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Marylegs (44 KP) rated The Goddess and the Thief in Books
Aug 14, 2019
The Goddess and the Thief is a work of fiction based in Victorian England and briefly at the beginning in Lahore, India. It tells the story of Alice Willoughby, who after living all her life in India with Her father Charles, is moved to England to live in the care of her Aunt Mercy whilst her father returns to Lahore were is works for the English residency as a surgeon. Her Aunt Mercy works as a spiritual medium and after events including the death of Alices father and the introduction of the enigmatic Lucian Tillsbury, Alices aunt endeavours for her to join the clairvoyant profession. All events lead to dramatic and catastrophic events for Alice.
Considering all the elements such as; gothic Victorian era, Hindu mythology, intrigue, drama and the paranormal I feel I should have liked this book more than I did. There is nothing particular wrong with the book, it works well and is written fine with no obvious errors that I have observed in other books. I just wasnt my style of book. I have read other reviews that have liken Essie Foxs writing style as similar to Sarah Waters, who I have read previously and also not found to my taste. Perhaps if books written in the style of Sarah Waters is your cup of tea you may appreciate this tale more. Having said this the inclusion of the Hindu mythology was really interesting and differently added a lot to the story development. There are twists and turns along the way and this is by no means a bad book as said just not to my taste.
Considering all the elements such as; gothic Victorian era, Hindu mythology, intrigue, drama and the paranormal I feel I should have liked this book more than I did. There is nothing particular wrong with the book, it works well and is written fine with no obvious errors that I have observed in other books. I just wasnt my style of book. I have read other reviews that have liken Essie Foxs writing style as similar to Sarah Waters, who I have read previously and also not found to my taste. Perhaps if books written in the style of Sarah Waters is your cup of tea you may appreciate this tale more. Having said this the inclusion of the Hindu mythology was really interesting and differently added a lot to the story development. There are twists and turns along the way and this is by no means a bad book as said just not to my taste.
Gareth von Kallenbach (965 KP) rated Equity (2016) in Movies
Jul 15, 2019
Today’s movie for your consideration is from the same selection of films you’d find ‘The Boiler Room’ with only this one is far more ‘reality based’. A financial thriller depicting the cutthroat and take-no-prisoners world of investment banking and Wall Street. ‘Equity’ is directed by Meera Menon and written by Sarah Megan Thomas, Alysia Renier, and Amy Fox. The film centers on investment banker, Naomi Bishop who is attempting to put together one of the biggest deals in her life and Wall Street history after her first ‘failure’, while combating rivals in and outside her own company, across gender lines, and a federal investigation focusing on someone she knows intimately … Or so she thinks.
‘Equity’ appeared in competition at the 2016 Sundance Film Festival and stars Anna Gunn, Sarah Megan Thomas, Alysia Renier, James Purefoy, Sophie Von Haselburg, Margret Colin, Lee Tergesen, and Craig Bierko.
Investment banker Naomi Bishop (Anna Gunn) was one of the most successful investment bankers on Wall Street. She was unstoppable. Until she lost her first deal. Well into her career, she is striving to keep her reputation intact as a ‘rain maker’. The one in her company that secures the deal every time and brings record profits for her company in the process. In jeopardy of missing out on a promotion, she pours all her effort into her latest deal and in the process passes over her assistant Erin Manning (Sarah Megan Thomas) for a promotion. An eager young woman with a new husband and a baby on the way, Erin also strives to break through the ‘gender lines’ that still exist and make her on mark on Wall Street. At the same time Samantha (Alysia Reiner), an investigator who has recently made the jump from investigating federal drug cases to white collar crime, is looking into the activities of investment banker Micheal Connor (James Purefoy). Who may or may not be with the same firm as Naomi Bishop and also Naomi’s significant other . Bishop soon discovers the tangled web centering on this latest deal and soon realizes that not only might she have been betrayed, but it might have been from more than one of the people she ‘almost trusts’.
I found this film to be very much an example of the chaos in the world of finance as well as the personal lives that people in this field may or may not have and the dangers posed when you become friends or close to others in said field. A great deal, no pun intended, hinges on this world. The ‘average person’s’ future can be decided here and they have absolutely no control over it and all the while you have these folks bickering amongst themselves and scrambling for every dollar. Sometimes breaking the law in the process and sometimes with no regard as to whether it affects those closest to them. It is indeed chaos in a purer form with no ‘happy ending’ and no ‘bad ending’. It’s a multi-billion dollar game of musical chairs with chairs and people being removed.
The film is ‘realistic’. As far as what we, outside that world, see it as. It’s all a numbers game with the potential for great profit or great lose to them. Your friends and those you trust will turn on you like that. They care about the money and the next big deal. People just fall by the waist side. It’s a rather refreshing take on ‘greed and ambition’. I give this film 4 out of 5 stars.
‘Equity’ appeared in competition at the 2016 Sundance Film Festival and stars Anna Gunn, Sarah Megan Thomas, Alysia Renier, James Purefoy, Sophie Von Haselburg, Margret Colin, Lee Tergesen, and Craig Bierko.
Investment banker Naomi Bishop (Anna Gunn) was one of the most successful investment bankers on Wall Street. She was unstoppable. Until she lost her first deal. Well into her career, she is striving to keep her reputation intact as a ‘rain maker’. The one in her company that secures the deal every time and brings record profits for her company in the process. In jeopardy of missing out on a promotion, she pours all her effort into her latest deal and in the process passes over her assistant Erin Manning (Sarah Megan Thomas) for a promotion. An eager young woman with a new husband and a baby on the way, Erin also strives to break through the ‘gender lines’ that still exist and make her on mark on Wall Street. At the same time Samantha (Alysia Reiner), an investigator who has recently made the jump from investigating federal drug cases to white collar crime, is looking into the activities of investment banker Micheal Connor (James Purefoy). Who may or may not be with the same firm as Naomi Bishop and also Naomi’s significant other . Bishop soon discovers the tangled web centering on this latest deal and soon realizes that not only might she have been betrayed, but it might have been from more than one of the people she ‘almost trusts’.
I found this film to be very much an example of the chaos in the world of finance as well as the personal lives that people in this field may or may not have and the dangers posed when you become friends or close to others in said field. A great deal, no pun intended, hinges on this world. The ‘average person’s’ future can be decided here and they have absolutely no control over it and all the while you have these folks bickering amongst themselves and scrambling for every dollar. Sometimes breaking the law in the process and sometimes with no regard as to whether it affects those closest to them. It is indeed chaos in a purer form with no ‘happy ending’ and no ‘bad ending’. It’s a multi-billion dollar game of musical chairs with chairs and people being removed.
The film is ‘realistic’. As far as what we, outside that world, see it as. It’s all a numbers game with the potential for great profit or great lose to them. Your friends and those you trust will turn on you like that. They care about the money and the next big deal. People just fall by the waist side. It’s a rather refreshing take on ‘greed and ambition’. I give this film 4 out of 5 stars.
Goddess in the Stacks (553 KP) rated Catwoman: Soulstealer - DC Icons Book 3 in Books
Oct 25, 2018
So I needed a "book about a heist" for the PopSugar 2018 Reading Challenge, and naturally, Catwoman fits the bill. It wouldn't be a Catwoman novel/cartoon/graphic novel without a heist! Several, in fact, in this instance. And she teams up with Poison Ivy and Harley Quinn to pull them off, even though she doesn't seem to actually need the girls in this book. I love that Maas chose to include them, because Ivy/Harley/Catwoman is one of my all-time favorite team-ups. The book also delves into the relationship between Ivy and Harley, and Harley's dysfunctional dependence on the Joker (who's in Arkham for this book). I loved seeing that.
Interestingly, Batman doesn't show, other than a few phone calls with Luke Fox, Lucius Fox's son. Luke takes the traditional role of Batman-as-Catwoman's-love-interest, but as Batwing, a sort-of Robin. (Maybe I read too many comics? Nah.) The switch was surprising; it's always Catwoman and Batman, Selina and Bruce. Except when it's Talia and Bruce, I suppose.
I do wonder if they're going to do an ensemble cast novel after these first four books. (Wonder Woman: Warbringer, Batman: Nightwalker, and Superman: Dawnbreaker being the other three.) Superman doesn't come out until January, but the first three have been very disconnected from one another. Wonder Woman wasn't even mentioned in Batman or Catwoman. It seems odd to have them as a series, but never mention one another in each book? That, or the Superman book is going to tie the other three together, which seems like a disservice to Superman.
Anyway. I really liked Luke Fox as Batwing - the book touched, just a little bit, on racial issues, and how even as an obscenely rich black man he's not entirely exempt from those. In one scene he worries about the color of his skin being seen through damage to his batsuit, and cops realizing he's black. It's a sober reminder that even in a city beset by evil clowns, it's still set in the United States and we still have those racist systems in place.
The banter between Luke and Selina, and Selina and Harley and Ivy, is fantastic. I haven't actually read any of Sarah J. Maas' books - I know, I know - but if they're like Catwoman, I should probably give in and do so. So far, Wonder Woman is still my favorite of the DC Icons series (which is no surprise, as I love Leigh Bardugo) but Catwoman is really good.
You can find all my reviews at http://goddessinthestacks.com
Interestingly, Batman doesn't show, other than a few phone calls with Luke Fox, Lucius Fox's son. Luke takes the traditional role of Batman-as-Catwoman's-love-interest, but as Batwing, a sort-of Robin. (Maybe I read too many comics? Nah.) The switch was surprising; it's always Catwoman and Batman, Selina and Bruce. Except when it's Talia and Bruce, I suppose.
I do wonder if they're going to do an ensemble cast novel after these first four books. (Wonder Woman: Warbringer, Batman: Nightwalker, and Superman: Dawnbreaker being the other three.) Superman doesn't come out until January, but the first three have been very disconnected from one another. Wonder Woman wasn't even mentioned in Batman or Catwoman. It seems odd to have them as a series, but never mention one another in each book? That, or the Superman book is going to tie the other three together, which seems like a disservice to Superman.
Anyway. I really liked Luke Fox as Batwing - the book touched, just a little bit, on racial issues, and how even as an obscenely rich black man he's not entirely exempt from those. In one scene he worries about the color of his skin being seen through damage to his batsuit, and cops realizing he's black. It's a sober reminder that even in a city beset by evil clowns, it's still set in the United States and we still have those racist systems in place.
The banter between Luke and Selina, and Selina and Harley and Ivy, is fantastic. I haven't actually read any of Sarah J. Maas' books - I know, I know - but if they're like Catwoman, I should probably give in and do so. So far, Wonder Woman is still my favorite of the DC Icons series (which is no surprise, as I love Leigh Bardugo) but Catwoman is really good.
You can find all my reviews at http://goddessinthestacks.com
Bookapotamus (289 KP) rated FAME in Books
Oct 24, 2018
An Interesting Exploration of Fame
Raise your hand if you LOVED Family Ties as a kid! And had a crush on Alex P. Keaton? And wanted TO BE Mallory!?! Justine Bateman was an idol of mine in the 80's. If I could be like her, or look like her, I pressed my parents to give me a sister just like her! But I got stuck with a brother. Boo!
It's funny, because when I first heard about this book, I said first thing, "Whatever happened to her?" in that snarky, snide voice - like oh, she was has-been, she didn't do anything after Family Ties, she's a one-hit wonder.... And THAT is exactly the type of attitude Justine addresses in this book. (I'm totally sorry for what I said btw Justine and I still love you!)
If you're looking for the behind the scenes secrets and juicy scandal of the beloved sitcom - this is not the book. If you want the scoop on MJ Fox and hanging with child stars of the 80's - nope, not that book either. In fact, one of the first chapters in the book fully explains this - the book is NOT a memoir. It's an exploration of fame. Justine dissects everything from childhood fame in the 80's, to reality star "fame" of today, as well as both the construction AND destruction of fame that social media can make happen. I was fascinated by her take on all things fame. I felt for her - being an actress on a hit TV show, and only being seen for THAT. That her education, and directing, and successes in business mean nothing - cause the "whatever happened to her" mentality translates to - well, if we haven't seen her on TV anymore - she must be a failure in life.
I loved reading this - she's frantic, and passionate, and, OK I'll say it- a bit crazy, yes - but do you blame her? Imagine people saying about you "Boy, she sure has let herself go" on a public forum, on google searches, on Twitter. Just cause the last time they saw her she was 21 - and now she's 50. Well, clearly she's aged - duh. Obviously she doesn't LOOK the same!
I gobbled up every chapter and loved her take on how crazy it is to be famous, but how much crazier it is today. Sure, there's some namedropping, some mentions of Michael J. Fox, Sarah Jessica Parker, and more - and there's even a bunch of color photos in the book that she talks about and references throughout the book, which I loved. I didn't need the juicy gossip, as I felt like it made me understand celebrities more and totally got me out of that mentality of "Oh, they wanted to be in the spotlight, so they are just automatically targets." No. I feel terrible now for ever ragging on a celeb in the spotlight - especially the young ones out there.
But I'm still not laying off the reality "stars" ;) haha.
It's funny, because when I first heard about this book, I said first thing, "Whatever happened to her?" in that snarky, snide voice - like oh, she was has-been, she didn't do anything after Family Ties, she's a one-hit wonder.... And THAT is exactly the type of attitude Justine addresses in this book. (I'm totally sorry for what I said btw Justine and I still love you!)
If you're looking for the behind the scenes secrets and juicy scandal of the beloved sitcom - this is not the book. If you want the scoop on MJ Fox and hanging with child stars of the 80's - nope, not that book either. In fact, one of the first chapters in the book fully explains this - the book is NOT a memoir. It's an exploration of fame. Justine dissects everything from childhood fame in the 80's, to reality star "fame" of today, as well as both the construction AND destruction of fame that social media can make happen. I was fascinated by her take on all things fame. I felt for her - being an actress on a hit TV show, and only being seen for THAT. That her education, and directing, and successes in business mean nothing - cause the "whatever happened to her" mentality translates to - well, if we haven't seen her on TV anymore - she must be a failure in life.
I loved reading this - she's frantic, and passionate, and, OK I'll say it- a bit crazy, yes - but do you blame her? Imagine people saying about you "Boy, she sure has let herself go" on a public forum, on google searches, on Twitter. Just cause the last time they saw her she was 21 - and now she's 50. Well, clearly she's aged - duh. Obviously she doesn't LOOK the same!
I gobbled up every chapter and loved her take on how crazy it is to be famous, but how much crazier it is today. Sure, there's some namedropping, some mentions of Michael J. Fox, Sarah Jessica Parker, and more - and there's even a bunch of color photos in the book that she talks about and references throughout the book, which I loved. I didn't need the juicy gossip, as I felt like it made me understand celebrities more and totally got me out of that mentality of "Oh, they wanted to be in the spotlight, so they are just automatically targets." No. I feel terrible now for ever ragging on a celeb in the spotlight - especially the young ones out there.
But I'm still not laying off the reality "stars" ;) haha.
Bob Mann (459 KP) rated Battle of the Sexes (2016) in Movies
Sep 29, 2021
Tennis and sex, but without the grunting.
Here’s a good test of someone’s age…. ask the question “Billie-Jean?”. Millennials will probably come back with “Huh?”; those in their 30’s or 40’s might come back with “Michael Jackson!”; those older than that will probably reply “King!”.
“Battle of the Sexes” (which I just managed to catch before it left cinemas) tells the true-life story of US tennis star Billie-Jean King (Emma Stone, “La La Land“). The year is 1973 and Billie-Jean is riding high as the Number 1 female tennis player. She is a feminist; she is married (to hunk Larry – no not that one – King played by Austin Stowell (“Whiplash“, “Bridge of Spies“)); …. and she is also attracted to women, not something she has yet acted on. That all changes when her path crosses with LA-hairdresser Marilyn (Andrea Riseborough, “Birdman“, “Oblivion”).
But this is a side story: the main event is a bet made by aging ex-star Bobby Riggs (Steve Carell, “Foxcatcher“); that – even at his age – as a man he could beat the leading female tennis player of the day.
The film is gloriously retro, starting with the old-school 20th Century Fox production logo. And it contains breathtakingly sexist dialogue by writer Simon Beaufoy (“Everest“, “The Full Monty”). Surely men couldn’t have been so crass and outrageous in the 70’s? Sorry ladies, but the answer is yes, and the film is testament to how far women’s rights have come in 50 years.
This is a tour de force in acting from both Emma Stone and Steve Carell, particularly the latter: a scene where Carell tries to re-engage with his estranged wife (Elisabeth Shue, “Leaving Las Vegas”) is both nuanced and heart-breaking. Stone’s performance is also praiseworthy, although it feels slightly less so as it is an impersonation of a (relatively) well-known figure: this is extremely well-studied though, right down to her strutting walk around the court which I had both forgotten and was immediately again reminded of.
One of my favourite movie awards are the Screen Actor’s Guild (SAG) “cast” awards that celebrate ensemble performances, and here is a film that should have been nominated (it unfortunately wasn’t). Andrea Riseborough; Natalie Morales (as fellow tennis player Rosie Casals); comedian Sarah Silverman (“A Million Ways to Die in the West“), almost unrecognisable as the brash publicist Gladys Heldman; Bill Pullman as LTA head Jack Kramer; the great Alan Cumming (“The Good Wife”) as the team’s flamboyant, gay, costume designer; Lewis Pullman as Riggs’s son Larry; Jessica McNamee (magnetic eyes!) as King’s Australian tennis nemesis Margaret Court. All bounce off the leads, and each other, just beautifully.
Cinematography by Linus Sandgren (“La La Land“) and editing by Pamela Martin (“Little Miss Sunshine”) unite to deliver one of the most sexually charged haircuts you are ever likely to see on the screen. For those put off by this aspect of the storyline, the “girl-on-girl action” is pretty tastefully done and not overly graphic: it’s mostly “first-base” stuff rather than “third-base”!
“What a waste of a lovely night”. Marilyn (Andrea Riseborough) and Billie-Jean (Emma Stone) get serious.
Directed with panache by the co-directors of the 2006 smash “Little Miss Sunshine” – Jonathan Dayton and Valerie Faris – all in all it’s a delight, especially for older audiences who will get a blast of nostalgia from days when sports were still played at a slightly more leisurely pace… and definitely without the grunting.
“Battle of the Sexes” (which I just managed to catch before it left cinemas) tells the true-life story of US tennis star Billie-Jean King (Emma Stone, “La La Land“). The year is 1973 and Billie-Jean is riding high as the Number 1 female tennis player. She is a feminist; she is married (to hunk Larry – no not that one – King played by Austin Stowell (“Whiplash“, “Bridge of Spies“)); …. and she is also attracted to women, not something she has yet acted on. That all changes when her path crosses with LA-hairdresser Marilyn (Andrea Riseborough, “Birdman“, “Oblivion”).
But this is a side story: the main event is a bet made by aging ex-star Bobby Riggs (Steve Carell, “Foxcatcher“); that – even at his age – as a man he could beat the leading female tennis player of the day.
The film is gloriously retro, starting with the old-school 20th Century Fox production logo. And it contains breathtakingly sexist dialogue by writer Simon Beaufoy (“Everest“, “The Full Monty”). Surely men couldn’t have been so crass and outrageous in the 70’s? Sorry ladies, but the answer is yes, and the film is testament to how far women’s rights have come in 50 years.
This is a tour de force in acting from both Emma Stone and Steve Carell, particularly the latter: a scene where Carell tries to re-engage with his estranged wife (Elisabeth Shue, “Leaving Las Vegas”) is both nuanced and heart-breaking. Stone’s performance is also praiseworthy, although it feels slightly less so as it is an impersonation of a (relatively) well-known figure: this is extremely well-studied though, right down to her strutting walk around the court which I had both forgotten and was immediately again reminded of.
One of my favourite movie awards are the Screen Actor’s Guild (SAG) “cast” awards that celebrate ensemble performances, and here is a film that should have been nominated (it unfortunately wasn’t). Andrea Riseborough; Natalie Morales (as fellow tennis player Rosie Casals); comedian Sarah Silverman (“A Million Ways to Die in the West“), almost unrecognisable as the brash publicist Gladys Heldman; Bill Pullman as LTA head Jack Kramer; the great Alan Cumming (“The Good Wife”) as the team’s flamboyant, gay, costume designer; Lewis Pullman as Riggs’s son Larry; Jessica McNamee (magnetic eyes!) as King’s Australian tennis nemesis Margaret Court. All bounce off the leads, and each other, just beautifully.
Cinematography by Linus Sandgren (“La La Land“) and editing by Pamela Martin (“Little Miss Sunshine”) unite to deliver one of the most sexually charged haircuts you are ever likely to see on the screen. For those put off by this aspect of the storyline, the “girl-on-girl action” is pretty tastefully done and not overly graphic: it’s mostly “first-base” stuff rather than “third-base”!
“What a waste of a lovely night”. Marilyn (Andrea Riseborough) and Billie-Jean (Emma Stone) get serious.
Directed with panache by the co-directors of the 2006 smash “Little Miss Sunshine” – Jonathan Dayton and Valerie Faris – all in all it’s a delight, especially for older audiences who will get a blast of nostalgia from days when sports were still played at a slightly more leisurely pace… and definitely without the grunting.