Search
Search results
Piper (13 KP) rated Strangers: Prey at Night (2018) in Movies
Nov 27, 2019
Real-feeling Characters (2 more)
Escalating Tension
Some Excellent Scenes
Some Naff Shots (1 more)
Hammy Acting
Contains spoilers, click to show
I’ve heard a lot of trash about this movie, and only some of it is right. Don’t get me wrong - it has its downfalls. We’ll get to those. But it’s a genuinely fun horror movie and, considering the predictability of the slasher genre, it’s fairly terrifying: the suspense doesn’t let up from damn near the beginning. For full disclosure, I haven’t seen the original Strangers movie, and I’ve heard it’s a whole lot better than this 2018 sequel. But the fact that Prey at Night stands successfully alone as a movie means it doesn’t matter which order you watch them in - all I’d say is that it’s probably best not to pay much attention to the reviews on this one (as sefl-destructive as a comment like that might be). It’s impressive in its own right, and if this apparently-subpar sequel is anything to go by, the original must be worthwhile. I’ll let you know once I’ve actually seen it.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.
Lottie disney bookworm (1056 KP) rated What Once Was Mine in Books
Oct 25, 2021
𝑾𝒉𝒂𝒕 𝒊𝒇 𝑹𝒂𝒑𝒖𝒏𝒛𝒆𝒍’𝒔 𝒎𝒐𝒕𝒉𝒆𝒓 𝒅𝒓𝒂𝒏𝒌 𝒂 𝒑𝒐𝒕𝒊𝒐𝒏 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒘𝒓𝒐𝒏𝒈 𝒇𝒍𝒐𝒘𝒆𝒓?
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
As you will all know by now, I am in love with the Twisted Tales series and have to read each installment as they are released. What Once was Mine is the 12th Twisted Tale book and the 7th written by Liz Braswell so to say I was excited would be an understatement.
As always, TT books come with a tag line to lure you in and this one is “What if Rapunzel’s mother drank a potion from the wrong flower?” Yes, instead of the golden Sundrop flower, the ailing pregnant queen is mistakenly given a potion using the Moondrop flower, resulting in a silver-haired princess whose power kills rather than heals!
Of course, that casts the whole locking the princess in a tower concept into an entirely new light! However, many of the other elements remain the same as Disney’s ‘Tangled’ movie: Gothel is Rapunzel’s captor and “mother”, Flynn steals a crown and is on the run from the Stabbington brothers and Rapunzel is desperate to see the floating lights.
What Liz Braswell manages to do (very well, in my opinion) is to maintain all these similarities, keeping her readers rooted to the original story but also to bend the original fairytale into something a bit more mature, a bit darker and, in some cases, a bit more real.
“𝙏𝙝𝙚 𝙩𝙧𝙪𝙩𝙝 𝙖𝙗𝙤𝙪𝙩 𝙮𝙤𝙪 𝙞𝙨 𝙖𝙡𝙡 𝙩𝙖𝙣𝙜𝙡𝙚𝙙, 𝙡𝙞𝙠𝙚 𝙮𝙤𝙪𝙧 𝙗𝙧𝙖𝙞𝙙𝙨, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡”
What Once was Mine is written from Rapunzel’s perspective. Now, this may be an obvious choice, but it also gives Braswell the opportunity to show her protagonist in a slightly more mature light than we are used to. Yes, Rapunzel is scatty, enthusiastic and teeth-grittingly cheerful about everything but she also believes she is dangerous and that she belongs in the tower for the safety of others.
Rapunzel has always been told that her hair killed her parents and that Gothel has been charged with her care and protection. However, what I really enjoyed about Braswell’s Rapunzel is that, although she begins with the same blind faith in Gothel as she has in the movie, she soon develops an inner turmoil of emotions with regards to her captor, questioning where she spends her days and recognising the little digs often made at the daughter’s expense.
As her journey continues, Rapunzel observes other mother-daughter relationships and her doubt and distrust of Gothel begins to build as a result. Lords, ladies and bandits alike are hunting for Rapunzel in order to claim her as their prize but this couldn’t be orchestrated by her mother, the only family she has ever known, could it?
“𝘽𝙚𝙜𝙞𝙣 𝙮𝙤𝙪𝙧 𝙣𝙞𝙣𝙚𝙩𝙚𝙚𝙣𝙩𝙝 𝙮𝙚𝙖𝙧 𝙗𝙮 𝙛𝙤𝙧𝙜𝙞𝙫𝙞𝙣𝙜 𝙮𝙤𝙪𝙧𝙨𝙚𝙡𝙛, 𝙍𝙖𝙥𝙪𝙣𝙯𝙚𝙡. 𝙏𝙝𝙖𝙩’𝙨 𝙖 𝙛𝙖𝙧 𝙗𝙚𝙩𝙩𝙚𝙧 𝙜𝙞𝙛𝙩 𝙩𝙝𝙖𝙣 𝙛𝙡𝙤𝙖𝙩𝙞𝙣𝙜 𝙡𝙖𝙣𝙩𝙚𝙧𝙣𝙨.”
I have conflicting feelings when it comes to the darker elements of What Once Was Mine. The inclusion of the very real Countess Bathory took me by surprise and was quite gruesome in places: not a problem for a grown-up Disney nerd but I’m not sure whether I will be passing this one along to the Mini Bookworm any time soon.
There is also the narrator of the story: a brother making up an alternative Rapunzel story for his sister while she is undergoing chemo. I understand this is an emotive topic for the author and I almost got it as a tool for the story-telling, enabling the use of quite modern, colloquial terms such as “murderhair” and enabling the creative inclusion of characters such as Maximus.
I really wanted this technique to be profound and make the story mean more, such as fairytales having an important place in the modern world for example. Unfortunately, it fell a little flat for me: it was an interesting tweak but it didn’t make me feel as much as I wanted it to.
It is not all doom and gloom though, Rapunzel’s perspective of the world provides comic moments: her (limited) knowledge of the world comes from the 37 books that she owns, leading to a moose that is definitely a squirrel and a cat which acts suspiciously like a fox. We are also not deprived of the regulars of The Snuggly Duckling, indeed all of your favourites from the film turn up for this novel.
Braswell’s characterisation when it came to Flynn was spot on in my opinion. The observation by Rapunzel that there is the “real” Flynn and then there is the charming, roguish mask he uses was perfect! Gina was also a great addition, desperately trying to be an adventurer/criminal and not being taken seriously just because she is a girl. The relationship between her and Flynn was adorable and, of course, Gina’s mother is just legendary.
“𝙎𝙝𝙚 𝙬𝙖𝙨𝙣’𝙩 𝙘𝙝𝙖𝙨𝙞𝙣𝙜 𝙙𝙞𝙨𝙩𝙖𝙣𝙩 𝙡𝙞𝙜𝙝𝙩𝙨; 𝙨𝙝𝙚 𝙬𝙖𝙨 𝙥𝙪𝙧𝙨𝙪𝙞𝙣𝙜 𝙖𝙣 𝙪𝙣𝙧𝙚𝙖𝙡𝙞𝙯𝙚𝙙 𝙙𝙧𝙚𝙖𝙢 𝙤𝙛 𝙣𝙤𝙧𝙢𝙖𝙡𝙘𝙮”
The writing style isn’t for everyone and, I must admit, this is the twisted tale which I have probably put down and walked away from the most. However, if you can stick it through the slow sections the story is really worth it and provides a much-admired evolution of the Disney Princess.
Don’t get me wrong - in the animated movie Rapunzel is great and all but by the end she is a princess with a haircut and a smouldering husband. Braswell’s Rapunzel has magic that she needs to study, understand and control, she is a future Queen in the making and simply has more of a purpose than her animated counterpart.
“𝙎𝙝𝙚 𝙝𝙖𝙙 𝙥𝙤𝙬𝙚𝙧 𝙖𝙣𝙙 𝙬𝙞𝙡𝙡 𝙖𝙣𝙙 𝙖 𝙨𝙩𝙪𝙗𝙗𝙤𝙧𝙣 𝙙𝙞𝙨𝙥𝙤𝙨𝙞𝙩𝙞𝙤𝙣”
What Once Was Mine brings a whole new depth to the characters of Disney’s Tangled. It gives us a new (frankly, disgusting) villain alongside all our favourite characters and definitely presents a creative twist on the traditional story. Don’t worry, Rapunzel still gets her Happily Ever After, but she fought a little harder for it this time around!
Eilidh G Clark (177 KP) rated The Panopticon in Books
May 13, 2017
This is my all time favouurite book.
Jenny Fagan stated in an interview in 2013 that prior to writing the novel The Panopticon (2012) she had one question, ‘is it possible to achieve autonomy?’ Fagan explores this question throughout her novel with the character of Anais Hendrix. I would also suggest that the author is metaphorically exploring whether Scotland can achieve autonomy as an independent nation. Autonomy, in relation to the individual, is self-governance- or being able to decide for oneself
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
At the beginning of the novel, the fifteen-year old Anais is governed by the state. In contemporary British society, a child under the age of sixteen, regardless of her social situation is, by law, governed by an adult/s. Anais has lived her life in the care system with the exception of a short period in which she lived with an adopted mother. It is for this reason that she is able to see society from outside of the family unit. By creating the motherless child, Fagan presents Anais as the ‘other’ from both a societal perspective- ‘communities dinnae like no-ones,’ and from the viewpoint of the protagonist, ‘What they really want is me dead,’ (TP, p.23). Without a family, and through a lack of legitimate information regarding her birth mother, Anais believes that she was created in a lab:
I’M AN experiment. I always have been, It’s a given, a liberty, a fact. They watch me. Not just in school or social-work reviews, courts or police cells – they watch everywhere. […] They’re there when I stare too long or too clearly, without flinching. […] They watch me, I know it, and I can’t find anywhere any more – where they can’t see, (TP, Prologue).
Note that in the above quotation, the protagonist describes her assumed identity as a ‘liberty’. Liberty, in this case, means freedom from the oppressive nature of the family. Although Anais desires the nurturing aspect of the family, ‘I just want my mum,’ (Tp, p.269), her lack of family exposes her to the nature of contemporary society as a constant monitoring of civilians. In the above quotation, the repetition of ‘they’ suggests that she feels outside of the norm. The most important aspect of the above quote however, is that it is told from the protagonist’s thoughts. While Fagan gives Anais a certain amount of autonomy through both the first-person narrator, and the vernacular, the reliability of the narrator is increased by presenting the characters inner thoughts. While this limited autonomy is important, full autonomy is restricted by age. Bever suggests that ‘the capacity for individuals to become autonomous seems radically dependent on the contingent historical circumstances and societies into which they are born. Anais’ awareness of herself as the ‘other’ allows her an insight into the oppressive role of society, which is normally hindered in childhood due to the role of the family and it’s teaching of norms and values.
The sense of otherness can also be looked at in regard to Scotland and its role within the UK. The UK is a family of four countries under one state. Regardless of Scotland’s devolution, it has still to comply with a large amount of UK policies. Scotland has different values and goals to that of the UK making it ‘other’. With a different cultural identity to its neighbours, many Scottish citizens are seeking independence to protect its dwindling identity, whilst for others, independence is political.
Anais’ awareness of social control causes her a feeling of shrinking. This, according to her social workers is an identity problem:
Fifty odd moves, three different names, born in a nuthouse to a nobody that was never seen again. Identity problem? I dinnae have an identity problem – I dinnae have an identity, (TP, p.99).
Anais’ reaction in the above statement describes her lack of knowledge of her ancestry. I would argue that her identity is forced upon her from the fifty-one times that she has moved home, the care system, the solitary time in which she was adopted, the relationships she has had - both female and male, her friends but more importantly, from the unreliable account of her birth from the monk in the metal institution. The lack of family does not alter the fact that she is alive, and that all the fragments of her past make up an identity. For Anais, ‘Families are overrated […] ‘I umnay fooled. Not by families,’(TP, p.63-64). Like Anais, Scotland’s identity is ambiguous. Independence will allow Scotland political autonomy, however, within a global economy, Scotland still has limited autonomy. As culturally ‘other’ however, Scotland has already achieved autonomy with or without a state through its language, its people and its traditions.
Fagan demonstrates the difficulty of total autonomy though Anais and the birthday game, a game in which she creates her own identity. When she turns sixteen years of age, Anais is free from societal care and flees from her imprisonment, ‘I am Frances Jones from Paris. I am not a face on a missing-person poster, I am not a number or a statistic in a file. I have no-one watching me, […] I−begin today,’ (TP, p.323-324). ‘I’ suggests singularity and is still opposite to ‘them’ or ‘we’. Autonomy is therefore, ambiguous; Anais is still living within the same system under a false identity, she is therefore, segregated from everyone that she knows. Moreover, by changing Anais’ name to a name that ‘means freedom.’ (TP, p.323), Fagan is pointing out the difference between freedom and autonomy. Freedom is an emotive word, and there are two concepts of freedom – freedom from, which in Anais’ situation means freedom from the system of observation. Freedom to, however, is more problematic as Anais can never be free from the neoliberal system of rules and law – as Scotland would see in the case of independence. I would therefore conclude that Anais/Scotland has always has limited autonomy through cultural identity and history. I believe autonomy can only reside within the system through cultural and individual imagination and not out with it.
What does this mean for Scotland? If Scotland is part of the global community, can it become an autonomous nation? Is there a solution or should Anais/Scotland accept that cultural autonomy is imagined or self-contained. Can a collective identity and imagination change the political system? Finally, can culture survive without independence?
Bibliography
Crupp, Tyler, ‘Autonomy and Contemporary Political Theory’, in Encyclopaedia of Political Theory, ed. Mark Bevor (London: Sage Publications, 2010)
Fagan, Jenni, The Panopticon (London: Windmill Books, 2013), p.6.
Windmill Books. (2013). Granta Best Young British Novelist Jenni Fagan, . accessed 22 November 2015. Published on Apr 16, 2013
Mandy and G.D. Burkhead (26 KP) rated Hottest Blood: The Ultimate in Erotic Horror in Books
May 20, 2018
Shelf Life – Hottest Blood: The Ultimate in Erotic Horror is Neither of Those Things
(I’m gonna go ahead and throw a disclaimer on up here: You are about to read something that deals with purportedly “erotic” subject matter. If you don’t like the sound of that word, you might wanna go elsewhere. If it’s actually-erotic things that offend you, though, you’ll be fine.)
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
Lee (2222 KP) rated Welcome to Marwen (2018) in Movies
Jan 11, 2019
Steve Carell (1 more)
Leslie Mann
This year, I made a resolution to try not to let critic reviews heavily influence my decision to go see a movie or not. In the period between Christmas and New year, I'd booked to go see Holmes and Watson, but when the very bad reviews for it started coming it, I decided to cancel, opting to continue lazing on the sofa with food, drink and Netflix instead. That particular choice I don't regret, but I feel there have been many occasions over the last year where I've either hated a movie the critics loved, or loved a movie the critics were negative about. Time to try and change that.
I almost did miss out on seeing Welcome to Marwen though, due to the large number of mediocre reviews I read. In fact, it doesn't seem to have appealed to the general public enough to keep it in the cinemas for very long at all. Having only opened here in the UK on New year's Day, the screening I went to last night was actually the last screening being shown at that particular cinema, and I was one of only a handful of people there watching it. What prompted me earlier this week to give it a go though was after listening to director Robert Zemeckis talk passionately about it, along with his other movies. It was a gentle reminder that this guy is responsible for so many of my favourite movies, and I decided to give it a shot. While I'm glad I did, and overall I enjoyed it a lot, I can certainly appreciate where some of the criticism is coming from.
Welcome to Marwen is based on the true story of Mark Hogancamp, and the 2010 documentary on his life title 'Marwencol'. Mark (played in the movie by Steve Carell) suffered a severe beating at the hands of a bunch of thugs following an altercation in a bar regarding his lifestyle choice of being a cross dresser. After nine days in a coma, the beating understandably left him traumatised, but it also left him without any memory his life prior to the attack - once a talented war illustrator, he now can't even write his own name. But Mark remained an artist, building a miniature World War II Belgian town called Marwen outside his home and populating it with dolls. Using them he creates scenes and a story which he then photographs, helping him to express and deal with his lack of memory, the pain and trauma he now experiences, and the relationships with the people around him. Captain Hogie is a fighter pilot, an Action Man/GI Joe figure representing Mark. The residents of Marwen are all women, alter egos of various people who have helped him in the past or continue to help him. The toyshop worker who supplies him with the dolls, a friend he met during rehab, a co-worker, his carer and the woman who came to his aid following his beating. The town is also terrorised regularly by a bunch of Nazis, representing the men responsible for attacking him. And whenever the Nazis are beaten and killed, they are brought back to life by a Belgian witch! When a woman called Nicol (Leslie Mann) moves in across the street, she strikes up a wonderful friendship with Mark, earning her own doll in the town of Marwen where she strikes up a relationship with Captain Hogie. As the movie progresses, Mark has to deal with the pending sentencing of his attackers and the anxiety surrounding an upcoming exhibition showcasing his photographs. Marwen, and its inhabitants, help him to work through all of this.
The scenes and stories in Marwen that Mark is creating and imagining are brought to life in the movie using impressive motion capture CGI which, if you've seen the trailer or any clips of the movie, will know looks incredible. When you think about the animation Zemeckis and his team were producing for The Polar Express back in 2004, through Beowulf and Disney's The Christmas Carol to where we are now with this movie, it's simply amazing how far we've come. Perfect recreations of the movie characters in doll form, moving and interacting with the real surroundings and the CGI is just faultless. But for the earlier parts of the movie, this aspect of the movie for me was for a while the most frustrating and dull. The movie opens with a big scene as Captain Hogie crashes his plane, comes across a group of Nazis before being rescued by the girls of Marwen and we get a few more of these lengthy sequences early on, with only short glimpses of Mark and his life inbetween. I found myself become interested and engrossed in the life of Mark, wanting to learn more, only to be snapped out of it by a not so interesting scene involving some dolls. Thankfully, the length of those scenes reduces over time, and as you begin to empathise more with Mark and his life, you start to appreciate more the reasons why a certain scene is playing out the way it is. At that point, I began to really appreciate and enjoy them a lot more.
My only issue overall with this movie is that I wouldn't really know the age range to pitch it at, and that's possibly why it doesn't appear to have done so well with audiences. You've got the fun elements involving the dolls and the CGI, but then some of these scenes do involve a fair bit of violence which actually appears quite realistic at times. Then you've got the trauma and the flashbacks involving the beating - the movie doesn't go as dark as it could, or maybe should have done with that subject matter, but I certainly wouldn't say this is a fun movie for all the family to enjoy. Which is a shame really because I did enjoy this a lot. Steve Carell does an outstanding job, and Leslie Mann is just wonderful as always. It's opened my eyes to some of the consequences of brain injury and made me want to learn more about Mark Hogancamp, which parts of the movie are true and which parts were added for entertainment. I'll be sure to try and watch the documentary at some point.
I almost did miss out on seeing Welcome to Marwen though, due to the large number of mediocre reviews I read. In fact, it doesn't seem to have appealed to the general public enough to keep it in the cinemas for very long at all. Having only opened here in the UK on New year's Day, the screening I went to last night was actually the last screening being shown at that particular cinema, and I was one of only a handful of people there watching it. What prompted me earlier this week to give it a go though was after listening to director Robert Zemeckis talk passionately about it, along with his other movies. It was a gentle reminder that this guy is responsible for so many of my favourite movies, and I decided to give it a shot. While I'm glad I did, and overall I enjoyed it a lot, I can certainly appreciate where some of the criticism is coming from.
Welcome to Marwen is based on the true story of Mark Hogancamp, and the 2010 documentary on his life title 'Marwencol'. Mark (played in the movie by Steve Carell) suffered a severe beating at the hands of a bunch of thugs following an altercation in a bar regarding his lifestyle choice of being a cross dresser. After nine days in a coma, the beating understandably left him traumatised, but it also left him without any memory his life prior to the attack - once a talented war illustrator, he now can't even write his own name. But Mark remained an artist, building a miniature World War II Belgian town called Marwen outside his home and populating it with dolls. Using them he creates scenes and a story which he then photographs, helping him to express and deal with his lack of memory, the pain and trauma he now experiences, and the relationships with the people around him. Captain Hogie is a fighter pilot, an Action Man/GI Joe figure representing Mark. The residents of Marwen are all women, alter egos of various people who have helped him in the past or continue to help him. The toyshop worker who supplies him with the dolls, a friend he met during rehab, a co-worker, his carer and the woman who came to his aid following his beating. The town is also terrorised regularly by a bunch of Nazis, representing the men responsible for attacking him. And whenever the Nazis are beaten and killed, they are brought back to life by a Belgian witch! When a woman called Nicol (Leslie Mann) moves in across the street, she strikes up a wonderful friendship with Mark, earning her own doll in the town of Marwen where she strikes up a relationship with Captain Hogie. As the movie progresses, Mark has to deal with the pending sentencing of his attackers and the anxiety surrounding an upcoming exhibition showcasing his photographs. Marwen, and its inhabitants, help him to work through all of this.
The scenes and stories in Marwen that Mark is creating and imagining are brought to life in the movie using impressive motion capture CGI which, if you've seen the trailer or any clips of the movie, will know looks incredible. When you think about the animation Zemeckis and his team were producing for The Polar Express back in 2004, through Beowulf and Disney's The Christmas Carol to where we are now with this movie, it's simply amazing how far we've come. Perfect recreations of the movie characters in doll form, moving and interacting with the real surroundings and the CGI is just faultless. But for the earlier parts of the movie, this aspect of the movie for me was for a while the most frustrating and dull. The movie opens with a big scene as Captain Hogie crashes his plane, comes across a group of Nazis before being rescued by the girls of Marwen and we get a few more of these lengthy sequences early on, with only short glimpses of Mark and his life inbetween. I found myself become interested and engrossed in the life of Mark, wanting to learn more, only to be snapped out of it by a not so interesting scene involving some dolls. Thankfully, the length of those scenes reduces over time, and as you begin to empathise more with Mark and his life, you start to appreciate more the reasons why a certain scene is playing out the way it is. At that point, I began to really appreciate and enjoy them a lot more.
My only issue overall with this movie is that I wouldn't really know the age range to pitch it at, and that's possibly why it doesn't appear to have done so well with audiences. You've got the fun elements involving the dolls and the CGI, but then some of these scenes do involve a fair bit of violence which actually appears quite realistic at times. Then you've got the trauma and the flashbacks involving the beating - the movie doesn't go as dark as it could, or maybe should have done with that subject matter, but I certainly wouldn't say this is a fun movie for all the family to enjoy. Which is a shame really because I did enjoy this a lot. Steve Carell does an outstanding job, and Leslie Mann is just wonderful as always. It's opened my eyes to some of the consequences of brain injury and made me want to learn more about Mark Hogancamp, which parts of the movie are true and which parts were added for entertainment. I'll be sure to try and watch the documentary at some point.
Kirk Bage (1775 KP) rated Coco (2017) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
As part of my project to compile a coffee table book called 21st Century cinema: 200 Unmissable Films, I have found it interesting, but not surprising, that almost 10% of the list since the year 2000 are animated features. It is an art form that Pixar and Disney especially, but many smaller studios, are excelling in, because of technological advances, and the free range of realising an imaginative vision. The trouble often is that they aren’t my first port of call anymore now I don’t have a kid around to watch them with. So it takes me some time to catch up on the good ones these days.
Also, for every good one there are several really lame ones, designed to get families into cinemas and take their money without much concession to a good script. It only takes the bad experience of a couple of those to put you off the genre as an adult. It can be hard to remember that some are made only with 6 year olds in mind. Frozen, for example. They have their place, and the phenomenon of which ones kids are drawn to is a different study altogether. For the purposes of my list, I am looking for the ones that can entertain young and older audiences at the same time. And, to date, no one has done that better than Pixar.
The benchmark, for me, remains Monsters Inc, The Incredibles and the Toy Story series. The latter especially, have a great knack of pleasing all generations. The key is always the writing. Animation styles and techniques can impress the eye, but it is always the theme, the relationships and the words that make an animated film enduring. Music also plays a big part; as does the level of humour. Both incredibly intangible arts that you can’t just buy.
I watched Coco on a Sunday morning – the perfect time to watch an animated film, by law! Chances are you will be a little hungover (I was) and susceptible to the inevitable sentimentality you are about to experience. The first thing that struck me was the colours! Embracing a Latin American cultural canvas, I don’t think I have ever seen such a vivid rainbow attacking my senses. From the naked flames of the candles, to the warm tones of the sunlight and the almost neon glow on display around the dead and the world of the afterlife, it was a visual treat I can honestly say I have never experienced before.
Oh, yes, Coco is about dying, if you didn’t know! And to say more about the genius of their approach to it, would be classed as a spoiler! The action takes place on Diá de Muertos (the day of the dead), when family members can revisit their loved ones, as long as they have been remembered. Our hero, young Miguel, loves music. But his family have banned him from listening to, or playing, it because of the shame surrounding a long dead ancestor. The magic of the day leads him to the underworld of the dead, to find out the truth and save the day.
Of course, once there, he meets all sorts of strange characters, and is lead on a fateful journey with lots of unexpected twists. Again, we won’t go into who, or why for the sake of spoilers. Suffice to say, the ideas, emotion and sense of righteousness flow, stirred up in the mix of constant moments of humour, some that land, some that don’t quite, at a pace fitting, and demanded, by young audiences. The ultimate aim being to reveal the truth behind the family story and to allow the dead to be remembered for their real worth.
On the negatives first: it is all pitched at quite a young audience, in the same way one of Pixar’s less successful films, Cars, is. Which means a lot of the humour lacks the sophistication needed to make it a classic. Also, for a film about the love and joy of music, the songs are only OK, and not especially memorable, although the Oscar winning main theme “Remember Me” serves its purpose very well in the climax. There are also one or two dips in the pacing of scenes that break the spell; surely the cornerstone rule of animated films: don’t drop the ball! Something both Wall-E and Up do at points, spoiling the overall impression of something so glorious in their best moments.
The power of Grandmas
To be more positive, we have to acknowledge the very, very high bar that Pixar set themselves. From an animation point of view, if this film had been released in 2001, we’d be in raptures about it! It is beautiful to look at! And the attention to detail is extraordinary, allowing for many re-watches, just to see the things they have put in there to largely amuse themselves. As a vision of an idea brought to life it is a consummate success! It is, essentially, so likeable. And at its heart, once again, right on the money.
It isn’t called Miguel. It isn’t called The Day of the Dead. It is called Coco. And by the end, you realise why that is important. Death is sad. Dementia is also an awful, awful thing. The strength of Coco is taking these difficult subjects and shining a meaningful light on them, that not only comments intelligently on them, but breaks the heart with the truth of it all. It takes a while to get there with this one, but the pay-off is sublime, yet again! Remember me, a simple sentiment that goes a long, long way!
As a side note, there is a controversial, but massively effective medical technique being utilised in the real world, with alzheimers sufferers, that uses music to trigger memory. It’s application and results are astonishing, for their ability to bring people “back to life”. Which, naturally, moved me immensely. To think the best moment of Coco isn’t just wish fulfilment in a sentimental world, but a real thing that can be done!
Sentimentality aside, Coco is a good film, in every sense of the word. As a parent, I would revel in the opportunity to show this to a child, for the positive conversations it might invoke. The aspects of cinema magic needed to make it an experience worth having are all there. To fault it is only to be unnecessarily picky. Better to go on the journey and enjoy it for what it is. Which, increasingly, is my mantra for watching anything. Who would not hope that someone chooses to celebrate life, with the thought “Remember Me”?
Also, for every good one there are several really lame ones, designed to get families into cinemas and take their money without much concession to a good script. It only takes the bad experience of a couple of those to put you off the genre as an adult. It can be hard to remember that some are made only with 6 year olds in mind. Frozen, for example. They have their place, and the phenomenon of which ones kids are drawn to is a different study altogether. For the purposes of my list, I am looking for the ones that can entertain young and older audiences at the same time. And, to date, no one has done that better than Pixar.
The benchmark, for me, remains Monsters Inc, The Incredibles and the Toy Story series. The latter especially, have a great knack of pleasing all generations. The key is always the writing. Animation styles and techniques can impress the eye, but it is always the theme, the relationships and the words that make an animated film enduring. Music also plays a big part; as does the level of humour. Both incredibly intangible arts that you can’t just buy.
I watched Coco on a Sunday morning – the perfect time to watch an animated film, by law! Chances are you will be a little hungover (I was) and susceptible to the inevitable sentimentality you are about to experience. The first thing that struck me was the colours! Embracing a Latin American cultural canvas, I don’t think I have ever seen such a vivid rainbow attacking my senses. From the naked flames of the candles, to the warm tones of the sunlight and the almost neon glow on display around the dead and the world of the afterlife, it was a visual treat I can honestly say I have never experienced before.
Oh, yes, Coco is about dying, if you didn’t know! And to say more about the genius of their approach to it, would be classed as a spoiler! The action takes place on Diá de Muertos (the day of the dead), when family members can revisit their loved ones, as long as they have been remembered. Our hero, young Miguel, loves music. But his family have banned him from listening to, or playing, it because of the shame surrounding a long dead ancestor. The magic of the day leads him to the underworld of the dead, to find out the truth and save the day.
Of course, once there, he meets all sorts of strange characters, and is lead on a fateful journey with lots of unexpected twists. Again, we won’t go into who, or why for the sake of spoilers. Suffice to say, the ideas, emotion and sense of righteousness flow, stirred up in the mix of constant moments of humour, some that land, some that don’t quite, at a pace fitting, and demanded, by young audiences. The ultimate aim being to reveal the truth behind the family story and to allow the dead to be remembered for their real worth.
On the negatives first: it is all pitched at quite a young audience, in the same way one of Pixar’s less successful films, Cars, is. Which means a lot of the humour lacks the sophistication needed to make it a classic. Also, for a film about the love and joy of music, the songs are only OK, and not especially memorable, although the Oscar winning main theme “Remember Me” serves its purpose very well in the climax. There are also one or two dips in the pacing of scenes that break the spell; surely the cornerstone rule of animated films: don’t drop the ball! Something both Wall-E and Up do at points, spoiling the overall impression of something so glorious in their best moments.
The power of Grandmas
To be more positive, we have to acknowledge the very, very high bar that Pixar set themselves. From an animation point of view, if this film had been released in 2001, we’d be in raptures about it! It is beautiful to look at! And the attention to detail is extraordinary, allowing for many re-watches, just to see the things they have put in there to largely amuse themselves. As a vision of an idea brought to life it is a consummate success! It is, essentially, so likeable. And at its heart, once again, right on the money.
It isn’t called Miguel. It isn’t called The Day of the Dead. It is called Coco. And by the end, you realise why that is important. Death is sad. Dementia is also an awful, awful thing. The strength of Coco is taking these difficult subjects and shining a meaningful light on them, that not only comments intelligently on them, but breaks the heart with the truth of it all. It takes a while to get there with this one, but the pay-off is sublime, yet again! Remember me, a simple sentiment that goes a long, long way!
As a side note, there is a controversial, but massively effective medical technique being utilised in the real world, with alzheimers sufferers, that uses music to trigger memory. It’s application and results are astonishing, for their ability to bring people “back to life”. Which, naturally, moved me immensely. To think the best moment of Coco isn’t just wish fulfilment in a sentimental world, but a real thing that can be done!
Sentimentality aside, Coco is a good film, in every sense of the word. As a parent, I would revel in the opportunity to show this to a child, for the positive conversations it might invoke. The aspects of cinema magic needed to make it an experience worth having are all there. To fault it is only to be unnecessarily picky. Better to go on the journey and enjoy it for what it is. Which, increasingly, is my mantra for watching anything. Who would not hope that someone chooses to celebrate life, with the thought “Remember Me”?
Mothergamer (1511 KP) rated The Last of Us in Video Games
Apr 3, 2019
I have been slowly but surely going through my backlog of games, so I chose The Last Of Us Remastered to play next because I have been curious about it and many of my friends have been telling me I needed to play this game. To them I say you were right. I did need to play this game because it wasn't just fun to play; it was phenomenal story telling. When a game's story has me getting choked up about something within the first few minutes, I know it's going to be a heck of a ride and be great.
I couldn't help, but like Joel. This is a character that has been through something that is so devastating to him and yet somehow he's kept going on and had to do things that are not necessarily good, but that he felt had to be done in order to keep surviving especially since the world as everyone knows it has ended and a post-apocalyptic world is the new normal.
Is Joel a good person? No, not really. He's not really a terrible person either. His partner Tess was interesting also and she's another character that's not really good or evil. The Last Of Us really showcases that this world isn't really that black and white; there are varying shades of grey and not everyone is completely good or bad and that many of the people are just trying to survive any way they can.
It wasn't long before the story progressed to meeting Ellie. I loved Ellie. She was this mouthy 14 year old kid, but you come to realize that a lot of why she's like that is because she's scared of losing those she cares about and having to parent herself. In spite of that, Ellie always managed to dig down deep and find the courage to do what needed to be done and I admired and respected that level of strength in her. The interaction between Ellie and Joel at first was rather terse, but I understood that was normal especially for Joel because he just wanted to finish the mission and not get attached.
I really got into it because the game was that good for me. The combat controls are great; not clunky at all. Sometimes I would get nailed by an infected and have to start over from that point (I really HATE the Clickers and Bloaters, they're terrifying), but I didn't really mind because I was enjoying the story and wanted to know what happened next. There are human factions as well such as military, the Fireflies, and Hunters. This is definitely a game for adults because of how dark the story can be at certain points and because of the harsh violence.
Infected are scary!
The environments in the game are beautifully done. I found myself stopping and just looking at everything often. From riding a horse in the woods to an abandoned college campus with a herd of giraffes, all of it looks great and really stands out. The music in the game is perfectly done as well with some hauntingly beautiful melodies that add to the emotions of moments in the story.
Horse riding in the woods
Even an abandoned campus can be pretty
There were points in the story where I got pretty emotional because I came to care about the characters. I had to remind myself it was just a game, but it was difficult especially when it came to the characters of Henry and Sam. I actually had to walk away for a few minutes because I was so saddened by what happened to them especially with Sam because he and Ellie were close to the same age and they had bonded and became friends.
The big thing that stood out for me is the relationship between Joel and Ellie. I loved how it slowly progressed from Joel being reluctant about getting to know Ellie to during some slower moments like navigating an area to look for supplies there would be a bit of talking between them back and forth about different things such as what a type of video game was like or that an ice cream truck was a real thing. I also found myself chuckling at some of the awful puns that Ellie would read from her book of puns.
As I got further in the game I recognized that Joel is a very angry and desperate man, but when it came to Ellie he could have these moments of kindness and really seemed to look out for her. The story isn't in your face about it and it becomes this gradual evolution of Joel treating her like a daughter and her coming to trust him while they both support each other in a situation that is pretty dangerous and exhausting on many levels. It's poignant and the emotions from both characters is so incredible that it draws you into the story fully which shows how fantastic the voice acting was in this.
Joel and Ellie watching some giraffes.
When I got to the ending of the game, it made me think about a lot. It made me ask questions like could I do what Joel had done? Was the leader of the Fireflies right about sacrificing a few for the many? It brought up a lot of ideas about the choices that people have to make in this world and not all of them are easy; much of it involves hard choices. I liked the ending, but it definitely wasn't a sunshine happy ending because that's not the kind of game The Last of Us is.
I played the Left Behind DLC also and I thought it was interesting to get a chance to see what Ellie was like before she met Joel. It also shows you some moments that are pivotal in the main story line that focus on Ellie which are also great. I liked the interaction between her and Riley because it brings some lightheartedness to the game with them just being kids and having fun, forgetting about the dark things going on in their world for a moment. It also shows some great emotional moments between Ellie and Riley that don't feel forced and seem to happen quite naturally. Of course the cheerful stuff only lasts for so long and then it's back to some very sad things happening. The final conversation between Ellie and Riley just before Left Behind ends had me choking back some tears because it was this heartfelt moment between two characters that truly cared for and loved each other.
Ellie and Riley having fun in a photo booth.
This is exactly why I loved The Last Of Us. It is hands down one of the best games I've ever played because of how intelligent the writing for this was creating a game that is perfectly story driven with some very memorable characters; characters that you find yourself caring about a great deal. The exploration of the various relationships are wonderfully executed making for a fantastic gaming and story experience. The game play is excellent and it shows that a lot of thought was put into getting things just right. The Last Of Us is a game title that I am thrilled to have in my gaming collection and it's absolutely worth playing.
I couldn't help, but like Joel. This is a character that has been through something that is so devastating to him and yet somehow he's kept going on and had to do things that are not necessarily good, but that he felt had to be done in order to keep surviving especially since the world as everyone knows it has ended and a post-apocalyptic world is the new normal.
Is Joel a good person? No, not really. He's not really a terrible person either. His partner Tess was interesting also and she's another character that's not really good or evil. The Last Of Us really showcases that this world isn't really that black and white; there are varying shades of grey and not everyone is completely good or bad and that many of the people are just trying to survive any way they can.
It wasn't long before the story progressed to meeting Ellie. I loved Ellie. She was this mouthy 14 year old kid, but you come to realize that a lot of why she's like that is because she's scared of losing those she cares about and having to parent herself. In spite of that, Ellie always managed to dig down deep and find the courage to do what needed to be done and I admired and respected that level of strength in her. The interaction between Ellie and Joel at first was rather terse, but I understood that was normal especially for Joel because he just wanted to finish the mission and not get attached.
I really got into it because the game was that good for me. The combat controls are great; not clunky at all. Sometimes I would get nailed by an infected and have to start over from that point (I really HATE the Clickers and Bloaters, they're terrifying), but I didn't really mind because I was enjoying the story and wanted to know what happened next. There are human factions as well such as military, the Fireflies, and Hunters. This is definitely a game for adults because of how dark the story can be at certain points and because of the harsh violence.
Infected are scary!
The environments in the game are beautifully done. I found myself stopping and just looking at everything often. From riding a horse in the woods to an abandoned college campus with a herd of giraffes, all of it looks great and really stands out. The music in the game is perfectly done as well with some hauntingly beautiful melodies that add to the emotions of moments in the story.
Horse riding in the woods
Even an abandoned campus can be pretty
There were points in the story where I got pretty emotional because I came to care about the characters. I had to remind myself it was just a game, but it was difficult especially when it came to the characters of Henry and Sam. I actually had to walk away for a few minutes because I was so saddened by what happened to them especially with Sam because he and Ellie were close to the same age and they had bonded and became friends.
The big thing that stood out for me is the relationship between Joel and Ellie. I loved how it slowly progressed from Joel being reluctant about getting to know Ellie to during some slower moments like navigating an area to look for supplies there would be a bit of talking between them back and forth about different things such as what a type of video game was like or that an ice cream truck was a real thing. I also found myself chuckling at some of the awful puns that Ellie would read from her book of puns.
As I got further in the game I recognized that Joel is a very angry and desperate man, but when it came to Ellie he could have these moments of kindness and really seemed to look out for her. The story isn't in your face about it and it becomes this gradual evolution of Joel treating her like a daughter and her coming to trust him while they both support each other in a situation that is pretty dangerous and exhausting on many levels. It's poignant and the emotions from both characters is so incredible that it draws you into the story fully which shows how fantastic the voice acting was in this.
Joel and Ellie watching some giraffes.
When I got to the ending of the game, it made me think about a lot. It made me ask questions like could I do what Joel had done? Was the leader of the Fireflies right about sacrificing a few for the many? It brought up a lot of ideas about the choices that people have to make in this world and not all of them are easy; much of it involves hard choices. I liked the ending, but it definitely wasn't a sunshine happy ending because that's not the kind of game The Last of Us is.
I played the Left Behind DLC also and I thought it was interesting to get a chance to see what Ellie was like before she met Joel. It also shows you some moments that are pivotal in the main story line that focus on Ellie which are also great. I liked the interaction between her and Riley because it brings some lightheartedness to the game with them just being kids and having fun, forgetting about the dark things going on in their world for a moment. It also shows some great emotional moments between Ellie and Riley that don't feel forced and seem to happen quite naturally. Of course the cheerful stuff only lasts for so long and then it's back to some very sad things happening. The final conversation between Ellie and Riley just before Left Behind ends had me choking back some tears because it was this heartfelt moment between two characters that truly cared for and loved each other.
Ellie and Riley having fun in a photo booth.
This is exactly why I loved The Last Of Us. It is hands down one of the best games I've ever played because of how intelligent the writing for this was creating a game that is perfectly story driven with some very memorable characters; characters that you find yourself caring about a great deal. The exploration of the various relationships are wonderfully executed making for a fantastic gaming and story experience. The game play is excellent and it shows that a lot of thought was put into getting things just right. The Last Of Us is a game title that I am thrilled to have in my gaming collection and it's absolutely worth playing.
Bong Mines Entertainment (15 KP) rated Ella Mai by Ella Mai in Music
Jun 7, 2019 (Updated Jun 7, 2019)
Ella Mai is a talented R&B/Soul singer from London, England. Not too long ago, she released her deliciously impressive self-titled debut studio album, which uses her name as an acronym to communicate its message.
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Ella Mai – “Good Bad”
‘Good Bad’ tells the story of a moody woman who’s not perfect. One day, she has a pleasant personality, and another, an attitude. If she was single, her behavior might go unnoticed, but the thing is she isn’t single.
She’s in an up-and-down relationship with a guy she desires. And oftentimes, he thinks she’s mad at him whenever she gets in one of her bad moods. Also, she knows her good side is the reason why he doesn’t get up and leave. But in a weird way, he likes her bad side.
‘Good Bad’ contains a relatable storyline, soul vocals, and a groovy neo-soul instrumentation produced by Nana Rogues.
Ella Mai – “Dangerous”
‘Dangerous’ tells the tale of a woman who’s in a loving relationship with a guy she’s deeply in love with. She cooks breakfast for him because he shows he deserves her love. But the danger comes in play when she risks it all by putting her all in their relationship, which has no guarantee.
‘Dangerous’ contains a romantic narrative, r&b/soul vocals, and a spunky Bryan-Michael Cox-produced instrumentation oozing with a poppin’ neo-dance flavor.
Ella Mai – “Sauce”
‘Sauce’ tells the tale of an attractive female with a confident, stylish nature. She’s in a new relationship with a guy who’s already head-over-heels in love with her. But the thing is they haven’t been together that long. Either he’s trippin’ or addicted to her sauce.
‘Sauce’ contains a relevant storyline, r&b/soul vocals, and bouncy instrumentation produced by Quintin Gulledge and DJ Mustard.
Ella Mai – “Whatchamacallit” feat. Chris Brown
‘Whatchamacallit’ tells a tale of a guy and a girl who’s in a secret relationship with each other. The woman has a boyfriend and the man has a girlfriend but that doesn’t stop them from committing a romantic crime. They know their sensual action is wrong, but it feels so right that they override their conscience.
‘Whatchamacallit’ contains an exciting storyline, wonderful soul vocals, and charismatic instrumentation produced by J Holt and DJ Mustard.
“Cheap Shot”
‘Cheap Shot’ tells the tale of a woman who has a dude who loves her, but she didn’t know beforehand how he felt until now. The term ‘cheap shop’ indicates that he takes advantage of her when she’s at her weakest point in life. A time when she just needs to chill instead of going through the emotions of love all over again.
‘Cheap Shots’ contains a relatable storyline, r&b soul vocals, and lush instrumentation produced by Harmony Samuels.
Ella Mai – “Shot Clock”
‘Shot Clock’ tells the tale of a woman who’s been dating a guy for five years. She thinks he’s playing games about commitment, therefore, she gives him 24-seconds to make a decision. But if the shot clock winds down to zero, he might find his babe in the arms of another man.
‘Shot Clock’ contains a relatable storyline, r&b/soul vocals, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Boo’d Up”
The video finds Ella and her man riding Go Karts inside an amusement area with several friends. The newly-formed couple is happy and boo’d up in public.
‘Boo’d Up’ is a contemporary love song that finds Ella reminiscing about a past lover. Although their relationship is over, she finds it hard getting over that special person who makes her heartbeat bounce abnormally.
‘Boo’d Up’ contains a relatable narrative, gorgeous soul vocals, and ear-welcoming instrumentation oozing with classic neo-soul elements. The track was produced by Larrance Dopson and DJ Mustard.
Ella Mai – “Everything” feat. John Legend
‘Everything’ tells a sweet tale of a woman who appreciates the guy she’s with. Both of them are giving their all to keep their relationship healthy. According to the woman, they have everything they want.
‘Everything’ contains a relatable storyline, soul-pop vocals, and lovely instrumentation produced by DJ Mustard, Dayyon Alexander, and Jeff Alexander.
“Own It”
‘Own It’ tells an erotic tale of a woman who’s ready to get down and dirty with her significant other. She has on a T-shirt and panties and he’s on his knees servicing her body. Fluids are dripping and they are talkin’ naughty to each other while making love all night long.
‘Own It’ contains a sexy narrative, soul vocals, and slow-grinding instrumentation produced by Kosine and Miykal Snoddy.
“Run My Mouth”
‘Run My Mouth’ tells a tale of a woman who’s in love with a guy she’s in a relationship with. She’s addicted to making love to him, and every time they make love she runs her mouth in a good way because the sex is good.
‘Run My Mouth’ contains a sexy storyline, charismatic vocals, and melodic-trap instrumentation produced by DJ Mustard.
“Gut Feeling” feat. H.E.R.
‘Gut Feeling’ tells the tale of a young woman; her intuition tells her that the guy she’s in love with is guilty of something. She searches his phone looking for clues of his infidelity but finds nothing. Later that day, she asks him to come clean if he’s doing something wrong such as cheating, etc.
‘Gut Feeling’ contains a relatable storyline, charming soul vocals, and lovely instrumentation produced by DJ Mustard.
Ella Mai – “Trip”
‘Trip’ tells the tale of a woman who’s addicted to making good love with her significant other. But when she doesn’t get it, she overreacts or gets bent out of shape.
‘Trip’ contains a relatable storyline, soothing soul vocals, and piano-laden instrumentation produced by Keys and DJ Mustard.
Ella Mai – “Close”
‘Close’ tells the tale of a woman who appreciates the man she’s in love with. All day every day she thinks about him. Apparently, she’s not an easy person to be with, but somehow, his easygoingness balances her nature when they are close in each other’s arms.
‘Close’ contains a sensual storyline, charming melodies, and charismatic instrumentation produced by DJ Mustard.
Ella Mai – “Easy”
‘Easy’ tells the tale of a woman who’s in a new relationship with a guy she desires. Apparently, he’s a little uneasy about commitment. She reassures him that he should let his guard down and not worry. Therefore, she makes it easy for him to fall in love with her.
‘Easy’ contains an evergreen narrative, soul vocals, and ear-welcoming instrumentation produced by Lido and DJ Mustard.
Ella Mai – “Naked” (Bonus Track)
‘Naked’ tells the tale of a woman who’s looking for a guy who will love her unconditionally. Someone who will look past her flaws. Someone who will say she’s beautiful even when she doesn’t look the part.
‘Naked’ contains a relatable storyline, wonderful soul vocals, and sexy instrumentation produced by DJ Mustard.
“Ella Mai”
Ella Mai
In conclusion, Ella Mai’s self-titled debut studio album is a wonderful work of art. We totally enjoyed listening to each song from beginning to end.
Also, her voice sets a gorgeous tone while projecting an appealing and relatable narrative mostly focused on the up-side of romantic relationships, which contributes to the album’s feel-good vibe.
Mai’s first full-length offering is deliciously impressive and solidifies the London songstress at the helm of the contemporary R&B market.
https://www.bongminesentertainment.com/ella-mai-debut-album/
Bong Mines Entertainment (15 KP) rated The Life of Pablo by Kanye West in Music
Jun 7, 2019
Kanye West is an iconic rapper from Chicago, Illinois. Not too long ago, he released his seventh studio album, entitled, “The Life of Pablo“.
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. He’s standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and we’re living God’s dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce West’s message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, “I’m sorry,” too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wife’s phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
West’s words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the song’s hopeful message of liberation, it somehow adds mysticism or substance to Kanye’s brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that West’s congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, it’s doesn’t really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesn’t need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, “I put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.”
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from “So Alive” by Kings of Tomorrow.
The woman gives a grateful-testimony of God’s graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to “Low Lights”.
West and Young Thug put on their festive robes because it’s time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that he’s at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if that’s even possible. His multiple egos are fighting for control over the ‘real’ Kanye.
WAVE
West doesn’t stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to West’s aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves don’t die and feelings don’t really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes what’s really important to him and that’s his wife. Someone he won’t jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of West’s conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ign’s vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listeners’ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in West’s subconscious mind. Perhaps, it’s the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. He’s in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, “Your love is fading/I feel it fade.”
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye West’s “The Life of Pablo” is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. He’s standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and we’re living God’s dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce West’s message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, “I’m sorry,” too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wife’s phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
West’s words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the song’s hopeful message of liberation, it somehow adds mysticism or substance to Kanye’s brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that West’s congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, it’s doesn’t really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesn’t need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, “I put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.”
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from “So Alive” by Kings of Tomorrow.
The woman gives a grateful-testimony of God’s graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to “Low Lights”.
West and Young Thug put on their festive robes because it’s time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that he’s at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if that’s even possible. His multiple egos are fighting for control over the ‘real’ Kanye.
WAVE
West doesn’t stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to West’s aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves don’t die and feelings don’t really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes what’s really important to him and that’s his wife. Someone he won’t jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of West’s conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ign’s vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listeners’ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in West’s subconscious mind. Perhaps, it’s the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. He’s in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, “Your love is fading/I feel it fade.”
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye West’s “The Life of Pablo” is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/
Dana (24 KP) rated A Court of Mist and Fury in Books
Mar 23, 2018
Wow. Just wow. There are going to be spoilers in this review, so read at your own peril.
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times
I have actually read this book three times cover to cover since I got it. You could say that I love it, just a bit.
I absolutely adored the character developments. Yes, they were heartbreaking at times (I'm looking at you Feyre), but they were so necessary to be able to move the story along. At first, I was kind of upset that we didn't get all of the mushy romance between Tamlin and Feyre, especially not seeing their engagement, but it all turned around from there. I loved being able to see Feyre struggling with her new body as well as her new mental state. I appreciate Sarah J Maas because she isn't sugar coating the trauma these characters went through. We are living in their heads, so we should expect to see the consequences of what happened Under the Mountain.
That being said, my initial ship of Tamlin and Feyre completely sunk at page 120. I was starting to dislike Tamlin since the beginning of the book since he was so overprotective and he was basically smothering Feyre, but I didn't start to hate him until he locked her up. The literal hate fire that was ebbing off of me while I was reading that was just too much. He disregarded her as being a person who had hopes and dreams and flaws just to make himself feel better about himself.
But now, I am totally team Rhysand!!!! Oh my god, actual knight in shining armor right here. I think he has gone through an amazing character arc as well. In the first book, he was more the arrogant, cocky asshole who seemed to only do things for himself, but in this book, he has become a real person. I loved being able to see his soft side whenever he is around his Inner Circle. His happiness around them is almost infectious! And then him around Feyre is just the cutest thing in the world. I just can't with him. He loves her to a point where he would be willing to make himself suffer to see her happy, which is something Tamlin I don't think would ever do. And then the tension between him and Feyre, holy cow. I loved those scenes. (Especially the more blush worthy scenes, those make me really happy [The Court of Nightmares, the Inn, the Cabin, Starfall, etc.]). It was amazing to see how they complimented each other and actually worked together to make things better. His power is phenomenal and I would not want that going against me, ever.
I really enjoyed how both Rhysand and Feyre have moments where they have to use each other to get out of their nightmares. That is the kind of relationship she needs, someone who helps her deal with her issues while also needing the same help for himself. Being able to see the parallels between the two moments was really cool.
Ugh, and Feyre not being able to paint for the majority of the book was heartbreaking. I loved how it was Rhys who was the one to get her to paint again.
The Inner Circle makes me laugh whenever they are in a scene.
Cassian is adorable. I think he would be like a Labrador puppy just following them around, but being able to get very protective when he needs to be. When he trains Feyre and she breaks down, that broke my heart. Here was a guy who didn't really know her very well, but was willing to stand up for her in ways that Tamlin and Lucien would do. Plus, him and Nesta are going to be a thing, I just know it.
Amren is not someone I would want to get on my bad side. She is intense in all of her feelings, loyalty included. She would kill for any of her friends and would never feel bad about it. I loved how much she stood up for Feyre, even when Feyre didn't really notice her being that kind. I want to know how much power this girl holds, though.
Mor is my spirit animal. She keeps getting up whenever she is kicked down. She stands tall against her family and I appreciate that. And on top of it all, she is still able to smile and be an overall amazing person. Yes, she has made mistakes in the past, but she is living with them and dealing. I want her and Azriel to just be together all ready!! Her moments with Feyre are really sweet because she is constantly reaffirming the feelings without making Feyre feel bad about any of it.
Azriel is intimidating as hell. He honestly terrifies me, but he is still so sweet. Sarah, why do you keep making such amazing characters?!?!?
I love Velaris. I want to live there forever. It was described so beautifully that it was easy to see exactly what they were seeing.
The story line move along very well. I loved how the plot developed. I honestly have no complaints about this book at all.
Like I said, I thought it was necessary for the story to start where it did, especially with the bad relations between her and Tamlin. The wedding was important too because it showed how much she had changed, how much she didn't want to be in that relationship any longer. When Rhys showed up, he was her savior, but she didn't know it at the time. She didn't know that they had more of a connection than she thought. I don't like what Tamlin and Lucien forced her to do. They didn't think about any of her issues with anything they may have done--especially forcing her to spy for them on Rhys, the only person besides Alys who cares about her well being.
Her learning how to read was just like I thought it would be. Rhys' sentences he made her copy were adorably brilliant.
I honestly think my favorite part of this novel would have to be a tie between Starfall, the Court of Nightmares, and the cabin in the woods. Each of these scenes were, in their own right, moments where Feyre finally let herself be happy, let herself feel more than despair and hatred for what she had done. You can feel a shift in her in each of these moments as well.
I think the major plot movements went very well. Starting with Feyre having to prove to herself that she wasn't a porcelain doll to be able to use her powers to be able to go against the King of Hybern. All of it was connected and based on what she had previously gone through. Even the relationships had to be fleshed out enough in the beginning to get to the ending in a realistic and understandable way.
And OH MY GOD MATING BOND!!!!!!!!!! So freaking great. I loved being able to see it in action. ;D
If you liked A Court of Thorns and Roses, you are going to like this one even more. The story is much more fleshed out and the characters feel more realistic.
Overall, I think I am going to be reading this book over and over again for the foreseeable future!! (Also, can someone get me a Rhys? I need one. Now.)
I honestly cannot stop reading this book. As of 22 Mar 2018, I have read it about 10 times