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Connor Sheffield (293 KP) rated Logan (2017) in Movies
Apr 19, 2017
Hugh Jackman completes his journey as Wolverine (1 more)
An emotional journey
Mutant with Human emotion
There are so many superhero movies these days, that the genre becomes somewhat dull and repetitive, especially when it comes to Marvel (not saying Marvel is dull and boring, but some of the films are somewhat lacking due to how many films there are each year - Just my opinion), but Logan is one of the greatest comic book movies I have seen for a while, for the fact that it makes Logan more human and explores the feeling of trying to fit into society, despite being so different.
Logan has always had a part of him deep down that just wants to be normal. He never wanted his power and though he's thankful for it in some ways he feels like he wouldn't have been lost without it if he never had it to begin with. This film explores that notion even further than the previous films as shows us Logan in the role of a father figure to young Laura and a son figure to a now very old Charles Xavier. In this film Logan doesn't feel like he's a mutant in the company of other mutants, He feels like he's apart of a family.
SPOILERS AHEAD!!
Later in the film we see Logan's fatherly side after Charles passes away, and Logan risks everything to keep Laura safe and to teach her right and wrong, and give her a parenting love that she hasn't known before in her young life. This also shines through the portrayal of young Laura (portrayed by the talented Dafne Keen) as we see her become more and more attached to Old Man Logan (I had to!). This is what makes this film the most human feeling superhero movie that I've ever seen.
The R rating makes this film come to life by bringing death in the most brutal of ways because it allows Laura to see what Logan has become and makes his message to her and to the audience a lot clearer. "Don't become what they made you"
Through all of the bloody violence and anger Laura is able to understand those words more clearly than if it was a 15 rated film because we see Logan when he becomes savage and truly unleashes his full anger that's built up over his long lifetime of war and hatred.
When this film comes to an end (my lord that ending had me balling like a baby) and we see Laura say her final goodbyes to Logan, you don't want it to end because you know that this has finally been the one time that Logan felt human and felt a true connection to someone. (Also because we want Hugh Jackman to be Wolverine forever)
The cinematography and directing of this movie is beautiful to look at and witness as the scenes unfold. The cast perform to the highest of standards and really deliver a convincing story the makes you feel sympathetic to each of the main characters.
Wolverine will never be the same without Hugh Jackman, but we must not be too quick to dismiss the new casting choice when it comes around. You never know, they might surprise you.
Logan has always had a part of him deep down that just wants to be normal. He never wanted his power and though he's thankful for it in some ways he feels like he wouldn't have been lost without it if he never had it to begin with. This film explores that notion even further than the previous films as shows us Logan in the role of a father figure to young Laura and a son figure to a now very old Charles Xavier. In this film Logan doesn't feel like he's a mutant in the company of other mutants, He feels like he's apart of a family.
SPOILERS AHEAD!!
Later in the film we see Logan's fatherly side after Charles passes away, and Logan risks everything to keep Laura safe and to teach her right and wrong, and give her a parenting love that she hasn't known before in her young life. This also shines through the portrayal of young Laura (portrayed by the talented Dafne Keen) as we see her become more and more attached to Old Man Logan (I had to!). This is what makes this film the most human feeling superhero movie that I've ever seen.
The R rating makes this film come to life by bringing death in the most brutal of ways because it allows Laura to see what Logan has become and makes his message to her and to the audience a lot clearer. "Don't become what they made you"
Through all of the bloody violence and anger Laura is able to understand those words more clearly than if it was a 15 rated film because we see Logan when he becomes savage and truly unleashes his full anger that's built up over his long lifetime of war and hatred.
When this film comes to an end (my lord that ending had me balling like a baby) and we see Laura say her final goodbyes to Logan, you don't want it to end because you know that this has finally been the one time that Logan felt human and felt a true connection to someone. (Also because we want Hugh Jackman to be Wolverine forever)
The cinematography and directing of this movie is beautiful to look at and witness as the scenes unfold. The cast perform to the highest of standards and really deliver a convincing story the makes you feel sympathetic to each of the main characters.
Wolverine will never be the same without Hugh Jackman, but we must not be too quick to dismiss the new casting choice when it comes around. You never know, they might surprise you.
Kristy H (1252 KP) rated Good Luck with That in Books
Mar 11, 2019
Powerful, emotional read, but completely worth it
Emerson, Georgia, and Marley have been best friends since they were teens. They met at Camp Copperbrook, a weight-loss camp. They've stayed close ever since, so when Emerson passes away, Georgia and Marley are distraught. Emerson asks her friends to complete a list they made at camp, forcing both Georgia and Marley to confront some long-held fears. Marley still feels guilty since her twin sister, Frankie, died when they were four. And Georgia, has been scarred by the exacting conditions--especially about weight--passed on by her mother and brother. And she's hurt after the ending of her marriage. But Georgia and Marley are determined to complete the items on the list, for Emerson, even if it means getting past their comfort zone and learning to love themselves just as they are.
I'll be honest. I wasn't sure I'd like this one in the beginning. The tell-it-like-it-is weight talk is jarring at first, so are Marley's many, many references to her dead twin. I was confused about who was talking, eventually having to make myself a little cheat sheet to keep Georgia and Marley and their various family members/histories straight. But, pretty quickly, this book grew on me, and became a very powerful, very heartbreaking, very realistic, and very lovely read.
This isn't an easy-to-read book. It's starkly realistic and tells it like it is. Weight, life, reality, friendship, parenting, and more. It's tough to read and touches on the insecurities we all have deep inside ourselves, plus how cruel the world can be to those it deems "different." It made me very sad at times.
Luckily, the novel is also infused with Higgins' trademark humor. The woman can write a darn funny scene and even with the serious topics she covers here, there are plenty of funny times and warmth throughout this novel. She can make piggyback rides humorous. And running! Marley and Georgia become real people throughout the course of this novel, and so much of their friendship is witty and hilarious. I really grew to love them.
The book is also powerful in so many ways. Yes, it can be powerfully sad and heartbreaking at times, but it's also just powerfully well-done. I really think this is a book everyone should read, especially parents or anyone who spends time around teens. Georgia's teenage nephew, Mason, quickly became one of my favorite characters. His storyline has nothing to do with weight, but everything to do with self-acceptance, and I totally adored him.
There's so much going on in this book. The power of friendship. Struggling with weight and loving yourself. And the idea of, What happens when we get everything we want and we still aren't happy? So much resonated with me. The book will make you laugh. It will make you cry. Parts of it are predictable, but in the total Higgins fashion of exactly the way you want them to be.
Overall, this book was nothing like what I expected, but that's totally OK. It's really a powerful, tough, emotional read, but completely worth it. By the end, I was completely immersed in the characters' lives and the story. I found it to be heartbreaking and beautiful, and I certainly recommend it.
I'll be honest. I wasn't sure I'd like this one in the beginning. The tell-it-like-it-is weight talk is jarring at first, so are Marley's many, many references to her dead twin. I was confused about who was talking, eventually having to make myself a little cheat sheet to keep Georgia and Marley and their various family members/histories straight. But, pretty quickly, this book grew on me, and became a very powerful, very heartbreaking, very realistic, and very lovely read.
This isn't an easy-to-read book. It's starkly realistic and tells it like it is. Weight, life, reality, friendship, parenting, and more. It's tough to read and touches on the insecurities we all have deep inside ourselves, plus how cruel the world can be to those it deems "different." It made me very sad at times.
Luckily, the novel is also infused with Higgins' trademark humor. The woman can write a darn funny scene and even with the serious topics she covers here, there are plenty of funny times and warmth throughout this novel. She can make piggyback rides humorous. And running! Marley and Georgia become real people throughout the course of this novel, and so much of their friendship is witty and hilarious. I really grew to love them.
The book is also powerful in so many ways. Yes, it can be powerfully sad and heartbreaking at times, but it's also just powerfully well-done. I really think this is a book everyone should read, especially parents or anyone who spends time around teens. Georgia's teenage nephew, Mason, quickly became one of my favorite characters. His storyline has nothing to do with weight, but everything to do with self-acceptance, and I totally adored him.
There's so much going on in this book. The power of friendship. Struggling with weight and loving yourself. And the idea of, What happens when we get everything we want and we still aren't happy? So much resonated with me. The book will make you laugh. It will make you cry. Parts of it are predictable, but in the total Higgins fashion of exactly the way you want them to be.
Overall, this book was nothing like what I expected, but that's totally OK. It's really a powerful, tough, emotional read, but completely worth it. By the end, I was completely immersed in the characters' lives and the story. I found it to be heartbreaking and beautiful, and I certainly recommend it.
Kristy H (1252 KP) rated Every Last Lie in Books
Jan 23, 2018
Irritating characters (1 more)
Letdown of an ending
A bit of a letdown
Clara Solberg's new son, Felix, is just days old when her husband, Nick, and four-year-old daughter, Maisie are in a terrible car crash. They are heading home from Maisie's ballet class when Nick takes a curve too fast and the car slams into a tree--Maisie is amazingly uninjured, but Nick is killed. Devastated, Clara finds herself unable to sleep or eat and soon, Maisie begins having nightmares, telling her mother a bad man is after her and showing fear about a particular kind of car. Clara begins to wonder if her husband's death was really an accident. As she investigates, she also starts to ponder if she knew Nick at all.
Kubica's latest is told in alternating perspectives: Clara, as she deals with the aftermath of her husband's untimely death, and Nick, in the months leading up to the car crash. It should be an effective format, causing things to unfurl slowly and build tension and suspense. Unfortunately, in this case, it also creates a layer of stress. Maybe I just caught this book at a bad time--I was busy with work and could only pick it up in bits and pieces for a while--but the first 2/3 or so just stressed me out. I found myself almost dreading picking it back up and finding out what Clara was up to. While we should have sympathy for Clara, as her husband is dead and she's left alone with two small children, I often found her annoying and, honestly, a borderline terrible parent.
As such, her parenting decisions and overall bad judgment left me unable to enjoy or even fathom huge portions of the novel. Maybe she's clouded by grief and fatigue, but I'm not sure I'd immediately go from my child having one nightmare to thinking my husband had been killed. Nor would I leave my children in the (hot) car alone everywhere I went, chasing down leads on this supposed murder. Good grief. Her unhinged behavior was hard to stomach after awhile.
Nick's portions were almost easier to read, even if he too is an unsympathetic character: a man who just needed to not lie constantly to his wife. (Why, why must characters just lie incessantly in some of these novels?)
The one redeeming facet for this novel was the last third--and again, I have to say that maybe I just found the book at a bad time, because when I finally found a little time to read it uninterrupted (e.g., stay up too late the night before my children started school--a decision I'm still regretting), it did pick up. I read the last third in one setting, because the dramatic tension was finally affecting me, and I needed to know what happened.
Still, even in the end, I felt let down by it all. Why did I read this? What was the point? I have read two other of Kubica's novels and enjoyed them, particularly Pretty Baby, but this one just didn't do it for me.
Overall: stressful, lacked the appropriate tension for most of the novel, belabored by annoying/irritating characters, and a letdown of an ending. Before writing this review, I was thinking 3 stars, but as I'm writing, I realized this was a 2.5 star read for me. Hopefully you will enjoy it more than me. I will definitely read whatever Kubica writes (and I still have The Good Girl waiting on my Kindle app), but I'm disappointed by this one.
More at http://justacatandabookatherside.blogspot.com/.
Kubica's latest is told in alternating perspectives: Clara, as she deals with the aftermath of her husband's untimely death, and Nick, in the months leading up to the car crash. It should be an effective format, causing things to unfurl slowly and build tension and suspense. Unfortunately, in this case, it also creates a layer of stress. Maybe I just caught this book at a bad time--I was busy with work and could only pick it up in bits and pieces for a while--but the first 2/3 or so just stressed me out. I found myself almost dreading picking it back up and finding out what Clara was up to. While we should have sympathy for Clara, as her husband is dead and she's left alone with two small children, I often found her annoying and, honestly, a borderline terrible parent.
As such, her parenting decisions and overall bad judgment left me unable to enjoy or even fathom huge portions of the novel. Maybe she's clouded by grief and fatigue, but I'm not sure I'd immediately go from my child having one nightmare to thinking my husband had been killed. Nor would I leave my children in the (hot) car alone everywhere I went, chasing down leads on this supposed murder. Good grief. Her unhinged behavior was hard to stomach after awhile.
Nick's portions were almost easier to read, even if he too is an unsympathetic character: a man who just needed to not lie constantly to his wife. (Why, why must characters just lie incessantly in some of these novels?)
The one redeeming facet for this novel was the last third--and again, I have to say that maybe I just found the book at a bad time, because when I finally found a little time to read it uninterrupted (e.g., stay up too late the night before my children started school--a decision I'm still regretting), it did pick up. I read the last third in one setting, because the dramatic tension was finally affecting me, and I needed to know what happened.
Still, even in the end, I felt let down by it all. Why did I read this? What was the point? I have read two other of Kubica's novels and enjoyed them, particularly Pretty Baby, but this one just didn't do it for me.
Overall: stressful, lacked the appropriate tension for most of the novel, belabored by annoying/irritating characters, and a letdown of an ending. Before writing this review, I was thinking 3 stars, but as I'm writing, I realized this was a 2.5 star read for me. Hopefully you will enjoy it more than me. I will definitely read whatever Kubica writes (and I still have The Good Girl waiting on my Kindle app), but I'm disappointed by this one.
More at http://justacatandabookatherside.blogspot.com/.
Sass Perilla (36 KP) rated Frankenstein in Books
Aug 9, 2019
The plot and major themes. (1 more)
Further work it inspired.
Readable, but disjointed and repetitive in parts.
Contains spoilers, click to show
Fundamentally, the problem with this book is the narrator, Victor. He is thoroughly detestable. A selfish, cowardly, irresponsible, excuse ridden, narcissistic d****e-bag of the highest order. And unfortunately, it is Victor Frankenstein’s POV that we are forced into for the majority of the novel.
My hatred for and frustration with the self-pitying, feckless behaviour of the (pseudo)
protagonist made this an irritating read for me- and to an extent I think this was Shelley’s intention. Victor isn’t designed to be the likable, affable, morally “good” man fallen from grace he believes himself to be, and the horrific events that befall those around him are of his making.
However, this doesn’t make him any less grating! The "monster" (to me reminiscent of Caliban with his lyrical speech and enforced isolation, being neither man nor not man) is eloquent and persuasive when he asks his creator to account for his misdoings. So, you’ve got to ask yourself, if an infanticidal, demonic, bag of sew together corpses is actually more engaging than the main storyteller, is that storyteller really the
right character to be telling the story?
Now, with all that said, it is an important book. A work by a female author with strong female characters (albeit background characters) who was only nineteen when she wrote the initial draft. Very impressive. But, for me her youth is evident. When we teach secondary school pupils to write creatively, we often give them the ambiguous instruction “show don’t tell”, and for me the book is more of a list of horrible and horrific events told in a Chinese puzzle box style story within a story, rather than an engaging and “complete” narrative. It feels like she chooses to place focus on the wrong “bits”- for example the whole of chapter nineteen where Victor travels the British Isles, comments briefly on the local architecture of each town and city and
then repetitively reminds us that he couldn’t enjoy the surroundings because of his angst.
And I would have at least like to have seen some of the courtroom drama when Victor is tried for the death of Clerval...
So, I hate to be “that” gal, who poo-poos these fantastic works of fiction (we know they’re great because some clever-britches told us they were) but in all honesty, the novel ain’t that good, and I’ll maintain that stance no matter how clever the britches of the opposing schools of thought.
I think the continuing appeal is in it’s universal themes: parenting, nature versus
nurture; morality and scientific advancement- and the whole idea of stitching a creature out of
corpse-parts and electrocuting it to life is pretty darn cool. And there are some really effective
horror scenes, such as the vignette of Victor ripping apart project lady-monster (I kind wish she had a name- a working title- but given he can’t even be bothered to name monster number one I guess this was all too much to hope for).
It’s readable, but it’s value, for me at any rate, lies in the offshoots and creativity it has spawned, rather than the work itself.
My hatred for and frustration with the self-pitying, feckless behaviour of the (pseudo)
protagonist made this an irritating read for me- and to an extent I think this was Shelley’s intention. Victor isn’t designed to be the likable, affable, morally “good” man fallen from grace he believes himself to be, and the horrific events that befall those around him are of his making.
However, this doesn’t make him any less grating! The "monster" (to me reminiscent of Caliban with his lyrical speech and enforced isolation, being neither man nor not man) is eloquent and persuasive when he asks his creator to account for his misdoings. So, you’ve got to ask yourself, if an infanticidal, demonic, bag of sew together corpses is actually more engaging than the main storyteller, is that storyteller really the
right character to be telling the story?
Now, with all that said, it is an important book. A work by a female author with strong female characters (albeit background characters) who was only nineteen when she wrote the initial draft. Very impressive. But, for me her youth is evident. When we teach secondary school pupils to write creatively, we often give them the ambiguous instruction “show don’t tell”, and for me the book is more of a list of horrible and horrific events told in a Chinese puzzle box style story within a story, rather than an engaging and “complete” narrative. It feels like she chooses to place focus on the wrong “bits”- for example the whole of chapter nineteen where Victor travels the British Isles, comments briefly on the local architecture of each town and city and
then repetitively reminds us that he couldn’t enjoy the surroundings because of his angst.
And I would have at least like to have seen some of the courtroom drama when Victor is tried for the death of Clerval...
So, I hate to be “that” gal, who poo-poos these fantastic works of fiction (we know they’re great because some clever-britches told us they were) but in all honesty, the novel ain’t that good, and I’ll maintain that stance no matter how clever the britches of the opposing schools of thought.
I think the continuing appeal is in it’s universal themes: parenting, nature versus
nurture; morality and scientific advancement- and the whole idea of stitching a creature out of
corpse-parts and electrocuting it to life is pretty darn cool. And there are some really effective
horror scenes, such as the vignette of Victor ripping apart project lady-monster (I kind wish she had a name- a working title- but given he can’t even be bothered to name monster number one I guess this was all too much to hope for).
It’s readable, but it’s value, for me at any rate, lies in the offshoots and creativity it has spawned, rather than the work itself.
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