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Travels in West Africa: the Classic Account of One Woman's Epic and Eccentric Journey in the 1890s
Mary H. Kingsley and Lynnette Turner
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A remarkable account by a pioneering woman explorer who was described by Rudyard Kipling as 'the...
Sleep Genius: Revive Cycle Alarm, Nap, Relaxation
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Featured on: The TODAY Show, CBS-News, ESPN, Huffington Post, and many more. Sleep is one of the...
Kristy H (1252 KP) rated How to Make a Wish in Books
Apr 8, 2019
Sweet, funny, and heartbreaking at times
Grace has had to grow up too quickly, thanks to her unpredictable mom, Maggie. So when Grace returns from piano camp and realizes that the flighty, alcoholic Maggie has forced her to move in with yet another of her boyfriends, it feels like the last straw. Even worse, his son happens to be Grace's ex--the same ex who posted their sexts all over Tumblr after their breakup--and Maggie has no clue. It feels like the last straw. But then Grace meets Eva, who has moved in with Grace's best friend's family after her own tragedy. Eva and Grace form a fast friendship, and Grace feels her world shift slightly when Eva reveals to her that she's a lesbian. But there's still Maggie to deal with, and her erratic behavior. Grace feels tied to her mother above all, but those ties are preventing her from happiness. Can Grace find the strength to choose herself for once?
Ashley Herring Blake's HOW TO MAKE A WISH was one of the best books I read in 2018. It was gorgeous and heartbreaking and amazing. This book certainly had some echoes of that one; Blake is a wonderful writer, and I will be continuing my quest to track down all of her books.
So Grace is a tough character. I felt for her immensely: she's living the life of adult, basically, trying to care for and worry about her mother, who is a real piece of work. By doing so, she's essentially paralyzed and unable to live her own life. Grace is a talented pianist who dreams of moving to New York to study at a conservatory there, but she lives in fear of living her mom behind. Her mom manipulates this fear, leaning on her daughter at every turn. (She was really a terrible woman; I couldn't make myself feel sorry for her, even though she'd lost her husband when Grace was small.) Still, there were times when I wanted to shake Grace: you have a group of people who do love you and care about you! Go to them, use their support, stop defending your mom, you're not a child anymore! I took this as a sign of Blake's excellent writing abilities, as I was totally immersed in the book to the point that I was frustrated with and in love with her characters.
"I can't leave her. She's my mom; I'm her kid. We belong together."
I really, really loved the Grace/Eva relationship in this book. I mean, what is there not to love? For one thing, Eva is a biracial lesbian. Can we say hurray representation?! I adored this sweet, fragile, yet incredibly tough girl. She was so funny and real to me. And then we have Grace, who was such a realistic bisexual. It's just so heartening to see well-done bisexual relationships portrayed in YA books. Oh my goodness, I wish I had this to read when I was struggling with my bisexuality as a teen. And it makes me so happy to think about teens today reading this and seeing this representation as completely normal.
"But... well, I like who I like. I like the person."
This book definitely sucks you into the characters' lives. It's quite well-written, and I really liked the supporting characters, especially Grace's best friend, Luca and his mom. He's a good friend. These poor kids are dealing with a lot, and your heart goes out to them, watching them struggle. At the same time, Grace and Eva's relationship is so lovely.
"I know a lot of people on this godforsaken waste of space and a lot of people know me. But no one really knows me... I've had a handful of friends here and there, but with the ebb and flow of my existence, it was easier to keep my world as small as possible. Less explaining. Less lying to cover up why I'd moved again. Less worrying about what totally messed-up situation I'd encounter when I brought a friend home."
Overall, I really enjoyed this book. It features intricate characters and a great relationship in Eva and Grace. It's sweet, funny, and heartbreaking at times.
Ashley Herring Blake's HOW TO MAKE A WISH was one of the best books I read in 2018. It was gorgeous and heartbreaking and amazing. This book certainly had some echoes of that one; Blake is a wonderful writer, and I will be continuing my quest to track down all of her books.
So Grace is a tough character. I felt for her immensely: she's living the life of adult, basically, trying to care for and worry about her mother, who is a real piece of work. By doing so, she's essentially paralyzed and unable to live her own life. Grace is a talented pianist who dreams of moving to New York to study at a conservatory there, but she lives in fear of living her mom behind. Her mom manipulates this fear, leaning on her daughter at every turn. (She was really a terrible woman; I couldn't make myself feel sorry for her, even though she'd lost her husband when Grace was small.) Still, there were times when I wanted to shake Grace: you have a group of people who do love you and care about you! Go to them, use their support, stop defending your mom, you're not a child anymore! I took this as a sign of Blake's excellent writing abilities, as I was totally immersed in the book to the point that I was frustrated with and in love with her characters.
"I can't leave her. She's my mom; I'm her kid. We belong together."
I really, really loved the Grace/Eva relationship in this book. I mean, what is there not to love? For one thing, Eva is a biracial lesbian. Can we say hurray representation?! I adored this sweet, fragile, yet incredibly tough girl. She was so funny and real to me. And then we have Grace, who was such a realistic bisexual. It's just so heartening to see well-done bisexual relationships portrayed in YA books. Oh my goodness, I wish I had this to read when I was struggling with my bisexuality as a teen. And it makes me so happy to think about teens today reading this and seeing this representation as completely normal.
"But... well, I like who I like. I like the person."
This book definitely sucks you into the characters' lives. It's quite well-written, and I really liked the supporting characters, especially Grace's best friend, Luca and his mom. He's a good friend. These poor kids are dealing with a lot, and your heart goes out to them, watching them struggle. At the same time, Grace and Eva's relationship is so lovely.
"I know a lot of people on this godforsaken waste of space and a lot of people know me. But no one really knows me... I've had a handful of friends here and there, but with the ebb and flow of my existence, it was easier to keep my world as small as possible. Less explaining. Less lying to cover up why I'd moved again. Less worrying about what totally messed-up situation I'd encounter when I brought a friend home."
Overall, I really enjoyed this book. It features intricate characters and a great relationship in Eva and Grace. It's sweet, funny, and heartbreaking at times.
Ivana A. | Diary of Difference (1171 KP) rated The One and Only in Books
Aug 21, 2018
Full review can also be found on my blog: www.diaryofdifference.com/2018/05/29/the-one-and-only-julia-ash-book-review/
<b><i>When bio-terrorism threatens to obscure humanity, one woman has the power to restore hope.</i></b>
Ruby Spencer is a wife and a mother. She also happens to be the only person that could save the people on Earth from dying! In moments when she is planning to resign from the U.S. Special Warfare Council, Ruby and her husband Clay are sent to one last mission.
With the last assignment being a low-risk mission to Taiwan where they need to analyze the zombie infection and consult with scientists, it seems like they are about to go on a long-deserved mini honeymoon.
But everything goes wrong! They get kidnapped, the biggest world powers all plan a war ahead, and it seems that only the ones that have Ruby are likely to win the war. They all fight over her, and she has no clue why. What makes her so special?
<img src="https://pbs.twimg.com/media/DcGYE79WkAErxL3.jpg"/>;
<b><i>Review:</i></b>
First of all, I have to thank the author, Julia Ash, for sending over this amazing book to me, in exchange for an honest review!
The beginning of The One and Only is extremely breathtaking! I believe that the beginning might be the best part of the book, actually! The flow of the story is well-thought, and I especially loved the scenes where the author refers to the past, and made me feel like there was another book before that. It is quite easy to catch up with the beginning and the brief details of the past, but if in the future there is a prequel that explains it all – I would love to be the first one to know about it!
Now, the characters are probably the reason that made the book the way it is! We have Ruby, who is our heroine, a brave lady, ready to give all the love, courage and wisdom in the world. She is a mother, a wife, and a brave fighter that never gives up and is never afraid to stand up against evil.
On the other hand, we have her husband – Clay. He was… alright. I suppose? His love for Ruby and their daughter is incredible, but somehow, I could think of him as a manly enough figure in their relationship. He was smart and brave, but not as smart and brave as Ruby.
I couldn’t somehow connect with him.
The character that intrigued me the most is Ox. I loved how Julia has shown us the psychological profile of this man, and the way he thinks. It was lovely reading about his part of his story, and even though he was on the wrong side, it is what he believes in. And the way it is written in so extraordinary, that at times I could see myself giving him an excuse.
The only part that I couldn’t agree with, and I am refusing to accept is – THE ENDING! I will withdraw myself from spoilers, but that’s not how things should have ended! That is not the ending I wanted, that is not the ending I was hoping for. No, no, no. It made me upset, and angry, and I wanted to break something very bad! That was a huge disappointment for me and it changed my whole perception of the story and the book itself.
If you ever get the chance to read this book – you should expect a lot of twists, a lot of ups and downs, and if you are like me and are trying hard to not bite your nails – well, you’re about to fail. This is not your typical book about zombie apocalypse. This is not your usual book about a heroine being kidnapped. This is not your usual book of how a person saves the world. This will be nothing like you expected, and everything you hoped for.
<b><i>When bio-terrorism threatens to obscure humanity, one woman has the power to restore hope.</i></b>
Ruby Spencer is a wife and a mother. She also happens to be the only person that could save the people on Earth from dying! In moments when she is planning to resign from the U.S. Special Warfare Council, Ruby and her husband Clay are sent to one last mission.
With the last assignment being a low-risk mission to Taiwan where they need to analyze the zombie infection and consult with scientists, it seems like they are about to go on a long-deserved mini honeymoon.
But everything goes wrong! They get kidnapped, the biggest world powers all plan a war ahead, and it seems that only the ones that have Ruby are likely to win the war. They all fight over her, and she has no clue why. What makes her so special?
<img src="https://pbs.twimg.com/media/DcGYE79WkAErxL3.jpg"/>;
<b><i>Review:</i></b>
First of all, I have to thank the author, Julia Ash, for sending over this amazing book to me, in exchange for an honest review!
The beginning of The One and Only is extremely breathtaking! I believe that the beginning might be the best part of the book, actually! The flow of the story is well-thought, and I especially loved the scenes where the author refers to the past, and made me feel like there was another book before that. It is quite easy to catch up with the beginning and the brief details of the past, but if in the future there is a prequel that explains it all – I would love to be the first one to know about it!
Now, the characters are probably the reason that made the book the way it is! We have Ruby, who is our heroine, a brave lady, ready to give all the love, courage and wisdom in the world. She is a mother, a wife, and a brave fighter that never gives up and is never afraid to stand up against evil.
On the other hand, we have her husband – Clay. He was… alright. I suppose? His love for Ruby and their daughter is incredible, but somehow, I could think of him as a manly enough figure in their relationship. He was smart and brave, but not as smart and brave as Ruby.
I couldn’t somehow connect with him.
The character that intrigued me the most is Ox. I loved how Julia has shown us the psychological profile of this man, and the way he thinks. It was lovely reading about his part of his story, and even though he was on the wrong side, it is what he believes in. And the way it is written in so extraordinary, that at times I could see myself giving him an excuse.
The only part that I couldn’t agree with, and I am refusing to accept is – THE ENDING! I will withdraw myself from spoilers, but that’s not how things should have ended! That is not the ending I wanted, that is not the ending I was hoping for. No, no, no. It made me upset, and angry, and I wanted to break something very bad! That was a huge disappointment for me and it changed my whole perception of the story and the book itself.
If you ever get the chance to read this book – you should expect a lot of twists, a lot of ups and downs, and if you are like me and are trying hard to not bite your nails – well, you’re about to fail. This is not your typical book about zombie apocalypse. This is not your usual book about a heroine being kidnapped. This is not your usual book of how a person saves the world. This will be nothing like you expected, and everything you hoped for.
Darren (1599 KP) rated 28 Weeks Later... (2007) in Movies
Jun 20, 2019
Story: 28 Weeks Later starts by having a group of survivors in a boarded up farm house with tension rising a shock visit from a young boy leads to the infected attack the house and lone survivor Don (Carlyle) escaping leaving his wife behind. We are then lead into a flash-forward telling us how Britain is attempting to rebuild after the rage virus 28 Weeks Later. With Britain still being rebuilt Don’s children Tammy (Poots) and Andy (Muggleton) are the first children to return, even though the safety zone is still run by the military.
We find out that bringing kids back was a bad idea as the two go running off into the city outside the safety zone which leads to them discovering their infected but not turned mother. The mother locked up in quarantine Don goes to visit but this only leads to the virus taking over the safety zone and all hell letting lose. We follow solider Doyle (Renner) and scientist Scarlet (Byrne) as they try to save the children from the infected.
28 Weeks Later does what many sequels fail to do, creates a fresh look at the aftermath of the epidemic without dragging our characters from the original back even though their story is complete. It also takes the idea that the outbreak is over and focusing on the rebuilding works really well too. On its down side it does fall into the same old survivors running from infected because of a stupid mistake. It doesn’t manage to bring the characters into the interesting zone because it goes into the idea of the children needing saving which takes away what was created. It is enjoy action horror but not to the same level as the original. (7/10)
Actor Review
Robert Carlyle: Don the husband who abandons his wife then brings his kids to London to help rebuild the city from within the safe zone. Robert does a solid job and everyone will remember that opening sequence. (7/10)
don
Rose Byrne: Scarlet scientist who is trying to help figure out the virus, she isn’t happy they have bought kids back because they don’t fully understand the virus and once the outbreak happens again she goes out her way to save them. Rose gives a solid performance but doesn’t shine as much as she could. (6/10)
Jeremy Renner: Doyle slick sniper who is one of the protectors of the city but once the outbreak happens he joins in the rescue attempts while the virus ends up with a shoot on site policy that orders demand. Jeremy does a good job and we get early ideas of what he will be like as Hawkeye. (7/10)
renner
Imogen Poots: Tammy daughter of Don who keeps looking after her brother and together they go into the restricted zone which ends up causing all the problems. Imogen does a good job in the early role. (7/10)
poots
Support Cast: 28 Weeks Later has a bigger supporting cast but in the end they all make the typical errors in an infected outbreak.
Director Review: Juan Carlos Fresnadillo – Juan does take the film in a slightly different direction which is good but he loses the suspense the first one had. (7/10)
Horror: 28 Weeks Later continues to use infected as its horror using survivor horror elements. (9/10)
Settings: 28 Weeks Later uses London as its setting well using the more iconic locations for the audience. (8/10)
Special Effects: 28 Weeks Later does take the effects to the next level with the helicopter scene showing how far they have come. (9/10)
Suggestion: 28 Weeks Later is one for all the horror fans to enjoy, it doesn’t quite reach the same levels as its predecessor but is still a good watch. (Horror Fans Watch)
Best Part: Opening sequences is very intense.
Worst Part: typical supporting characters.
Action Scene Of The Film: Opening sequences
Kill Of The Film: Helicopter
Scariest Scene: Locked in the basement.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for one but we haven’t had one yet.
Post Credits Scene: No
Oscar Chances: No
Box Office: $64 Million
Runtime: 1 Hour 40 Minutes
Tagline: The Threat Is Everywhere
Overall: Solid Sequel
https://moviesreview101.com/2015/03/15/28-weeks-later-2007/
We find out that bringing kids back was a bad idea as the two go running off into the city outside the safety zone which leads to them discovering their infected but not turned mother. The mother locked up in quarantine Don goes to visit but this only leads to the virus taking over the safety zone and all hell letting lose. We follow solider Doyle (Renner) and scientist Scarlet (Byrne) as they try to save the children from the infected.
28 Weeks Later does what many sequels fail to do, creates a fresh look at the aftermath of the epidemic without dragging our characters from the original back even though their story is complete. It also takes the idea that the outbreak is over and focusing on the rebuilding works really well too. On its down side it does fall into the same old survivors running from infected because of a stupid mistake. It doesn’t manage to bring the characters into the interesting zone because it goes into the idea of the children needing saving which takes away what was created. It is enjoy action horror but not to the same level as the original. (7/10)
Actor Review
Robert Carlyle: Don the husband who abandons his wife then brings his kids to London to help rebuild the city from within the safe zone. Robert does a solid job and everyone will remember that opening sequence. (7/10)
don
Rose Byrne: Scarlet scientist who is trying to help figure out the virus, she isn’t happy they have bought kids back because they don’t fully understand the virus and once the outbreak happens again she goes out her way to save them. Rose gives a solid performance but doesn’t shine as much as she could. (6/10)
Jeremy Renner: Doyle slick sniper who is one of the protectors of the city but once the outbreak happens he joins in the rescue attempts while the virus ends up with a shoot on site policy that orders demand. Jeremy does a good job and we get early ideas of what he will be like as Hawkeye. (7/10)
renner
Imogen Poots: Tammy daughter of Don who keeps looking after her brother and together they go into the restricted zone which ends up causing all the problems. Imogen does a good job in the early role. (7/10)
poots
Support Cast: 28 Weeks Later has a bigger supporting cast but in the end they all make the typical errors in an infected outbreak.
Director Review: Juan Carlos Fresnadillo – Juan does take the film in a slightly different direction which is good but he loses the suspense the first one had. (7/10)
Horror: 28 Weeks Later continues to use infected as its horror using survivor horror elements. (9/10)
Settings: 28 Weeks Later uses London as its setting well using the more iconic locations for the audience. (8/10)
Special Effects: 28 Weeks Later does take the effects to the next level with the helicopter scene showing how far they have come. (9/10)
Suggestion: 28 Weeks Later is one for all the horror fans to enjoy, it doesn’t quite reach the same levels as its predecessor but is still a good watch. (Horror Fans Watch)
Best Part: Opening sequences is very intense.
Worst Part: typical supporting characters.
Action Scene Of The Film: Opening sequences
Kill Of The Film: Helicopter
Scariest Scene: Locked in the basement.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Left open for one but we haven’t had one yet.
Post Credits Scene: No
Oscar Chances: No
Box Office: $64 Million
Runtime: 1 Hour 40 Minutes
Tagline: The Threat Is Everywhere
Overall: Solid Sequel
https://moviesreview101.com/2015/03/15/28-weeks-later-2007/
Bob Mann (459 KP) rated I, Tonya (2017) in Movies
Sep 29, 2021
Some Darwin award winners.
Man, I personally found this one to be an exceedingly uncomfortable watch.
“I, Tonya” is cleverly filmed as a pseudo-documentary, featuring re-enactments of the real-life interviews of most of the participants in this true-life drama. I recently bitterly criticised some film critics for spoiling the story of Donald Crowhurst, the subject of the recent “The Mercy”. But I was about to do exactly the same here, *assuming* that you all know the lurid tale of the rivalry between Tonya Harding and Nancy Kerrigan that led up to an ‘event’ in 1994 that shocked the world. And of course, many of you younger folk don’t know: case in point my 26 year old son who I went to see this with, and who went into the story blissfully blind of the drama about to unfold. So I will try to keep this review spoiler-free.
Playing Tonya from a (not very credible!) 15 years old to her mid-20’s is Margot Robbie (“The Wolf of Wall Street”, “Suicide Squad”) in what is a BAFTA and Oscar nominated performance. And for good reason: the performance is raw, visceral and disturbing in reflecting a victim who still thinks everything at heart is her own fault.
Also BAFTA and Oscar nominated is Allison Janney (“The Girl on the Train”) as Tonya’s obnoxious chain-smoking mother LaVona. Janney is truly terrifying as the mother who abuses her daughter both physically and mentally in a driven attempt to make her the best ice-skater in the world.
Victims seem to attract abusers, and Tonya is surrounded by people who are just plain bad for her: notably her husband Jeff (Sebastian Stan, “The Martian”, “Captain America: Winter Soldier”) and his slimy and pitifully self-deluded friend Shawn (Paul Walter Hauser). The end credits video footage of the real-life players show just how well these parts were cast.
Why so uncomfortable to watch? There is a significant degree of domestic abuse featured in the film, both in terms of LaVona on her child and Jeff on his wife. This is something I abhor in general, having been brought up to believe it is never EVER acceptable to lay a hand on a woman. To have these cowardly individuals sensationalised in the movie I found to be really upsetting. I strongly feel, for this reason alone, that the film should have had an 18 certificate. Violence in film should be related to the context as well as the severity. (Note that this is in stark contrast to my comments of recent BBFC decisions to make “Phantom Thread” and “Lady Bird” 15-certificates when I believe they should have been 12A).
The film is executed extremely well, with 4:3 framing for the staged interviews, and ice skating scenes that seamlessly cut between the professional clearly doing the stunts and Robbie (who must also be a half decent skater too). The soundtrack is nicely littered – “Guardians of the Galaxy” style – with classic hits of the early 90’s.
To think that this story actually unfolded in this way is nothing short of astounding… but it did! There is an astonishing video clip here (#spoilers) of the run up to, and the immediate aftermath of, the Kerrigan incident. I came out of the film with a deep feeling of sadness for Harding (at least, as portrayed) and utter disgust that the villains of this piece could be a) so cruel and out of control and b) so utterly stupid. These are individuals who really should have been sterilised to stop them polluting the gene pool any further.
Written by Steven Rogers (“Stepmom”) and directed by Australian Craig Gillespie, there is no doubting that this is a powerful film: played to an absolutely silent and gripped Saturday night cinema audience. And it has truly dynamite performances from Allison Janney and Margot Robbie. But be warned that you’ll need a strong stomach to go and see it without being affected by it afterwards. It’s a mental keeper.
“I, Tonya” is cleverly filmed as a pseudo-documentary, featuring re-enactments of the real-life interviews of most of the participants in this true-life drama. I recently bitterly criticised some film critics for spoiling the story of Donald Crowhurst, the subject of the recent “The Mercy”. But I was about to do exactly the same here, *assuming* that you all know the lurid tale of the rivalry between Tonya Harding and Nancy Kerrigan that led up to an ‘event’ in 1994 that shocked the world. And of course, many of you younger folk don’t know: case in point my 26 year old son who I went to see this with, and who went into the story blissfully blind of the drama about to unfold. So I will try to keep this review spoiler-free.
Playing Tonya from a (not very credible!) 15 years old to her mid-20’s is Margot Robbie (“The Wolf of Wall Street”, “Suicide Squad”) in what is a BAFTA and Oscar nominated performance. And for good reason: the performance is raw, visceral and disturbing in reflecting a victim who still thinks everything at heart is her own fault.
Also BAFTA and Oscar nominated is Allison Janney (“The Girl on the Train”) as Tonya’s obnoxious chain-smoking mother LaVona. Janney is truly terrifying as the mother who abuses her daughter both physically and mentally in a driven attempt to make her the best ice-skater in the world.
Victims seem to attract abusers, and Tonya is surrounded by people who are just plain bad for her: notably her husband Jeff (Sebastian Stan, “The Martian”, “Captain America: Winter Soldier”) and his slimy and pitifully self-deluded friend Shawn (Paul Walter Hauser). The end credits video footage of the real-life players show just how well these parts were cast.
Why so uncomfortable to watch? There is a significant degree of domestic abuse featured in the film, both in terms of LaVona on her child and Jeff on his wife. This is something I abhor in general, having been brought up to believe it is never EVER acceptable to lay a hand on a woman. To have these cowardly individuals sensationalised in the movie I found to be really upsetting. I strongly feel, for this reason alone, that the film should have had an 18 certificate. Violence in film should be related to the context as well as the severity. (Note that this is in stark contrast to my comments of recent BBFC decisions to make “Phantom Thread” and “Lady Bird” 15-certificates when I believe they should have been 12A).
The film is executed extremely well, with 4:3 framing for the staged interviews, and ice skating scenes that seamlessly cut between the professional clearly doing the stunts and Robbie (who must also be a half decent skater too). The soundtrack is nicely littered – “Guardians of the Galaxy” style – with classic hits of the early 90’s.
To think that this story actually unfolded in this way is nothing short of astounding… but it did! There is an astonishing video clip here (#spoilers) of the run up to, and the immediate aftermath of, the Kerrigan incident. I came out of the film with a deep feeling of sadness for Harding (at least, as portrayed) and utter disgust that the villains of this piece could be a) so cruel and out of control and b) so utterly stupid. These are individuals who really should have been sterilised to stop them polluting the gene pool any further.
Written by Steven Rogers (“Stepmom”) and directed by Australian Craig Gillespie, there is no doubting that this is a powerful film: played to an absolutely silent and gripped Saturday night cinema audience. And it has truly dynamite performances from Allison Janney and Margot Robbie. But be warned that you’ll need a strong stomach to go and see it without being affected by it afterwards. It’s a mental keeper.
Kirk Bage (1775 KP) rated Light of My Life (2019) in Movies
Jan 22, 2021
It is difficult to talk about Casey Affleck in a positive light as a movie-maker without mentioning the heightened media storm that surrounded him in 2017, at the time of #metoo and his own moment of personal glory in winning the Best Actor Oscar for his excellent performance in Manchester By the Sea. The Oscar was deserved, as was the criticism. The latter affecting the sweetness of the former entirely, and perhaps explaining why a recent Academy Award winner would be so quiet for the next 3 years.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
The facts are that he settled out of court for two sexual harassment claims, that in interviews later he would admit some guilt and shame towards. He never tried to hide it and seemed genuinely regretful of his part in whatever crimes took place. He never tried to deny it or belittle it or excuse it as something small and insignificant, he owned up and hung his head.
For which I’d be tempted to say, yes, he behaved like an asshole and abused his position, but is worthy of forgiveness, on probation that he learned from the mistake and never remotely did anything like it again. However, the media doesn’t forget, and in a personal and professional way he has been persona non grata ever since.
Like many others in the spotlight before him for nefarious reasons, I believe emphatically in saying it is possible to separate a person from their work. If someone has done something where they need to be in jail, then let the system take care of it, otherwise let them get on with life and continue to work. Affleck is such a talented actor that it is his performances that spring to mind above anything else by far, and that probably won’t change. I’d absolutely hate to think his negative reputation prevented him from doing the best work of his life.
One way to ensure some relative solitude and privacy whilst remaining at work, then, is to write, produce, direct and star in a small personal film about a father and daughter, alone for 90% of the movie, in a post apocalyptic wilderness. Affleck is the nameless “dad” to the pre-teen daughter he dotes on and will do anything to protect, named “Rag”, for reasons that are explained beautifully in the narrative.
Played by promising newcomer Anna Pniowsky, it is a testament to Affleck’s skill and sensitivity as actor and director that Rag always feels as important and centre stage as the “star” of the show. The film begins very unusually with a 7 minute static dialogue between the two, which demonstrates the relationship and energy of the film perfectly, and in such an interesting way. Pniowsky gives as good as she gets in terms of detailed characterisation, and the dynamic between the two is an absolute delight.
Inevitably, this film is always going to be seen as a poor cousin to The Road, starring Viggo Mortensen, from 2009. It is very similar, it can’t be denied. Even the idea of the parent ensuring “the light / fire” is kept alive within the child, considering that the survival of humanity in all senses is paramount, and supercedes the notion of survival at any cost. Dignity, kindness and non-violence must be maintained, or they will be lost. It is a message worth passing on – enough to make Affleck want to fly so close to the themes and tone of a bigger, well liked film. He must certainly have been aware of how similar they are.
It doesn’t always work, and I did find myself wishing for more action, or at least incident, rather than all the static talking scenes. Although they were often beautifully done, there were just one too many of them to keep the film fully engaging. The use of flashback, where we see the past they came from and the absent mother (presumed long dead) played by Elizabeth Moss, who does not get enough screen time to leave a mark, also doesn’t fully ring true.
Where it does work is in the simple beauty of the relationship between father and daughter. Her innocence and growing curiosity about the tainted world she is inheriting, and his single minded insistence on teaching her things his way and keeping her oblivious to the harshness of life for as long as possible. We begin to suspect his methods are not always the best, and that inevitably the time is coming where for good or bad she will have to find her own path without him.
Which leads to a very touching last 20 minutes I can’t possibly explain without leaving spoilers. If it wasn’t two hours but 90 minutes I believe the idea would have had more impact and not outstay its welcome. As it is, it is just a little flabby in the edit to be described as “great”, and might be otherwise described as slightly indulgent and naive, directorially. It is a tough one to pin down, because whilst I don’t think there is much wrong with it, I also don’t think there is enough right to fully recommend it to a wide audience.
I’m putting this one in the box marked “little seen gems”, intersecting with the one marked “near miss with potential”. When in a patient mood, this could be a film you relate to and enjoy. Just don’t go in expecting too much to happen and concentrate on what it means to be a parent in a cruel world. In that sense it has a lot to say and is well worth your time.
Cumberland (1142 KP) created a post in The Smashbomb Book Club
Jun 13, 2019
Lee (2222 KP) rated Next Gen (2018) in Movies
Oct 15, 2018 (Updated Oct 15, 2018)
Beautiful Animation (1 more)
John Krasinski
Fantastic Family Movie
We're in the futuristic city of Grainland and robots are everywhere, helping humans with all aspects of life. From robotic teachers and police, right the way down to the smaller, task orientated robots. Friendly robot hairbrushes leap on kids heads and start brushing their messy hair while robot toothbrushes, programmed by mum to ensure their kids regularly brush their teeth, seek out the children who are trying to avoid them. It's all done in good humour, even if in reality it would all be just a little bit creepy. The opening credits introduce us to Mai Su, whose parents split following an argument. As Mai grows up, her mother compensates for her loss by filling her life with servant robots called Q-Bots, making Mai feel neglected and eventually resentful towards all robots. She's a very unhappy teenager, bullied at school for being different.
At the big launch of the next generation of Q-Bots, Mai breaks free from her excited mum and, following a run in with some security robots, finds herself in a hidden lab. There, Dr Rice, who is the technical brains behind the Q-Bots, has been developing a robot of his own: Project 7723 (voiced by John Krasinski). As the curious Mai goes to investigate the robot, security bots catch up with her once more and she has to leave quickly, leaving behind her backpack. Project 7723 picks up the backpack and sets about returning it to its rightful owner at all costs. As 7723 travels along the highway, following the car that is transporting Mai home, we begin to discover just how technologically advanced 7723 is - packing some serious weaponry, which it uses to effectively take out the police robots that are in pursuit. Nothing stands in its way.
The backpack is eventually returned, but Mai is initially disinterested in the robot. That is, until it takes out the annoying robot toothbrush with a laser! The pair form a friendship, and Mai hides 7723 away in her garage at night. Unfortunately though, 7723 sustained damage to his core memory during the earlier chase and each night has to decide which of the memories he made with Mai that day he can delete in order to prevent his storage from reaching critical capacity. As they have fun together and become good friends, this gets harder to do each day, and you just know that eventually this isn't going to end well.
I really enjoyed Next Gen. It's very reminiscent of movies like Big Hero 6 and The Iron Giant and John Krasinski brings 7723 to life brilliantly. The animation is of such a high standard, beautifully detailed, and there are some fantastic action sequences, along with plenty of good humour throughout. And, as suspected, it does manage to pack a real emotional punch at times too. I sat and watched this with my daughter and it really is just a great family movie.
At the big launch of the next generation of Q-Bots, Mai breaks free from her excited mum and, following a run in with some security robots, finds herself in a hidden lab. There, Dr Rice, who is the technical brains behind the Q-Bots, has been developing a robot of his own: Project 7723 (voiced by John Krasinski). As the curious Mai goes to investigate the robot, security bots catch up with her once more and she has to leave quickly, leaving behind her backpack. Project 7723 picks up the backpack and sets about returning it to its rightful owner at all costs. As 7723 travels along the highway, following the car that is transporting Mai home, we begin to discover just how technologically advanced 7723 is - packing some serious weaponry, which it uses to effectively take out the police robots that are in pursuit. Nothing stands in its way.
The backpack is eventually returned, but Mai is initially disinterested in the robot. That is, until it takes out the annoying robot toothbrush with a laser! The pair form a friendship, and Mai hides 7723 away in her garage at night. Unfortunately though, 7723 sustained damage to his core memory during the earlier chase and each night has to decide which of the memories he made with Mai that day he can delete in order to prevent his storage from reaching critical capacity. As they have fun together and become good friends, this gets harder to do each day, and you just know that eventually this isn't going to end well.
I really enjoyed Next Gen. It's very reminiscent of movies like Big Hero 6 and The Iron Giant and John Krasinski brings 7723 to life brilliantly. The animation is of such a high standard, beautifully detailed, and there are some fantastic action sequences, along with plenty of good humour throughout. And, as suspected, it does manage to pack a real emotional punch at times too. I sat and watched this with my daughter and it really is just a great family movie.
Lucy Buglass (45 KP) rated Hereditary (2018) in Movies
Jun 20, 2019
Nature vs Nurture
As the classic saying goes… if you haven’t heard of Hereditary by now you’ve probably been living under a rock. It’s everywhere at the moment; on buses and billboards, plastered over film blogs and magazines, you name it, it’s there. It’s this season’s hottest horror film, with critics even branding it the “scariest thing they’ve ever seen”. Critical reception has been largely positive, which made me a little nervous before I went to see it for myself. When a film is this hyped up in mainstream media, it’s even more devastating if you end up disliking it.
For me, Hereditary really does live up to the hype. It’s a truly unique, harrowing film that goes beyond predictable, boring jump-scares in order to thrill its audience. The horror here is much better than that, but still packs a monumental punch. Something I really liked about this film is how it portrayed the genuine horrors of things like grief and a broken family, that real life audiences can identify with. There are scenes within this film that will probably stay with me for the rest of my life, due to how jarring and brilliantly acted they were.
Every member of Hereditary’s family is portrayed brilliantly, I was blown away by the quality of the acting and just how invested I was in each of the character’s lives and feelings. They’re the stereotypical middle-class family; mother, father, son, daughter, except here they have a much darker secret buried within. Toni Collette certainly shines as the family’s matriarch; it’s been a while since I’ve been haunted by a performance before, she truly is amazing in this film and I can’t wait to see what she does next.
Hereditary is filled with many disturbing images and an overall sense of dread throughout the entire film. The cinematography really knows how to make you feel uncomfortable and on edge, yet completely transfixed on the screen. It truly is reminiscent of films such as Rosemary’s Baby and Carrie, proving that horror stories are still able to thrive, and aren’t reduced to constant jumpy moments and excessive violence. I loved the psychological horror of the narrative, and how I’m still thinking about it even a week after watching the film. It’s the kind of film that gets under your skin and makes you think.
Ari Aster’s debut feature film goes beyond simply portraying the supernatural as terrifying, and instead taps into real life horror and all the traumatic, isolating and disturbing feelings that come with it. It’s a horror film that many can identify with, deep down, dealing with some very real psychological experiences and fears. I seriously recommend this, but I also recommend bracing yourself for a wild ride. It’s not for the faint of heart.
https://lucygoestohollywood.com/2018/07/04/nature-vs-nurture-a-review-of-hereditary/
For me, Hereditary really does live up to the hype. It’s a truly unique, harrowing film that goes beyond predictable, boring jump-scares in order to thrill its audience. The horror here is much better than that, but still packs a monumental punch. Something I really liked about this film is how it portrayed the genuine horrors of things like grief and a broken family, that real life audiences can identify with. There are scenes within this film that will probably stay with me for the rest of my life, due to how jarring and brilliantly acted they were.
Every member of Hereditary’s family is portrayed brilliantly, I was blown away by the quality of the acting and just how invested I was in each of the character’s lives and feelings. They’re the stereotypical middle-class family; mother, father, son, daughter, except here they have a much darker secret buried within. Toni Collette certainly shines as the family’s matriarch; it’s been a while since I’ve been haunted by a performance before, she truly is amazing in this film and I can’t wait to see what she does next.
Hereditary is filled with many disturbing images and an overall sense of dread throughout the entire film. The cinematography really knows how to make you feel uncomfortable and on edge, yet completely transfixed on the screen. It truly is reminiscent of films such as Rosemary’s Baby and Carrie, proving that horror stories are still able to thrive, and aren’t reduced to constant jumpy moments and excessive violence. I loved the psychological horror of the narrative, and how I’m still thinking about it even a week after watching the film. It’s the kind of film that gets under your skin and makes you think.
Ari Aster’s debut feature film goes beyond simply portraying the supernatural as terrifying, and instead taps into real life horror and all the traumatic, isolating and disturbing feelings that come with it. It’s a horror film that many can identify with, deep down, dealing with some very real psychological experiences and fears. I seriously recommend this, but I also recommend bracing yourself for a wild ride. It’s not for the faint of heart.
https://lucygoestohollywood.com/2018/07/04/nature-vs-nurture-a-review-of-hereditary/