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Hazel (1853 KP) rated Videodrome: Days of O'Blivion in Books
Dec 17, 2018
<i>I received this book from the author in exchange for an honest review</i>
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Written as a prequel to David Cronenberg’s horror film, Lee McGeorge explores the potential scenario that led up to the surrealist events in <i>Videodrome</i>. This short story is more science fiction than horror in nature as it only builds up the background and setting to the point in which the film begins.
<i>Days of O’Blivion</i>, as well as the original film, is set during the cold war between the US and USSR. It is a period of time threatened with atomic weapons of mass destruction, and the competition to create the most superior technology. In this particular scenario, two men: Professor Brian Olivier and his friend Barry have been experimenting with special television technology resulting in interesting outcomes. Their product, which they name <i>Veraceo</i> –a compound of Veracity and Video –, has the ability to make everyone believe what they are seeing on screen to be true. This could be a big boon to advertising establishments, however cause dire consequences if found in the wrong hands, i.e. communists.
Readers, including those unfamiliar with the film, should be able to ascertain several problems this technological advancement could pose, making it all the more foreboding when an unknown but powerful company pays out thousands of dollars to become partners with Brian and Barry. What makes it all the more ominous is Brian’s hesitancy in accepting the offer in contrast with Barry’s excitement. As the technology is adapted further it becomes clear that they are dealing with very dangerous concepts and people – hallucinations being only the smallest of side affects.
Although Lee McGeorge is using an already existing story, he makes this prequel his own by exploring the hows and whys <i>Veraceo</i> came to be developed. His narrative is accurate in terms of the way it builds up to coincide with the film script without damaging or giving new meaning to Cronenberg’s original storyline.
Although not horror as in scary, <i>Days of O’Blivion</i> contains many horrific scenes. Most of these are pornographic in nature and rather disturbing, particularly more so as the story progresses – something that lessened the general enjoyment of the book. The overall nature of the book (and film, probably) may appeal more towards a male market, particularly those with a less delicate temperament.
As with his previous books, which also incorporate pre-existing ideas, Lee McGeorge writes well in a way that engages the reader and even interests those without prior knowledge of the subject. There is also additional digital content alongside this book. Those lucky enough to own a paper back copy will be able to access these using an NFC enabled device.
Kristy H (1252 KP) rated American Dirt in Books
Apr 9, 2020
So I put this book on hold at the library before it exploded into controversy and then it was the last book I was allowed to check out before our library closed down due to the pandemic. I can't tell if it was a great book to read in a pandemic (people with lives even worse on a daily basis) or if it just made my anxiety even worse! At this point, I'm just going to give a short review and try not to dip into the whole uproar over the book, but I do encourage you to read up on it and to read some #ownvoices authors, as well.
Lydia Perez lives in Acapulco with her husband, a journalist, and their eight-year-old son, Luca. She runs a bookstore, and one day someone comes in and buys several books that Lydia stocks solely because they are her favorites, not because she expects them to sell. They strike up a friendship and Javier returns frequently to her bookstore. It's only later that Lydia realizes that he is the leader of the newest, powerful drug cartel in town--the one that is ruining Acapulco. And the same jefe about whom her husband is writing an explosive journalistic profile. Once it's published, Lydia and Luca must flee Acapulco, becoming migrants overnight. They are heading to the United States, the one place Javier can't hurt them. But can they survive the dangerous journey?
This is an eye-opening and sad book. It's certainly heart-rendering and gives you such empathy for what Lydia and Luca must go through. For me, it was Luca who made this book. He is an endearing and indomitable character, and I loved him dearly. Cummins is a strong writer, and her characters certainly do come to life. I did find the story a little slow; it took it a while to really get going. It was also incredibly stressful--no surprise there--so I was on edge the entire time I was reading. However, I found myself rooting for Lydia and Luca as if they were true, actual people and for that, I applaud Cummins, no matter her motivations for writing this book. There's also so much about this story that broke my heart and it made me even further aware of so many deplorable things. The world is a terrible and scary place.
Lydia Perez lives in Acapulco with her husband, a journalist, and their eight-year-old son, Luca. She runs a bookstore, and one day someone comes in and buys several books that Lydia stocks solely because they are her favorites, not because she expects them to sell. They strike up a friendship and Javier returns frequently to her bookstore. It's only later that Lydia realizes that he is the leader of the newest, powerful drug cartel in town--the one that is ruining Acapulco. And the same jefe about whom her husband is writing an explosive journalistic profile. Once it's published, Lydia and Luca must flee Acapulco, becoming migrants overnight. They are heading to the United States, the one place Javier can't hurt them. But can they survive the dangerous journey?
This is an eye-opening and sad book. It's certainly heart-rendering and gives you such empathy for what Lydia and Luca must go through. For me, it was Luca who made this book. He is an endearing and indomitable character, and I loved him dearly. Cummins is a strong writer, and her characters certainly do come to life. I did find the story a little slow; it took it a while to really get going. It was also incredibly stressful--no surprise there--so I was on edge the entire time I was reading. However, I found myself rooting for Lydia and Luca as if they were true, actual people and for that, I applaud Cummins, no matter her motivations for writing this book. There's also so much about this story that broke my heart and it made me even further aware of so many deplorable things. The world is a terrible and scary place.
LeftSideCut (3776 KP) rated BlacKkKlansman (2018) in Movies
Sep 9, 2020
BlacKkKlansman just ticked all the right boxes for me. Spike Lee has created a piece that is moving, hilarious, horrific, poignant and something truly important.
John David Washington and Adam Driver are a winning leading pair, portraying Ron Stallworth and Flip Zimmerman respectively, two police officers from Colorado Springs who manage to infiltrate a local chapter of the Ku Klux Klan, in an attempt to foil a potentially fatal and racially charged attack, and it's all based on a quite incredible true story.
Washington and Driver are both fantastic, providing this movie with most of it's heart, humour and emotion.
Topher Grace is great as well, as David Duke, a top brass member of the KKK. He's so smarmy, and easy to dislike, much like his real life counter part. This applies to all the racist pieces of shit in this story actualy. The characters are all horrible, but the cast bring them to life in a disturbingly believable way.
The screenplay is nothing but tight from start to finish. It's very funny in places, and heart wrenching in others. A particular highlight is a speech spoken early on by black rights speaker Kwame Ture. It's a lengthy monologue that is so damn powerful. There are multiple scenes that strike hard throughout the runtime - another standout moment is the truly uncomfortable visuals of Ron Stallworth looking on in quiet despair as KKK members cheer loudly whilst watching The Birth of a Nation. Humanity can be extremely ugly, and although BlacKkKlansman veers towards comedy at times, Lee is sure to never stray too far from that fact.
Some of the criticism I've read of this movie are along the lines of "it has an agenda" and "it's being forced down the audiences throat". Well, yeah if course it has an agenda. It's dealing with a topic that shouldn't even exist in the first place, but it's certainly not being force fed. No one is forcing anybody to watch it, but I highly recommend that EVERYONE does watch it.
The inclusion of real life footage of protests in 2017 is a strong statement, it's a director publicly taking a stand for something he believes in. In 2020, these topics feel more important than ever.
BlacKkKlansman is an incredible movie, and nothing can change my mind about that.
John David Washington and Adam Driver are a winning leading pair, portraying Ron Stallworth and Flip Zimmerman respectively, two police officers from Colorado Springs who manage to infiltrate a local chapter of the Ku Klux Klan, in an attempt to foil a potentially fatal and racially charged attack, and it's all based on a quite incredible true story.
Washington and Driver are both fantastic, providing this movie with most of it's heart, humour and emotion.
Topher Grace is great as well, as David Duke, a top brass member of the KKK. He's so smarmy, and easy to dislike, much like his real life counter part. This applies to all the racist pieces of shit in this story actualy. The characters are all horrible, but the cast bring them to life in a disturbingly believable way.
The screenplay is nothing but tight from start to finish. It's very funny in places, and heart wrenching in others. A particular highlight is a speech spoken early on by black rights speaker Kwame Ture. It's a lengthy monologue that is so damn powerful. There are multiple scenes that strike hard throughout the runtime - another standout moment is the truly uncomfortable visuals of Ron Stallworth looking on in quiet despair as KKK members cheer loudly whilst watching The Birth of a Nation. Humanity can be extremely ugly, and although BlacKkKlansman veers towards comedy at times, Lee is sure to never stray too far from that fact.
Some of the criticism I've read of this movie are along the lines of "it has an agenda" and "it's being forced down the audiences throat". Well, yeah if course it has an agenda. It's dealing with a topic that shouldn't even exist in the first place, but it's certainly not being force fed. No one is forcing anybody to watch it, but I highly recommend that EVERYONE does watch it.
The inclusion of real life footage of protests in 2017 is a strong statement, it's a director publicly taking a stand for something he believes in. In 2020, these topics feel more important than ever.
BlacKkKlansman is an incredible movie, and nothing can change my mind about that.
Sarah (7800 KP) rated It’s A Sin in TV
Feb 7, 2021
Outstanding drama
It’s A Sin is the latest drama from the mind of Russell T Davies, the man behind Queer as Folk, Cucumber and the revival of Doctor Who back in 2005. It follows a group of gay men and their friends in London from 1981 to 1991, depicting how the developing HIV and AIDS crisis impacted on their lives.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
Phillip McSween (751 KP) rated Roma (2018) in Movies
Feb 22, 2019
Thought-Provoking
Roma follows the story of Cleo, a domestic worker for a middle class family in Mexico. who is dealing with the strife of classism in the 70’s.
Acting: 10
Beautiful acting here in a number of strong roles. Yalitza Aparicio is phenomenal in her role as Cleo. She plays the part in a shy and withrdawn matter, someone who loves the family she works for but knows it’s duty above all else. Aparicio makes you feel what Cleo feels in powerful moments like the traffic scene and the final scene on the beach, neither of which I will give away. I loved her relationship between her and Adela played by Nancy Garcia Garcia (not a typo) who shined in her role as well. They had a true synergy that worked for the movie as a whole.
Beginning: 4
Characters: 10
Cinematography/Visuals: 10
The film is shot in black and white which I appreciated. It give you a sense of a “then and now” kind of feel: You know it takes place in the 70’s, but it feels like director Alfonso Cuaron was able to capture a piece of life that could still exist today. Beautiful pans of the Mexican landscape somehow give me a nostalgic vibe and I’m not even from Mexico. The movie sprawls across a number of different locations that are beautiful in their own right. From old-school movie theaters to desert valleys, it’s feels like you are on a journey.
Conflict: 8
The conflict is created as a result of Cleo’s class. There are hardships that come with her place in society in addition to the typical crap that life might throw your way. She finds herself tiptoeing around a home with a disgruntled wife who is ready to bite Cleo’s head off at any moment. Meanwhile, things aren’t much better in Cleo’s personal life as she finds herself in situations that not only make her life more difficult but bring shame to her family. As the viewer, you understand this is the way life is for Cleo and things probably won’t get much better by the end of it. But you hope she beats it anyway.
Genre: 7
I originally scored this slightly lower, but I quickly changed it as I started to peel back more and more layers of Roma. My wife and I were dead tired after viewing the film, but we found ourselves laying around talking about it for thirty minutes after it was over. A solid movie is one you can discuss long after you watch it and Roma is definitely one of those movies.
Memorability: 10
There are a number of scenes that I think about even now and say, “Wow, that was extremely powerful.” I don’t want to ruin them for fear of ruining the impact, but one scene includes a powerful confession that is beyond heartfelt. It hits you right in the gut and you think, “How could someone say that?” while also thinking, “I understand exactly where she is coming from.” Cleo’s struggles, including her battles with honor and love, leave a lasting impact that makes you want to watch the film again to reexamine it.
Pace: 6
Plot: 6
Resolution: 5
Overall: 76
Roma is the kind of movie that the artsy-fartsy nuts go crazy over. I thought it was good, but it fell just short of Best Picture worthy in my opinion due to a slow start and pace, and a meh ending. A few tweaks and I definitely could see this movie being a classic.
Acting: 10
Beautiful acting here in a number of strong roles. Yalitza Aparicio is phenomenal in her role as Cleo. She plays the part in a shy and withrdawn matter, someone who loves the family she works for but knows it’s duty above all else. Aparicio makes you feel what Cleo feels in powerful moments like the traffic scene and the final scene on the beach, neither of which I will give away. I loved her relationship between her and Adela played by Nancy Garcia Garcia (not a typo) who shined in her role as well. They had a true synergy that worked for the movie as a whole.
Beginning: 4
Characters: 10
Cinematography/Visuals: 10
The film is shot in black and white which I appreciated. It give you a sense of a “then and now” kind of feel: You know it takes place in the 70’s, but it feels like director Alfonso Cuaron was able to capture a piece of life that could still exist today. Beautiful pans of the Mexican landscape somehow give me a nostalgic vibe and I’m not even from Mexico. The movie sprawls across a number of different locations that are beautiful in their own right. From old-school movie theaters to desert valleys, it’s feels like you are on a journey.
Conflict: 8
The conflict is created as a result of Cleo’s class. There are hardships that come with her place in society in addition to the typical crap that life might throw your way. She finds herself tiptoeing around a home with a disgruntled wife who is ready to bite Cleo’s head off at any moment. Meanwhile, things aren’t much better in Cleo’s personal life as she finds herself in situations that not only make her life more difficult but bring shame to her family. As the viewer, you understand this is the way life is for Cleo and things probably won’t get much better by the end of it. But you hope she beats it anyway.
Genre: 7
I originally scored this slightly lower, but I quickly changed it as I started to peel back more and more layers of Roma. My wife and I were dead tired after viewing the film, but we found ourselves laying around talking about it for thirty minutes after it was over. A solid movie is one you can discuss long after you watch it and Roma is definitely one of those movies.
Memorability: 10
There are a number of scenes that I think about even now and say, “Wow, that was extremely powerful.” I don’t want to ruin them for fear of ruining the impact, but one scene includes a powerful confession that is beyond heartfelt. It hits you right in the gut and you think, “How could someone say that?” while also thinking, “I understand exactly where she is coming from.” Cleo’s struggles, including her battles with honor and love, leave a lasting impact that makes you want to watch the film again to reexamine it.
Pace: 6
Plot: 6
Resolution: 5
Overall: 76
Roma is the kind of movie that the artsy-fartsy nuts go crazy over. I thought it was good, but it fell just short of Best Picture worthy in my opinion due to a slow start and pace, and a meh ending. A few tweaks and I definitely could see this movie being a classic.
Haley Mathiot (9 KP) rated Battlemage in Books
Apr 27, 2018
Battlemage was so exciting. It held on tight and didn’t let go. I was hooked from the very first few sentences from the first chapter and from there it just got better. It was everything I’d hoped it would be. It had an exciting, well thought-out plot, complex and interesting characters, good writing, great humor, and amazing war-time magic. It had an interesting (subtle) religious and political commentary running through it that added dimension to the world. It made it more real. And it had a character that I had to really think about, really pay attention to, to figure out his true identity! I love that. I love a book that makes me think, and that surprises me.
I love good-guy/bad-guy magic. Magic that can take you to higher levels of selflessness and servant-hood and kindness, and that same magic can be used to pull you and everyone around you into filth and degradation. The Source is so powerful that, if used in the wrong hands, can completely break and ruin a person. And we see that in the battlemages. That’s my favorite kind of magic.
The narration was very good. Addis created a perfect voice for the personalities of the characters. He has superb accents and articulation, spoke clearly at a good pace, and took a book that was at 100% great and made it 200% great (which is exactly what the narrator should do! Add to the experience, not take away from it.)
The only thing about Battlemage I thought was slightly lacking was the very end. It was a little abrupt and open. Open in a good way, meaning it immediately demands a sequel. But I felt like the author was like “Hah! It’s over! bwahahahah!” rather than the kind of gentile ease away that leaves the reader feeling satisfied but still excited for what is to come. However I was still highly satisfied with the story, would totally read/listen to it again, and recommend it to anyone 18+.
I love good-guy/bad-guy magic. Magic that can take you to higher levels of selflessness and servant-hood and kindness, and that same magic can be used to pull you and everyone around you into filth and degradation. The Source is so powerful that, if used in the wrong hands, can completely break and ruin a person. And we see that in the battlemages. That’s my favorite kind of magic.
The narration was very good. Addis created a perfect voice for the personalities of the characters. He has superb accents and articulation, spoke clearly at a good pace, and took a book that was at 100% great and made it 200% great (which is exactly what the narrator should do! Add to the experience, not take away from it.)
The only thing about Battlemage I thought was slightly lacking was the very end. It was a little abrupt and open. Open in a good way, meaning it immediately demands a sequel. But I felt like the author was like “Hah! It’s over! bwahahahah!” rather than the kind of gentile ease away that leaves the reader feeling satisfied but still excited for what is to come. However I was still highly satisfied with the story, would totally read/listen to it again, and recommend it to anyone 18+.
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