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5 Minute Movie Guy (379 KP) rated If I Stay (2014) in Movies
Jun 28, 2019
The film's "live or die" premise is dumb, dangerous, and downright offensive. (4 more)
A totally lousy and illogical love story that lacks any heart.
The dialogue is almost as bad as Adam's 8-year-old-grade-level music lyrics.
It's far too frustrating and bland to be emotionally effective. The only pity I felt was for myself for having to sit through it for two hours.
If I Stay is unforgivable and reprehensible garbage. It should be avoided like the plague.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. If I Stay disappoints and offends on nearly every conceivable level.
Imagine yourself in a situation where your whole life is turned upside-down in an instant, and nothing will ever be the same again. That’s the troubling position young Mia Hall is faced with in If I Stay, after her and her family are involved in a terrible car accident. Mia wakes up from the crash, only to discover that she’s having some sort of transcendental experience, where she sees her own lifeless body being treated by paramedics. In her ghost-like form, no one is able to see or hear her, leaving her helpless as she watches her tragedy unfold. The devastating crash put her into a comatose state, and as she teeters on the verge of life and death, she’s informed by her nurse that whether or not she lives is entirely predicated on her will to survive. Based on the young adult novel by Gayle Forman, If I Stay asks us if life is still worth living even when all hope appears to be lost. Whether it’s really even worth it to endure life’s cruel hardship and heartache, and to muster the courage to face another day.
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Well, if you answered that question with a resounding “yes!”, then like me, you’ll probably find this movie to be pretty darn stupid. Actually, regardless of your opinion on the matter, I think it would be hard for anyone to escape the fact that this movie is pretty darn stupid. However, as much as I find the central question of the movie to be absurd and even offensive, it didn’t detract from my interest in seeing the film. So let’s not make the assumption that I disliked this movie from the get-go, because that’s really just not true. Even though I may disagree with it, I can certainly sympathize with the idea of a teenager who is experiencing a life-shattering trauma and is afraid to continue living on afterward. However, I would personally argue that she hasn’t actually experienced any of that at all. She’s living in an extra dimensional safe-zone. Her horror can’t be real unless she makes it real by returning to life to face it. To look at it another way, couldn’t we say that if she chose death instead, that she never would have experienced the tragedy at all since she was stuck in a coma, and that she would be dead without ever knowing the fate of her family? That’s what I think, though I’ll admit it’s rather complicated as it draws upon unanswerable questions. To be frank, it’s a bogus scenario for a bogus movie that isn’t even worthy of that much thought, and clearly wasn’t ever given that much thought.
Before I digress on this topic, I’d like to look into a few of its implications, because I think it’s sending a terrible and dangerous message to its viewers, particularly the teenagers it’s targeted to. Basically, I believe the film is implying that death is a perfectly okay alternative to facing an undesirable change. I find that very idea to be immoral, irresponsible, and horribly atrocious. “Sorry your dad died, Timmy. If you can’t bear to live another day and want to end it all right here, well that’s okay with us. We understand and we won’t judge!” Are you kidding me? What kind of a message are they trying to send here? “Bad day? Just give up! Things are great here in Heaven! Join us today!” Is that really what they’re trying to tell us? How is anyone possibly okay with this? The film is essentially preaching that killing yourself is a perfectly acceptable option when life gets hard, and I have a really big problem with that. Whether we want to think about it or not, suicide is always an option we have in life, but that doesn’t mean that we should encourage it or try to pretend that it’s ever a favorable opportunity. Mia doesn’t even know what life will be like if she wakes up because she hasn’t lived it yet. Her fears are fully based off of negative assumptions. Yeah, maybe things will be really hard if she comes out of her coma. Maybe she’ll wish she was dead. Or maybe she’ll go through some difficult times, but then maybe things will get better and she’ll pick up the pieces and end up living a wonderful and happy life. Had she actually endured this new life and struggled with thoughts about suicide, I think it would have made for a far more compelling narrative, rather than all of this hypothetic nonsense. Either way, good or bad, life goes on. It’s up to us to adapt to it. Where there is hope, there is always possibility. With all that said, I would still contend that If I Stay’s premise is only the tip of the iceberg of its problems. This supposed tear-jerked failed to stir up any sympathy or sadness from me, and there are a few major reasons why.
First of all, it completely fails as a love story. The film is almost entirely devoid of romance, and has no believable connection between Mia and her boyfriend, Adam. Rather than being a Prince Charming type, Adam’s mostly just a jerk that she shouldn’t be wasting her time with in the first place. Yet the movie tries to make you believe that it’s love, and that this is what all normal relationships are like. It’s a complete crock. Movies like this give girls a false understanding of what love should be, and I find that to be an unforgivable offense. Adam’s the local hot shot rocker who falls for Mia, the talented young cello player who aspires to go to the renowned music school Julliard in New York. Adam manages to win her heart and the two of them start dating. Unfortunately though, their relationship can be pretty unpleasant to watch. Adam’s living the life of a local rock star and is blindly dragging Mia along for the ride, introducing the sweet, young girl to a world of parties, sex, and alcohol. Adam’s utterly oblivious to her disinterest in such a lifestyle and he rarely shows any concern for her feelings anyway. Yet she’s so foolishly committed to him that she follows this path of corruption, all for a guy who only thinks about himself. I thought this was supposed to be a love story, but it’s severely lacking in the love department. Just because Adam occasionally does something nice, we’re supposed to think he’s a good guy and forgive him for the majority of the time when he’s a lousy boyfriend and a loser? Of course, how romantic! Their whole relationship is lifeless and immensely frustrating. If living with him was my alternative to death, believe me, I’d choose death without hesitation.
Had I not seen this film with a friend, it would have been the first movie I’ve ever walked out of. I haven’t hated a movie this much all year. Even with my friend there, I still thought about leaving, then had a good laugh about the film’s title being so perfectly appropriate, as I contemplated to myself whether or not I should go. As much as I wanted to leave, I stuck it out all the way to the end. Then the entire audience ended up laughing at the ending, which goes to show I was far from the only one that thought this movie was a complete joke and waste of time. I had more than a few laughs at the film’s expense, from its dumb and derivative dialogue, to the way Chloe Grace Moretz slightly crosses her eyes whenever she’s upset. While I think I still remained open-minded about the film despite my issues with the story, I really don’t think the film itself was any good, nor does it appear to serve any purpose. Seriously, what’s the point of this movie? To give people hope that you can overcome obstacles in life? To justify suicide? I don’t know. Halfway through the movie, I was so disengaged from it that I was imagining how fun it would be to do cartwheels in the theater. That must be the lesson that I learned from all this. Well, that and to steer clear of crummy musicians, I suppose. While I’ve heard a lot of praise about the film’s soundtrack, I thought Adam’s band was quite horrendous. They do have a moment of redemption when they cover a Smashing Pumpkins song, which may have been the only good moment in this otherwise pitiful movie. I also found the lyrics of that song to be unusually appropriate to my misery when they said, “I’ll rip my eyes out, before I get out.” It’s almost funny that this might have been the only moment of the movie I could actually relate to: the thought of ripping my eyes out before being able to leave.
If I Stay is a movie that disappoints and offends on nearly every conceivable level. The saddest thing about this film is that garbage like this actually exists. Its pro-death agenda is just plain horrible and ill-conceived. It also troubles me greatly to think that teenage girls might watch this film and think that Mia and Adam’s tumultuous relationship is a desirable model of love. Lastly, I’d like to note that the If I Stay novel does have a follow-up book titled Where She Went. Wherever she goes, I sure hope it’s not back to theaters. If I have to sit through another If I Stay movie, I might just give up on life myself.
(This review was originally posted at 5mmg.com on 9.5.14.)
Haley Mathiot (9 KP) rated It Happened One Night in Books
Apr 27, 2018
IT HAPPENED ONE NIGHT by Lisa Dale
Genre: Romance
Rating: 3.5/5
Summary (From Goodreads): Lana Biel has always wanted to shake the dust of Vermont off her feet and see the world, one exotic country after another. But when a lighthearted spring fling changes her life forever, she turns to the one man whose strong shoulders can lighten any burden: her best friend, Eli Ward.
Eli has always been there for Lana--after all, that's what best friends do. But Lana isn't the only one hiding something. Eli is keeping secrets of his own that threaten their relationship. Yet as summer turns to fall, new desires awaken between them, even as old fears tear them apart. Then, when another Vermont winter fills the valleys with snow, Eli and Lana are given the chance for an adventure greater than they ever dreamed possible...and a love that will last for all time.
Review:
It was really hard for me to give this book time, I felt like putting it down and giving up after the first few chapters. It wasn’t written particularly well, and I didn’t like the characters a whole lot. I still don’t. However, the story ended up being pretty good.
It was hard for me personally to look beyond the bottom line of the story: Lana had sex, got pregnant with a baby from a man she didn’t love, then she fell in love with her best friend. Her sister desperately wanted her to put her baby up for adoption so she could have it, and her father who never fathered them came back in the middle of it all and caused nothing but problems.
There were a few parts that just seemed out of place—Ron (the baby’s father) coming back and proposing, Gene (sister’s husband) walking out, and the apologies from the father. It just didn’t feel realistic. I’m not quite sure why.
But when I did look beyond that, I saw a very realistic story with good strong characters and the choices and words that they make and speak.
I got into the story about a quarter of the way through, and couldn’t put the book down. The events that happened lined up well, the pacing was good, and it was very original.
I really did like this book, I’m just not particularly sure why I liked it. Maybe it was the fact that the characters acted like real people, they weren't just characters. There were no “happily ever after” moments, although the ending was very good. I think, taking into consideration that in real life or fiction, it’s not really going to get better than it did, it was a very good story.
I’ve read a lot of really good reviews for this book, so don’t let my pessimism discourage you. Again, I liked it, but I’m not sure why. I doubt I’ll ever read it again, but then very few books make it to my “repeat” pile.
Content: For a romance book, this was free of details. There were some scenes, but they weren’t described. There was very very little language (I think there was one bad word total).
Recommendation: Ages 15+
Genre: Romance
Rating: 3.5/5
Summary (From Goodreads): Lana Biel has always wanted to shake the dust of Vermont off her feet and see the world, one exotic country after another. But when a lighthearted spring fling changes her life forever, she turns to the one man whose strong shoulders can lighten any burden: her best friend, Eli Ward.
Eli has always been there for Lana--after all, that's what best friends do. But Lana isn't the only one hiding something. Eli is keeping secrets of his own that threaten their relationship. Yet as summer turns to fall, new desires awaken between them, even as old fears tear them apart. Then, when another Vermont winter fills the valleys with snow, Eli and Lana are given the chance for an adventure greater than they ever dreamed possible...and a love that will last for all time.
Review:
It was really hard for me to give this book time, I felt like putting it down and giving up after the first few chapters. It wasn’t written particularly well, and I didn’t like the characters a whole lot. I still don’t. However, the story ended up being pretty good.
It was hard for me personally to look beyond the bottom line of the story: Lana had sex, got pregnant with a baby from a man she didn’t love, then she fell in love with her best friend. Her sister desperately wanted her to put her baby up for adoption so she could have it, and her father who never fathered them came back in the middle of it all and caused nothing but problems.
There were a few parts that just seemed out of place—Ron (the baby’s father) coming back and proposing, Gene (sister’s husband) walking out, and the apologies from the father. It just didn’t feel realistic. I’m not quite sure why.
But when I did look beyond that, I saw a very realistic story with good strong characters and the choices and words that they make and speak.
I got into the story about a quarter of the way through, and couldn’t put the book down. The events that happened lined up well, the pacing was good, and it was very original.
I really did like this book, I’m just not particularly sure why I liked it. Maybe it was the fact that the characters acted like real people, they weren't just characters. There were no “happily ever after” moments, although the ending was very good. I think, taking into consideration that in real life or fiction, it’s not really going to get better than it did, it was a very good story.
I’ve read a lot of really good reviews for this book, so don’t let my pessimism discourage you. Again, I liked it, but I’m not sure why. I doubt I’ll ever read it again, but then very few books make it to my “repeat” pile.
Content: For a romance book, this was free of details. There were some scenes, but they weren’t described. There was very very little language (I think there was one bad word total).
Recommendation: Ages 15+
Movie Metropolis (309 KP) rated Deepwater Horizon (2016) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Disaster with feeling
“Based on true events”. I can’t think of anything more disconcerting when I sit down to watch a film. When it comes to blockbusters inspired by real-life situations, the outcome can be a poignant movie that captures the heart and emotion of the episode – a la American Sniper.
Unfortunately, films in this genre can also be a disaster from start to finish with a story barely related to its real-life counterpart. You can forgive me then for going into Deepwater Horizon with an air of scepticism, but was it justified?
Thankfully, director Peter Berg (Hancock, Battleship) strikes the right balance between pleasing the movie-going masses and respecting the events that took the lives of eleven people aboard the Deepwater Horizon oil rig.
Based on the events that occurred in the Gulf of Mexico on April 20, 2010, the story chronicles the courage of those who worked on the Deepwater Horizon and the extreme moments of bravery and survival in the face of what would become one of the biggest man-made disasters in world history.
Mark Wahlberg takes the helm of this intriguing action thriller as Mike Williams, an electrician working on the rig during the explosion. A supporting cast that includes Kurt Russell, Gina Rodriguez, John Malkovich and The Maze Runner’s Dylan O’Brien bolster Wahlberg’s natural charisma and each of the aforementioned actors give first-rate performances.
The acting from all sides is superb. Mark Wahlberg in particular excels, being one of his best roles to date. His work has been decidedly dodgy over the last few years but his performance here shows just how good he is with the right material.
Nevertheless, at its core, Deepwater Horizon is a simple disaster movie, and carries the genre’s traits to a tee; there’s the obligatory hero (Mark Wahlberg), the boss/politician who doesn’t believe anything is wrong (John Malkovich), the bombastic score (courtesy of Steve Jablonsky) and the damsel in distress (Gina Rodriguez). What it does differently however is focus more on the human elements of the plot – something helped by the fact the scriptwriters had factual events to pick from.
The special effects are astounding, aided greatly by Peter Berg’s often hectic camerawork. There’s very little shaky-cam but the claustrophobic nature of the rig itself is beautifully utilised in low angled shots and sweeping exterior sequences. The scenes showing the rig on fire are so intense you can virtually feel the heat radiating from them.
It almost feels like a documentary, and a very good one at that. The audience is given references throughout the film of Deepwater Horizon’s many functions and the scale of the behemoth is apparent throughout.
Overall, to say Deepwater Horizon is a cracking disaster film feels like a slight disservice to the eleven people who died aboard it in 2010. Having Peter Berg direct was a risky move when looking at his back-catalogue but after a viewing, it’s hard to think of anyone else better suited.
This is a disaster movie with feeling and it’s one of the best films of the year.
https://moviemetropolis.net/2016/09/30/disaster-with-feeling-deepwater-horizon-review/
Unfortunately, films in this genre can also be a disaster from start to finish with a story barely related to its real-life counterpart. You can forgive me then for going into Deepwater Horizon with an air of scepticism, but was it justified?
Thankfully, director Peter Berg (Hancock, Battleship) strikes the right balance between pleasing the movie-going masses and respecting the events that took the lives of eleven people aboard the Deepwater Horizon oil rig.
Based on the events that occurred in the Gulf of Mexico on April 20, 2010, the story chronicles the courage of those who worked on the Deepwater Horizon and the extreme moments of bravery and survival in the face of what would become one of the biggest man-made disasters in world history.
Mark Wahlberg takes the helm of this intriguing action thriller as Mike Williams, an electrician working on the rig during the explosion. A supporting cast that includes Kurt Russell, Gina Rodriguez, John Malkovich and The Maze Runner’s Dylan O’Brien bolster Wahlberg’s natural charisma and each of the aforementioned actors give first-rate performances.
The acting from all sides is superb. Mark Wahlberg in particular excels, being one of his best roles to date. His work has been decidedly dodgy over the last few years but his performance here shows just how good he is with the right material.
Nevertheless, at its core, Deepwater Horizon is a simple disaster movie, and carries the genre’s traits to a tee; there’s the obligatory hero (Mark Wahlberg), the boss/politician who doesn’t believe anything is wrong (John Malkovich), the bombastic score (courtesy of Steve Jablonsky) and the damsel in distress (Gina Rodriguez). What it does differently however is focus more on the human elements of the plot – something helped by the fact the scriptwriters had factual events to pick from.
The special effects are astounding, aided greatly by Peter Berg’s often hectic camerawork. There’s very little shaky-cam but the claustrophobic nature of the rig itself is beautifully utilised in low angled shots and sweeping exterior sequences. The scenes showing the rig on fire are so intense you can virtually feel the heat radiating from them.
It almost feels like a documentary, and a very good one at that. The audience is given references throughout the film of Deepwater Horizon’s many functions and the scale of the behemoth is apparent throughout.
Overall, to say Deepwater Horizon is a cracking disaster film feels like a slight disservice to the eleven people who died aboard it in 2010. Having Peter Berg direct was a risky move when looking at his back-catalogue but after a viewing, it’s hard to think of anyone else better suited.
This is a disaster movie with feeling and it’s one of the best films of the year.
https://moviemetropolis.net/2016/09/30/disaster-with-feeling-deepwater-horizon-review/
Kristy H (1252 KP) rated The Stone Circle (Ruth Galloway, #11) in Books
Jun 21, 2019
When DCI Nelson receives the letter, he's immediately transported back to twenty years ago, when young Lucy Downey went missing and the first letters began. Then, to ten years later, when they found the bones in the Saltmarsh. It was then that Ruth first came in to Nelson's life, when she was called to examine the bones. While the bones weren't related to Lucy, she also took a look at the letters. And, of course, became entwined in Nelson's life. During that time, another child died, and the killer drowned on the marshes. The letter writer, Erik Anderssen, Ruth's mentor, also died that night too. Now, Ruth is assisting with a new dig in the Saltmarsh in a stone circle--one with ties to Erik. While digging, they find recent bones believed to belong to Margaret Lacey, who went missing in 1981 at the age of twelve. As the the investigation into Margaret's case begins, it looks like it has ties to Nelson's earlier cases--the letters, the bones, the missing kids, and more. But that killer is dead--right?
"'He's back,' says Clough. 'Bollocks,' says Nelson. 'He's dead.'"
The wonderful Elly Griffiths brings us back to her first Ruth Galloway book, The Crossing Places in this, her eleventh Ruth story. Yet, the tale feels as fresh and intriguing as ever. I just love the Ruth Galloway series--the tone of these books is unlike almost any other. Ruth seems real to me by now, like an old friend, and don't even get me started on Nelson, our beloved, sarcastic, DCI. Griffiths has an amazing ability to characterize Ruth and Nelson (and the whole crew) and capture their own distinct voices. Her books are at turns funny, familiar, and sometimes heartbreaking as Ruth and Nelson try to navigate their own relationship--and the other relationships that may or may not keep them apart. Michelle, Nelson's wife, has her baby in this one (cliffhanger resolved), and there is progress made on other personal fronts as well.
It almost seems like icing on the cake that we are treated to an enjoyable mystery along with our lovely characters and just overall familiarity. I found the case in this one to be engrossing, especially with the ties back to the earlier book. (I highly recommend reading this series from the beginning--it's the best way to catch all the little nuances and bits of humor, but the book will stand alone.) Margaret's disappearance is interesting--and her story brings a whole new cast of characters, several of whom entwine with our usual suspects.
All in all, as always, another winner from Griffiths. I could read her books constantly, and I love Ruth and Nelson (and Kate, Ruth's seven-year-old) so dearly! They truly seem real to me. If you've been reading this series from book #1, you'll enjoy the usual humor (oh Nelson) and returning to our cast of characters. If you like a good mystery (with some archaeological flavor sprinkled in), you won't be disappointed either. 4.5 stars.
"'He's back,' says Clough. 'Bollocks,' says Nelson. 'He's dead.'"
The wonderful Elly Griffiths brings us back to her first Ruth Galloway book, The Crossing Places in this, her eleventh Ruth story. Yet, the tale feels as fresh and intriguing as ever. I just love the Ruth Galloway series--the tone of these books is unlike almost any other. Ruth seems real to me by now, like an old friend, and don't even get me started on Nelson, our beloved, sarcastic, DCI. Griffiths has an amazing ability to characterize Ruth and Nelson (and the whole crew) and capture their own distinct voices. Her books are at turns funny, familiar, and sometimes heartbreaking as Ruth and Nelson try to navigate their own relationship--and the other relationships that may or may not keep them apart. Michelle, Nelson's wife, has her baby in this one (cliffhanger resolved), and there is progress made on other personal fronts as well.
It almost seems like icing on the cake that we are treated to an enjoyable mystery along with our lovely characters and just overall familiarity. I found the case in this one to be engrossing, especially with the ties back to the earlier book. (I highly recommend reading this series from the beginning--it's the best way to catch all the little nuances and bits of humor, but the book will stand alone.) Margaret's disappearance is interesting--and her story brings a whole new cast of characters, several of whom entwine with our usual suspects.
All in all, as always, another winner from Griffiths. I could read her books constantly, and I love Ruth and Nelson (and Kate, Ruth's seven-year-old) so dearly! They truly seem real to me. If you've been reading this series from book #1, you'll enjoy the usual humor (oh Nelson) and returning to our cast of characters. If you like a good mystery (with some archaeological flavor sprinkled in), you won't be disappointed either. 4.5 stars.
Phil Leader (619 KP) rated Everything to Nothing in Books
Nov 13, 2019
Everything to Nothing follows the story of three young women and the paths their lives take after one fateful night when they each end up with a man. The repercussions of the events lead by turns to each of them losing everything they had, even if they had nothing or everything to start with.
Sarah is at college and struggling to cope with an absent father and an alcoholic mother. She escapes from this life by clubbing and sex until the night in question when she is introduced to the highs available from hard drugs.
Michelle is at college with Sarah and they sometimes meet out clubbing. Michelle is looking for a man who likes her for who she is rather than what she looks like. Could Simon be that man?
Sally is Michelle's best friend. She is also the daughter of a billionaire businessman and lives a life full of servants, fast cars and designer clothes. She has it all except a man who is not interested in her because of her money.
This story is a real rollercoaster of a book. It did take a while to get going and introduce the characters, taking it time to fill in their personalities and circumstances but this is time well spent for later. Of the three Michelle is necessarily less well developed since there is no specific hook to her storyline beyond her association with both of the others. All the characters are well drawn with a sense of realism, even for Sally who lives a lifestyle entirely outside of the experience of 99.99% of the population. They have their flaws but this a real strength and the various dalliances and romances are painted very well and are not in any way forced.
The emotions the story evokes run the whole gamut. Laugh out loud humour at the antics of David's gran; wanting to shake Sarah out of her clearly stupid and self destructive decisions, down to the very harrowing end of the book.
And that ending is the most powerful part of the book and will stay with you for a long time. This is not a morality tale where bad things only happen to bad people and the good guys ride off into the sunset. Bad things can happen to good people and often for little or no reason and the complete deconstruction of the worlds around the three women in final act, although requiring some suspension of belief at some of the coincidences and circumstances, is shocking. And then becomes even more shocking with every page. You have been warned!
The book is not perfect; it is a little slow at times and the 'flashback' sections when the characters are introduced I felt could have been covered with a couple of paragraphs rather than pages of close description of the events as they happened. And occasionally the prose is a little clumsy when trying to express some fine or complex point about a character. But overall this is definitely worth a read. But only if you don't like happy endings.
Note: This book is rated Adult due to frequent and detailed descriptions of sexual acts and drug use
Sarah is at college and struggling to cope with an absent father and an alcoholic mother. She escapes from this life by clubbing and sex until the night in question when she is introduced to the highs available from hard drugs.
Michelle is at college with Sarah and they sometimes meet out clubbing. Michelle is looking for a man who likes her for who she is rather than what she looks like. Could Simon be that man?
Sally is Michelle's best friend. She is also the daughter of a billionaire businessman and lives a life full of servants, fast cars and designer clothes. She has it all except a man who is not interested in her because of her money.
This story is a real rollercoaster of a book. It did take a while to get going and introduce the characters, taking it time to fill in their personalities and circumstances but this is time well spent for later. Of the three Michelle is necessarily less well developed since there is no specific hook to her storyline beyond her association with both of the others. All the characters are well drawn with a sense of realism, even for Sally who lives a lifestyle entirely outside of the experience of 99.99% of the population. They have their flaws but this a real strength and the various dalliances and romances are painted very well and are not in any way forced.
The emotions the story evokes run the whole gamut. Laugh out loud humour at the antics of David's gran; wanting to shake Sarah out of her clearly stupid and self destructive decisions, down to the very harrowing end of the book.
And that ending is the most powerful part of the book and will stay with you for a long time. This is not a morality tale where bad things only happen to bad people and the good guys ride off into the sunset. Bad things can happen to good people and often for little or no reason and the complete deconstruction of the worlds around the three women in final act, although requiring some suspension of belief at some of the coincidences and circumstances, is shocking. And then becomes even more shocking with every page. You have been warned!
The book is not perfect; it is a little slow at times and the 'flashback' sections when the characters are introduced I felt could have been covered with a couple of paragraphs rather than pages of close description of the events as they happened. And occasionally the prose is a little clumsy when trying to express some fine or complex point about a character. But overall this is definitely worth a read. But only if you don't like happy endings.
Note: This book is rated Adult due to frequent and detailed descriptions of sexual acts and drug use
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