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BankofMarquis (1832 KP) rated Anatomy of a Murder (1959) in Movies
Nov 30, 2018
One of the Best Courtroom Dramas of all Time
I have to admit, that (at times) the fun part of going to "SECRET MOVIE NIGHT" is the anticipation of not knowing what the film is. Sometimes the film is "good, not great" (like THE BLUES BROTHERS, BODY HEAT and A FACE IN THE CROWD) and other times it is a CLASSIC (Like CITIZEN KANE, THE APARTMENT and NETWORK). I am happy to report that this month's installment IS a classic, our old pal Jimmy Stewart in 1959's ANATOMY OF MURDER.
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Chris Sawin (602 KP) rated A Quiet Place: Part II (2021) in Movies
Oct 6, 2021
Less contained than the first film - we get to see more of the outside world. (2 more)
More monsters.
Cillian Murphy's performance.
Uses jump scares as a crutch (1 more)
Marcus is a bit of a unbearable turd in the film.
Long Time, No Hear
A Quiet Place Part II begins with a flashback chronicling the first day the creatures arrived. It’s also an excuse to allow John Krasinski’s Lee Abbott character to show up again despite dying in the previous film. Day 1 is mostly the scene in the trailer where the creatures are destroying the town and everyone is learning that they attack based on sound. And yes, this scene would have been and is far more effective if you haven’t seen the trailer several times beforehand.
What’s great about this sequel is that it is no longer so contained. The Abbott family is forced to leave their farm and their home and go out into the outside world. But the scariest aspect of all is that the monsters aren’t the most inhuman thing to exist in whatever remains of this desolate world – it’s the human survivors.
The sequel seems to feature far more of the creatures than the original film. It’s not that they weren’t around in the original film, but A Quiet Place Part II gives them a more prominent presence. There seems to be more of them. The film does utilize jump scares a bit more often than it should. They’re cheap tactics to begin with, but become more and more annoying after the first one or two times they’re used in a film.
Marcus Abbott (Noah Jupe) is nearly unbearable until the last ten or so minutes of the film, but it’s also a sensible form of irritation. Marcus lost his little brother and his father in the previous film and, without spoiling too much, doesn’t have a great time in the sequel. He doesn’t want to lose anyone else close to him and is now incredibly attached to the family members he has left. This results in Marcus being too clingy when someone needs to go on a supply run or has an idea that could potentially save everyone.
Cillian Murphy inherits the male lead since Lee Abbott’s exit. Murphy plays a character named Emmett and is actually a friend of the Abbott family. Emmett has lost everyone and everything and has remained relatively close to the Abbott’s farm even after the creatures arrived, but he never came for them. He has shelter and some supplies, but has spent so much time being on his own that he’s forgotten how to sympathize with anyone who isn’t himself. Murphy delivers this gloriously conflicted performance where he seems to be constantly struggling. Emmett often knows the right thing that should be done, but wants to remain hidden. He basically wants to survive over being a compassionate human being.
The formula for A Quiet Place II is intriguing because it plays out like an episodic arc of The Walking Dead. The zombie element is replaced with the creatures as the human characters go on supply runs, look for other survivors, and search for a sanctuary that may or may not exist. Since both A Quiet Place films are PG-13, there’s not much in the gore department. You’re attacked by these creatures and you’re basically just gone. The way the creature’s heads open up like a flower whenever they’re around audio feedback is visually similar to The Last of Us or even Resident Evil.
A Quiet Place Part II ditches the tension and the stealth the first film was known for and introduces more monsters, more action, more characters, and more of a world that’s barely hanging on by a thread. Lee’s oldest kids become they key players here while Emily Blunt takes a backseat. Cillian Murphy proves why he’s one of the most underrated actors working today. Overall, A Quiet Place Part II is an exceptionally entertaining sequel with quality performances and a primary focus on monster mayhem which, as horror and suspense fans, we should all get behind.
What’s great about this sequel is that it is no longer so contained. The Abbott family is forced to leave their farm and their home and go out into the outside world. But the scariest aspect of all is that the monsters aren’t the most inhuman thing to exist in whatever remains of this desolate world – it’s the human survivors.
The sequel seems to feature far more of the creatures than the original film. It’s not that they weren’t around in the original film, but A Quiet Place Part II gives them a more prominent presence. There seems to be more of them. The film does utilize jump scares a bit more often than it should. They’re cheap tactics to begin with, but become more and more annoying after the first one or two times they’re used in a film.
Marcus Abbott (Noah Jupe) is nearly unbearable until the last ten or so minutes of the film, but it’s also a sensible form of irritation. Marcus lost his little brother and his father in the previous film and, without spoiling too much, doesn’t have a great time in the sequel. He doesn’t want to lose anyone else close to him and is now incredibly attached to the family members he has left. This results in Marcus being too clingy when someone needs to go on a supply run or has an idea that could potentially save everyone.
Cillian Murphy inherits the male lead since Lee Abbott’s exit. Murphy plays a character named Emmett and is actually a friend of the Abbott family. Emmett has lost everyone and everything and has remained relatively close to the Abbott’s farm even after the creatures arrived, but he never came for them. He has shelter and some supplies, but has spent so much time being on his own that he’s forgotten how to sympathize with anyone who isn’t himself. Murphy delivers this gloriously conflicted performance where he seems to be constantly struggling. Emmett often knows the right thing that should be done, but wants to remain hidden. He basically wants to survive over being a compassionate human being.
The formula for A Quiet Place II is intriguing because it plays out like an episodic arc of The Walking Dead. The zombie element is replaced with the creatures as the human characters go on supply runs, look for other survivors, and search for a sanctuary that may or may not exist. Since both A Quiet Place films are PG-13, there’s not much in the gore department. You’re attacked by these creatures and you’re basically just gone. The way the creature’s heads open up like a flower whenever they’re around audio feedback is visually similar to The Last of Us or even Resident Evil.
A Quiet Place Part II ditches the tension and the stealth the first film was known for and introduces more monsters, more action, more characters, and more of a world that’s barely hanging on by a thread. Lee’s oldest kids become they key players here while Emily Blunt takes a backseat. Cillian Murphy proves why he’s one of the most underrated actors working today. Overall, A Quiet Place Part II is an exceptionally entertaining sequel with quality performances and a primary focus on monster mayhem which, as horror and suspense fans, we should all get behind.
Purple Phoenix Games (2266 KP) rated Food Chain Island in Tabletop Games
Jul 1, 2020
With the current pandemic (not the game) going on in the world, and the necessity for people to distance themselves from each other, game nights everywhere have been put on hold. That doesn’t mean that gaming must stop! Whether you’re a seasoned solo gamer, or new to the solo genre, ButtonShy has done it again with a fantastic new little wallet game in their Simply Solo series – check it out!
You find yourself on a small, isolated island teeming with wildlife – but there is no set hierarchy! It’s a world of ‘eat or be eaten’ and you’ve got to survive. Manipulate the wildlife and organize the food chain in such a way that leaves you on top. Are you able to strategize the best meals, or will the island be left in chaos?
Disclaimer: We were provided a PnP version of Food Chain Island for the purposes of this preview. Please excuse my lack of a color printer, but rest assured that the artwork of the final product is eye-catching, colorful, and easy to read! Check out the Kickstarter (Live now through June 6th) for a look at the finished production copy. -L
Food Chain Island is a solo card game of network building and chaining in which players are trying to end with the fewest remaining cards possible. The game, like its other ButtonShy siblings, contains only 18 cards, divided into Land animals (16 cards) and Water animals (2 cards). All animals have a special power associated with it, and all of the Land animal cards are numbered from 0-15. To setup the game, set the 2 Water animals off to the side (you’ll use those later), shuffle all of the Land animals, and create a 4×4 face-up grid of Land animal cards. Now you can start the game!
Every turn you will move one animal card to ‘eat’ another. Select an animal, and move it one space in one of the four cardinal directions so that it is placed over top of another animal. The card that is now covered up is considered ‘eaten.’ Each animal may only eat certain other animals, however, so this is where the card number comes into play. An animal can only ‘eat’ any animal card that is 1-3 numbers lower than its value. For example, the ‘4’ animal can only eat cards 3, 2, or 1. Simple, right? Not so fast. Each animal also has a special ability on it, and you must activate the ability of that card once it has eaten another animal. This step is mandatory, and can really help or hinder your strategy – so make sure you are thinking about those abilities and not just the card numbers. At any time during the game, you may choose to discard one of the 2 Water animals from the side to perform its special ability in addition to, or instead of, the ability you just triggered. The game ends when you have only 1-3 animals remaining, the number remaining signifying varying degrees of success. If you have 4 or more animals remaining but are unable to make any more legal moves, the game is over and you have lost.
For being a game with such simple rules and gameplay, it is way more strategic than meets the eye. Each card can only eat specific cards, so you’re trying to position them in a way that fulfills those requirements numerically. You also have to be thinking ahead to each card power, because that step is mandatory. You cannot choose to ignore a card ability just because it may be detrimental to you – that’s what keeps your strategy changing at all times! You’re playing a long game here, and must be looking ahead several turns in advance so as to not accidentally strand yourself with no legal moves left. Every move should be thought through and carefully calculated to see if you can truly win the game. Along with that, every game will have a different starting grid which ensures that you won’t play the same game twice. The rules even suggest alternate beginning grid layouts to provide further challenge to players.
The other thing I love about Food Chain Island is that it is so fast to play, and it has a small footprint. If I only had 5 minutes to spare and was dying to play a game, Food Chain Island is what I would pull out. The speed of gameplay doesn’t take away from the engagement and thought needed to be successful, and that keeps me coming back for more. I rarely just play one game at a time – I will play 4-5 in a row because it is so addicting! Although it’s not officially a Tiny Epic game, it is designed by the one and only Scott Almes who hits it out of the park with this one as well. Coupled with the quick play time, the small footprint of the game makes it easy to play at any place or time you want.
With every new wallet game, ButtonShy continues to surprise me with quality gameplay and design using only 18 cards. Food Chain Island is no exception, and is a perfect first installation in their new Simply Solo line of wallet games. I know that this is a game I will be backing to get the final production copy in lieu of my PnP copy. I encourage everyone to check this game out – whether you’ve played solo games or not, this is a great little filler or introductory game to the genre. Visit the Kickstarter before it’s too late!
You find yourself on a small, isolated island teeming with wildlife – but there is no set hierarchy! It’s a world of ‘eat or be eaten’ and you’ve got to survive. Manipulate the wildlife and organize the food chain in such a way that leaves you on top. Are you able to strategize the best meals, or will the island be left in chaos?
Disclaimer: We were provided a PnP version of Food Chain Island for the purposes of this preview. Please excuse my lack of a color printer, but rest assured that the artwork of the final product is eye-catching, colorful, and easy to read! Check out the Kickstarter (Live now through June 6th) for a look at the finished production copy. -L
Food Chain Island is a solo card game of network building and chaining in which players are trying to end with the fewest remaining cards possible. The game, like its other ButtonShy siblings, contains only 18 cards, divided into Land animals (16 cards) and Water animals (2 cards). All animals have a special power associated with it, and all of the Land animal cards are numbered from 0-15. To setup the game, set the 2 Water animals off to the side (you’ll use those later), shuffle all of the Land animals, and create a 4×4 face-up grid of Land animal cards. Now you can start the game!
Every turn you will move one animal card to ‘eat’ another. Select an animal, and move it one space in one of the four cardinal directions so that it is placed over top of another animal. The card that is now covered up is considered ‘eaten.’ Each animal may only eat certain other animals, however, so this is where the card number comes into play. An animal can only ‘eat’ any animal card that is 1-3 numbers lower than its value. For example, the ‘4’ animal can only eat cards 3, 2, or 1. Simple, right? Not so fast. Each animal also has a special ability on it, and you must activate the ability of that card once it has eaten another animal. This step is mandatory, and can really help or hinder your strategy – so make sure you are thinking about those abilities and not just the card numbers. At any time during the game, you may choose to discard one of the 2 Water animals from the side to perform its special ability in addition to, or instead of, the ability you just triggered. The game ends when you have only 1-3 animals remaining, the number remaining signifying varying degrees of success. If you have 4 or more animals remaining but are unable to make any more legal moves, the game is over and you have lost.
For being a game with such simple rules and gameplay, it is way more strategic than meets the eye. Each card can only eat specific cards, so you’re trying to position them in a way that fulfills those requirements numerically. You also have to be thinking ahead to each card power, because that step is mandatory. You cannot choose to ignore a card ability just because it may be detrimental to you – that’s what keeps your strategy changing at all times! You’re playing a long game here, and must be looking ahead several turns in advance so as to not accidentally strand yourself with no legal moves left. Every move should be thought through and carefully calculated to see if you can truly win the game. Along with that, every game will have a different starting grid which ensures that you won’t play the same game twice. The rules even suggest alternate beginning grid layouts to provide further challenge to players.
The other thing I love about Food Chain Island is that it is so fast to play, and it has a small footprint. If I only had 5 minutes to spare and was dying to play a game, Food Chain Island is what I would pull out. The speed of gameplay doesn’t take away from the engagement and thought needed to be successful, and that keeps me coming back for more. I rarely just play one game at a time – I will play 4-5 in a row because it is so addicting! Although it’s not officially a Tiny Epic game, it is designed by the one and only Scott Almes who hits it out of the park with this one as well. Coupled with the quick play time, the small footprint of the game makes it easy to play at any place or time you want.
With every new wallet game, ButtonShy continues to surprise me with quality gameplay and design using only 18 cards. Food Chain Island is no exception, and is a perfect first installation in their new Simply Solo line of wallet games. I know that this is a game I will be backing to get the final production copy in lieu of my PnP copy. I encourage everyone to check this game out – whether you’ve played solo games or not, this is a great little filler or introductory game to the genre. Visit the Kickstarter before it’s too late!
Ryan Hill (152 KP) rated Guardians of the Galaxy (2014) in Movies
May 10, 2019
“You said it yourself bitch, we’re the Guardians of the Galaxy”
The Marvel marathon continues. We started with the story of a soldier out of time. Now we move on to the tale of a group of losers having to learn not to kill each other and maybe, just maybe, becoming friends along the way. Guardians of the Galaxy I view as the movie that fully cemented Marvel Studios as the powerhouse we know today. The popularity of Iron Man and Thor spiked after their respective films, but I'm gonna guess if you pulled someone random off the street and asked them who either character was before their movies were released, they could probably at least tell you who they are. Now, not too far separated from the humongous success of The Avengers, here comes Marvel with a film about characters next to no one, not even some avid fans of comics, knew existed. And wouldn't you know, five years after Guardians came out and made Groot a household word, it's still one of their best films Marvel has made.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
Guardians of the Galaxy almost off the bat confronts two major complaints I hear about Marvel flicks. First, that they don't look cinematic. Call it the "TV show aesthetic." Moderately flat shots, muted colors, forgettable music, etc. Second, that they're too heavy on witty banter and don't leave enough room for genuinely meaty substance. In regards to the first point, this film looks gorgeous. The color palette and cinematography are both creative and have an absolute blast with the concept of creating a grandiose space opera with equal parts charm and toilet humor. Each planet has its own distinct decor and aliens. Gunn managed to create a fleshed-out, lively, and unique galaxy. In regards to the second point, while there is all sorts of banter to be found throughout, including a Jackson Pollock cum joke, Guardians of the Galaxy has to have the biggest heart out of any film in the MCU. The movie is a full measured ton of fun, but it tugs at the heartstrings in a way few modern blockbusters have been able to achieve.
Four of the five Guardians have something in their life that lead to great tragedy. Peter and Drax lost family very close to them. Gamora and Rocket were tortured and bred to be bloodthirsty warriors. But then, there's Groot. Sweet, unassuming Groot. A beast in battle, but a gentle giant otherwise. His existence seems simple. He eats a leaf off of his shoulder, he drinks water straight from a fountain, and he's more than willing to grow and give a flower to a small girl. He's perhaps the closest we have to a lead character who is wholly happy. The Guardians all start off as renegades, loners, folks reasonably hardened by lives that have enjoyed fucking them over. We get to see them by the end of the film not just grow into heroes, but friends and good people. I am Groot. You are Groot. We are Groot.
Marvel took a big gamble with this movie, but it payed off so absurdly well. The humor is great, the characters even better, and the atmosphere equal parts fun and emotional. Guardians of the Galaxy stands out in the sea of superhero films as a movie that wears its heart on its sleeve. It's weird, but it's damn proud of the fact that it is. Maybe it's alright to be a loser. The world could use a few more losers to help us along the way of life. I think what I'm trying to get down to is this: It was polite of James Gunn to make a movie to go along with his sick mixtape.
LilyLovesIndie (123 KP) rated The Truth Seekers in Books
Nov 5, 2018
A period romance of the highest order, this story is totally un-put-downable from the moment you first step foot into the twisted psyche of the enigmatic and, quite frankly, dark Mr Hawes. There are so many twists and turns and little surprises throughout this book that it truly is a wonderful read. But before I start to waffle too much in general terms, IÕll get stuck in in letting you know my thoughts.
To start, I think the characters are more than worthy of a mention. Lawrence is a master of character development, and I say this after having only read one of her books, but that is honestly how strongly I feel about it. Never, in all my many books, have I come across a character as understated yet complex as Miranda. At first sight, she appears to be a simple and quite ordinary society beauty, but how very wrong that assumption would be. As the story progresses, we see her develop into a fiesty, and then broken young woman, before she regains her spark. The journey she travels is so tangible you can almost feel the emotions pouring through the pages. And that brings me onto the strange Mr Hawes. HeÕs a character and a half. Awkward, rude and at times quite objectionable, yet I still felt endeared to his situation. I find him harder to describe, as he really is so different and out of the box that itÕs refreshing against the standard ÔconformityÕ to society norms you usually find in period novels.
Something else I think really needs mentioning is the fact that this book is hugely believable. I am a huge reader of historical books, I am a great history addict and I have to say, this book ticks every single box. ItÕs full of the little quirks you would expect to see in that time Ð the language, the traditions, the vacation spots. ItÕs all just sublimely weaved together to create a total immersion into this time. It is truly like reading a modern day Jane Austen, and I mean that as the highest compliment and the greatest praise for Lawrence. It is clear that there is a huge bank of knowledge behind this writing, and that makes it so much easier and enjoyable to read. Honestly, I canÕt praise it highly enough!
At the risk of repeating myself, I am going to touch briefly on the plot for my final batch of comments because I am left slightly astounded and speechless with this book. The plot is amazing. Put very simply I know, but it is just exquisite in itÕs development, itÕs execution and itÕs whole story is just perfect. I donÕt say that very often about books, but this is so worthy of the mention. IÕm just, well, struggling to put in to words exactly how much I loved the way the story developed. The twists and turns, sudden changes, and eventually the happiness weÕve been searching for from the start, it was all woven together with immense skill and understanding for the genre and that made it such an easy book to get lost in (in the best possible way).
In conclusion, just in case you didnÕt grasp it earlier in the review Ð I freaking loved this book! It was fantastic from start to finish. A great pace, wonderful characters and a delightful storyline that kept me hooked from page one. The only thing I didnÕt like is the fact it had to end! I cannot recommend this highly enough and I will be looking forward to devouring more of Elizabeth LawrenceÕs offerings as soon as I possibly can.
ARC received with thanks and first reviewed as part of a blog tour on Lily Loves Indie - http://lilylovesindie.co.uk/?p=267
To start, I think the characters are more than worthy of a mention. Lawrence is a master of character development, and I say this after having only read one of her books, but that is honestly how strongly I feel about it. Never, in all my many books, have I come across a character as understated yet complex as Miranda. At first sight, she appears to be a simple and quite ordinary society beauty, but how very wrong that assumption would be. As the story progresses, we see her develop into a fiesty, and then broken young woman, before she regains her spark. The journey she travels is so tangible you can almost feel the emotions pouring through the pages. And that brings me onto the strange Mr Hawes. HeÕs a character and a half. Awkward, rude and at times quite objectionable, yet I still felt endeared to his situation. I find him harder to describe, as he really is so different and out of the box that itÕs refreshing against the standard ÔconformityÕ to society norms you usually find in period novels.
Something else I think really needs mentioning is the fact that this book is hugely believable. I am a huge reader of historical books, I am a great history addict and I have to say, this book ticks every single box. ItÕs full of the little quirks you would expect to see in that time Ð the language, the traditions, the vacation spots. ItÕs all just sublimely weaved together to create a total immersion into this time. It is truly like reading a modern day Jane Austen, and I mean that as the highest compliment and the greatest praise for Lawrence. It is clear that there is a huge bank of knowledge behind this writing, and that makes it so much easier and enjoyable to read. Honestly, I canÕt praise it highly enough!
At the risk of repeating myself, I am going to touch briefly on the plot for my final batch of comments because I am left slightly astounded and speechless with this book. The plot is amazing. Put very simply I know, but it is just exquisite in itÕs development, itÕs execution and itÕs whole story is just perfect. I donÕt say that very often about books, but this is so worthy of the mention. IÕm just, well, struggling to put in to words exactly how much I loved the way the story developed. The twists and turns, sudden changes, and eventually the happiness weÕve been searching for from the start, it was all woven together with immense skill and understanding for the genre and that made it such an easy book to get lost in (in the best possible way).
In conclusion, just in case you didnÕt grasp it earlier in the review Ð I freaking loved this book! It was fantastic from start to finish. A great pace, wonderful characters and a delightful storyline that kept me hooked from page one. The only thing I didnÕt like is the fact it had to end! I cannot recommend this highly enough and I will be looking forward to devouring more of Elizabeth LawrenceÕs offerings as soon as I possibly can.
ARC received with thanks and first reviewed as part of a blog tour on Lily Loves Indie - http://lilylovesindie.co.uk/?p=267
Gareth von Kallenbach (980 KP) rated Chappie (2015) in Movies
Jun 19, 2019
In the world of 2016 South Africa, the police have taken a firm stand against the out of control crime problem facing the community by deploying a new line of robotic police officers. The robots known as “Scouts” are the creation of Deon Wilson (Dev Patel), who works for a defense contractor and dreams of taking artificial intelligence to the next level.
His boss Michelle (Sigourney Weaver), is not interested in anything other than the bottom line and discourages any creation or research that do not have military and financial ramification to them.
Deon must also content with an ex-soldier and rival designer named Vincent (Hugh Jackman), who is jealous of the success of the Scouts and wants to instead see his heavy weapons unit be given the chance to shine.
When he has a breakthrough, Deon opts to defy his boss and installs a new and revolutionary A.I. program into a Scout that was scheduled to be demolished after taking extensive damage in the field.
Things do not go as planned when Deon and his creation are captured by a gang who are desperate to raise money in order to pay back a debt to a rival gangster.
The new unit is like a child and Deon explains that he has to be treated like a child and given the chance to learn. The fact that his damage prevents him from being able to be recharged means the Scout now named “Chappie” only a few days of life adds urgency to the situation.
The gang starts to teach Chappie (Sharito Copley), when he needs to know to help them pull of their crimes but also become attached to him as he innocent ways and outlook start to grow on the gruff criminals.
With the clock ticking, events take a turn when Vincent takes matters into his own hands and before long several parties are pitted against one another with their very survival on the line.
Writer./Director Neil Blomkamp has crafted a “Thinking Man’s” science fiction film that evokes many solid debates about the definition of life, death, a soul, and other less tangible themes. The film has some action at the beginning and end and the CGI effects are very solid.
The biggest issue I had with the film was that the great premise lost momentum in the final act and in many ways takes some huge leaps of faith. We are supposed to believe that this is a top defense company yet people are able to come and go, especially at crunch time during the film. I had no idea you can just drive through a fence into a loading dock without every encountering any security or resistance. The area is like a revolving door as characters come and go without raising an eyebrow.
The cast is solid but some may have an issue with the accents in the film which Blomkamp recognizes by adding in subtitles at various moments in the film.
In the end “Chappie” is a good premise that never fully meets the potential it aspires to but still has enough good moments to underscore that Blomkamp is one of the most gifted talents in Science Fiction as he is able to infuse what would otherwise be a soulless character with enough heart and compassion that the audience will have empathy for him. With that in mind, Blomkamp should do a great job with the upcoming new Alien film as he has crafted a solid and enjoyable film that entertains while making you think about the deeper issues of existence without doing it in a heavy-handed manner.
http://sknr.net/2015/03/06/chappie/
His boss Michelle (Sigourney Weaver), is not interested in anything other than the bottom line and discourages any creation or research that do not have military and financial ramification to them.
Deon must also content with an ex-soldier and rival designer named Vincent (Hugh Jackman), who is jealous of the success of the Scouts and wants to instead see his heavy weapons unit be given the chance to shine.
When he has a breakthrough, Deon opts to defy his boss and installs a new and revolutionary A.I. program into a Scout that was scheduled to be demolished after taking extensive damage in the field.
Things do not go as planned when Deon and his creation are captured by a gang who are desperate to raise money in order to pay back a debt to a rival gangster.
The new unit is like a child and Deon explains that he has to be treated like a child and given the chance to learn. The fact that his damage prevents him from being able to be recharged means the Scout now named “Chappie” only a few days of life adds urgency to the situation.
The gang starts to teach Chappie (Sharito Copley), when he needs to know to help them pull of their crimes but also become attached to him as he innocent ways and outlook start to grow on the gruff criminals.
With the clock ticking, events take a turn when Vincent takes matters into his own hands and before long several parties are pitted against one another with their very survival on the line.
Writer./Director Neil Blomkamp has crafted a “Thinking Man’s” science fiction film that evokes many solid debates about the definition of life, death, a soul, and other less tangible themes. The film has some action at the beginning and end and the CGI effects are very solid.
The biggest issue I had with the film was that the great premise lost momentum in the final act and in many ways takes some huge leaps of faith. We are supposed to believe that this is a top defense company yet people are able to come and go, especially at crunch time during the film. I had no idea you can just drive through a fence into a loading dock without every encountering any security or resistance. The area is like a revolving door as characters come and go without raising an eyebrow.
The cast is solid but some may have an issue with the accents in the film which Blomkamp recognizes by adding in subtitles at various moments in the film.
In the end “Chappie” is a good premise that never fully meets the potential it aspires to but still has enough good moments to underscore that Blomkamp is one of the most gifted talents in Science Fiction as he is able to infuse what would otherwise be a soulless character with enough heart and compassion that the audience will have empathy for him. With that in mind, Blomkamp should do a great job with the upcoming new Alien film as he has crafted a solid and enjoyable film that entertains while making you think about the deeper issues of existence without doing it in a heavy-handed manner.
http://sknr.net/2015/03/06/chappie/
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Hadley (567 KP) rated A Deadly Education: Lesson One of the Scholomance in Books
Dec 19, 2020
A darker version of Harry Potter (1 more)
Witchcraft/occult
Main character was unlikable (1 more)
Too much internal dialogue
It's nice knowing that books about witches aren't dead. The main idea of Naomi Novik's new novel, A Deadly Education - - - a new series with the second book already slated to release in 2021 - - - is about a school of magic that is focused on survival. Of course, this may bring about similarities of J.K. Rowling's Harry Potter series, but this story is no way the same, A Deadly Education is a much darker witch school story with young murderers and also monsters that eat the students alive.
Yet this dark and morbid story is about a young girl who has been foreseen to possess powers that could destroy millions of people as our main character, and she can be quite off-putting at times. Her personality - - - a need to be liked, but refuses to allow anyone to like her, her need to show that she is always the smartest person in the room, and her blatant rudeness to a young man that saves her life more than once - - - makes it hard, as a reader, to root for this character. She does have moments of dark humor that made me laugh, moments of sarcasm that were pretty good, but she quickly assumes that everyone hates her and wants her to die before making it to senior graduation.
Galadriel is her name, but she prefers to go by El, and both of her parents were students at this Scholomance. She begins by talking about different kinds of witches there are at the school, including ones that use malia. Malia is a form of magic that takes it's mana from living things, including people. One such student she knows that uses malia is Yi Liu. El describes how malia of this sort slowly kills the one using it by telling the reader that Liu's eyes are turning all white, and her nails have gone completely black (and it's not polish).
Early on, readers are told about enclaves at the school, usually rich kids whose families have had more survivors from graduating classes than others. Students who are not part of these cliques know that it is very important to try to get an invitation to join one before senior year because your chances of survival are higher with a group than by yourself. El spends most of her time debating whether she wants to be part of one or not; her shifts in decisions are quite annoying. After she is saved by a student named Orion Lake, who is an enclaver from New York, she quickly decides to use him to obtain a seat in his enclave: " I couldn't blame her, really. It wasn't stupid to want to be pals with Orion if that looked like a real possibility. Aadhya's family lives in New Jersey: if she got into the New York enclave, she could probably pull them all inside. And I couldn't afford to alienate one of the vanishing few people who are willing to deal with me. "
Throughout the story, El becomes angrier and angrier every time that Lake saves her from being killed (which ends up almost being ten times), but one such time that he isn't able to, readers finally get to see what her powers have taught her, and this is practically the only time that we do: while an attack is happening in the library, El decides to go after Lake and help him save other students, but you can easily get lost in the library due to the shelves constantly moving, or you can be eaten because of the dark areas the shelves create; this is when a giant creature appears called a maw-mouth: "My whole body was clenched and waiting for it, and in the next flare of deep-red light I met half a dozen human eyes watching me, scattered over the thick rolling folds of the translucent, glossy mass that was just bulging its way out of the vent, many mouths open and working for air. " El tells us that the only way to stop a maw-mouth is to give it indigestion. "I stopped, and I used the best of the nineteen spells I know for killing an entire roomful of people, the shortest one; it's just three words in French, a la mort, but it must be cast carelessly, with a flick of the hand that most people get wrong, and if you get it even a little wrong, it kills you instead. " She does it correctly and the maw-mouth is defeated.
El believes that she saved a majority of the students from being killed by defeating the maw-mouth, but when she goes to breakfast the next morning, she finds out that a student had been 'poached' by a senior student. Every student's dorm room has a wall or spot that is nothing but a black abyss, where if anything that enters it will disappear forever. 'Poaching' is an act that has happened at the school before, and it's when a student pushes another student into the void, usually to take over their dorm room because the former's is unsafe. Oddly, this isn't surprising that it happened, when life at the school is life or death, people, especially teenagers, will make rash decisions without adults being present - - - yes, there are no teachers at this school, and everything seems to appear out of thin air.
The novel finally picks up pace when the wall leading to the graduation hall, which contains two maw-mouths for the senior class, is starting to break away, threatening to release any and all creatures into the school: "If a hole opened up to the graduation hall before the senior dorms were closed off, the seniors went from being the whole buffet to the toughest and most stale entrees on the menu. "
When the students decide to work together to patch up the hole, they soon find out that the senior students don't want it patched up: " 'But we also don't want to let you buy your lives with ours. That's what I hear seniors saying. Not, let's rip open the school, but why don't we make you, your class, graduate with us. Your class are the ones Orion has saved the most.' Chloe flinched visibly, and a lot of the other kids at our table tensed. 'So? Are you all willing to do that, graduate early, to save the poor little freshmen? If not, you can stop ' - - - she waved a hand in a spiraling circle, making a gesture of drama - - -'about how evil we are because we don't want to die...' "
The atmosphere in the story makes the threat of death in the school very real, but Novik's main character isn't well-written; there are side characters that I found much more interesting than El, and were better written. Lake is even a better character - - - especially when readers find out why he has a need to save people - - - I honestly believe it would have been a better story from Lake's point-of-view. Also, the amount of explaining that Novik does in the novel really breaks up the flow of the story, sometimes stopping right in the middle of an important scene just to explain something about the school.
I will be reading the sequel when it comes out because I do want to know what happens to a lot of the side characters and their senior graduation, but I can only recommend this book to people who love stories about witches and the occult. As for horror fans, I don't think you would get your fix from this novel.
Yet this dark and morbid story is about a young girl who has been foreseen to possess powers that could destroy millions of people as our main character, and she can be quite off-putting at times. Her personality - - - a need to be liked, but refuses to allow anyone to like her, her need to show that she is always the smartest person in the room, and her blatant rudeness to a young man that saves her life more than once - - - makes it hard, as a reader, to root for this character. She does have moments of dark humor that made me laugh, moments of sarcasm that were pretty good, but she quickly assumes that everyone hates her and wants her to die before making it to senior graduation.
Galadriel is her name, but she prefers to go by El, and both of her parents were students at this Scholomance. She begins by talking about different kinds of witches there are at the school, including ones that use malia. Malia is a form of magic that takes it's mana from living things, including people. One such student she knows that uses malia is Yi Liu. El describes how malia of this sort slowly kills the one using it by telling the reader that Liu's eyes are turning all white, and her nails have gone completely black (and it's not polish).
Early on, readers are told about enclaves at the school, usually rich kids whose families have had more survivors from graduating classes than others. Students who are not part of these cliques know that it is very important to try to get an invitation to join one before senior year because your chances of survival are higher with a group than by yourself. El spends most of her time debating whether she wants to be part of one or not; her shifts in decisions are quite annoying. After she is saved by a student named Orion Lake, who is an enclaver from New York, she quickly decides to use him to obtain a seat in his enclave: " I couldn't blame her, really. It wasn't stupid to want to be pals with Orion if that looked like a real possibility. Aadhya's family lives in New Jersey: if she got into the New York enclave, she could probably pull them all inside. And I couldn't afford to alienate one of the vanishing few people who are willing to deal with me. "
Throughout the story, El becomes angrier and angrier every time that Lake saves her from being killed (which ends up almost being ten times), but one such time that he isn't able to, readers finally get to see what her powers have taught her, and this is practically the only time that we do: while an attack is happening in the library, El decides to go after Lake and help him save other students, but you can easily get lost in the library due to the shelves constantly moving, or you can be eaten because of the dark areas the shelves create; this is when a giant creature appears called a maw-mouth: "My whole body was clenched and waiting for it, and in the next flare of deep-red light I met half a dozen human eyes watching me, scattered over the thick rolling folds of the translucent, glossy mass that was just bulging its way out of the vent, many mouths open and working for air. " El tells us that the only way to stop a maw-mouth is to give it indigestion. "I stopped, and I used the best of the nineteen spells I know for killing an entire roomful of people, the shortest one; it's just three words in French, a la mort, but it must be cast carelessly, with a flick of the hand that most people get wrong, and if you get it even a little wrong, it kills you instead. " She does it correctly and the maw-mouth is defeated.
El believes that she saved a majority of the students from being killed by defeating the maw-mouth, but when she goes to breakfast the next morning, she finds out that a student had been 'poached' by a senior student. Every student's dorm room has a wall or spot that is nothing but a black abyss, where if anything that enters it will disappear forever. 'Poaching' is an act that has happened at the school before, and it's when a student pushes another student into the void, usually to take over their dorm room because the former's is unsafe. Oddly, this isn't surprising that it happened, when life at the school is life or death, people, especially teenagers, will make rash decisions without adults being present - - - yes, there are no teachers at this school, and everything seems to appear out of thin air.
The novel finally picks up pace when the wall leading to the graduation hall, which contains two maw-mouths for the senior class, is starting to break away, threatening to release any and all creatures into the school: "If a hole opened up to the graduation hall before the senior dorms were closed off, the seniors went from being the whole buffet to the toughest and most stale entrees on the menu. "
When the students decide to work together to patch up the hole, they soon find out that the senior students don't want it patched up: " 'But we also don't want to let you buy your lives with ours. That's what I hear seniors saying. Not, let's rip open the school, but why don't we make you, your class, graduate with us. Your class are the ones Orion has saved the most.' Chloe flinched visibly, and a lot of the other kids at our table tensed. 'So? Are you all willing to do that, graduate early, to save the poor little freshmen? If not, you can stop ' - - - she waved a hand in a spiraling circle, making a gesture of drama - - -'about how evil we are because we don't want to die...' "
The atmosphere in the story makes the threat of death in the school very real, but Novik's main character isn't well-written; there are side characters that I found much more interesting than El, and were better written. Lake is even a better character - - - especially when readers find out why he has a need to save people - - - I honestly believe it would have been a better story from Lake's point-of-view. Also, the amount of explaining that Novik does in the novel really breaks up the flow of the story, sometimes stopping right in the middle of an important scene just to explain something about the school.
I will be reading the sequel when it comes out because I do want to know what happens to a lot of the side characters and their senior graduation, but I can only recommend this book to people who love stories about witches and the occult. As for horror fans, I don't think you would get your fix from this novel.
Kristy H (1252 KP) rated After the Fall in Books
Dec 24, 2017
lovely (1 more)
poignant
There are all sorts of falls.
For Honor, it is an actual fall. An intelligent, proud woman, Honor raised her son, Stephen, alone. But Stephen married and then unexpectedly passed away, and Honor lives by herself. A fall down the stairs of her stately home lands her in the hospital with a broken hip and her pride deeply wounded. Suddenly, Honor is at the mercy of her former daughter-in-law, Jo, who was Stephen's wife, to help care for her.
For Jo, her fall may not be physical, but she feels as if she's always trying to catch up. Perpetually optimistic, Jo is constantly cheerful for those around her, but she cannot always hide her own doubts about where her life is headed, or if she's doing right by her three children. She's a busy mom to Lydia, Oscar, and Iris, and recently divorced from Oscar and Iris' father. She also fears she may be falling... for another man.
And for Lydia, she too has fallen in love. But she's also a teenager, who lost her father young, and she's dealing with the trials of school and exams. Lydia has a secret, as well: one that threatens her ability to blend in at school and home.
This book, oh this book. I adored this book so much. I fell for these characters (so sorry for that awful pun) hard. From the moment I started reading about feisty Honor, cheery Jo, and teenage Lydia, I loved them. I loved their problems, their sense of humor, and their family. This novel is beautifully written, achingly touching, and often laugh out loud funny.
It alternates between the points of view of our three main women: Honor, Jo, and Lydia. Honor and Jo have never been close, as Honor resented Jo marrying her son, and Jo felt intimidated by the intelligent and strong Honor. But after Honor's fall, she's forced to move in with Jo, her granddaughter Lydia, and Jo's young children with her second husband. The book slowly unfolds the details of how Stephen (Honor's son) passed away and the effect it had on all three women. The entire novel, really, is about little life details and how each they've impacted the three in various ways. In fact, you learn that while we are hearing these stories from three connected people, they really don't know each very well at all. Cohen captures so well how much they need each other, but can't admit it.
As such, there is a poignancy to the novel, as we watch the women navigate life and keep a variety of secrets and hidden sadness from each other. But unlike so many novels, where I want to just scream at the characters to communicate, or where it seems like the entire plot could have been avoided by someone simply talking to another character, this novel is real and true. For instance, Lydia's teen angst and the trials of her adolescence are also so beautifully (although heartbreakingly) portrayed.
It also captures the trials of having children so perfectly. There are some hilarious scenes as Jo navigates caring for her two younger children. Even better are the moments of prickly Honor interacting with young Iris and Oscar. You cannot help but laugh. There is a moment with Oscar and Honor that made me laugh and nearly cry; it was just so funny and touching. The novel is filled with many of these wonderful and witty moments.
I loved how these characters never failed to surprise me. Yes, there were some plot points you could see coming, but they didn't diminish my joy for the book or the depth of the characters. Nothing felt too cliche, and I remained captivated and intrigued. I felt a part of their story and lives. The novel really makes you think; its plot is not just "fluff."
By the end, I still loved all three so much, and my only disappointment was that the book ended.
For Honor, it is an actual fall. An intelligent, proud woman, Honor raised her son, Stephen, alone. But Stephen married and then unexpectedly passed away, and Honor lives by herself. A fall down the stairs of her stately home lands her in the hospital with a broken hip and her pride deeply wounded. Suddenly, Honor is at the mercy of her former daughter-in-law, Jo, who was Stephen's wife, to help care for her.
For Jo, her fall may not be physical, but she feels as if she's always trying to catch up. Perpetually optimistic, Jo is constantly cheerful for those around her, but she cannot always hide her own doubts about where her life is headed, or if she's doing right by her three children. She's a busy mom to Lydia, Oscar, and Iris, and recently divorced from Oscar and Iris' father. She also fears she may be falling... for another man.
And for Lydia, she too has fallen in love. But she's also a teenager, who lost her father young, and she's dealing with the trials of school and exams. Lydia has a secret, as well: one that threatens her ability to blend in at school and home.
This book, oh this book. I adored this book so much. I fell for these characters (so sorry for that awful pun) hard. From the moment I started reading about feisty Honor, cheery Jo, and teenage Lydia, I loved them. I loved their problems, their sense of humor, and their family. This novel is beautifully written, achingly touching, and often laugh out loud funny.
It alternates between the points of view of our three main women: Honor, Jo, and Lydia. Honor and Jo have never been close, as Honor resented Jo marrying her son, and Jo felt intimidated by the intelligent and strong Honor. But after Honor's fall, she's forced to move in with Jo, her granddaughter Lydia, and Jo's young children with her second husband. The book slowly unfolds the details of how Stephen (Honor's son) passed away and the effect it had on all three women. The entire novel, really, is about little life details and how each they've impacted the three in various ways. In fact, you learn that while we are hearing these stories from three connected people, they really don't know each very well at all. Cohen captures so well how much they need each other, but can't admit it.
As such, there is a poignancy to the novel, as we watch the women navigate life and keep a variety of secrets and hidden sadness from each other. But unlike so many novels, where I want to just scream at the characters to communicate, or where it seems like the entire plot could have been avoided by someone simply talking to another character, this novel is real and true. For instance, Lydia's teen angst and the trials of her adolescence are also so beautifully (although heartbreakingly) portrayed.
It also captures the trials of having children so perfectly. There are some hilarious scenes as Jo navigates caring for her two younger children. Even better are the moments of prickly Honor interacting with young Iris and Oscar. You cannot help but laugh. There is a moment with Oscar and Honor that made me laugh and nearly cry; it was just so funny and touching. The novel is filled with many of these wonderful and witty moments.
I loved how these characters never failed to surprise me. Yes, there were some plot points you could see coming, but they didn't diminish my joy for the book or the depth of the characters. Nothing felt too cliche, and I remained captivated and intrigued. I felt a part of their story and lives. The novel really makes you think; its plot is not just "fluff."
By the end, I still loved all three so much, and my only disappointment was that the book ended.
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