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Kristy H (1252 KP) rated I'd Give Anything in Books
Jun 11, 2020
At eighteen, Ginny "Zinny" Beale is a lighthearted, fun, brave girl with a close group of friends and brother with whom she can unite against their uptight mother. But one night changes all of that. Someone sets the town's high school on fire and in the aftermath, the father of Ginny's best friend, Gray, is dead. The townspeople look for someone to blame--leaving most of it on a troubled teen--but Ginny learns some news that changes her entire world. She tells no one, but the secret alters her life and leaves her an outcast among her friends and family. Over the next twenty years, Ginny transitions, settling down, returning to her hometown and marrying Harris, a professor. They have a daughter, Avery, and Ginny cares for her mother, who is dying. But when scandal rocks the town again--this time focused on Harris--Ginny has to make some choices. It's time to confront the past and the secret she's kept buried all this time.
"In one night, one night, I lost all of them."
I adore Marisa de los Santos and her writing, though this wasn't my favorite of her books. Still, she's just so good at capturing the little moments in life: nailing down the feelings and emotions of her characters. Ginny, Avery, and others spring to life in this one. The story swings between past and present, with older excerpts often told from Ginny's diary entries. It takes a while to learn Ginny's big secret, which is a bit of a pet peeve of mine: I'm not always a fan of dragging out a secret.
This is a poignant and sad read, delving into marriage, love, and parenthood. My favorite character was fifteen-year-old Avery, who is hit hard by the incident involving her father, Harris. In many ways, I was far more invested in Avery's growth than Ginny's--I liked Ginny, but I couldn't quite find myself fully wanting to root for her. Although the juxtaposition between young Zinny and present-day Ginny was quite well-done.
Did you stop being your old selves? Did they fall away? Were you always only the self you were in the present?
The book explores how one secret can so change a person and the ripple effect it has on many lives. Ms. de los Santos examines her characters very closely via her writing, and I will always love picking up her books and getting an intimate look at her cast of players. In the end, this is a touching and well-written novel, even if I couldn't always find myself fully engaged in Ginny's world. 3.75 stars, rounded to 4 here.
"In one night, one night, I lost all of them."
I adore Marisa de los Santos and her writing, though this wasn't my favorite of her books. Still, she's just so good at capturing the little moments in life: nailing down the feelings and emotions of her characters. Ginny, Avery, and others spring to life in this one. The story swings between past and present, with older excerpts often told from Ginny's diary entries. It takes a while to learn Ginny's big secret, which is a bit of a pet peeve of mine: I'm not always a fan of dragging out a secret.
This is a poignant and sad read, delving into marriage, love, and parenthood. My favorite character was fifteen-year-old Avery, who is hit hard by the incident involving her father, Harris. In many ways, I was far more invested in Avery's growth than Ginny's--I liked Ginny, but I couldn't quite find myself fully wanting to root for her. Although the juxtaposition between young Zinny and present-day Ginny was quite well-done.
Did you stop being your old selves? Did they fall away? Were you always only the self you were in the present?
The book explores how one secret can so change a person and the ripple effect it has on many lives. Ms. de los Santos examines her characters very closely via her writing, and I will always love picking up her books and getting an intimate look at her cast of players. In the end, this is a touching and well-written novel, even if I couldn't always find myself fully engaged in Ginny's world. 3.75 stars, rounded to 4 here.
BankofMarquis (1832 KP) rated A man called otto (2022) in Movies
Apr 8, 2023
Has Over-Sized Heart
They sure don’t make films like this anymore. A character study/drama featuring an “A-List” Star about a curmudgeon who finds that there is more to life than to hide from it. It’s the type of subject matter that has been seen over and over again, but this one hits differently.
It has an over-sized heart.
Based on the Swedish novel (and film) A MAN CALLED OVE…OTTO (played by Tom Hanks) is a recent Widower, who is forcibly retired and has given up on life. The question of the film is whether Otto can find a reason to keep on living.
These types of films can be over-melodramatic and saccharine, but in the capable hands of veteran Director Marc Forster (FINDING NEVERLAND) and the performance of Hanks (who shows that he still has his fastball) this film will touch your heart…if you open your heart up enough to receive it.
Foster has created a world where Otto has sealed himself off from the world by keeping a sharp eye on the perimeters of his row-housing. With an Engineering background, and a keen eye for detail, Otto keeps his world neat and orderly. However, it becomes clear that what Otto is really doing is retreating into this world - and further into himself - until a new neighbor (and a stray cat) starts pulling Otto out his cocoon.
Hanks, as mentioned above, is wonderful as the curmudgeonly Otto. It helps that Hanks’ inherit charm shines through during the early, grumpy, despondant portions of Otto’s existence. Despite what one is seeing on the surface, the audience instantly starts to root for Otto, more than likely due to the audience goodwill that Hanks has built up over his long and lusterous career.
Newcomer (at least to the BankofMarquis) Mariana Trevino is just as strong and caring as the new neighbor that starts breaking through the exterior of Otto. It is important for a film of this sort to have someone just as strong (but not overpowering) as the lead performer to serve as a balance. This Trevino (and the rest of the supporting cast) do very, very well.
Credit for this has to go to Director Forster who surehandedly steers the course of this film, threading the needle effectively on the edge of emotional heft and heart without falling into caricature and melodrama.
It is a charming, effective, quiet film that surprised the BankofMarquis with the amount of earnest heart imbedded within. If you are looking for a film that will charm you and warm your insides, look no further than A MAN CALLED OTTO.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
It has an over-sized heart.
Based on the Swedish novel (and film) A MAN CALLED OVE…OTTO (played by Tom Hanks) is a recent Widower, who is forcibly retired and has given up on life. The question of the film is whether Otto can find a reason to keep on living.
These types of films can be over-melodramatic and saccharine, but in the capable hands of veteran Director Marc Forster (FINDING NEVERLAND) and the performance of Hanks (who shows that he still has his fastball) this film will touch your heart…if you open your heart up enough to receive it.
Foster has created a world where Otto has sealed himself off from the world by keeping a sharp eye on the perimeters of his row-housing. With an Engineering background, and a keen eye for detail, Otto keeps his world neat and orderly. However, it becomes clear that what Otto is really doing is retreating into this world - and further into himself - until a new neighbor (and a stray cat) starts pulling Otto out his cocoon.
Hanks, as mentioned above, is wonderful as the curmudgeonly Otto. It helps that Hanks’ inherit charm shines through during the early, grumpy, despondant portions of Otto’s existence. Despite what one is seeing on the surface, the audience instantly starts to root for Otto, more than likely due to the audience goodwill that Hanks has built up over his long and lusterous career.
Newcomer (at least to the BankofMarquis) Mariana Trevino is just as strong and caring as the new neighbor that starts breaking through the exterior of Otto. It is important for a film of this sort to have someone just as strong (but not overpowering) as the lead performer to serve as a balance. This Trevino (and the rest of the supporting cast) do very, very well.
Credit for this has to go to Director Forster who surehandedly steers the course of this film, threading the needle effectively on the edge of emotional heft and heart without falling into caricature and melodrama.
It is a charming, effective, quiet film that surprised the BankofMarquis with the amount of earnest heart imbedded within. If you are looking for a film that will charm you and warm your insides, look no further than A MAN CALLED OTTO.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Finch (2021) in Movies
Nov 18, 2021
Very Effective
There are times when there is a “Perfect Storm” of film material, performance, mood, style and execution of said material and the headspace that I am in when I sit down to view the movie that elevates a film viewing experience above the norm.
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such was my experience when I sat down and watched the Tom Hanks Post-Apocalyptic film FINCH on AppleTV+. On paper, it looks like a run-of-the-mill “last few survivors on Earth struggle to remain alive” film, but - in my experience - it was much better than that.
Starring Tom Hanks as loner scientist Finch, who is scraping by in the remains of St. Louis with a dog and 2 robot helpers - robots of his own creation. When conditions in St. Louis worsen, Finch must pack up (with his 3 companions in tow) and head to a place where he thinks that life might be better - San Francisco.
Pretty standard “road movie” stuff, right? But in the hands of an Actor like Hanks, Emmy Winning GAME OF THRONES Director Miguel Sapochnik, a script by Craig Luck and Ivor Powell that digs into the humanity of Finch (and the situation) and some top-notch Computer animation of the Robots (especially “Jeff” voiced by Caleb Landry Jones), this film elevates itself above the norm.
There are not too many actors who could hold the attention of an audience for 2 hours speaking with 2 robots and a dog, but Hanks manages to do this - and do this very well. He brings his basic decency to the fore and makes us root for him from the start.
The surprise for me was the voice work of Caleb Landry Jones (GET OUT) who matches Hanks beat for beat and brings the same level of decency to his character. It is a testament to Jones’ work in a Motion Capture suit - and the “mo-cap” (Supervised by Scott Stokdyk) that makes the audience see and feel emotions on the face of the robot that just aren’t there. It’s that good.
Director Sapochnik really moves the film at the correct pace as he stops for the humanity, but doesn’t dwell on it too long - and, thus, avoids making the film too sentimental and mawkish. It is a delicate balancing act that this film walks very well.
Probably the biggest movie-going surprise of the year for me. A film that, at this point, will end up in my Top 10 of 2021.
Yes, I am as surprised as you are by this.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Last Duel (2021) in Movies
Oct 30, 2021
Doesn't Really Work
With films such as GLADIATOR, KINGDOM OF HEAVEN, ROBIN HOOD, EXODUS: GODS AND MONSTERS and the current THE LAST DUEL, Director Ridley Scott is single-handedly trying to keep alive the “Sword and Sandals” genre that was so much en vogue in the Golden Age of Hollywood.
However, he’ll have to do better than THE LAST DUEL to keep the genre going.
Starring Matt Damon, Ben Affleck, Adam Driver and Jodi Comer, THE LAST DUEL tells the tale of the…well…Last Duel in France in the 1300’s. The story tells the tale of 2 noblemen, their ups & downs and the accusation of the wife of one of them that the other raped her. The only way to solve the dispute is a duel to the death.
Following the format of such films as RASHOMON (1950) and, more recently, WRATH OF MAN (2021), THE LAST DUEL is told in 4 parts - telling the same story from different perspectives. But, unlike RASHOMON and (surprisingly) WRATH OF MAN which peeled the onion back during each different telling, adding a deeper and richer layer to the story each time, THE LAST DUEL pretty much tells the same story over and over, not really telling it differently and not really adding any layers to the story. You pretty much know before THE LAST DUEL who is innocent, who is guilty and how the duel is going to play out.
So, Director Scott will need to rely on the performances and the look and feel of the film to get the audience hooked and intrigued during this 2 hour and 32 minute epic, but the script (by Nicole Holofcener, Affleck & Damon just isn’t up to the task.
The acting is…fine. Driver fares the best out of the 4 leads - probably because he is the actor most suited for this type of film than the others. Comer’s part is underwritten and she has surprisingly little to do - which brings us to Affleck and Damon. Affleck has the showier role and provides a spark of interest in his limited time on the screen while Damon is dour and serious and trudges through the film - as does the audience.
Director Scott (ALIEN) brings professionalism to the proceedings and accurately depicts the look and feel of the time and stages the duel (and battle scenes) with a trained eye, but the characters/performances did not leave me with anyone to truly root for (or care about) and by the time we got to THE LAST DUEL, I just wanted it to be over.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
However, he’ll have to do better than THE LAST DUEL to keep the genre going.
Starring Matt Damon, Ben Affleck, Adam Driver and Jodi Comer, THE LAST DUEL tells the tale of the…well…Last Duel in France in the 1300’s. The story tells the tale of 2 noblemen, their ups & downs and the accusation of the wife of one of them that the other raped her. The only way to solve the dispute is a duel to the death.
Following the format of such films as RASHOMON (1950) and, more recently, WRATH OF MAN (2021), THE LAST DUEL is told in 4 parts - telling the same story from different perspectives. But, unlike RASHOMON and (surprisingly) WRATH OF MAN which peeled the onion back during each different telling, adding a deeper and richer layer to the story each time, THE LAST DUEL pretty much tells the same story over and over, not really telling it differently and not really adding any layers to the story. You pretty much know before THE LAST DUEL who is innocent, who is guilty and how the duel is going to play out.
So, Director Scott will need to rely on the performances and the look and feel of the film to get the audience hooked and intrigued during this 2 hour and 32 minute epic, but the script (by Nicole Holofcener, Affleck & Damon just isn’t up to the task.
The acting is…fine. Driver fares the best out of the 4 leads - probably because he is the actor most suited for this type of film than the others. Comer’s part is underwritten and she has surprisingly little to do - which brings us to Affleck and Damon. Affleck has the showier role and provides a spark of interest in his limited time on the screen while Damon is dour and serious and trudges through the film - as does the audience.
Director Scott (ALIEN) brings professionalism to the proceedings and accurately depicts the look and feel of the time and stages the duel (and battle scenes) with a trained eye, but the characters/performances did not leave me with anyone to truly root for (or care about) and by the time we got to THE LAST DUEL, I just wanted it to be over.
Letter Grade: B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Spellbound (1945) in Movies
Jun 13, 2022
Not the First Hitchcock You Should Watch
When Dr. Anthony Edwardes arrives at a mental hospital in Vermont to replace existing hospital director, Dr. Constance Peterson quickly recognizes him as an impostor. The impostor not only comes clean but also fears he may have killed the real Edwards. It is up to the impostor and Constance to find out the truth of what really happened.
Acting: 10
Gregory Peck is one of the shining actors of the 1940’s and his performance as the impostor doesn’t disappoint. His ability to draw in emotion always manages to root my attention into a scene. Ingrid Bergman was also sensational as Dr. Peterson. The chemistry between the two actors carried the majority of the scenes.
Beginning: 3
Characters: 10
The characters give you just enough throughout the story to move things along. While I did hold out hope that some of the characters would be fleshed out slightly better, I didn’t mind working with what the story gave me. I can’t give away too much without fear of spoilers, but i will say that some of the backstories took an interesting turn.
Cinematography/Visuals: 10
Another man that doesn’t disappoint when it comes to cinematography: Alfred Hitchcock. Mans is in his bag with some really creative shots that probably surprised a 1945 audience. From dream sequences to flashbacks, Hitchcocks devotion to his craft is on full display. Definitely a strong suit of this film.
Conflict: 4
Entertainment Value: 7
At one point in my notes I wrote, “The premise is great. I think it’s the execution that is a little off.” You can see glimpses of where Spellbound wanted to take off, but it’s usually shortlived. I hung in there for the creativity of the premise, but that can only get you so far. Too many lulls and letdowns spoiled the overall experience.
Memorability: 4
Pace: 2
The talking. All the damn talking all the time. Good…Lord. The film is STUFFED with dialogue, 111 minutes of talka-talka-talka. The lack of action begins in the first twenty minutes and becomes and ongoing theme, unfortunately. “Show don’t tell” did not apply here.
Plot: 9
Resolution: 10
Despite my disappointment with how slowly things moved, the film was wrapped up nicely. It actually made me even more upset with the movie as a whole because the ending was great potential for what ALL of Spellbound should have been. This film could have done a ton of things better. The ending, though? Solid.
Overall: 69
Not my favorite Hitchcock, Spellbound misses the mark in a number of different departments. I don’t know, it left a bad taste in my mouth and left me unfulfilled. If you’re looking to work through Hitchcock’s filmography, maybe save this one for later on down the road.
Acting: 10
Gregory Peck is one of the shining actors of the 1940’s and his performance as the impostor doesn’t disappoint. His ability to draw in emotion always manages to root my attention into a scene. Ingrid Bergman was also sensational as Dr. Peterson. The chemistry between the two actors carried the majority of the scenes.
Beginning: 3
Characters: 10
The characters give you just enough throughout the story to move things along. While I did hold out hope that some of the characters would be fleshed out slightly better, I didn’t mind working with what the story gave me. I can’t give away too much without fear of spoilers, but i will say that some of the backstories took an interesting turn.
Cinematography/Visuals: 10
Another man that doesn’t disappoint when it comes to cinematography: Alfred Hitchcock. Mans is in his bag with some really creative shots that probably surprised a 1945 audience. From dream sequences to flashbacks, Hitchcocks devotion to his craft is on full display. Definitely a strong suit of this film.
Conflict: 4
Entertainment Value: 7
At one point in my notes I wrote, “The premise is great. I think it’s the execution that is a little off.” You can see glimpses of where Spellbound wanted to take off, but it’s usually shortlived. I hung in there for the creativity of the premise, but that can only get you so far. Too many lulls and letdowns spoiled the overall experience.
Memorability: 4
Pace: 2
The talking. All the damn talking all the time. Good…Lord. The film is STUFFED with dialogue, 111 minutes of talka-talka-talka. The lack of action begins in the first twenty minutes and becomes and ongoing theme, unfortunately. “Show don’t tell” did not apply here.
Plot: 9
Resolution: 10
Despite my disappointment with how slowly things moved, the film was wrapped up nicely. It actually made me even more upset with the movie as a whole because the ending was great potential for what ALL of Spellbound should have been. This film could have done a ton of things better. The ending, though? Solid.
Overall: 69
Not my favorite Hitchcock, Spellbound misses the mark in a number of different departments. I don’t know, it left a bad taste in my mouth and left me unfulfilled. If you’re looking to work through Hitchcock’s filmography, maybe save this one for later on down the road.
Interesting and engaging mystery
It's a bright May day when Cedar Valley Detective Gemma Monroe is called to Lost Lake. Sari Chesney, who was camping with her boyfriend, his brother, and her best friend, has gone missing. Sari hated the water, and the group is convinced she would never go missing on her own so near the lake. Sari was scheduled to work at a big gala at Cedar Valley's museum later that evening--a huge event she had been working on for months. Her friends insist she would never miss it. It's still chilly in Colorado in May, the lake still tinged in ice. Gemma begins the search for Sari, not realizing how quickly one woman's disappearance will lead to so much more.
"Later, much later, I would regret every decision I made that morning."
This is the third book in Emily Littlejohn's Gemma Monroe series, and I really enjoy both Gemma's character and the series. The books stand alone, but it's an enjoyable series, and I do recommend reading them from the beginning. At this point, Gemma has a six-month-old daughter, Grace, with her fiance, Brody, and one of my favorite things about the books is how realistically Littlejohn paints Gemma's struggles as a working mom. She loves her career and yet finds it difficult to leave Grace and juggle working and caring for her daughter.
Gemma is a great character overall, and I always enjoy reading a strong mystery that features a female detective. We find Gemma not only dealing with Sari's disappearance, but several more things that happen in the aftermath, which lead to her becoming quite busy, and allow us a solid set of cases to follow. This one kept me guessing the whole way, with a few good twists thrown in too. There's occasionally a bit of telling versus showing, but overall Littlejohn is a strong writer, and you can't help but root for Gemma.
In this one, I especially felt like Gemma was growing as a person, as we find her struggling in her partnership with Finn (her fellow detective) and second guessing some of the decisions she makes in Sari's case. It's nice to see a story where everything isn't easy, cut and dried, and our heroine seems so human and regular. One of the things I like so much about Gemma is that she seems like someone you could befriend (if maybe she let her walls down once in a while). It leads to an insightful and thoughtful book coupled with a good mystery (or two) as well.
Overall, I enjoyed this one. I feel like I can always count on Littlejohn for some excellent characterization with Gemma, and I found the plot to be interesting. It kept me engaged and guessing.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!)
"Later, much later, I would regret every decision I made that morning."
This is the third book in Emily Littlejohn's Gemma Monroe series, and I really enjoy both Gemma's character and the series. The books stand alone, but it's an enjoyable series, and I do recommend reading them from the beginning. At this point, Gemma has a six-month-old daughter, Grace, with her fiance, Brody, and one of my favorite things about the books is how realistically Littlejohn paints Gemma's struggles as a working mom. She loves her career and yet finds it difficult to leave Grace and juggle working and caring for her daughter.
Gemma is a great character overall, and I always enjoy reading a strong mystery that features a female detective. We find Gemma not only dealing with Sari's disappearance, but several more things that happen in the aftermath, which lead to her becoming quite busy, and allow us a solid set of cases to follow. This one kept me guessing the whole way, with a few good twists thrown in too. There's occasionally a bit of telling versus showing, but overall Littlejohn is a strong writer, and you can't help but root for Gemma.
In this one, I especially felt like Gemma was growing as a person, as we find her struggling in her partnership with Finn (her fellow detective) and second guessing some of the decisions she makes in Sari's case. It's nice to see a story where everything isn't easy, cut and dried, and our heroine seems so human and regular. One of the things I like so much about Gemma is that she seems like someone you could befriend (if maybe she let her walls down once in a while). It leads to an insightful and thoughtful book coupled with a good mystery (or two) as well.
Overall, I enjoyed this one. I feel like I can always count on Littlejohn for some excellent characterization with Gemma, and I found the plot to be interesting. It kept me engaged and guessing.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!)
Phillip McSween (751 KP) rated Ben-Hur (1959) in Movies
Jun 10, 2019
Solid Conflict but Falls Just Short of a Classic For Me
Jewish hero Judah Ben-Hur rises up to challenge the Romans after they make him a slave.
Acting: 10
I understand that Charlton Heston’s performance as Ben-Hur is a point of contention with this movie, but I thought he delivered a strong performance. Was it perfect? Nope, but he gave me enough of a fiery presence to keep me entertained and to give me someone to root for. One thing I will not contend is that Stephen Boyd’s performance as Messala was the best in the movie. He’s an easy person to hate, but Boyd also helps you sympathize with the role as well. There’s a quiet fierceness about him that you loathe and respect at the same time.
Beginning: 5
Oh, that this was just about the Overture. It’s not. I understand full-well that a lot of classics had an Overture before the start of the movie. That wasn’t my problem. There were at least sixty minutes that could have been cut from this movie and twenty of them come from the beginning. By the time Judah and Messala converse for the first time, I was almost fully checked out. It took me a minute to get involved in the story again.
Characters: 10
Cinematography/Visuals: 10
You expect an epic like this to deliver on the visuals and Ben-Hur doesn’t disappoint. The movie takes you throughout a number of different setpieces, each of them just as beautiful as the last. From the Coliseum to the Valley of the Lepers, director William Wyler puts you right where you need to be. I was captivated by the magic of the visuals and, as a result, never bored.
Conflict: 9
It is hard to stretch conflict out over the course of almost four hours, but Ben-Hur really succeeds here. You know the Romans are bad news so you feel the trouble brewing when they start marching in Judah’s city. From there, through Judah’s captivity, to his return home, there is a consistent amount of action that drives and pushes the story forward. There are some slow parts but the chariot scene alone makes up for those parts. It is historically viewed as a classic scene and it doesn’t take long to see why. By the end of it, I was cheering harder than when I watched Rocky beat up the Russian.
Genre: 7
Memorability: 9
Pace: 6
Plot: 8
Ben-Hur’s story is beautiful for the most part. Again, it definitely could have been cut quite a few times, but I still rather enjoyed the adventure. It makes you really feel like you are a part of something special. If only it hadn’t overstayed it’s welcome…
Resolution: 4
Overall: 78
I refuse to call a movie a classic because everyone else does. A classic is something you want to watch over and over. When it comes to Ben-Hur, once was absolutely enough.
Acting: 10
I understand that Charlton Heston’s performance as Ben-Hur is a point of contention with this movie, but I thought he delivered a strong performance. Was it perfect? Nope, but he gave me enough of a fiery presence to keep me entertained and to give me someone to root for. One thing I will not contend is that Stephen Boyd’s performance as Messala was the best in the movie. He’s an easy person to hate, but Boyd also helps you sympathize with the role as well. There’s a quiet fierceness about him that you loathe and respect at the same time.
Beginning: 5
Oh, that this was just about the Overture. It’s not. I understand full-well that a lot of classics had an Overture before the start of the movie. That wasn’t my problem. There were at least sixty minutes that could have been cut from this movie and twenty of them come from the beginning. By the time Judah and Messala converse for the first time, I was almost fully checked out. It took me a minute to get involved in the story again.
Characters: 10
Cinematography/Visuals: 10
You expect an epic like this to deliver on the visuals and Ben-Hur doesn’t disappoint. The movie takes you throughout a number of different setpieces, each of them just as beautiful as the last. From the Coliseum to the Valley of the Lepers, director William Wyler puts you right where you need to be. I was captivated by the magic of the visuals and, as a result, never bored.
Conflict: 9
It is hard to stretch conflict out over the course of almost four hours, but Ben-Hur really succeeds here. You know the Romans are bad news so you feel the trouble brewing when they start marching in Judah’s city. From there, through Judah’s captivity, to his return home, there is a consistent amount of action that drives and pushes the story forward. There are some slow parts but the chariot scene alone makes up for those parts. It is historically viewed as a classic scene and it doesn’t take long to see why. By the end of it, I was cheering harder than when I watched Rocky beat up the Russian.
Genre: 7
Memorability: 9
Pace: 6
Plot: 8
Ben-Hur’s story is beautiful for the most part. Again, it definitely could have been cut quite a few times, but I still rather enjoyed the adventure. It makes you really feel like you are a part of something special. If only it hadn’t overstayed it’s welcome…
Resolution: 4
Overall: 78
I refuse to call a movie a classic because everyone else does. A classic is something you want to watch over and over. When it comes to Ben-Hur, once was absolutely enough.
Lilyn G - Sci-Fi & Scary (91 KP) rated Lilac Skully and the Haunted House in Books
Feb 10, 2018
Lilac is a character you can't help but root for.
I don't often comment on covers, but I've got to start this by saying I love the cover for Lilac Skully and the Haunted House. The house is definitely suitably creepy, and the color choice for the sky is absolutely gorgeous. I did pick it up just to look at the cover more than once before it made it’s way to the top of my to-read pile. And at only 168 pages, when I finally did pick it up to read, it was a book that I flew through. Obviously it’ll take the intended age range a bit longer to read than it did for me, but I can’t imagine it being a slow go for anyone. It’s well-written and nicely paced. The story hits the ground running.
I liked Lilac Skully and the Haunted House. Lilac reminded, at least vaguely, of Luna Lovegood from the Harry Potter series. Not as crazy, mind you, but with the blonde hair, the big eyes, and the outcast status, it was hard for her not to feel a little familiar. This was a good thing, as it enabled me to immediately connect with the character a little more quickly than I might have normally. The fact that Lilac was scared of ghosts was perfect. Young readers will definitely be able to empathize with the little girl who does all the sensible things to avoid running into them. Who in their right mind would want to go into a haunted basement, right?
The set up is fairly typical of a kid’s book. A single parent family, with the father additionally and conveniently absent for the majority of the book. The adults that are in the picture for Lilac Skully and the Haunted House are bumbling, sometimes up to no good, and ridiculously easily fooled. Nothing new to see, but still entertaining to read. The formula works for a reason, even if we do celebrate times when things veer from the norm. In this case, it allowed Lilac to participate in some Home Alone-esque shenanigans that had me grinning.
It’s obvious the author has more adventures for Lilac Skully planned (seven, to be exact), and I think she will swiftly gain a loyal fanbase. Lilac Skully and the Haunted House was easy to read, and featured a little girl with a lot of heart. I enjoyed watching Lilac learn that appearances can be deceiving, and that sometimes the people you least expect can become your best friends.
Overall, a very good read for young readers who want something with ghosts, but not something ‘too scary’. Lilac Skully and the Haunted House worth picking up, and something you can let them read on their own, or read with you each evening.
Disclaimer: I received a copy of this book from the author for review consideration.
I liked Lilac Skully and the Haunted House. Lilac reminded, at least vaguely, of Luna Lovegood from the Harry Potter series. Not as crazy, mind you, but with the blonde hair, the big eyes, and the outcast status, it was hard for her not to feel a little familiar. This was a good thing, as it enabled me to immediately connect with the character a little more quickly than I might have normally. The fact that Lilac was scared of ghosts was perfect. Young readers will definitely be able to empathize with the little girl who does all the sensible things to avoid running into them. Who in their right mind would want to go into a haunted basement, right?
The set up is fairly typical of a kid’s book. A single parent family, with the father additionally and conveniently absent for the majority of the book. The adults that are in the picture for Lilac Skully and the Haunted House are bumbling, sometimes up to no good, and ridiculously easily fooled. Nothing new to see, but still entertaining to read. The formula works for a reason, even if we do celebrate times when things veer from the norm. In this case, it allowed Lilac to participate in some Home Alone-esque shenanigans that had me grinning.
It’s obvious the author has more adventures for Lilac Skully planned (seven, to be exact), and I think she will swiftly gain a loyal fanbase. Lilac Skully and the Haunted House was easy to read, and featured a little girl with a lot of heart. I enjoyed watching Lilac learn that appearances can be deceiving, and that sometimes the people you least expect can become your best friends.
Overall, a very good read for young readers who want something with ghosts, but not something ‘too scary’. Lilac Skully and the Haunted House worth picking up, and something you can let them read on their own, or read with you each evening.
Disclaimer: I received a copy of this book from the author for review consideration.
Kristy H (1252 KP) rated My Not So Perfect Life: A Novel in Books
Feb 1, 2018
Katie Brenner is doing her best to make it (and fake it) in London. After all, moving to London from her village town in Somerset has always been Katie's dream. But, if Katie's really honest--and not just posting glamorous-but fake-pictures on her Instagram--her life isn't all she'd hoped it be. Her commute is horrendous, and she shares a minuscule flat with two nightmare flatmates. Her job in branding is what Katie always wanted, but she's stuck at the bottom rung of the office ladder. This means she's constantly abused by her beautiful, brilliant boss, Demeter--and that's when she even remember Katie's name. Just when Katie thinks she's making headway: she's attending some meetings at work and sharing ideas, she's invited to drinks with co-workers, and she's met (and felt sparks with) a handsome co-worker, she's fired. Before she knows it, Katie finds herself back on her family farm, helping her dad and stepmom start a glamping business (yes, glamping; surprisingly, this works in the plot). It's far from the dreamy, perfect London life she always envisioned.
I'm not a Sophie Kinsella disciple (I haven't even read the Shopaholic series, don't kill me), but this book was so popular among my Goodreads friends that I couldn't help but pick it up. <i>It's certainly a cute, entertaining read</i>, based mainly on the strength of her main character.
There's something about Katie. She can be irritating, but she's gutsy and smart. She has dreams and goals, and she truly wants to achieve them. She's also insightful and kind. You can't help but be drawn to her and root for her character. It also helps that she's not spoiled, like so many of her co-workers and the people she encounters. While the book may play on the "rich" versus "poor" dichotomy a bit much, it's clear that Katie is fairly grounded, and you like her all the more for it.
The book certainly has some comedic moments, which I wasn't completely expecting, and Katie even has a bit of a dry wit. Things definitely move along in a bit of a cliched fashion sometimes, with Katie's realizations about life coming a tad too easily at moments. Still, there's a little twist in the plot that I didn't see coming that engages you and keeps the last quarter of the novel moving quite briskly.
Overall, the book winds up all its loose ends way too easily, but, of course, you really wouldn't have it any other way. I found myself grinning goofily in a few parts, because I'm totally a sucker for stories like these sometimes. Katie is endearing, her romance is fun, and the plot moves quickly and easily. This was an enjoyable, breezy read, and I'm glad I picked it up. 3.5 stars.
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I'm not a Sophie Kinsella disciple (I haven't even read the Shopaholic series, don't kill me), but this book was so popular among my Goodreads friends that I couldn't help but pick it up. <i>It's certainly a cute, entertaining read</i>, based mainly on the strength of her main character.
There's something about Katie. She can be irritating, but she's gutsy and smart. She has dreams and goals, and she truly wants to achieve them. She's also insightful and kind. You can't help but be drawn to her and root for her character. It also helps that she's not spoiled, like so many of her co-workers and the people she encounters. While the book may play on the "rich" versus "poor" dichotomy a bit much, it's clear that Katie is fairly grounded, and you like her all the more for it.
The book certainly has some comedic moments, which I wasn't completely expecting, and Katie even has a bit of a dry wit. Things definitely move along in a bit of a cliched fashion sometimes, with Katie's realizations about life coming a tad too easily at moments. Still, there's a little twist in the plot that I didn't see coming that engages you and keeps the last quarter of the novel moving quite briskly.
Overall, the book winds up all its loose ends way too easily, but, of course, you really wouldn't have it any other way. I found myself grinning goofily in a few parts, because I'm totally a sucker for stories like these sometimes. Katie is endearing, her romance is fun, and the plot moves quickly and easily. This was an enjoyable, breezy read, and I'm glad I picked it up. 3.5 stars.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a></center>;