizable Simon “Hitchhikers Guide” Jones) and Queen Mary (Geraldine James) are staying over in Downton for one night on their Yorkshire tour. This naturally sets the below-stairs staff into a bit of a tizz, as indeed it does the whole village. But their glee at involvement and recognition is a bit premature, since the royal entourage – headed by an officious Mr Wilson (David Haig) – parachute the complete gamut of staff into the location to serve the royal party, so bypassing the locals completely.
The ‘Downton massive’ are of course having none of this, and a battle-royale ensues.
Scattered as sub-plots like confetti at a wedding are a military man putting a strong arm around the potentially-risky Irish Tom Branson (Allen Leech); a family rift that erupts between Aunt Violet (Maggie Smith) and cousin (and royal lady-in-waiting) Maud Bagshaw (Imelda Staunton); a sobbing princess (Kate Phillips); an over-enthusiastic shopkeeper (Mark Addy), who is difficult to let-down gently; a plumbing emergency with romantic jealousy and sabotage involved; the sexual preferences of Barrow (Robert James-Collier) getting him into trouble; and a potential love-interest for the widowed Tom with Maud’s maid Lucy (Tuppence Middleton). (There are probably half a dozen others that I’ve forgotten!)
A huge ensemble cast.
As befits a show that has gone over six seasons, there is a huge ensemble cast involved. Inevitably, some get more air time than others. Bates (Brendan Coyle) seems to be particularly short-changed, and above stairs I thought the same was true – strangely enough – of the Crawleys (Hugh Bonneville and Elizabeth McGovern).
As for Henry Talbot (Matthew Goode), he’s hardly in it at all! Apart from some impressive camera gymnastics for his running-up-the-stairs arrival, he doesn’t make much of an impression at all. (I can only guess he had other filming commitments).
These are players that have worked together as a team for many years, and it shows.
But the acting kudos has to go to Maggie Smith who steals absolutely every scene she’s in, with genuinely witty lines – “I’ll lick the stamps myself” (LoL). Close behind though is Imelda Staunton who also turns in a very impressive performance.
Glorious photography.
The photography is fantastic throughout, with deep rich colours, pin-sharp focus and some seriously dramatic pans. A big hats off to cinematographer Ben Smithard, but also to his drone team (“The helicopter ladies”) for delivering some jaw-droppingly gorgeous shots of Highclere castle.
(By the way, I thought the picture at my local Picturehouse cinema – Harbour Lights in Southampton – was particularly stunning: I queried it with them, and they said they had changed the (very expensive) projector bulb just that day! These things clearly matter!)
Will is appeal?
If you are a Downton fan, yes, Yes, YES! I have been a moderate fan of the TV series, but went with superfans – the illustrious Mrs Movie-Man and (as a guest visitor) Miss Movie-Man. I loved it, but the two ladies were ecstatic with the movie.
Even if you have never seen an episode, it is easy to pick up and the quality of the production is so impressive I don’t think you will be disappointed.
As such, I think I need to post a blend of ratings for this one.
Bob Mann (459 KP) rated King of Thieves (2018) in Movies
Sep 28, 2021
No f-ing honour among f-ing thieves.
What a cast! Micheal Caine; Jim Broadbent; Tom Courtenay; Michael Gambon; Ray Winstone; Paul Whitehouse…. Just one look at the poster and you think yes, Yes, YES! But would this be a case where my expectations would be dashed?
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.
Having seen the film at a preview showing last night, I’m pleased to say no, it’s not. I was very much entertained.
The film tells the ridiculous true story of the “over the hill gang” – the bunch of largely pensioner-age criminals who successfully extracted what was definitely £14 million – and could have been up to £200 million – of goodies from a vault in London’s Hatton Gardens jewellery district over the Easter Bank Holiday weekend in 2015. The gang is led by the “king of thieves” – Brian (Michael Caine) – highly regarded as an ‘elder statesman’ among the London criminal scene.
Did you see Mark Kermode‘s excellent “Secrets of Cinema” series on the BBC? (If not, seek it out on a catch-up service!) The first of the series deconstructs the “Heist” movie, showing how such movies track the preparation, the execution and the progressive unravelling of the wicked scheme, typically through internal strife among the gang itself. (Pretty much as you would assume happens most of the time in real life!) Kermode points out that such movies play with our emotion in secretly wishing the bad ‘uns to succeed in doing something we would never have the bottle to ‘step out of line’ to do. “King of Thieves” nicely follows this well trodden story-arc, but – for me – does it with significantly greater style than the norm.
Yes, it’s very much a “Brit-flick”, and I’m not sure how it will play outside of the UK. But the film’s script, penned by Joe Penhall (“The Road”, “Enduring Love”), plays beautifully to the extreme age of its cast – the average age of the actors playing the gang is over 67… and that includes the 35-year old Charlie “Stardust” Cox (who is actually very good as the young foil for the older blades)! There is lots of laugh-out-loud dialogue relating to bodily deficiencies and ailments and the tendencies of old-folk to nod off at inconvenient times! However, its not very deep stuff, giving little background to the characters. And if you are of a sensitive disposition, the language used in the film is pretty extreme: F-bombs and C-bombs are dropped in every other sentence.
The film is delivered with visual style by “The Theory of Everything” director James Marsh. He cleverly reflects that all of the older leads have past records: the film nicely interweaving tiny snippets of past British crime movies to illustrate the career exploits of the now-creaky old folks. (If in the epilepsy-inducing opening titles you thought you caught a subliminal shot of the gold from “The Italian Job” – the superior 1969 version – then you were right!) As well as “The Italian Job”, the snippets also includes “The Lavender Hill Mob” and (if I’m not mistaken) the late George Sewell in “Robbery”.
It’s all delivered to a deafeningly intrusive – but in a good way – jazz-style soundtrack by the continually up-and-coming Benjamin Wallfisch.
As in the recent “The Children Act”, it is the acting of the senior leads that makes the film fly for me. Caine is just MAGNIFICENT, at the age of 85 with the same screen presence he had (as featured) stepping out of that prison in “The Italian Job”; Winstone is as good as ever in playing a menacing thug, and even gets to do a Michael Caine impression!; Gambon is hilarious as the weak-bladdered “Billy the Fish”. But it is Broadbent that really impresses: he generally appears in films as a genial but slightly ditzy old gent in films like the “Potter” series; “Paddington” and “Bridget Jones“. While he has played borderline darker roles (“The Lady in the Van” for example), he rarely goes full “Sexy Beast” evil…. but here he is borderline psycho and displays blistering form. A head-to-head unblinking confrontation between Broadbent and Caine is a high-point in the whole film… just electrifying. I’d love to see BAFTA nominations for them both in Acting/Supporting Acting categories.
In summary, it’s a sweary but stylishly-executed heist movie that has enough humour to thoroughly entertain this cinema-goer. The film is on general release in the UK from September 14th and comes with my recommendation.
Bob Mann (459 KP) rated Shazam! (2019) in Movies
Sep 28, 2021
Zoltar Rides Again!
All work and no play makes Bob the Movie Man a dull reviewer. Due to work commitments, this is the first film I’ve been able to see at the cinema for over a month. There’s a whole slew of films I wanted to see that have already come and gone. Big sigh. So I might be about the last of the crowd to review this, but I’m glad I caught it before it shuffled off its silver screen coil.
Every review I’ve seen of this starts off with the hackneyed comment that “At last, DC have produced a fun film” – so I won’t (even though it’s true!).
The Plot
“Shazam!” harks back, strongly, to the vehicle that helped launch Tom Hanks‘ illustrious career – Penny Marshall’s “Big” from 1988. In that film the young teen Josh (David Moscow) visits a deserted fairground where “Zoltar” mystically (and without explanation) morphs Josh into his adult self (Hanks). Much fun is had with Hanks showing his best friend Billy the joys (and sometimes otherwise) of booze, girls and other adult pastimes. In similar vein, in “Shazam!” we see the parent-less Billy Batson (Asher Angel) hijacked on a Philadelphia subway train and transformed into a DC superhero as a last-gasp effort of the ancient-wizard (Djimon Hounsou) to find someone ‘good’ to pass his magic onto. “Grab onto my staff with both hands” (Ugh) and say my name – “Juman….”…. no, sorry, wrong film…. “Shazam!”. And as in “Big”, Billy has to explore his new superhero powers with the only person vaguely close to him; his new foster-brother Freddie (Jack Dylan Grazer from “It”).
Billy is not the first to have met the wizard – not by a long shot. There has been a long line of potential candidates examined and rejected on this road, one of which, back in 1974, was the unhappy youngster Thaddeus Sivana (Ethan Pugiotto, but now grown up as Mark Cross), who has a seething chip on his shoulder as big as the Liberty Bell. Gaining evil super-powers of his own, the race is on to see if Dr Sivana can track down the fledgling Billy before he can learn to master his superhero skills and so take him down.
Wizards with red capes?
With the loose exception of possibly Scarlet Witch, I don’t think it’s actually ever been explored before that “superheroes” are actually “magicians” with different coloured capes… it’s a novel take. Before the Marvel/DC wheels eventually come off – which before another twenty years are up they surely must? – will we see a “Harry Potter vs Superman” crossover? “YOUR MOTHER’S NAME WAS LILY AND MINE WAS MARTHA…. L AND M ARE NEXT TO EACH OTHER IN THE DICTIONARY!!!!” The mind boggles.
What does make “Shazam!” interesting is that the story is consciously set in a DC world where Superman, Batman, Wonder Woman, Aquaman and the rest all live and breathe. Freddie has a Bat-a-rang (“only a replica”) and a carefully shrink-wrapped squashed bullet that had impacted on Superman’s body. So when Billy – in superhero form – makes his appearances on the streets of Philly, this makes “Shazam” an “oh look, there’s another one” curiosity rather than an out-and-out marvel.
(Source: Warner Brothers). Lightning from the fingers! Proving very useful for Shazam’s own….
Much fun is obviously had with “Shazam” testing out his powers. Freddie’s Youtube videos gather thousands of hits baas Billy tries to fly; tries to burn; tries to use his “laser sight”; etc.
What works well.
It’s a fun flick that delivers the Marvel laughs of “Ragnarok” and “Ant Man” without ever really getting to the gravitas of either. The screenplay writer (Henry Gayden) is clearly a lover of cinema, as there are numerous references to other movies scattered throughout the film: the victory run of “Rocky” (obviously); the cracking windshield of “The Lost World”; the scary-gross-out body disintegrations of “Indiana Jones”; the portal entry doors of “Monsters, Inc”. Even making an appearance briefly, as a respectful nod presumably to the story’s plagiarism, is the toy-store floor piano of “Big”. There are probably a load of other movie Easter Eggs that I missed.
Playing Billy, the relatively unknown Zachary Levi also charms in a similarly goofball way as Hanks did all those years ago. (Actually, he’s more reminiscent of the wide-eyed delight of Brendan Fraser’s “George of the Jungle” rather than Hanks). In turns, his character is genuinely delighted then shocked at his successes and failures (“Leaping buildings with a single bound” – LOL!). Also holding up their own admirably are the young leads Asher Angel and Jack Dylan Grazer.
Mark Cross, although having flaunted with being the good guy in the “Kingsman” films, is now firmly back in baddie territory as the “supervillain”: and very good he is at it too; I thought he was the best thing in the whole film.
Finally, the movie’s got a satisfying story arc, with Billy undergoing an emotional journey that emphasises the importance of family. But it’s not done in a slushy manipulative way.
What works less well.
As many of you know, I have a few rules-of-thumb for movies, one of which is that a comedy had better by bloody good if it’s going to have a run-time of much more than 90 minutes. At 132 minutes, “Shazam!” overstayed its welcome for me by a good 20 or 30 minutes. Director David F. Sandberg could have made a much tighter and better film if he had wielded the editing knife a bit more freely. I typically enjoy getting backstory to characters, and in many ways this film delivers where many don’t. The pre-credit scenes with Thaddeus nicely paint the character for his (hideous) actions that follow. However, Billy is over-burdened with backstory, and it takes wayyyyyyy too long for the “Shazam!” to happen and the fun to begin. We also lapse into an overlong superhero finale. I didn’t actually see the twist in the plot coming, which was good, but once there then the denouement could and should have been much swifter.
The film also has its scary moments and deserves its 12A certificate. As a film rather painted as kid-friendly from the trailer and the poster, there is probably the potential to traumatise young children here, particularly in a terrifying scene in a board room (with a view). As well as the physical scares there is also a dark streak running under the story that reminded me of both the original “Jumanji” and “Ghostbusters”. Parents beware.
Monkeys?
Following on from the Marvel expectations, there are a couple of “monkeys” (see Glossary) in the title roll: one mid-titles, featuring Dr Sivana and implying an undoubted sequel, and one right at the end pointing fun at the otherwise ignored “Aquaman”.
Final thoughts.
It’s clearly been a long overdue hit for DC, and on the whole I enjoyed it. If the film had been a bit tighter, this would have had the potential to be a classic.
Every review I’ve seen of this starts off with the hackneyed comment that “At last, DC have produced a fun film” – so I won’t (even though it’s true!).
The Plot
“Shazam!” harks back, strongly, to the vehicle that helped launch Tom Hanks‘ illustrious career – Penny Marshall’s “Big” from 1988. In that film the young teen Josh (David Moscow) visits a deserted fairground where “Zoltar” mystically (and without explanation) morphs Josh into his adult self (Hanks). Much fun is had with Hanks showing his best friend Billy the joys (and sometimes otherwise) of booze, girls and other adult pastimes. In similar vein, in “Shazam!” we see the parent-less Billy Batson (Asher Angel) hijacked on a Philadelphia subway train and transformed into a DC superhero as a last-gasp effort of the ancient-wizard (Djimon Hounsou) to find someone ‘good’ to pass his magic onto. “Grab onto my staff with both hands” (Ugh) and say my name – “Juman….”…. no, sorry, wrong film…. “Shazam!”. And as in “Big”, Billy has to explore his new superhero powers with the only person vaguely close to him; his new foster-brother Freddie (Jack Dylan Grazer from “It”).
Billy is not the first to have met the wizard – not by a long shot. There has been a long line of potential candidates examined and rejected on this road, one of which, back in 1974, was the unhappy youngster Thaddeus Sivana (Ethan Pugiotto, but now grown up as Mark Cross), who has a seething chip on his shoulder as big as the Liberty Bell. Gaining evil super-powers of his own, the race is on to see if Dr Sivana can track down the fledgling Billy before he can learn to master his superhero skills and so take him down.
Wizards with red capes?
With the loose exception of possibly Scarlet Witch, I don’t think it’s actually ever been explored before that “superheroes” are actually “magicians” with different coloured capes… it’s a novel take. Before the Marvel/DC wheels eventually come off – which before another twenty years are up they surely must? – will we see a “Harry Potter vs Superman” crossover? “YOUR MOTHER’S NAME WAS LILY AND MINE WAS MARTHA…. L AND M ARE NEXT TO EACH OTHER IN THE DICTIONARY!!!!” The mind boggles.
What does make “Shazam!” interesting is that the story is consciously set in a DC world where Superman, Batman, Wonder Woman, Aquaman and the rest all live and breathe. Freddie has a Bat-a-rang (“only a replica”) and a carefully shrink-wrapped squashed bullet that had impacted on Superman’s body. So when Billy – in superhero form – makes his appearances on the streets of Philly, this makes “Shazam” an “oh look, there’s another one” curiosity rather than an out-and-out marvel.
(Source: Warner Brothers). Lightning from the fingers! Proving very useful for Shazam’s own….
Much fun is obviously had with “Shazam” testing out his powers. Freddie’s Youtube videos gather thousands of hits baas Billy tries to fly; tries to burn; tries to use his “laser sight”; etc.
What works well.
It’s a fun flick that delivers the Marvel laughs of “Ragnarok” and “Ant Man” without ever really getting to the gravitas of either. The screenplay writer (Henry Gayden) is clearly a lover of cinema, as there are numerous references to other movies scattered throughout the film: the victory run of “Rocky” (obviously); the cracking windshield of “The Lost World”; the scary-gross-out body disintegrations of “Indiana Jones”; the portal entry doors of “Monsters, Inc”. Even making an appearance briefly, as a respectful nod presumably to the story’s plagiarism, is the toy-store floor piano of “Big”. There are probably a load of other movie Easter Eggs that I missed.
Playing Billy, the relatively unknown Zachary Levi also charms in a similarly goofball way as Hanks did all those years ago. (Actually, he’s more reminiscent of the wide-eyed delight of Brendan Fraser’s “George of the Jungle” rather than Hanks). In turns, his character is genuinely delighted then shocked at his successes and failures (“Leaping buildings with a single bound” – LOL!). Also holding up their own admirably are the young leads Asher Angel and Jack Dylan Grazer.
Mark Cross, although having flaunted with being the good guy in the “Kingsman” films, is now firmly back in baddie territory as the “supervillain”: and very good he is at it too; I thought he was the best thing in the whole film.
Finally, the movie’s got a satisfying story arc, with Billy undergoing an emotional journey that emphasises the importance of family. But it’s not done in a slushy manipulative way.
What works less well.
As many of you know, I have a few rules-of-thumb for movies, one of which is that a comedy had better by bloody good if it’s going to have a run-time of much more than 90 minutes. At 132 minutes, “Shazam!” overstayed its welcome for me by a good 20 or 30 minutes. Director David F. Sandberg could have made a much tighter and better film if he had wielded the editing knife a bit more freely. I typically enjoy getting backstory to characters, and in many ways this film delivers where many don’t. The pre-credit scenes with Thaddeus nicely paint the character for his (hideous) actions that follow. However, Billy is over-burdened with backstory, and it takes wayyyyyyy too long for the “Shazam!” to happen and the fun to begin. We also lapse into an overlong superhero finale. I didn’t actually see the twist in the plot coming, which was good, but once there then the denouement could and should have been much swifter.
The film also has its scary moments and deserves its 12A certificate. As a film rather painted as kid-friendly from the trailer and the poster, there is probably the potential to traumatise young children here, particularly in a terrifying scene in a board room (with a view). As well as the physical scares there is also a dark streak running under the story that reminded me of both the original “Jumanji” and “Ghostbusters”. Parents beware.
Monkeys?
Following on from the Marvel expectations, there are a couple of “monkeys” (see Glossary) in the title roll: one mid-titles, featuring Dr Sivana and implying an undoubted sequel, and one right at the end pointing fun at the otherwise ignored “Aquaman”.
Final thoughts.
It’s clearly been a long overdue hit for DC, and on the whole I enjoyed it. If the film had been a bit tighter, this would have had the potential to be a classic.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Bob Mann (459 KP) rated Solo: A Star Wars Story (2018) in Movies
Sep 29, 2021
Solo? So-so.
When the whole Disney “broaden out the Star Wars universe” thing was first mooted I was NOT enthusiastic about the prospect. Then, in Christmas 2016 “Rogue One” burst onto our screens as a breath of fresh air, and I thought “OK, I can be wrong!”. But even jolted by that pleasant surprise, I always thought that the second proposed diversion off the main hyperspace highway into “Radiator Springs” – a Han Solo back-story flick – might fall short. It just didn’t float my boat.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Add into that proposition the decision to give the film initially to “The Lego Movie” directors Phil Lord and Christopher Miller (why Disney? why?); them trying to forge it as a ‘comedy’; them falling horribly short and being fired by Disney; Disney bringing Ron Howard (“Inferno“, “Rush“) in to try to salvage the project; and Howard reportedly re-shooting 75% of the film and you have the makings of a turkey of galactic proportions.
With all that being said, I was surprised I enjoyed it as much as I did. But that’s off a very low base of expectation.
As you might guess, we go back to see Han… just Han… as a delinquent youth trying to keep his head above water under the thrall of the Fagin-like Lady Proxima (who – no pun intended – keeps her head under the water for most of the time). He is desperate to pull off a con that’s lucrative enough that it will get him and his girlfriend Qi’ra (Emilia Clarke, “Me Before You“; “Terminator: Genisys“; “Game of Thrones”) off-planet and into a free life. Things don’t go to plan though and Han – now Han Solo – finds himself a trooper of the Galactic Empire. He links up with fellow rogues Beckett (Woody Harrelson, “War for the Planet of the Apes“; “Three Billboards in Ebbing, Missouri“), Val (Thandie Newton, “Westworld”, “2012”), Rio (voiced by Jon Favreau, “Spider-Man: Homecoming“; “Iron Man Three“) and their assertive and rebellious droid L3-37 (voiced by Phoebe Waller-Bridge) in a get-rich-or-die mission for vicious gang-boss Dryden Vos (Paul Bettany, “Avengers: Infinity War“).
The film has its moments for sure:
There are some nice background touches: an army recruitment video plays to the sound of John William’s empire march (played I am assured by my more musical wife in a major key to sound more uplifting and positive!);
Han’s first meeting with that famous walking carpet (played by Joonas Suotamo) is memorable, as is the introduction to that “card player, gambler and scoundrel” Lando Calrissian (Donald Glover, “The Martian“, “Spider-Man: Homecoming“): all flamboyance, self-regard and well-dressed ego;
solo2
Never count your money while you’re sitting at the table. Lando Calrissian played by Donald Glover putting his ship (you probably haven’t heard of it) on the line. (Source: Lucasfilm).
the character of L3-37 is an excellent addition to the saga, forcefully demanding equality for droids: I would have liked to have seen much more of her;
there is a nice twist on the Greedo/Han “who shot first” debate;
production design and special effects are up to standard for a Star Wars film, and I enjoyed John Powell’s score, incorporating a new ‘young Han’ theme from John Williams himself;
and Erin Kellyman (in here movie debut) is just breathtaking and strikingly brilliant as the be-freckled renegade Enfys Nest.
But overall it’s all a bit disjointed and jumbled, probably as befits its growing pains. We are introduced to Solo within five seconds of the film’s opening….. BAM! No exquisite ‘reveal’ as we saw with River Phoenix in “Indiana Jones and the Last Crusade”. I found this disconcerting and it took me ten minutes to get into the film as a result.
When it gets going it rather tries too hard to join up more Star Wars dots than it needs to. “Rogue One” did that exceedingly well, but that was because it needed to as ‘Episode 3.5’. Here there are visual and verbal references everywhere as the screenwriters (Lawrence and Jonathan Kasdan) desperately try to knit their story into the canon. As an example, the action moves to the mines of Kessel at one point. Kessel? Kessel? Wasn’t that a throwaway C3PO line from the “A New Hope” about being “smashed to who knows what” in said mines?. So obviously, in the WHOLE GALAXY that’s where the story leads us, with the local lingo for the hyperspace fuel McGuffin at the heart of the plot being “spice”! It’s all a bit too trite for my liking.
And while a key protagonist appearing near the end of the film (no spoilers) is both a startling surprise and great fun, don’t get me started on the timeline implications…. (see the spoiler section below the trailer for more).
Alden Ehrenreich, who was just brilliant in “Hail Caesar” (“Was that it t’WERRRE so simple“) for me barely makes it past bland in the lead role. One of the defining characteristics of Harrison Ford’s Solo was his swagger and bravado and unfortunately Ehrenreich barely rates a three out of ten on the scale. I also found the chemistry with Emelia Clarke to be lukewarm. Clarke still seems to be struggling to make a significant breakthrough to the big screen…. “Me Before You” still seems to be her high water mark so far. Here she has a key and complex role, but comes over as just plain unconvincing and “meh”.
Ron Howard has clearly done a good job in buffing up a poisoned chalice so it can at least share space on the Star Wars shelf without being laughed out of the Cantina. Perhaps with a more coordinated and thought-through run-up to a Solo sequel (more Enfys Nest please!) this offshoot might have legs.
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
Cyn Armistead (14 KP) rated Carniepunk in Books
Mar 1, 2018
As soon as I read about this collection on Kevin Hearne's Facebook, I knew I would be buying it. I don't care for carnivals at all, and every story will be related to one in some way - but there was just no way I was going to miss an Atticus and Oberon story! I even pre-ordered the book on Amazon, the first time I've ever done that. It was SO hard not to skip right ahead and read Hearne's contribution the moment the book was in my hot little hands, but I managed some discipline.
Rob Thurman's "Painted Love" opens the book. It is dark, but to be fair it isn't quite as dark as the only Thurman novel I've read, from the Cal Leandros series. I rather liked the twist. I adored the fiercely protective older sister, especially the way she is described. I'll rate this one at three.
I don't believe I've ever read anything by Delilah S. Dawson before, certainly not anything in the Blud universe, so I had no idea what to expect from "The Three Lives of Lydia." It was a far darker story than I would generally choose to read. I found the male love interest highly appealing. The portrayal of mental illness was horrific. I found it interesting that Dawson is an Atlantan as well as a fellow geeky mom, but I'm sure that I've never heard of her before. She does have a book coming out next year that looks promising, so I may give it a read. This one's a two.
Then there is the Iron Druid story! "The Demon Barker of Wheat Street" is set a few books back in the series' chronology (two weeks after "Two Ravens and One Crow"), so Granuaille isn't yet a full Druid. To make things even more interesting, Atticus accidentally offended the local elemental many years ago, so his magic doesn't work as well as usual in the area. The story isn't vital to the series, and knowledge of the series isn't necessary for enjoying it. Hearne's fans definitely won't want to miss it, though, and it could be used as a nice little taste of his style for new readers. Definitely a five.
I couldn't make it through "The Sweeter the Juice" by Mark Henry. Zombies are disgusting, but I was way squicked before the first walking dead even appeared on the scene. A one, just because there are no zeroes.
Jaye Wells is another new-to-me author, as far as I can remember at the moment. I didn't really like "The Werewife," to be honest. There was no joy anywhere in this story. There wasn't even a hint that perhaps the couple in the story had been happy together at one time. Both of them seemed pretty miserable, and I didn't like the way it ended. It didn't seem like there was any way to give them a happy ending, but that ending didn't feel "true." It gets a two, and that's only to set it apart from the previous story.
"The Cold Girl" by Rachel Caine is about an abusive teen relationship. Oh, and vampires. I'm not a Caine fan, but this story was better than some of her other work. Again, too dark for my tastes. If half stars were possible, it would have one. I'll be nice and round up to three.
The name Allison Pang sounds familiar, so maybe I've read something by her in the past. If I did, I'm certain that it wasn't set in the same world as "A Duet With Darkness," which says it is an Abby Sinclair story. I found the main character to be an annoying, immature twit, but I'm a sucker for fiction with musical influences. The music is well-done here. I don't know if I will read anything more by Ms. Pang or not - I suppose that depends on whether or not her other work has better characters and is also musical. This one gets a four.
I found "Recession of the Divine" by Hillary Jacques fascinating. The Greek inspiration was unusual. I didn't really buy the customers being quite so unquestioning of Ophelia's state, but it wasn't a major complaint overall. I was highly disappointed to find nothing but a credit in another anthology for her. But! Reading the author profiles at the end of the book pays off, because that's how I learned that she also writes as Regan Summers. Now her works published under that name are on my to-read shelf. Another five.
Jennifer Estep's "Parlor Tricks" was actually released free on Amazon a little while back to promote Carniepunk, so it was the first story I read. I enjoy the Elemental Assassin series in general, and this story is no exception. Again, knowledge of the series is not required to understand the story, and the story is not vital to the series. It is a nice little sample, though, and I enjoyed seeing Gin and Bria having a sisterly outing. I'm probably biased, but it gets a five.
I liked Kelly Meding's "Freak House" a lot, and her name sounded familiar, but the story was set in the "Strays" universe, which I was certain I had never heard of before. I actually stirred myself to look her up, and learned that I've had one of her books on my to-read list for ages, and Strays is a new series she's just starting. Djinn, werewolves, vampires, pixies, harpies, leprechauns, skinwalkers, and more, some "out" to humans, some living hidden - what's not to love? This one gets a four.
Nicole Peeler us yet another author who sounded vaguely familiar to me, and yep, there is one of her books on my to-read list (yes, it is massive, why do you ask?). It is, in fact, the first of the Jane True books, and "The Inside Man" is set in that world. Peeler's writing style dies not flow for me, but I liked Capitola Jones and her friends Shar and Moo. As clowns are indisputably evil, I had little to complain about in the story. It gets a three.
Succubus (former?) Jezzie is the main character in Jackie Kessler's story "A Chance in Hell." Obviously, the story is set her Hell on Earth series. I had to look that up, though, because while I know you're shocked, her name did not ring any bells for me. I don't actually have ALL the urban fantasy books on my to-read or read lists! The piece opens with a confusing remark about a demon eating Jezebel's face, when that definitely is not the anatomy in question. If that's a common euphemism, it is wholly new to me. Within the next couple of pages there are multiple references to the fact that she has fallen in love with a human since becoming mortal, but absolutely no explanation of how she would reconcile sex with an incubus with her human love. As much as I would prefer that it were not the case, the default assumption in our society is that people are monogamous. Therefore, when there is a deviation from that norm, the reader expects - something. Is it supposed to demonstrate that the fictional society is different? Is the character in an explicitly non-monogamous relationship? Is her love unrequited? Is the guy dead? Do demons not count? Is she just a skanky ho? Then this great love isn't mentioned again for the rest of the story, so none of the questions raised are answered. Oh. There is, in fact, a plot here, but I was so annoyed by that stuff that I almost failed to notice it. Demonic circus, yo. The whole demon thing reminds me too much of another series I've read in the past. I can't even remember the author's name, much less the title, right now, but Kessler's work feels derivative. She gets a two.
Next up is Kelly Gay - Hey look! Another author whose name I don't recognize! - with "Hell's Menagerie," a Charlie Madigan short story. Okay, this series is set in an alternate Atlanta. As an Atlanta girl, that certainly gets my attention. And Charlie is a single mother. I don't recall any other single mothers in the UF world right off. (Kate Daniels doesn't quite count, because she adopted her daughter as a teen. Although it is interesting to note that Kate is also Atlanta-based.) I was ready to like this one, based solely on what I knew of the series. Then there was a grammatical error on the second page of the story that set my teeth on edge, one which could not be chalked up to a character's voice. Add in the fact that we get a fast, "and also, Jim" style introduction to Charlie (who isn't even present in the story!), Rex, and Emma in less than two pages, and I am officially annoyed. It isn't an old matinee movie, so surely that information could have been worked in a little more naturally? Emma won me over. Mostly. There's some, "Not another super-gifted kid," reaction, but I guess if the mother is supposed to be all that it's to be expected that the daughter might be special, too. Hmm. A three.
The last piece is Seaman McGuire's "Daughter of the Midway, the Mermaid, and the Open, Lonely, Sea." Is that title a mouthful, or what? It has the feel of a Toby Daye story, although it isn't subtitled as such, and there are no fae so maybe it isn't in that universe at all. As there are other stories in the book that are set in the same world as their author's series, yet not marked in any way, lack of a subtitle can't be taken as a negative indicator, though. In any case, the story is poignant, which I've come to expect from McGuire. I didn't really like it, but I didn't dislike it, either. I couldn't "feel" Ada in any true sense. I have the same problem with Toby. A three at best.
Overall, the book was decent. The ratings only average out to 3.21, but I'm very glad to have read the stories by Hearne and Estep. Discovering Jacques/Summers was absolutely worthwhile. I really hate that I read as much of Henry's story as I did. If I could delete that from my memory, it would probably raise the rating for everything else.
Rob Thurman's "Painted Love" opens the book. It is dark, but to be fair it isn't quite as dark as the only Thurman novel I've read, from the Cal Leandros series. I rather liked the twist. I adored the fiercely protective older sister, especially the way she is described. I'll rate this one at three.
I don't believe I've ever read anything by Delilah S. Dawson before, certainly not anything in the Blud universe, so I had no idea what to expect from "The Three Lives of Lydia." It was a far darker story than I would generally choose to read. I found the male love interest highly appealing. The portrayal of mental illness was horrific. I found it interesting that Dawson is an Atlantan as well as a fellow geeky mom, but I'm sure that I've never heard of her before. She does have a book coming out next year that looks promising, so I may give it a read. This one's a two.
Then there is the Iron Druid story! "The Demon Barker of Wheat Street" is set a few books back in the series' chronology (two weeks after "Two Ravens and One Crow"), so Granuaille isn't yet a full Druid. To make things even more interesting, Atticus accidentally offended the local elemental many years ago, so his magic doesn't work as well as usual in the area. The story isn't vital to the series, and knowledge of the series isn't necessary for enjoying it. Hearne's fans definitely won't want to miss it, though, and it could be used as a nice little taste of his style for new readers. Definitely a five.
I couldn't make it through "The Sweeter the Juice" by Mark Henry. Zombies are disgusting, but I was way squicked before the first walking dead even appeared on the scene. A one, just because there are no zeroes.
Jaye Wells is another new-to-me author, as far as I can remember at the moment. I didn't really like "The Werewife," to be honest. There was no joy anywhere in this story. There wasn't even a hint that perhaps the couple in the story had been happy together at one time. Both of them seemed pretty miserable, and I didn't like the way it ended. It didn't seem like there was any way to give them a happy ending, but that ending didn't feel "true." It gets a two, and that's only to set it apart from the previous story.
"The Cold Girl" by Rachel Caine is about an abusive teen relationship. Oh, and vampires. I'm not a Caine fan, but this story was better than some of her other work. Again, too dark for my tastes. If half stars were possible, it would have one. I'll be nice and round up to three.
The name Allison Pang sounds familiar, so maybe I've read something by her in the past. If I did, I'm certain that it wasn't set in the same world as "A Duet With Darkness," which says it is an Abby Sinclair story. I found the main character to be an annoying, immature twit, but I'm a sucker for fiction with musical influences. The music is well-done here. I don't know if I will read anything more by Ms. Pang or not - I suppose that depends on whether or not her other work has better characters and is also musical. This one gets a four.
I found "Recession of the Divine" by Hillary Jacques fascinating. The Greek inspiration was unusual. I didn't really buy the customers being quite so unquestioning of Ophelia's state, but it wasn't a major complaint overall. I was highly disappointed to find nothing but a credit in another anthology for her. But! Reading the author profiles at the end of the book pays off, because that's how I learned that she also writes as Regan Summers. Now her works published under that name are on my to-read shelf. Another five.
Jennifer Estep's "Parlor Tricks" was actually released free on Amazon a little while back to promote Carniepunk, so it was the first story I read. I enjoy the Elemental Assassin series in general, and this story is no exception. Again, knowledge of the series is not required to understand the story, and the story is not vital to the series. It is a nice little sample, though, and I enjoyed seeing Gin and Bria having a sisterly outing. I'm probably biased, but it gets a five.
I liked Kelly Meding's "Freak House" a lot, and her name sounded familiar, but the story was set in the "Strays" universe, which I was certain I had never heard of before. I actually stirred myself to look her up, and learned that I've had one of her books on my to-read list for ages, and Strays is a new series she's just starting. Djinn, werewolves, vampires, pixies, harpies, leprechauns, skinwalkers, and more, some "out" to humans, some living hidden - what's not to love? This one gets a four.
Nicole Peeler us yet another author who sounded vaguely familiar to me, and yep, there is one of her books on my to-read list (yes, it is massive, why do you ask?). It is, in fact, the first of the Jane True books, and "The Inside Man" is set in that world. Peeler's writing style dies not flow for me, but I liked Capitola Jones and her friends Shar and Moo. As clowns are indisputably evil, I had little to complain about in the story. It gets a three.
Succubus (former?) Jezzie is the main character in Jackie Kessler's story "A Chance in Hell." Obviously, the story is set her Hell on Earth series. I had to look that up, though, because while I know you're shocked, her name did not ring any bells for me. I don't actually have ALL the urban fantasy books on my to-read or read lists! The piece opens with a confusing remark about a demon eating Jezebel's face, when that definitely is not the anatomy in question. If that's a common euphemism, it is wholly new to me. Within the next couple of pages there are multiple references to the fact that she has fallen in love with a human since becoming mortal, but absolutely no explanation of how she would reconcile sex with an incubus with her human love. As much as I would prefer that it were not the case, the default assumption in our society is that people are monogamous. Therefore, when there is a deviation from that norm, the reader expects - something. Is it supposed to demonstrate that the fictional society is different? Is the character in an explicitly non-monogamous relationship? Is her love unrequited? Is the guy dead? Do demons not count? Is she just a skanky ho? Then this great love isn't mentioned again for the rest of the story, so none of the questions raised are answered. Oh. There is, in fact, a plot here, but I was so annoyed by that stuff that I almost failed to notice it. Demonic circus, yo. The whole demon thing reminds me too much of another series I've read in the past. I can't even remember the author's name, much less the title, right now, but Kessler's work feels derivative. She gets a two.
Next up is Kelly Gay - Hey look! Another author whose name I don't recognize! - with "Hell's Menagerie," a Charlie Madigan short story. Okay, this series is set in an alternate Atlanta. As an Atlanta girl, that certainly gets my attention. And Charlie is a single mother. I don't recall any other single mothers in the UF world right off. (Kate Daniels doesn't quite count, because she adopted her daughter as a teen. Although it is interesting to note that Kate is also Atlanta-based.) I was ready to like this one, based solely on what I knew of the series. Then there was a grammatical error on the second page of the story that set my teeth on edge, one which could not be chalked up to a character's voice. Add in the fact that we get a fast, "and also, Jim" style introduction to Charlie (who isn't even present in the story!), Rex, and Emma in less than two pages, and I am officially annoyed. It isn't an old matinee movie, so surely that information could have been worked in a little more naturally? Emma won me over. Mostly. There's some, "Not another super-gifted kid," reaction, but I guess if the mother is supposed to be all that it's to be expected that the daughter might be special, too. Hmm. A three.
The last piece is Seaman McGuire's "Daughter of the Midway, the Mermaid, and the Open, Lonely, Sea." Is that title a mouthful, or what? It has the feel of a Toby Daye story, although it isn't subtitled as such, and there are no fae so maybe it isn't in that universe at all. As there are other stories in the book that are set in the same world as their author's series, yet not marked in any way, lack of a subtitle can't be taken as a negative indicator, though. In any case, the story is poignant, which I've come to expect from McGuire. I didn't really like it, but I didn't dislike it, either. I couldn't "feel" Ada in any true sense. I have the same problem with Toby. A three at best.
Overall, the book was decent. The ratings only average out to 3.21, but I'm very glad to have read the stories by Hearne and Estep. Discovering Jacques/Summers was absolutely worthwhile. I really hate that I read as much of Henry's story as I did. If I could delete that from my memory, it would probably raise the rating for everything else.
Zuky the BookBum (15 KP) rated Nightmares: A New Decade of Modern Horror in Books
Mar 15, 2018
Also read my review here: http://bookbum.weebly.com/book-reviews/nightmares-a-new-decade-of-modern-horror-by-various-authors
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
?????????????????????????????????????????????????????????????????
I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.
NOW AVAILABLE IN THE UK!
I decided that instead of rating this book overall, it would be better to rate each individual story, so that’s what I’ve done. Obviously I had to rate the overall book so I actually calculated the average of all the ratings lol.
<b><u>Shallaballah</b></u> by Mark Samuels
<i>1 star</i>
Not a good start to the book for me. I was over the stitched up face appearance, creepy hospital, shady operations kind of horror story long ago, so this did pretty much nothing for me. Yes there were creepy elements to it but not enough. I also get what it was trying to do with the whole vanity, television thing, but it didn’t really work and so for me, added nothing to the overall plot.
<b><u>Sob in the Silence</b></u> by Gene Wolfe
<i>3 stars</i>
This was a pretty good creepy story, I much prefer stories that don't really have any paranormal elements to them and are more about the madness of the human brain. This short story had a bit of both to it so it was much preferable to the last! Didn't like the weird abrupt ending though, it felt like the story had been cut short.
<b><u>Our Turn Too Will One Day Come</b></u> by Brian Hodge
<i>4 stars</i>
This definitely had my skin crawling a bit. I love this kind of horror story that incorporates creatures and family secrets, kind of gave me The Village vibes… Is that the name of that film? Anyway, yes, great short!
<b><u>Dead Sea Fruit</b></u> by Kaaron Warren
<i>3 stars</i>
This short was pretty good, the Ash Mouth Man was pretty freaky but the writing was a bit all over the place and I felt too much was squeezed into such a small story. I'd love to read a full length story about this Ash Man, that would definitely be disturbing to read!
<b><u>Closet Dreams</b></u> by Lisa Tuttle
<i>4 stars</i>
Really well written and completely terrifying! I hate abduction stories so much because it could happen to anyone. It's not like the demonic ghost stories that you choose to believe or not believe, men who rape and steal little girls are <b>real.</b> The ending was… Predictable… Done before… Boring… But the rest of it was good enough to warrant it 4 stars!
<b><u>Spectral Evidence</b></u> by Gemma Files
<i>1 star</i>
?????????????????????????????????????????????????????????????????
I didn’t like the way this was set out, very frustrating to read on a Kindle! Also, I didn’t really get it, it was so all over the place I forgot what was happening previously.
<b><u>Hushabye</b></u> by Simon Bestwick
<i>2 stars.</i>
I wanted to like this one but there was too much missing from the story, maybe it was meant to be mysterious but in my eyes it just felt unfinished. Like what was the man sucking out of the children? And what really happened to Hardiman? Also I thought the narrator was a woman until we finally learnt his name was Paul, don’t know why, I just imagined him that way.
<b><u>Very Low-Flying Aircraft</b></u> by Nicholas Royle
<i>3 stars</i>
I’m not really a big fan of war based novels / stories so from the get go I knew I wasn’t going to get on that well with this story but it wasn’t so bad. I didn’t feel like this story explained itself enough or maybe it did and I just didn’t get it? Like why did it matter that Frankie looked like Victoria and why did Flynn go to the clinic? Also, I didn’t think it of a horror story really, though it was scary and horrible, it didn’t give me the heeby-jeebys like some of the others have done.
<b><u>The Goosle</b></u> by Margo Lanagan
<i>2 stars</i>
Seriously, seriously grotesque. If you have a weak stomach, <i>avoid this.</i> A very peculiar branch off the traditional Hansel and Gretel story we all know. This isn’t my kind of horror at all. I much prefer scary, mysterious human crime and occasionally a paranormal story. Torture porn is not at all my thing. This was very well written though, so props to Lanagan for that.
<b><u>The Clay Party</b></u> by Steve Duffy
<i>4 stars</i>
Again, not exactly what I’d classify as a horror story, but a great read nonetheless. Excellently written and enjoyable the whole way through, up until the end… the ending definitely wasn’t my kind of style so that was disappointing for me personally, but I’m sure others would love it!
<b><u>Strappado</b></u> by Laird Barron
<i>3 stars</i>
Definitely one of the strangest of the shorts in this novel. I thought it was excellently written but I didn’t quite get it? Maybe I was just having an off day when I read this but it didn’t really do anything for me.
<b><u>Lonegan’s Luck</b></u> by Stephen Graham Jones
<i>4 stars</i>
This is one of those stories I don’t know why I like. I never used to be into these kinds of rural town, religious apocalyptic kind of books, but ever since reading Mammoth, I’ve begun to enjoy reading them. Admittedly this had me a little confused to begin with, there were what felt like a lot of characters, but in the end none of the mattered anyway, they were just there to set the scene.
<b><u>Mr Pigsny</b></u> by Reggie Oliver
<i>3 stars</i>
I feel like I’ve read this book a million times. It’s one of those stories that's been redone time and time again with just slight changes here and there. It isn’t a bad plot per say, I certainly enjoyed it, it just had nothing unique about it.
<b><u>At Night, When the Demons Come by</b></u> by Ray Cluley
<i>4 stars</i>
One of the longer stories in this book but also one of the best. It had a pleasing twist to it and some interesting characters. I guess I quite like the whole apocalyptic feel when it comes to stories. I personally don’t feel this one was a horror story, more like a fantasy thriller.
<b><u>Was She Wicked? Was She Good?</b></u> by Mary Rickert
<i>4 stars</i>
This was a sad horror story, but in a way, it was also quite beautiful. I really liked the plot, it was something quite different to all the others in this collection and I thought the way it was written flowed well. Enjoyable short story!
<b><u>The Shallows</b></u> by John Langan
<i>2 stars</i>
I liked how this was written but I didn’t get it? I got bored halfway through it too, it was a half an hour read and I just couldn’t understand it so I skimmed the last 10 minutes or so. Yawn.
<b><u>Little Pig</b></u> by Anna Taborska
<i>3 stars</i>
Meh. This was well written and very different to the rest of the stories in this collection but was it a horror story? No. It was tragic, but not scary. Disappointing because whenever I see the word “pig” in relation to something “scary” I think of AHS.
<b><u>Omphalos</b></u> by Livia Llewellyn
<i>3 stars</i>
<b>TRIGGER WARNING: SEXUAL ABUSE</b>
This story was definitely very unique to the rest of the stories in this collection in the terms that this was a horror story that focused more on the real life horrors of families rather than made up monsters and ghouls. This story isn’t for the faint-hearted, it was horrific and gruesome and very upsetting. It wasn’t the best story in the collection when it came to plot or writing style, but it did bring out strong emotions in me, which other stories have been unable to do.
<b><u>How We Escaped Our Certain Fate</b></u> by Dan Chaon
<i>5 stars</i>
I liked how this was a different take on a classic zombie story - <b><i>”It wasn’t the end of the world… of course, a bite would infect you, but they weren’t terribly aggressive, in general.”</b></i> This was by far my favourite story in the entire book, it was so sad and emotional. It was beautiful.
<b><u>That Tiny Flutter of the Heart I Used to Call Love</b></u> by Robert Shearman
<i>4 stars</i>
Creepy, creepy, creepy. Dolls terrify me thanks to modern horror, although, really, I’ve always felt unsettled by them. Enjoyable story though. Poor Julian.
(This story almost had my name in it! “Suki” is close enough to Zuky.)
<b><u>Interstate Love Song (Murder Ballad No.8)</b></u> by Caitlin R. Kiernan
<i>3 stars</i>
Hmm, why did the shorts at the end of this book get all meaningful and loved up? I think that kinda ruined this for me. Granted it was disturbed and pretty grotesque at times but sadness of the ending ruined that creepy effect of the book and just left this kind of hanging in the space between horror and tragedy.
<b><u>Shay Corsham Worsted</b></u> by Garth Nix
<i>4 stars</i>
This was an interesting story and I liked our harsh but caring main character, Sir David. I wish this story was a little longer so we could find out more about Shay because I feel the missing backstory left this plot wide open. Enjoyable nonetheless.
<b><u>The Atlas of Hell</b></u> by Nathan Ballingrud
<i>3 stars</i>
I really enjoyed this to begin with though I thought it had a little David Wong influence, a writing style I’m not into. All was going well for this story until I got towards the end of it, where it completely lost me. Whether this is down to the annoying man sat on the train next to me, speaking into his phone at 32596 decibels, or just because the plot went AWOL, we’ll never know.
<b><u>Ambitious Boys Like You</b></u> by Richard Kadrey
<i>4 stars</i>
I like these kinds of creepy stories! They’re not particularly unique anymore, because they’ve been done so many different times in so many different, but similar ways, but they’re still fun to read. The old man was especially disturbing just because he was so witty and chilled out. I liked that this story had elements of humour to it, it made a nice change to the more recent emotion filled stories.
I’d like to thank Netgalley and Tachyon Publications for giving me the opportunity to read this in an exchange for an honest review.