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Gareth von Kallenbach (971 KP) rated Spider-Man: Into the Spider-Verse (2018) in Movies
Jul 2, 2019
This is the Spider-Man movie that we deserved.
It’s hard to believe that the movie I would end up saying that about would be an animated one. Nevertheless, I left the theater this time feeling a sense of warm satisfaction for the first time since Sony originally graced us with Tobey Maguire.
Spider-Ma n: Into the Spider-Verse is the most poignant statement that Sony could make about their recommitment to all things webslinger. The star-studded cast for this film includes Academy Award winners like Nicolas Cage and Mahershala Ali as well as the likes of Lily Tomlin, Chris Pine, and John Mulaney. But those aren’t even the main characters. Along with the stellar writing, an unbelievably well curated soundtrack and art direction that can only be described as sublime, Into the Spider-verse was exactly what we all needed right now.
This entry into the world of Spider-man actually brings us up to date with the comics by introducing us to Miles Morales (Shameik Moore), the black teenager from Brooklyn who has taken up the mantle of Spider-man following the death of Peter Parker (well, one of them). Witnessing Parker’s demise at the hands of The Kingpin, Morales promises to help destroy the weapon that killed him. Little does he realize that the weapon has opened a hole in the multiverse and multiple other spider men, women (and things) have been drawn through the rift into his universe. They all have to work together to get back to their own universes and to prevent the destruction of reality itself.
The soundtrack for this movie really brings Spider-man into modern times. Artists such as Kendrick Lamar, Eminem and Run the Jewels speak to the Brooklyn upbringing of Morales as the new webslinger. At the same time, it also serves up artists like Marshmello, Pendulum and Prodigy who demonstrate how action can be fueled through their EDM stylings. The music here is the most perfect complement to each part of the action and drama alike. Just as you will see multiple different Spider-men, you’ll be taken through a wide spectrum of musical stylings to match each hero.
The animation style displayed here really can’t be appropriately categorized. Part graffiti, part moving comic book and part CGI, the film brings together numerous different styles and effects such as cell-shading, anime breaks and word bubble subtitles to create something truly unique. The medium itself is perfect because we can finally see everything that a live-action film couldn’t execute. But unlike other animated superhero movies, this feature brings the artistic nature of illustrations to new levels. The mix of styles is unlike any cartoon you’ve ever seen (or are likely to see again). Beauty and realism combine to actually take you into a comic book instead of simply translating one for the screen.
The writing for Into the Spider-verse achieves something that few producers have managed to do in the animation field: it’s equally appealing to both children AND adults. These days it’s rare to see an animated superhero film being made for the big screen instead of going straight to television. As a result, Into the Spider-verse offers up plenty of quick witted and intelligent jokes for adults without crossing the lines of propriety. In addition to the quality humor, the story includes a number of emotional moments that all manage to evoke real feelings instead of coming off as just pandering. So, if you’re planning to take your children to this movie, you’ll certainly both enjoy it.
All-in-all, Into the Spider-Verse brings together all of the best elements in film-making and executes them to perfection. Writing, drawing, music all come together to create an experience that you have to see to believe. The only disappointing part here is that we had to wait 16 years for a Spider-Man movie this well done.
It’s hard to believe that the movie I would end up saying that about would be an animated one. Nevertheless, I left the theater this time feeling a sense of warm satisfaction for the first time since Sony originally graced us with Tobey Maguire.
Spider-Ma n: Into the Spider-Verse is the most poignant statement that Sony could make about their recommitment to all things webslinger. The star-studded cast for this film includes Academy Award winners like Nicolas Cage and Mahershala Ali as well as the likes of Lily Tomlin, Chris Pine, and John Mulaney. But those aren’t even the main characters. Along with the stellar writing, an unbelievably well curated soundtrack and art direction that can only be described as sublime, Into the Spider-verse was exactly what we all needed right now.
This entry into the world of Spider-man actually brings us up to date with the comics by introducing us to Miles Morales (Shameik Moore), the black teenager from Brooklyn who has taken up the mantle of Spider-man following the death of Peter Parker (well, one of them). Witnessing Parker’s demise at the hands of The Kingpin, Morales promises to help destroy the weapon that killed him. Little does he realize that the weapon has opened a hole in the multiverse and multiple other spider men, women (and things) have been drawn through the rift into his universe. They all have to work together to get back to their own universes and to prevent the destruction of reality itself.
The soundtrack for this movie really brings Spider-man into modern times. Artists such as Kendrick Lamar, Eminem and Run the Jewels speak to the Brooklyn upbringing of Morales as the new webslinger. At the same time, it also serves up artists like Marshmello, Pendulum and Prodigy who demonstrate how action can be fueled through their EDM stylings. The music here is the most perfect complement to each part of the action and drama alike. Just as you will see multiple different Spider-men, you’ll be taken through a wide spectrum of musical stylings to match each hero.
The animation style displayed here really can’t be appropriately categorized. Part graffiti, part moving comic book and part CGI, the film brings together numerous different styles and effects such as cell-shading, anime breaks and word bubble subtitles to create something truly unique. The medium itself is perfect because we can finally see everything that a live-action film couldn’t execute. But unlike other animated superhero movies, this feature brings the artistic nature of illustrations to new levels. The mix of styles is unlike any cartoon you’ve ever seen (or are likely to see again). Beauty and realism combine to actually take you into a comic book instead of simply translating one for the screen.
The writing for Into the Spider-verse achieves something that few producers have managed to do in the animation field: it’s equally appealing to both children AND adults. These days it’s rare to see an animated superhero film being made for the big screen instead of going straight to television. As a result, Into the Spider-verse offers up plenty of quick witted and intelligent jokes for adults without crossing the lines of propriety. In addition to the quality humor, the story includes a number of emotional moments that all manage to evoke real feelings instead of coming off as just pandering. So, if you’re planning to take your children to this movie, you’ll certainly both enjoy it.
All-in-all, Into the Spider-Verse brings together all of the best elements in film-making and executes them to perfection. Writing, drawing, music all come together to create an experience that you have to see to believe. The only disappointing part here is that we had to wait 16 years for a Spider-Man movie this well done.
Gareth von Kallenbach (971 KP) rated Steve Jobs (2015) in Movies
Aug 6, 2019
Steve Jobs is written by Aaron Sorkin and directed by Danny Boyle, stars Micheal Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels, and Michael Stuhlbarg.
Now that those formalities are out of the way I will just come out and say it. Steve Jobs is the best dramatic bio-pic I have seen. In fact, it is the best movie I have seen this year. Acted fantastically to the point of realism, the film takes the typical three act story arc and shows us the life of Steve Jobs at three periods of his life right before a product launch where we see Jobs as both innovator and villain alike. Each period consist of the 30-45 minutes of visually stimulating and aggressive cinematography leading up to each product launch and how the major people in Job’s life come in and out of those moments. These moments reveal that seemingly simple interactions with Jobs lead to a constant chess match of words and minds to maintain the reality distortion field of a seemingly great man but seemingly not a very good person. Clearly the film takes some Hollywood liberties, but with the screenplay based off the authorized biography of the same name by Walter Isaacson, the film Steve Jobs is probably the most realistic portrayal we may see of the man himself.
That portrayal is delivered splendidly by Michael Fassbender. Fassbender’s performance though each phase of the film is scary. That is to say he plays the egotistical narcissist to perfection. We get real moments of a cold and calculating manipulative intelligent person with quiet moments of compassion here or there. During arguments, Fassbender knows how to delivers bombs out of moments where you would not expect them and at points those arguments feel like high speed action scenes in an otherwise action less film. It is quite remarkable to witness.
Seth Rogen (uncredited) delivers the best dramatic performance of his career as Steve Wozniak. Michael Stuhlbarg likewise delivers a solid performance that stands in this film. While Jeff Daniels, coming off a great performance in the recently successful film The Martian, delivers an outstanding nuanced performance here across from Fassbender. When the two of them are on screen together it is as if they are speaking high prose to each other, albeit at times screaming. I would not be surprised if Daniels is nomination on his work for this film.
Finally we come to Kate Winslet who plays marketing executive Joanna Hoffman. To me she delivered the most fantastic performance in this film. Perhaps because she was the likable better half to Fassbender but more importantly we see this woman who is the only one to stand up to and in a sense understand Steve Jobs’s reality distortion field and work in and out of it as she desperately tries to hold everything together. We she her grow as someone who clearly loves and admires this man however recognizes his faults and is willing to call him out on them. Winslet reminds us yet again why she is one of the best actress in Hollywood and I predict she will be taking home a little gold statue to go with her performance in this film.
If you are still on the fence about watching this film, let me push you off it. Watch it. That may not mean in theaters, which is perhaps my only small complaint about this film. This is the type of film that would be great if it was released same day on digital distribution so you could watch it a few times from home over a few days while you think about it. But at some point you owe it to yourself to be amazed by the fantastic performances and cinematography of this film. While it may not be something you have to see on the big screen, it is absolutely worth the full price of admission. Do not miss it.
Now that those formalities are out of the way I will just come out and say it. Steve Jobs is the best dramatic bio-pic I have seen. In fact, it is the best movie I have seen this year. Acted fantastically to the point of realism, the film takes the typical three act story arc and shows us the life of Steve Jobs at three periods of his life right before a product launch where we see Jobs as both innovator and villain alike. Each period consist of the 30-45 minutes of visually stimulating and aggressive cinematography leading up to each product launch and how the major people in Job’s life come in and out of those moments. These moments reveal that seemingly simple interactions with Jobs lead to a constant chess match of words and minds to maintain the reality distortion field of a seemingly great man but seemingly not a very good person. Clearly the film takes some Hollywood liberties, but with the screenplay based off the authorized biography of the same name by Walter Isaacson, the film Steve Jobs is probably the most realistic portrayal we may see of the man himself.
That portrayal is delivered splendidly by Michael Fassbender. Fassbender’s performance though each phase of the film is scary. That is to say he plays the egotistical narcissist to perfection. We get real moments of a cold and calculating manipulative intelligent person with quiet moments of compassion here or there. During arguments, Fassbender knows how to delivers bombs out of moments where you would not expect them and at points those arguments feel like high speed action scenes in an otherwise action less film. It is quite remarkable to witness.
Seth Rogen (uncredited) delivers the best dramatic performance of his career as Steve Wozniak. Michael Stuhlbarg likewise delivers a solid performance that stands in this film. While Jeff Daniels, coming off a great performance in the recently successful film The Martian, delivers an outstanding nuanced performance here across from Fassbender. When the two of them are on screen together it is as if they are speaking high prose to each other, albeit at times screaming. I would not be surprised if Daniels is nomination on his work for this film.
Finally we come to Kate Winslet who plays marketing executive Joanna Hoffman. To me she delivered the most fantastic performance in this film. Perhaps because she was the likable better half to Fassbender but more importantly we see this woman who is the only one to stand up to and in a sense understand Steve Jobs’s reality distortion field and work in and out of it as she desperately tries to hold everything together. We she her grow as someone who clearly loves and admires this man however recognizes his faults and is willing to call him out on them. Winslet reminds us yet again why she is one of the best actress in Hollywood and I predict she will be taking home a little gold statue to go with her performance in this film.
If you are still on the fence about watching this film, let me push you off it. Watch it. That may not mean in theaters, which is perhaps my only small complaint about this film. This is the type of film that would be great if it was released same day on digital distribution so you could watch it a few times from home over a few days while you think about it. But at some point you owe it to yourself to be amazed by the fantastic performances and cinematography of this film. While it may not be something you have to see on the big screen, it is absolutely worth the full price of admission. Do not miss it.
Emma @ The Movies (1786 KP) rated The Lion King (2019) in Movies
Jun 20, 2020
It's difficult to know where to begin. I have strong feelings about Disney remakes in general, I was open to the idea until I saw some. I can understand remaking some that stand a chance of being mainly actual live-action like Cinderella and Beauty & The Beast, and I'm looking forward to Mulan despite its lack of Mushu... but... remaking something as "live-action" with realism when you have to include things that aren't realistic (talking animals) it seems pointless to me.
As the film started I was taken aback by the beautiful scenery shots, animation studios really have nailed realistic water. As the animals started to appear I was encouraged for the most part. The zebras and antelope looked wonderful and the movements were spot on, but the larger animals didn't quite have the same elegance. Watching it all was fine though until you noticed something, then it was difficult not to spot something else.
I really disliked the animation of Scar, I know he's supposed to look like the typical alpha male of the pride, but his look in the original and now has never been very in keeping to me.
The best piece of animation in the whole thing was Timon. That little meerkat was spot on through the whole thing for me, edgy and darting, it was perfect. The only drawback was the voiceover by Billy Eichner, he doesn't encapsulate the personality of Timon, but then he did have some big boots to fill.
With Timon as the best of animation, it was only fitting that Pumbaa filled in the other side by being the best of the voice cast. Seth Rogen was born for this role, he's fantastic. I absolutely loved him. Perfect comedic timing, maybe not the best singing voice but once it mixed in with everything else you couldn't tell.
Dare I say that I wasn't a fan of the songs? I didn't like the modern take on them... I'm not sure if I'd really classify it as a modern take, everything just seemed to be taken much more seriously than before. I actually quite enjoyed Be Prepared, while it wasn't really sung it probably plays better to Chiwetel Ejiofor's strengths done this way. The really dubious addition was the song "Spirit" by Beyoncé. It was barely included and if it was in there more then it really didn't stick out. The only bit I noticed was "spirit, spirit" being bellowed randomly. I've watched the video and full song on YouTube since the film, I can only assume that it's an attempt at best original song awards but I don't think it has that goosebump impact that Disney epics should. Those high notes should probably be left to Mariah.
It's difficult to know just how much my enjoyment of the original affected my feelings about the new one. It's not one that I grew up with, I rewatched it recently for what may have been the first time. Lion King is very much one of the Disney classics you can be aware of even without seeing it, that's the power of Disney.
Remaking a film as "live-action" when there's no human cast seems like the wrong choice to me. The realistic CGI will only work up to a point when you're trying to make animals speak. The films itself is still spectacular, and there are some amazing pieces of animation to see (I do love baby Simba, he's so cute), but I'm of the opinion that if it ain't broke don't fix it. When you look at it overall the voice cast isn't any better than the original, neither are the songs, with it being so incredibly similar with only the animation style being the major twist I'm left underwhelmed by the final cut.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/the-lion-king-movie-review.html
As the film started I was taken aback by the beautiful scenery shots, animation studios really have nailed realistic water. As the animals started to appear I was encouraged for the most part. The zebras and antelope looked wonderful and the movements were spot on, but the larger animals didn't quite have the same elegance. Watching it all was fine though until you noticed something, then it was difficult not to spot something else.
I really disliked the animation of Scar, I know he's supposed to look like the typical alpha male of the pride, but his look in the original and now has never been very in keeping to me.
The best piece of animation in the whole thing was Timon. That little meerkat was spot on through the whole thing for me, edgy and darting, it was perfect. The only drawback was the voiceover by Billy Eichner, he doesn't encapsulate the personality of Timon, but then he did have some big boots to fill.
With Timon as the best of animation, it was only fitting that Pumbaa filled in the other side by being the best of the voice cast. Seth Rogen was born for this role, he's fantastic. I absolutely loved him. Perfect comedic timing, maybe not the best singing voice but once it mixed in with everything else you couldn't tell.
Dare I say that I wasn't a fan of the songs? I didn't like the modern take on them... I'm not sure if I'd really classify it as a modern take, everything just seemed to be taken much more seriously than before. I actually quite enjoyed Be Prepared, while it wasn't really sung it probably plays better to Chiwetel Ejiofor's strengths done this way. The really dubious addition was the song "Spirit" by Beyoncé. It was barely included and if it was in there more then it really didn't stick out. The only bit I noticed was "spirit, spirit" being bellowed randomly. I've watched the video and full song on YouTube since the film, I can only assume that it's an attempt at best original song awards but I don't think it has that goosebump impact that Disney epics should. Those high notes should probably be left to Mariah.
It's difficult to know just how much my enjoyment of the original affected my feelings about the new one. It's not one that I grew up with, I rewatched it recently for what may have been the first time. Lion King is very much one of the Disney classics you can be aware of even without seeing it, that's the power of Disney.
Remaking a film as "live-action" when there's no human cast seems like the wrong choice to me. The realistic CGI will only work up to a point when you're trying to make animals speak. The films itself is still spectacular, and there are some amazing pieces of animation to see (I do love baby Simba, he's so cute), but I'm of the opinion that if it ain't broke don't fix it. When you look at it overall the voice cast isn't any better than the original, neither are the songs, with it being so incredibly similar with only the animation style being the major twist I'm left underwhelmed by the final cut.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/the-lion-king-movie-review.html
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Beckie Shelton (40 KP) rated The Art of Hiding in Books
Oct 6, 2017
Right, I'm going, to be honest here and say that I really struggled with this book and it was only the last few chapters that bumped this up to a three star for me.
Until then It was a two all the way, so sorry.
I'm obviously in a minority here in regards to how The art Of Hiding was perceived by myself as I've seen many positive reviews singing its praises and this is a well-written story it just personally wasn't really my cup of tea.
So I'm going to try and pinpoint what wasn't working for me as there was never one major thing that stood out specifically and also what was actually floating my boat.
So first things first I've never read anything by Amanda Prowse before, so was going in blind here.
Well, my initial impression was that The Art Of Hiding was really well written, the words flowed easily and the writing style was one that was easy to get lost in.
But here comes my main problem, the actual story itself, I found it a bit boring and somewhat one-dimensional.
I also wondered whether the author herself has ever lived on the breadline or was this her portrayal of what she thinks it would be like to be in that scenario.
I thought to myself why wasn't Nina McCarrick with no income not down the job centre and putting in an application, dare I say it for housing benefit.
She was meant to be on her arse after all.
It also annoyed me how living on the breadline was initially portrayed all doom and gloom and shitty childhoods, I didn't find it a realistic portrayal of how the other half lives it was very stereotypical in the way it depicted the rich and the poor.
I found it so hard to connect with the characters especially Nina who I found very whiny and almost childlike in some of her reactions.
Thank god for Tiggy, she was a breath of fresh air and also very forgiving considering the way she has been treated by her sister over the past few years.
I was so glad we had tiggy to add a bit of realism to this tale, I needed her as She was the one character I actually liked completely.
So a brief description of The Art Of Hiding is Nina McCarrick has the perfect life.
Until that is her husband Finn dies in a car crash leaving Nina and their Two sons in a mountain of debt and their whole lives unravelling.
Nina moves her boys back to the streets of Southampton where she grew up and The Art Of Hiding is really the story of how Nina and her children cope and grow as individuals as their world implodes.
As I said earlier I couldn't initially connect, but then a bit before the end I felt it and this is mainly what made me bump this up a star, I had a lump in my throat as Nina and her kids visit their former home with Tiggy, it was very poignant and sentimental and after pages of just reading, I actually started to feel the words written.
Overall though this book didn't make me feel good, On finishing, I felt rather sad and deflated and I like my fiction to leave me feeling rejuvenated, an emotional wreck, happy even sad, but not deflated and down that's a no-no.
I really do think I would enjoy other works of Amanda Prowse's as I really did like the writing style It was just the Art Of Hiding just didn't quite hit the mark for me.
So, In conclusion, this is a well-written story hence the three stars, It just personally wasn't quite for me, yourself well we are all diverse in our likes and dislikes so give it a go, I would so love to hear your take on this.
I would like to thank Netgalley, the publisher and the author for providing me with an arc of The Art Of Hiding By Amanda Prowse, this is my own voluntary, honest opinion.
Arc Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
Until then It was a two all the way, so sorry.
I'm obviously in a minority here in regards to how The art Of Hiding was perceived by myself as I've seen many positive reviews singing its praises and this is a well-written story it just personally wasn't really my cup of tea.
So I'm going to try and pinpoint what wasn't working for me as there was never one major thing that stood out specifically and also what was actually floating my boat.
So first things first I've never read anything by Amanda Prowse before, so was going in blind here.
Well, my initial impression was that The Art Of Hiding was really well written, the words flowed easily and the writing style was one that was easy to get lost in.
But here comes my main problem, the actual story itself, I found it a bit boring and somewhat one-dimensional.
I also wondered whether the author herself has ever lived on the breadline or was this her portrayal of what she thinks it would be like to be in that scenario.
I thought to myself why wasn't Nina McCarrick with no income not down the job centre and putting in an application, dare I say it for housing benefit.
She was meant to be on her arse after all.
It also annoyed me how living on the breadline was initially portrayed all doom and gloom and shitty childhoods, I didn't find it a realistic portrayal of how the other half lives it was very stereotypical in the way it depicted the rich and the poor.
I found it so hard to connect with the characters especially Nina who I found very whiny and almost childlike in some of her reactions.
Thank god for Tiggy, she was a breath of fresh air and also very forgiving considering the way she has been treated by her sister over the past few years.
I was so glad we had tiggy to add a bit of realism to this tale, I needed her as She was the one character I actually liked completely.
So a brief description of The Art Of Hiding is Nina McCarrick has the perfect life.
Until that is her husband Finn dies in a car crash leaving Nina and their Two sons in a mountain of debt and their whole lives unravelling.
Nina moves her boys back to the streets of Southampton where she grew up and The Art Of Hiding is really the story of how Nina and her children cope and grow as individuals as their world implodes.
As I said earlier I couldn't initially connect, but then a bit before the end I felt it and this is mainly what made me bump this up a star, I had a lump in my throat as Nina and her kids visit their former home with Tiggy, it was very poignant and sentimental and after pages of just reading, I actually started to feel the words written.
Overall though this book didn't make me feel good, On finishing, I felt rather sad and deflated and I like my fiction to leave me feeling rejuvenated, an emotional wreck, happy even sad, but not deflated and down that's a no-no.
I really do think I would enjoy other works of Amanda Prowse's as I really did like the writing style It was just the Art Of Hiding just didn't quite hit the mark for me.
So, In conclusion, this is a well-written story hence the three stars, It just personally wasn't quite for me, yourself well we are all diverse in our likes and dislikes so give it a go, I would so love to hear your take on this.
I would like to thank Netgalley, the publisher and the author for providing me with an arc of The Art Of Hiding By Amanda Prowse, this is my own voluntary, honest opinion.
Arc Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
Kristy H (1252 KP) rated This is How it Always Is in Books
Feb 1, 2018
Rosie and Penn are a bit of an amazing love story. They both knew they'd fall in love before they even met. Now they have five rambunctious kids, a farmhouse in Wisconsin, and a crazy, wonderful life. Things get a little more complicated, however, when their youngest son, Claude, starts wanting to wear a dress to preschool. Claude wants long hair with barrettes. Claude wants to be a princess when he grows up. Rosie and Penn are supportive of Claude: they just want their children to be happy, after all. But they soon realize Claude isn't just going through a phase. Claude has gender dysphoria, and their son wants to become a little girl named Poppy. The family is willing to support Poppy, but Rosie and Penn make the decision to do so in secret. But secrets don't stay kept forever.
<i>This is a fascinating, heartbreaking, and beautiful book.</i> It's filled with endearing characters, and I will certainly be recommending it to many people. I had a few issues with some of the realism aspects (more on that below), but I loved its details about raising children (of all kinds) and its humor. Penn, Rosie, and their kids are real.
Woven and embedded throughout this novel is a fairytale that Penn tells his children--starting with when his first boys were babies--and in some ways, the novel itself has its own fairytale moments. Frankel mentions that she does have a child who used to be a little boy and is now a little girl, but the story is not about her daughter. It is, she writes, "an act of imagination, an exercise in wish fulfillment." Still, you can imagine her as a supportive parent. That's certainly not everyone's experience. Does that mean everyone has to write a novel where the child's parents throw them out and society shames them? No. Would I have liked to have a seen a little more of a realistic take on how Poppy and her parents would deal with her secret and how those around her would take it? Maybe. It's not that the family doesn't have hardship, because they do, and Frankel does a good job showing that it takes a bit of a toll on her clan of brothers, as well. But--and I don't want to go into too much, as I don't want to give spoilers--I felt the resolution to the story was a bit pat. Much like Penn's fairytales, it seems to allow things to just wrap up quickly easily. So that was a little problematic for me. But, I didn't feel as irritated after reading Frankel's afterword, because I realize that this novel--for her--is indeed an "exercise in wish fulfillment." This is what she wants in the world. I won't lie: it's what I wish for as well. And perhaps reading novels like this, featuring a wonderful, precocious little boy who can become a wonderful, beautiful, mostly accepted little girl, is a great first step.
The novel is intricate and very detailed, though quite well-written. It's heartbreaking in Penn and Rosie's realization that Claude wants to be a girl and what that will mean for him and the family. They only want for their children to be happy. Frankel does an excellent job at portraying how adults and children can see the world so differently--in terms of gender and much more. As a parent, I often found myself wondering about what I'd do in their situation: it's a book that gets you thinking, for sure. In the end, I loved the family very much and was quite invested in their happiness. Again, another reason why I would have liked a slightly more developed ending after having gone through so much with them.
Still, this is a lovely, timely book. No matter some of the issues I had, I still enjoyed it and certainly recommend it.
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<i>This is a fascinating, heartbreaking, and beautiful book.</i> It's filled with endearing characters, and I will certainly be recommending it to many people. I had a few issues with some of the realism aspects (more on that below), but I loved its details about raising children (of all kinds) and its humor. Penn, Rosie, and their kids are real.
Woven and embedded throughout this novel is a fairytale that Penn tells his children--starting with when his first boys were babies--and in some ways, the novel itself has its own fairytale moments. Frankel mentions that she does have a child who used to be a little boy and is now a little girl, but the story is not about her daughter. It is, she writes, "an act of imagination, an exercise in wish fulfillment." Still, you can imagine her as a supportive parent. That's certainly not everyone's experience. Does that mean everyone has to write a novel where the child's parents throw them out and society shames them? No. Would I have liked to have a seen a little more of a realistic take on how Poppy and her parents would deal with her secret and how those around her would take it? Maybe. It's not that the family doesn't have hardship, because they do, and Frankel does a good job showing that it takes a bit of a toll on her clan of brothers, as well. But--and I don't want to go into too much, as I don't want to give spoilers--I felt the resolution to the story was a bit pat. Much like Penn's fairytales, it seems to allow things to just wrap up quickly easily. So that was a little problematic for me. But, I didn't feel as irritated after reading Frankel's afterword, because I realize that this novel--for her--is indeed an "exercise in wish fulfillment." This is what she wants in the world. I won't lie: it's what I wish for as well. And perhaps reading novels like this, featuring a wonderful, precocious little boy who can become a wonderful, beautiful, mostly accepted little girl, is a great first step.
The novel is intricate and very detailed, though quite well-written. It's heartbreaking in Penn and Rosie's realization that Claude wants to be a girl and what that will mean for him and the family. They only want for their children to be happy. Frankel does an excellent job at portraying how adults and children can see the world so differently--in terms of gender and much more. As a parent, I often found myself wondering about what I'd do in their situation: it's a book that gets you thinking, for sure. In the end, I loved the family very much and was quite invested in their happiness. Again, another reason why I would have liked a slightly more developed ending after having gone through so much with them.
Still, this is a lovely, timely book. No matter some of the issues I had, I still enjoyed it and certainly recommend it.
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