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Sammeh Lowry (15 KP) rated A Monster Calls in Books
Jul 13, 2019
I thought I would start reading this book for ten mins before bed. I am here two hours later,blood shot eyes and feeling rather fragile and broken. This is the first book I have read by Patrick Ness and he is an absolute genius. This book brought feelings out in me that I didn't even know I had. I think its one of those that will always stay in the mind when talking about books which have rocked your world. Absolutely heart breaking and amazing.
Great plot (2 more)
split narrative to give it some spice
LGBQTIA+ representation
Love, heartbreak and a meth addiction.
Contains spoilers, click to show
Similar to his earlier book 'The Rest of Us Just Live Here', Patrick Ness switches betweens a main narrative and a parallel narrative within the same world, with an unexpected cross between the two at the end. I brought this book and finished it the day after, an easy read but one full of very real characters battling with homophobia and the inevitability of growing up and change. With this book I only hope more diverse LGBTQIA+ representation occurs throughout literature.
Emma @ The Movies (1786 KP) rated A Monster Calls (2016) in Movies
Sep 25, 2019
I hit Cineworld first thing on New Year's Day to get this month's monies worth out of my Unlimited Card. First up was A Monster Calls, based on the Patrick Ness/Siobhan Dowd book. Shame on me, I haven't read it, it never really seemed like something I would want to read. Even after seeing it I can't tell you if I enjoyed it or not. For those of you who saw My Sister's Keeper you'll be able to identify with the reaction in the cinema. There were under ten of us in there, and all you could hear was sniffing. I would imagine that if you could have seen everyone there would have been sleeves pulled down to wipe tears away.
Little Ray Of Sunshine (41 KP) rated A Monster Calls in Books
Jan 11, 2019 (Updated Feb 10, 2019)
Book Review | A Monster Calls by Patrick Ness
Blurb
An extraordinary novel of love, loss and hope. Conor has the same dream every night, ever since she started the treatments that don't quite seem to be working. But tonight is different. Tonight, when he wakes, there's a visitor at his window. It's ancient,elemental, a force of nature. And it wants the most dangerous thing of all from Conor.
It wants the truth.
Review
I read this book with my friend/sister Christine. We read a few chapters a day. But we wanted to read more as this book is beautifully written. The story is about Conor he's mother is ill with cancer and hes dad as a new family in America. I felt really sorry for him as the one person who should be there is hes dad. But it had to take care of hes mum and get is self to school. School as been tough as people make him feel invisible and 3 lads bully him and while this is happening he's mum aint going to get better and he have to live with hes Grandma who he doesn't like. All these problems make him have a dream of a Yew tree that starts to talk to him and tells him 3 tales and the Yew tree tells him when he tells him the 3 stories he need to tell him the fourth story and it will be the truth.
I feel the Yew tree is making him stronger and face what is going to eventually happen to him. I won't tell you what happens as you will need to read it for yourself.
I felt this book made me realise what every child is going through while their loved ones are going through cancer, I hope it does for you.
Patrick Ness took Siobhan Dowd idea and helped by writing and publishing this book to show what she went through. As she sadly died from breast cancer back in 2007. All the royalties from this book go to the Siobhan Down Trust www.siobhandowdtrust.com
Thanks for the read x
An extraordinary novel of love, loss and hope. Conor has the same dream every night, ever since she started the treatments that don't quite seem to be working. But tonight is different. Tonight, when he wakes, there's a visitor at his window. It's ancient,elemental, a force of nature. And it wants the most dangerous thing of all from Conor.
It wants the truth.
Review
I read this book with my friend/sister Christine. We read a few chapters a day. But we wanted to read more as this book is beautifully written. The story is about Conor he's mother is ill with cancer and hes dad as a new family in America. I felt really sorry for him as the one person who should be there is hes dad. But it had to take care of hes mum and get is self to school. School as been tough as people make him feel invisible and 3 lads bully him and while this is happening he's mum aint going to get better and he have to live with hes Grandma who he doesn't like. All these problems make him have a dream of a Yew tree that starts to talk to him and tells him 3 tales and the Yew tree tells him when he tells him the 3 stories he need to tell him the fourth story and it will be the truth.
I feel the Yew tree is making him stronger and face what is going to eventually happen to him. I won't tell you what happens as you will need to read it for yourself.
I felt this book made me realise what every child is going through while their loved ones are going through cancer, I hope it does for you.
Patrick Ness took Siobhan Dowd idea and helped by writing and publishing this book to show what she went through. As she sadly died from breast cancer back in 2007. All the royalties from this book go to the Siobhan Down Trust www.siobhandowdtrust.com
Thanks for the read x
Movie Metropolis (309 KP) rated A Monster Calls (2016) in Movies
Jun 10, 2019
A Masterpiece
J.A. Bayona is one of the most exciting rising stars behind the camera lens. His knack for creating superbly shot, engaging films like The Orphanage and The Impossible has meant many in Hollywood have been keeping an intrigued eye on him.
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
His hard work paid off last year when it was announced he would be taking over directorial duties on the as yet unnamed Jurassic World sequel. In the meantime, Bayona has been busy working on A Monster Calls, based on the book of the same name by Patrick Ness, but does it continue the director’s brilliant work?
12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster (Liam Neeson) appears at his bedroom window. Ancient, wild, and relentless, the Monster guides Conor on a journey of courage, faith, and truth through three dramatic tales.
The first thing to say is that the film is visually stunning with detail seeping from every frame. Every shot is breath-taking in its own way and the tall tales in which Liam Neeson’s booming voice narrate are beautiful. Bayona yet again demonstrates his flair for cinematography, but this time his creativeness is set free in Conor’s imagination, where he literally paints pictures with superb animations.
Acting wise, A Monster Calls is sublime. With talent like Liam Neeson, Sigourney Weaver and Felicity Jones making up the bulk of the cast, you’d be forgiven for thinking it’d be easy for newcomer Lewis MacDougall to get lost in the fray, but he doesn’t. His performance throughout the film is exceptional and the chemistry he shares with on-screen mum Felicity is entirely believable, making his plight all the more heart-breaking.
But the real winners here are the special effects. Liam Neeson’s gravelly tone lends itself perfectly to creating ‘the Monster’ in all its woody glory. The incredible CGI used to bring him to life is some of the best I’ve ever seen, all the more remarkable given the film’s relatively modest $43million budget. The effects are better than those in some blockbusters costing three times this.
Then there’s the plot. Essentially a coming of age story as one young man tries desperately to hang on to his youth and escape the tragedies of life; A Monster Calls is one of the most heartfelt and emotionally resonant films in the genre. It is a testament to author and screenwriter Patrick Ness that his novel’s gut-wrenching themes are carried across perfectly to the silver screen; that is by no means an easy thing to accomplish.
Overall, A Monster Calls is a mesmerising 115 minutes that stays with you long after the end credits roll. Everything from the acting to the direction is spot on, with the story being relatable to every single one of us. This time last year I was sat in the cinema watching Daddy’s Home; what a difference 12 months makes.
https://moviemetropolis.net/2017/01/07/a-masterpiece-a-monster-calls-review/
Eleanor Luhar (47 KP) rated The Rest of Us Just Live Here in Books
Jun 24, 2019
This is the second book I've read by Patrick Ness, the first being More Than This which I adored. So I was really looking forward to The Rest of Us Just Live Here, and I was not disappointed!
The theme of this novel was basically what if you're not the Chosen One? As in, what if you aren't the one who slays the vampires, or exorcises all the demons? What if you don't fall in love with a Goddess or an angel? What if you're just a regular kid, like Mike?
At the start of each chapter, there's a short summary of what's happening in the "main story" - the indie kids fighting the Immortals, saving the world and that kinda thing. But that's all we get of their story; the rest is dedicated to Mike and his friends and family, struggling to lead happy, normal lives.
Each character is so unique and realistic. This is the important bit. There are characters with OCD, alcoholic parents, eating disorders. All of them are so well developed and relatable (expect perhaps Jared, who happens to be 1/4 God of Cats). I just love how their lives are normal lives, and how that doesn't mean they don't get a book written about them. Okay, Henna and Mikey nearly die, Jared can heal people and they encounter blue-eyed creatures a few times, but for the most part they aren't the heroes. They are just people.
I loved how you could compare the normal lives of the gang to what's happening with the indie kids. You can see how certain things affect each group of people differently, and how everything changes what they do. Such as the ending with Finn #2, which decides Jared's fate and alters the indie kids' story completely.
The writing is sometimes a little simplistic, like the kind of thing you read when you're a pre-teen or something. But it's easy to read, and really does draw you in. I have a few other Ness books I'd like to read, and I really am loving his work so far.
As you may or may not know, I'm a sucker for books featuring mental health problems. Anxiety, OCD, anorexia... They need to be addressed! It's great seeing how Mike and his sister get on with their lives despite the problems they're facing, and how they get involved without being judged based on their issues. Like I said, this is a really honest book, which we really need! I'd say 4 stars for this; I love it, but it's not quite in my favourites.
The theme of this novel was basically what if you're not the Chosen One? As in, what if you aren't the one who slays the vampires, or exorcises all the demons? What if you don't fall in love with a Goddess or an angel? What if you're just a regular kid, like Mike?
At the start of each chapter, there's a short summary of what's happening in the "main story" - the indie kids fighting the Immortals, saving the world and that kinda thing. But that's all we get of their story; the rest is dedicated to Mike and his friends and family, struggling to lead happy, normal lives.
Each character is so unique and realistic. This is the important bit. There are characters with OCD, alcoholic parents, eating disorders. All of them are so well developed and relatable (expect perhaps Jared, who happens to be 1/4 God of Cats). I just love how their lives are normal lives, and how that doesn't mean they don't get a book written about them. Okay, Henna and Mikey nearly die, Jared can heal people and they encounter blue-eyed creatures a few times, but for the most part they aren't the heroes. They are just people.
I loved how you could compare the normal lives of the gang to what's happening with the indie kids. You can see how certain things affect each group of people differently, and how everything changes what they do. Such as the ending with Finn #2, which decides Jared's fate and alters the indie kids' story completely.
The writing is sometimes a little simplistic, like the kind of thing you read when you're a pre-teen or something. But it's easy to read, and really does draw you in. I have a few other Ness books I'd like to read, and I really am loving his work so far.
As you may or may not know, I'm a sucker for books featuring mental health problems. Anxiety, OCD, anorexia... They need to be addressed! It's great seeing how Mike and his sister get on with their lives despite the problems they're facing, and how they get involved without being judged based on their issues. Like I said, this is a really honest book, which we really need! I'd say 4 stars for this; I love it, but it's not quite in my favourites.
Lee (2222 KP) rated A Monster Calls (2016) in Movies
Jul 26, 2017
A Monster Calls is based on an idea by writer and activist Siobhan Dowd, who sadly died from cancer in 2007 before she could develop her story to print. Her ideas were developed into a book by Patrick Ness in 2011 and illustrated by Jim Kay where it went on to receive a number of childrens literary awards.
The story is set in a very dreary looking England and features a boy called Conor struggling to cope with his mother’s terminal cancer. His father is divorced from his mother and is living in the States with his new family. He’s bullied at school and he’s troubled by nightmares. And then he starts being visited at night by a monster who tells him 3 stories. It’s a bleak tale about the harshness of life, and I was kind of worried about how my 11 year old daughter might take to it when she said she wanted to see it with me.
J.A.Bayona, director of The Orphanage, handles the subject matter well, showing us how a child’s fantasy can make sense of the world and their feelings. The stories told by the monster occur over a number of days and are beautifully depicted in watercolour animation. Each one providing its own lesson to be learned in life. Liam Neeson is the monster, the large yew tree that Conor can see from his bedroom window, giving his best Aslan voice. Felicity Jones is the mother, gradually dying as each cancer drug fails. Sigourney Weaver is the grandmother who Conor reluctantly goes to stay with while his mother is receiving treatment.
The monster itself, the great yew tree, is a real triumph. Beautifully rendered and realistically interacting with its surroundings. When you consider the films meagre budget of 43 million dollars, it’s breathtaking what they’ve managed to achieve.
As expected, the movie really packs a punch with barely any humour or lightheartedness. There are times it’s a little too slow and gloomy, but it’s hard hitting thought provoking and intense. I don’t mind admitting that both me and my daughter found ourselves in tears towards the end too. Along with most of the cinema!
The story is set in a very dreary looking England and features a boy called Conor struggling to cope with his mother’s terminal cancer. His father is divorced from his mother and is living in the States with his new family. He’s bullied at school and he’s troubled by nightmares. And then he starts being visited at night by a monster who tells him 3 stories. It’s a bleak tale about the harshness of life, and I was kind of worried about how my 11 year old daughter might take to it when she said she wanted to see it with me.
J.A.Bayona, director of The Orphanage, handles the subject matter well, showing us how a child’s fantasy can make sense of the world and their feelings. The stories told by the monster occur over a number of days and are beautifully depicted in watercolour animation. Each one providing its own lesson to be learned in life. Liam Neeson is the monster, the large yew tree that Conor can see from his bedroom window, giving his best Aslan voice. Felicity Jones is the mother, gradually dying as each cancer drug fails. Sigourney Weaver is the grandmother who Conor reluctantly goes to stay with while his mother is receiving treatment.
The monster itself, the great yew tree, is a real triumph. Beautifully rendered and realistically interacting with its surroundings. When you consider the films meagre budget of 43 million dollars, it’s breathtaking what they’ve managed to achieve.
As expected, the movie really packs a punch with barely any humour or lightheartedness. There are times it’s a little too slow and gloomy, but it’s hard hitting thought provoking and intense. I don’t mind admitting that both me and my daughter found ourselves in tears towards the end too. Along with most of the cinema!
Bob Mann (459 KP) rated A Monster Calls (2016) in Movies
Sep 29, 2021
“I’ll. Be. Right. Here.”
The worst thing about this movie is its title. The second worst thing about this movie is its trailer. Both will either a) put people off seeing it (it succeeded in that with my wife for example) or b) make people conclude it is a ‘nice holiday film to take the kids to’, which is also an horrendous mistake!
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.
This is a crying shame because it is a riveting drama and a superb piece of film-making by the Spaniard J. A. Bayona (“The Impossible”) that may well catapult it already into my top 10 films of 2017. But it is not, I would suggest, a film that is remotely suitable for kids under 10 to see, dealing as it does with terminal illness, bullying and impending doom. For this is a dark (read pitch black) but hauntingly beautiful film.
Lewis MacDougall, in only his second film (after last year’s “Peter Pan”) plays Conor – a young but talented and sensitive artist growing up as a 12 year old in the North of England with his single mum (Felicity Jones). She is suffering from an aggressive form of cancer and is forever medically grasping for a new hope (D’ya see what I did there?). Young Conor believes fervently that each new treatment will be ‘the one’ but the building tension, the lack of sleep and his recurrent nightmares are destroying him mentally and physically. As if this wasn’t enough, his distracted nature is leading to him being seriously bullied at school and there is the added stress of having to live in his grandmother’s pristine and teen-unfriendly house when his mother is hospitalised.
Towering over the nearby graveyard on the hill is an ancient yew tree and Conor is visited after midnight by this “monster” (voiced by Liam Neeson). Is he dreaming, or is it real? The tree dispatches wisdom in the form of three ‘tales’, with the proviso that Conor tell the tree the fourth tale which “must be the truth”.
A tale of grief, guilt and a search for closure, this is a harrowing but rewarding journey for the viewer.
The film is technically outstanding on so many levels:
the art design is superb, with the gorgeous ‘tale animations’ being highly reminiscent of the beautiful ones in “Harry Potter and the Deathly Hallows, Part 1”;
the use of sound is brilliant, with sudden silence being used as a weapon with which to assault the senses in one key sequence;
the cinematography by Oscar Faura (“The Imitation Game”) is faultless, capturing both the dreary reality in a Northern winter with the comparative warmth of the strange dream-like sequences;
the music by Fernando Velázquez is used effectively and intelligently to reflect the sombre mood;
the special effects team led by Pau Costa (“The Revenant”, “The Impossible”) shines not just with Neesen’s monster, but with the incorporation of the root and branch effects into the ‘normal’ surroundings.
As the BFG illustrated, having a whole film carried by a young actor is a bit of an ask, but here Lewis MacDougall achieves just that like a seasoned pro. His performance is nothing short of staggering and – although a brave move by the Academy – it would be great to see him nominated for a BAFTA acting award for this.
Confirming her position in the acting top-flight is Felicity Jones, heart-wrenching in her role of the declining mum, and Sigourney Weaver is also excellent as the po-faced but grief-stricken grandmother. Liam Neeson probably didn’t add much by getting dressed up in the mo-cap suit for the tree scenes, but his voice is just perfect as the wise old sage.
The only criticism of what is an absorbing and intelligent script (by Patrick Ness, who also wrote the graphical novel) is the introduction of Conor’s Dad, played by Toby Kebbell (Dr Doom from “The Fantastic 4”), who is literally flown in from LA on a flying visit but whose role is a little superfluous to the plot.
This is exactly what “The BFG” should have been but wasn’t. It draws on a number of potential influences including “Mary Poppins”/”Saving Mr Banks” and “ET”. Wise, clever and a thing of beauty from beginning to end, this is a treat for movie-goers and a highly recommended watch. However, if you have lost someone to “the Big C” be aware that this film could be highly traumatic for you….. or highly cathartic: as I’m not a psychiatrist, I’m really not that sure! Also, if you are of the blubbing kind, take LOTS of tissues: the film features the best use of a digital clock since “Groundhog Day” and if you are not reduced to tears by that scene you are certifiably not human.