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Generation of Vipers
9.0
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Rosabella Moore-Davis has just moved her husband halfway across the world, with a spur of the moment...
Adult Gothic Psychological Thriller
Heard (Breaking Free #3)
10.0
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An omega who can’t speak meets an alpha who won’t listen…. Karter Jenks is a first-year...
MPreg Omegaverse M_M Romance
Like a Lily Among the Thorns
6.0
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There are those who are born into loving families and then there are the less fortunate who must...
Climate Fiction Speculative Fiction Fantasy
Gareth von Kallenbach (980 KP) rated Cloud Atlas (2012) in Movies
Aug 7, 2019
While I am not familiar with the novel, I was not excited to review the film adaptation of David Mitchell’s Cloud Atlas. Though the Screenplay was written and directed by the Wachowskis (The Matrix) and Tom Tykwer (Run Lola Run) I did not know exactly what I was getting into. The trailer shows it as an epic sci-fi film crossing the time and lives of several stories and how everything and everyone is connected. Needless to say my curiosity was piqued. But I was nervous because I knew it would take a grand effort to keep this epic and ambitious project from falling flat. And well, I can honestly say that I am not quite sure if the combined effort succeeded.
Allow me to explain. About an hour into the film I had a young film reviewer to my left and I noticed he started to nod his head in approval at each new developing story throughout the film. To my right was a friend of mine, I would consider as an average film viewer, who at this same time I could tell was counting the minutes till the lights came up but felt trapped with nowhere to go but forward. And for me, I can see both sides of these reactions.
The plot is comprised of a multi-narrative of six stories, each with a complete beginning, middle and end. These stories are told from different timelines following a group of souls throughout the ages to show how everything is woven together and the connection between them; From the 1849 slave trader, to a young composer in 1936 Britain, to a 1973 journalist attempting to uncover corruption of the big business ruling class, to a 2012 literary publisher who’s life becomes a daring escape from a geriatric home, to a 2144 Neo-Soul synthetic learning to become human, to a post-apocalyptic tribesman trying to save his world and family… Lost yet? Believe me you will want to focus during the first hour of this film as we are introduced to the sudden shift of timelines. All of the main actors appear as varying characters of significance in every narrative, each with different accents and types of language. It is a bit of an unexpected bother to keep everything straight at first, however if you pay attention it is fairly easy to follow. This first hour is where I feel the film becomes a make or break for those actively thinking about what they are watching and the average movie viewer who is just there to be entertained and see the new Tom Hanks (Extremely Loud and Incredibly Close) or Halle Berry (Perfect Stanger) movie. For those who make it through that first hour still engaged, the film moves along at a steady pace and provides everything from romance to action that keeps you guessing and intrigued at what is next to come.
The Wachowskis and Tykwer do an outstanding job of visually fleshing out each timeline in its own visual style, especially the futuristic ones, which subtlety organize each narrative for the viewer. Additionally, there are so many talented actors in this film and it is somewhat fascinating to try and pick them out throughout the film. It is almost like a giant game of Where’s Waldo on screen as the makeup and special effects artists do a fantastic job of making the actors fit each character in every timeline. In fact, during the fourth or fifth timeline a lady in my row asked her partner if the man on screen was Forrest Gump, which was surprising because Hanks was the easiest character to pick out among them all.
Tom Hanks delivers one of his better performances in years. We watch his character’s soul transition from a sinister and vile doctor to a tribesman making the righteous choice while struggling with that inkling of evil that is the devil within us all. It was refreshing to see Hanks play parts that were not just an “everyman” that he has played in recent years.
Halle Berry’s performance is mostly average in her parts with the exception of 1973 journalist role where she is the main protagonist. Hugo Weaving channels a bit of his Agent Smith role from The Matrix as he plays a villain throughout the timelines. Hugh Grant (Love Actually) makes unexpected soild appearances throughout the timelines. With Jim Sturgess (One Day), James D’Arcy (Mansfield Park) and Ben Whishaw (who is the new Q in the upcoming James Bond film Skyfall) rounding out the cast with a young contrast to the already heavy acting handled by the bigger names of this film. Each of these young actors hold’s their own against their older more notable counterparts. Whishaw’s performance as the lead in the 1936 composer role is especially noteworthy.
The other stand out performance in the film comes from Jim Broadbent best known in the states as Professor Slughorn in the Harry Potter Films. His performance in the 1936 composer and 2012 literary publisher are excellent. The Publisher story was my favorite timeline throughout the film. Not only did it deliver some much needed comic relief to an emotionally engaging and heavy film, but it also made me care the most about the elderly characters trying to escape the clutches of the geriatric prison of a nursing home. Unfortunately, other than the aforementioned comic relief this timeline seemed the most unnecessary to the overarching story at hand.
When I left the film and talked it over with my friend I was indifferent to the film. It was not great, it was not bad either. As my friend described it, it was a movie that was trying too hard. We agreed that somewhere in the six storylines there may be a great film, but we were not sure if we watched it.
However as the days have passed I have found myself thinking about the stories constantly. More specifically about how the main protagonist played by a different actor in each narrative has the same birthmark of a shooting star that in some way symbolizes some universal soul encompassing a new shell of a body in each timeline. Like some kind of reincarnation of that soul is fighting the same revolution throughout the ages against the powerful class and illusion of natural order. Additionally how each of the central characters found themselves connected with the main characters in the stories that preceded them through some kind of medium; whether it was by an old journal, or love letters, or a written story, or film, or message of hope. These subtle insights of growth and change for this main soul leaping into a new life in each timeline has caused me to examine our world and how we as people can be truly connected to one another not only today, but throughout the ages. I want to view the film again and am inspired to read the novel in some sort of effort to better understand these concepts.
Nevertheless as a film that is almost three hours long it does its best to be an epic sci-fi film and give something for everyone. And while it succeeds in many aspects of feel, it also falls short in aspects that are probably best accomplished in a literary form. As I said above, somewhere in the six storylines there may be a great film, but I am not sure if I watched it. Or maybe I am not intelligent enough to comprehend it. Because of that I can only give it an average score. Though I believe if you ask me after a second viewing, I may be inclined to raise it.
Allow me to explain. About an hour into the film I had a young film reviewer to my left and I noticed he started to nod his head in approval at each new developing story throughout the film. To my right was a friend of mine, I would consider as an average film viewer, who at this same time I could tell was counting the minutes till the lights came up but felt trapped with nowhere to go but forward. And for me, I can see both sides of these reactions.
The plot is comprised of a multi-narrative of six stories, each with a complete beginning, middle and end. These stories are told from different timelines following a group of souls throughout the ages to show how everything is woven together and the connection between them; From the 1849 slave trader, to a young composer in 1936 Britain, to a 1973 journalist attempting to uncover corruption of the big business ruling class, to a 2012 literary publisher who’s life becomes a daring escape from a geriatric home, to a 2144 Neo-Soul synthetic learning to become human, to a post-apocalyptic tribesman trying to save his world and family… Lost yet? Believe me you will want to focus during the first hour of this film as we are introduced to the sudden shift of timelines. All of the main actors appear as varying characters of significance in every narrative, each with different accents and types of language. It is a bit of an unexpected bother to keep everything straight at first, however if you pay attention it is fairly easy to follow. This first hour is where I feel the film becomes a make or break for those actively thinking about what they are watching and the average movie viewer who is just there to be entertained and see the new Tom Hanks (Extremely Loud and Incredibly Close) or Halle Berry (Perfect Stanger) movie. For those who make it through that first hour still engaged, the film moves along at a steady pace and provides everything from romance to action that keeps you guessing and intrigued at what is next to come.
The Wachowskis and Tykwer do an outstanding job of visually fleshing out each timeline in its own visual style, especially the futuristic ones, which subtlety organize each narrative for the viewer. Additionally, there are so many talented actors in this film and it is somewhat fascinating to try and pick them out throughout the film. It is almost like a giant game of Where’s Waldo on screen as the makeup and special effects artists do a fantastic job of making the actors fit each character in every timeline. In fact, during the fourth or fifth timeline a lady in my row asked her partner if the man on screen was Forrest Gump, which was surprising because Hanks was the easiest character to pick out among them all.
Tom Hanks delivers one of his better performances in years. We watch his character’s soul transition from a sinister and vile doctor to a tribesman making the righteous choice while struggling with that inkling of evil that is the devil within us all. It was refreshing to see Hanks play parts that were not just an “everyman” that he has played in recent years.
Halle Berry’s performance is mostly average in her parts with the exception of 1973 journalist role where she is the main protagonist. Hugo Weaving channels a bit of his Agent Smith role from The Matrix as he plays a villain throughout the timelines. Hugh Grant (Love Actually) makes unexpected soild appearances throughout the timelines. With Jim Sturgess (One Day), James D’Arcy (Mansfield Park) and Ben Whishaw (who is the new Q in the upcoming James Bond film Skyfall) rounding out the cast with a young contrast to the already heavy acting handled by the bigger names of this film. Each of these young actors hold’s their own against their older more notable counterparts. Whishaw’s performance as the lead in the 1936 composer role is especially noteworthy.
The other stand out performance in the film comes from Jim Broadbent best known in the states as Professor Slughorn in the Harry Potter Films. His performance in the 1936 composer and 2012 literary publisher are excellent. The Publisher story was my favorite timeline throughout the film. Not only did it deliver some much needed comic relief to an emotionally engaging and heavy film, but it also made me care the most about the elderly characters trying to escape the clutches of the geriatric prison of a nursing home. Unfortunately, other than the aforementioned comic relief this timeline seemed the most unnecessary to the overarching story at hand.
When I left the film and talked it over with my friend I was indifferent to the film. It was not great, it was not bad either. As my friend described it, it was a movie that was trying too hard. We agreed that somewhere in the six storylines there may be a great film, but we were not sure if we watched it.
However as the days have passed I have found myself thinking about the stories constantly. More specifically about how the main protagonist played by a different actor in each narrative has the same birthmark of a shooting star that in some way symbolizes some universal soul encompassing a new shell of a body in each timeline. Like some kind of reincarnation of that soul is fighting the same revolution throughout the ages against the powerful class and illusion of natural order. Additionally how each of the central characters found themselves connected with the main characters in the stories that preceded them through some kind of medium; whether it was by an old journal, or love letters, or a written story, or film, or message of hope. These subtle insights of growth and change for this main soul leaping into a new life in each timeline has caused me to examine our world and how we as people can be truly connected to one another not only today, but throughout the ages. I want to view the film again and am inspired to read the novel in some sort of effort to better understand these concepts.
Nevertheless as a film that is almost three hours long it does its best to be an epic sci-fi film and give something for everyone. And while it succeeds in many aspects of feel, it also falls short in aspects that are probably best accomplished in a literary form. As I said above, somewhere in the six storylines there may be a great film, but I am not sure if I watched it. Or maybe I am not intelligent enough to comprehend it. Because of that I can only give it an average score. Though I believe if you ask me after a second viewing, I may be inclined to raise it.
Haley Mathiot (9 KP) rated It's Not Summer Without You (Summer, #2) in Books
Apr 27, 2018
Everything changed after Susannah died. Her two sons, both of whom Belly loves in different ways, have changed. Jeremiah is older. Conrad is empty. Belly's mother is different. And Belly is different, too. After her painful break-up with Conrad, she isn't expecting to enjoy summer, she just wants to get through it. But when Jeremiah calls her and tells her that Conrad has vanished from summer school, she goes with him to find him… and try to make things write. But Conrad has his own agenda, and his own idea of what is right. Belly has to decide if she's willing to let her heart get torn and healed by Conrad's ever-changing emotions in relation to her—as changing as the sea at her summer house—or if she's ready to let go.
After having just finished It's Not Summer Without You, I'm not sure if I feel like smiling, or if I feel smug, or if I want to kill Conrad—or at least hit him—or maybe I want to kill Jeremiah, or maybe I want to cry. I think I feel like Belly. I feel sorry for her, that's for sure.
It's Not Summer Without You is beautiful in a painful kind of way. I loved the way the story was woven, but I'm not sure I liked the way it turned out. It's the kind of story that starts looking scary, because you know that in the end everyone is going to get hurt, and that someone is going to have to choose between two good things, and you'll never be completely satisfied with the choice. But then, maybe that's the way it is in the real world. That's what makes this story good: it's real.
I read it in one sitting, on the same day I got it, and I couldn't put it down. Just like The Summer I Turned Pretty, the main aspect of the book is the characters. They are what keep you reading, they are what makes you care about the book. I care about Belly, I care about Conrad, I care about Jeremiah. I just don't care about them in the same ways I used to.
The writing felt smooth, poetic, and lyric, but the entire book had a negative energy to it. It felt depressing to read. I don't feel like I just read a summer romance, I feel like I just read a sad book and I need a light summer romance to cheer me up. That's not to say I didn't like it, but it was rather depressing to read.
The whole thing, from start to finish, felt like a lost cause with a possible hopeful end—meaning Belly and Conrad would never be together again, everything is falling apart after Susannah's death, and nothing will ever be good again…unless, unless, unless—and I'm not quite sure if it had that end. It wasn't enough of an ending for me. There wasn't enough closure between the characters, I'm still not exactly sure what happened and where everyone stands, and the epilogue wasn't enough to decode what was being said. Hopefully, more was added to the epilogue in the finished copy of the book. That's the only reason I gave it four stars and not five: I didn't enjoy it enough. It was good, it was just hard to read and hard to enjoy.
All in all, I did like it, I liked most of what happened, and I liked how real it was. It's Not Summer Without You evokes real emotions because it plays out in the real world.
Content: Some language
Recommendation: Ages 16+
After having just finished It's Not Summer Without You, I'm not sure if I feel like smiling, or if I feel smug, or if I want to kill Conrad—or at least hit him—or maybe I want to kill Jeremiah, or maybe I want to cry. I think I feel like Belly. I feel sorry for her, that's for sure.
It's Not Summer Without You is beautiful in a painful kind of way. I loved the way the story was woven, but I'm not sure I liked the way it turned out. It's the kind of story that starts looking scary, because you know that in the end everyone is going to get hurt, and that someone is going to have to choose between two good things, and you'll never be completely satisfied with the choice. But then, maybe that's the way it is in the real world. That's what makes this story good: it's real.
I read it in one sitting, on the same day I got it, and I couldn't put it down. Just like The Summer I Turned Pretty, the main aspect of the book is the characters. They are what keep you reading, they are what makes you care about the book. I care about Belly, I care about Conrad, I care about Jeremiah. I just don't care about them in the same ways I used to.
The writing felt smooth, poetic, and lyric, but the entire book had a negative energy to it. It felt depressing to read. I don't feel like I just read a summer romance, I feel like I just read a sad book and I need a light summer romance to cheer me up. That's not to say I didn't like it, but it was rather depressing to read.
The whole thing, from start to finish, felt like a lost cause with a possible hopeful end—meaning Belly and Conrad would never be together again, everything is falling apart after Susannah's death, and nothing will ever be good again…unless, unless, unless—and I'm not quite sure if it had that end. It wasn't enough of an ending for me. There wasn't enough closure between the characters, I'm still not exactly sure what happened and where everyone stands, and the epilogue wasn't enough to decode what was being said. Hopefully, more was added to the epilogue in the finished copy of the book. That's the only reason I gave it four stars and not five: I didn't enjoy it enough. It was good, it was just hard to read and hard to enjoy.
All in all, I did like it, I liked most of what happened, and I liked how real it was. It's Not Summer Without You evokes real emotions because it plays out in the real world.
Content: Some language
Recommendation: Ages 16+
LilyLovesIndie (123 KP) rated Indivisible Line in Books
Nov 5, 2018
Two people, thrown together by coincidence develop a bond that goes much deeper than blood. Sarah and Greg experience loss, injury and much more as they come to realise that, when all is said and done, love is really all they needed from the start.
I thoroughly enjoyed this new offering from Font and found it to be a delightful little romance that was easy to read, yet full of twists and turns as Greg and Sarah tried to work out their feelings for each other. The plot itself does, at first glance, seem somewhat familiar - girl meets boy, two different worlds, and all that usual jazz - but this is Font we're talking about, and you can feel from the first few chapters that there is going to be something more in this story. In true style, Font throws in adversity and drama from the off, never overdoing the 'woe is me' that Sarah could play on, but keeping a perfect balance between angst and romance.
Characterisation is something that I am always on the look out for, and Font, as usual, delivers a super cast who you engage with and find quite easy to relate to. Sarah is as stubborn as a mule, but it works more as an endearing feature than a character flaw. You root for her, you want her life to come good, you want her to find that happiness you know she deserves. Greg is an enigma at first, and he never really sheds that persona until much later in the story, but again, it is an endearing part of his character, rather than a flaw. The supporting ensemble of Lily, Trimble, Matilda and Simon are equally enjoyable to read, helping at key points to be a stable feature for Sarah and Greg during times of need.
If there was one thing I could quibble over it would be, and I'm being super nit-picky here, the pace. Personally, I found the pace to be a little slow in places, but note the 'in places' - at other times, it was splendid and pulled you right into the story so that you had to keep reading. Once you reach 50%, the book is near impossible to put down, but I guess I just wanted that momentum there from a little earlier on rather than taking that extra bit of time. Like I said, nit-picky, but that's me!
Something I felt was done exceedingly well in this book was the emotion, be it Sarah's sadness, confusion, love or Greg's anger, worry or determination - it was all there and it was all believable from start to finish. I got exasperated when both Sarah and Greg were being daft and not noticing the signs, I cried for most of the last 10% (no spoilers in my reviews, but seriously, get yourself some tissues at 89%!) and I gasped in shock as plot twists hit me out of nowhere (you'd think I'd be used to this after reading Font's other works, but she totally got me again). It was written with excellent skill and balance, and I have to give praise where it's due, because Font did a fantastic job of making the emotions pour out of the page and straight into your heart.
And so, the end of another review. To conclude, it was a very enjoyable read and one I'll be recommending to friends and family ahead of that poolside reading time we call summer holidays. Characters, emotion, plot - all the key elements were there and it was, as always, a very well written story from start to finish. Well done Lorenz Font, you've written another super story that will no doubt be one I shall return to read one day in the future.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
I thoroughly enjoyed this new offering from Font and found it to be a delightful little romance that was easy to read, yet full of twists and turns as Greg and Sarah tried to work out their feelings for each other. The plot itself does, at first glance, seem somewhat familiar - girl meets boy, two different worlds, and all that usual jazz - but this is Font we're talking about, and you can feel from the first few chapters that there is going to be something more in this story. In true style, Font throws in adversity and drama from the off, never overdoing the 'woe is me' that Sarah could play on, but keeping a perfect balance between angst and romance.
Characterisation is something that I am always on the look out for, and Font, as usual, delivers a super cast who you engage with and find quite easy to relate to. Sarah is as stubborn as a mule, but it works more as an endearing feature than a character flaw. You root for her, you want her life to come good, you want her to find that happiness you know she deserves. Greg is an enigma at first, and he never really sheds that persona until much later in the story, but again, it is an endearing part of his character, rather than a flaw. The supporting ensemble of Lily, Trimble, Matilda and Simon are equally enjoyable to read, helping at key points to be a stable feature for Sarah and Greg during times of need.
If there was one thing I could quibble over it would be, and I'm being super nit-picky here, the pace. Personally, I found the pace to be a little slow in places, but note the 'in places' - at other times, it was splendid and pulled you right into the story so that you had to keep reading. Once you reach 50%, the book is near impossible to put down, but I guess I just wanted that momentum there from a little earlier on rather than taking that extra bit of time. Like I said, nit-picky, but that's me!
Something I felt was done exceedingly well in this book was the emotion, be it Sarah's sadness, confusion, love or Greg's anger, worry or determination - it was all there and it was all believable from start to finish. I got exasperated when both Sarah and Greg were being daft and not noticing the signs, I cried for most of the last 10% (no spoilers in my reviews, but seriously, get yourself some tissues at 89%!) and I gasped in shock as plot twists hit me out of nowhere (you'd think I'd be used to this after reading Font's other works, but she totally got me again). It was written with excellent skill and balance, and I have to give praise where it's due, because Font did a fantastic job of making the emotions pour out of the page and straight into your heart.
And so, the end of another review. To conclude, it was a very enjoyable read and one I'll be recommending to friends and family ahead of that poolside reading time we call summer holidays. Characters, emotion, plot - all the key elements were there and it was, as always, a very well written story from start to finish. Well done Lorenz Font, you've written another super story that will no doubt be one I shall return to read one day in the future.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
Hazel (1853 KP) rated How to Date Dead Guys (The Witch`s Handbook #1) in Books
Dec 14, 2018
<i>This eBook was provided by the author in exchange for an honest review
How To Date Dead Guys </i>is the first novel in the paranormal series <i>The Witches Handbook </i>by the author Ann. M Noser. The protagonist, Emma, is introduced to the reader as a shy, introverted student whose negative experience with bullying during high school still greatly affects her despite now being a sophomore at University of Wisconsin-Eau Claire. Against her wishes, Emma is forced to attend a party by her roommate Chrissy, a girl who is the complete opposite in personality. Whilst trying to keep out of the way of the partying students, Emma starts talking to Mike, a boy she has a crush on. From this point onwards Emma’s life changes dramatically, although in ways she had never previously imagined.
After a devastating accident leaving Mike dead and Emma feeling guilty, Emma decides to take drastic action with the help of a book she finds called <i>Book of Shadows</i>. Using instructions from the book Emma recites a spell believing she can raise Mike from the dead. However this has disastrous consequences. Instead of being reunited with Mike, Emma finds herself face to face with a different guy, one who died a few months previously. Feeling responsible, Emma tries to help this resurrected body but she soon learns she got more than she bargained for.
<i>How To Date Dead Guys</i> is both hilarious and moving. The shock of Mike’s death makes the reader feel sorry for Emma, a lovely girl who does not deserve this heartache. Initially there is a sense of foreboding when she begins to dabble in witchcraft however the outcome results in some amusing situations.
Initially the storyline was not completely clear, which made understanding the purpose of the various scenarios a little confusing. However, Emma was also confused during this time, thus it makes sense for the reader to be also. It soon becomes clear why a different person was brought back to life rather than Mike, causing the story to take a more heart-warming direction.
Emma is a character that many introverts will relate to. Growing up being bullied has left her feeling that she is not good enough at anything. She has barely any friends, rarely goes out and is scared to talk to anyone new. Ironically raising the dead changes Emma for the better. Being in a situation where she has no choice but to deal with the consequences, Emma becomes more confident in herself. Although she believes she is still the same shy girl she was to begin with, hanging around with the dead forces her to see that she has changed and that she is no longer the weak person she always thought herself to be.
Emma’s character development is one of the best parts of the entire novel. Many young adult or new adult stories use romance and reliance on a male “hero” to save the girl from her introverted life style. Although romance was somewhat involved, this was not the case with Emma. Emma changed because she had to, because of circumstances she accidently created and felt she needed to put right. Emma’s confidence is not a result of influence from anyone else and proves that people can survive by themselves and become the person they wish to be.
Overall I enjoyed reading <i>How To Date Dead Guys</i>. Admittedly the beginning of the book felt like a few different stories crammed together, but once the plot was established it became exciting to discover what would happen next. Although listed as a New Adult book, the content is suitable for readers in their teens as well.
How To Date Dead Guys </i>is the first novel in the paranormal series <i>The Witches Handbook </i>by the author Ann. M Noser. The protagonist, Emma, is introduced to the reader as a shy, introverted student whose negative experience with bullying during high school still greatly affects her despite now being a sophomore at University of Wisconsin-Eau Claire. Against her wishes, Emma is forced to attend a party by her roommate Chrissy, a girl who is the complete opposite in personality. Whilst trying to keep out of the way of the partying students, Emma starts talking to Mike, a boy she has a crush on. From this point onwards Emma’s life changes dramatically, although in ways she had never previously imagined.
After a devastating accident leaving Mike dead and Emma feeling guilty, Emma decides to take drastic action with the help of a book she finds called <i>Book of Shadows</i>. Using instructions from the book Emma recites a spell believing she can raise Mike from the dead. However this has disastrous consequences. Instead of being reunited with Mike, Emma finds herself face to face with a different guy, one who died a few months previously. Feeling responsible, Emma tries to help this resurrected body but she soon learns she got more than she bargained for.
<i>How To Date Dead Guys</i> is both hilarious and moving. The shock of Mike’s death makes the reader feel sorry for Emma, a lovely girl who does not deserve this heartache. Initially there is a sense of foreboding when she begins to dabble in witchcraft however the outcome results in some amusing situations.
Initially the storyline was not completely clear, which made understanding the purpose of the various scenarios a little confusing. However, Emma was also confused during this time, thus it makes sense for the reader to be also. It soon becomes clear why a different person was brought back to life rather than Mike, causing the story to take a more heart-warming direction.
Emma is a character that many introverts will relate to. Growing up being bullied has left her feeling that she is not good enough at anything. She has barely any friends, rarely goes out and is scared to talk to anyone new. Ironically raising the dead changes Emma for the better. Being in a situation where she has no choice but to deal with the consequences, Emma becomes more confident in herself. Although she believes she is still the same shy girl she was to begin with, hanging around with the dead forces her to see that she has changed and that she is no longer the weak person she always thought herself to be.
Emma’s character development is one of the best parts of the entire novel. Many young adult or new adult stories use romance and reliance on a male “hero” to save the girl from her introverted life style. Although romance was somewhat involved, this was not the case with Emma. Emma changed because she had to, because of circumstances she accidently created and felt she needed to put right. Emma’s confidence is not a result of influence from anyone else and proves that people can survive by themselves and become the person they wish to be.
Overall I enjoyed reading <i>How To Date Dead Guys</i>. Admittedly the beginning of the book felt like a few different stories crammed together, but once the plot was established it became exciting to discover what would happen next. Although listed as a New Adult book, the content is suitable for readers in their teens as well.
Sophia (Bookwyrming Thoughts) (530 KP) rated Shatter Me in Books
Jan 23, 2020
Lupe and I made a random, out of the blue deal where I read <i>Shatter Me</i> (the entire series), and she finally gets her act together to read the amazingness called <i>Harry Potter</i> (the entire series). <b>She's trekking her way merrily - I've made a fan out of her yet. #SophiaIsProud</b>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<b>Let’s be honest here: she gets the better deal.</b> This trilogy and I will have a strong love/hate relationship that knows no bounds because all I wanted to do was:
<ul>
<li>Throw my iPad at Lupe if she shows herself (not literally)</li>
<li>Hug the book</li>
<li>Die of laughter</li>
<li>Stop torturing myself</li>
<li>Repeat</li>
</ul>
<i>Shatter Me</i> is straight up the alley of everything I will read because a character who kills anything they touch is a golden novel. It’s like King Midas’s curse gone completely wrong.
But unfortunately, it’s my cup of tea with way too much sugar and other weird flavors.
<b>
</b> <b>There is a massive amount of numbers.</b> The first 5-6 chapters had my eyes crying because 1) I really hate numbers, 2) numbers just remind me of math, 3) I don’t like math, 4) it reminds me of Calculus, which went POORLY (AKA failed the final with a giant fish flop) and 5) I think I’m allergic to numbers.
<b>
</b> <b>There is also a lot of strikeouts.</b> Honestly, I can’t complain, because I use strikeouts on my own blog and if I say I hated them I would be contradicting myself. I’ve basically learned that strikeouts take up space and are sometimes unnecessary, which is the case with <i>Shatter Me</i>.
There are fewer numbers and strikeouts as the book progresses, but they remain. My eyes cry less, and I <span style="text-decoration: line-through;">whine</span> complain less about the massive use of numbers to Lupe. Poor Anelise had to witness this (as it is the tragedy of being a coblogger and dealing with two beans who actually know each other personally and outside blogging).
<b>
</b> <b>I don’t care about Adam or Warner.</b> I think Adam is a shallow cheese ball (it might be his romance with Juliette because I cringed every time they’re doing romance things) and Warner is a creepy pervert, so I don’t understand why Lupe swoons over Warner. If he’s still a creepy pervert by book three, I might have to <span style="text-decoration: line-through;">interrogate</span> question Lupe on her fictional boy choices.
<b>
</b> <b>But thanks to Adam, I know about Juliette as a person, so that’s a plus.</b> <b>Does this mean I care about Juliette? No...</b>
If there’s one thing I’ll agree with Lupe on this series, it’s Kenji. He is a precious little bean who deserves so much more page time than he got.
There are a lot of birds. So many birds and no explanation (not even a little). I like metaphors and all, but I still don’t get the concept of a million birds mentioned throughout the book, and Lupe isn’t too helpful. I have to go wallow in misery and torture myself some more.
I’ll be reading the rest of the series for the following reasons:
<ul>
<li>It’s Lupe’s fault</li>
<li>Kenji the precious bean</li>
<li>Why are there so many birds</li>
<li>Mainly it’s just for the sake of Lupe</li>
<li>It brought my reviewing soul back I think</li>
</ul>
<a href="https://bookwyrmingthoughts.com/shatter-me-by-tahereh-mafi-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Sophia (Bookwyrming Thoughts) (530 KP) rated Awake in Books
Jan 23, 2020
<b><i>I received this book for free from Publisher in exchange for an honest review. This does not affect my opinion of the book or the content of my review.</i></b>
Well, <i>Awake</i> is <b>completely different from <i>The Cellar</i>.</b>
(Once upon a time, I was bored at Walmart and <i>The Cellar</i> seemed interesting compared to all the "millions" of <i>Fifty Shades of Grey</i> and <i>Divergent</i> and the like. Oh, and there has to be something about Natasha Preston if a publisher swooped up her book from Wattpad, right?)
It's no brainer that Natasha Preston writes about the <b>dark parts of human nature that make you shiver and shudder in fear</b> – it's shown in the third I read in <i>The Cellar</i> (I did buy a copy on Amazon later) and the sick beliefs of Eternal Light in her newest novel. From reading <i>Awake</i>,<b> there's obviously something in Preston's writing that I liked, but <i>Awake</i> seems to be a bit of a downfall compared to <i>The Cellar</i>.</b>
In the process of trying to decide if <i>Awake</i> should get a good rating or not, I literally had to check my notes multiple times, reread a few passages to make sure I'm not making a whopping mistake by letting <i>Awake</i> fall in this ever-growing land called "The Grey Area" that books fall into more often than not.
But in the long run, <b><i>Awake</i>, unfortunately, falls in that ever-growing land that will probably be forgotten within the next year.</b> Let's get into whole detail shenanigans.
The romance. I have a <b>few choice words about Scarlett's relationship with Noah.
</b>
<ol>
<li>Noah makes his entrance in the book by staring unnervingly at Scarlett. <b>How in the world is Scarlett not disturbed?</b> She MAY be a little uncomfortable, but cheeks turning pinky pink is NOT exactly uncomfortable.</li>
<li><b>Noah's first day with Scarlett: yip, yip, yip – all about learning Scarlett. I'm a little perplexed as to how she's not a little creeped out</b> by the whole interrogation-like questions that I imagine Noah to be asking. Doesn't it raise a red flag?</li>
<li>How long were they together? I mean, it may seem a little longer than actuality, but in rereading some parts.... <b>they've probably been together for probably a month or two before they got close together. And I mean <i>really, really</i> close together.</b> I won't be surprised if it's just a few weeks.</li>
<li>Scarlett's kind of <b>obsessed with Noah from the get-go.</b> Over a hundred texts exchanged in the week they met, nonstop thinking about Noah, yada yada.</li>
</ol>
<blockquote>I slapped it, earning a glare from the guy I couldn't seem to get out of my head.</blockquote>
The romance doesn't overshadow the plot – I probably wouldn't have noticed how fast their relationship was going if I didn't make a really random note at a really random place that later raised a flag.
<i>Awake</i> is a little slow – <b>definitely slower than <i>The Cellar</i></b> – in the whole development. Preston <b>takes time to build up and uses Scarlett's and Noah's relationship as a filler,</b> among Scarlett questioning a four-year gap of memories missing and Noah beginning to question Eternal Light's values. <b>It's not a book that'll make me rage, but it's not a book I'll praise either.</b>
Hence, Gray Area Book.
<a href="https://bookwyrmingthoughts.com/arc-review-awake-by-natasha-preston/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Well, <i>Awake</i> is <b>completely different from <i>The Cellar</i>.</b>
(Once upon a time, I was bored at Walmart and <i>The Cellar</i> seemed interesting compared to all the "millions" of <i>Fifty Shades of Grey</i> and <i>Divergent</i> and the like. Oh, and there has to be something about Natasha Preston if a publisher swooped up her book from Wattpad, right?)
It's no brainer that Natasha Preston writes about the <b>dark parts of human nature that make you shiver and shudder in fear</b> – it's shown in the third I read in <i>The Cellar</i> (I did buy a copy on Amazon later) and the sick beliefs of Eternal Light in her newest novel. From reading <i>Awake</i>,<b> there's obviously something in Preston's writing that I liked, but <i>Awake</i> seems to be a bit of a downfall compared to <i>The Cellar</i>.</b>
In the process of trying to decide if <i>Awake</i> should get a good rating or not, I literally had to check my notes multiple times, reread a few passages to make sure I'm not making a whopping mistake by letting <i>Awake</i> fall in this ever-growing land called "The Grey Area" that books fall into more often than not.
But in the long run, <b><i>Awake</i>, unfortunately, falls in that ever-growing land that will probably be forgotten within the next year.</b> Let's get into whole detail shenanigans.
The romance. I have a <b>few choice words about Scarlett's relationship with Noah.
</b>
<ol>
<li>Noah makes his entrance in the book by staring unnervingly at Scarlett. <b>How in the world is Scarlett not disturbed?</b> She MAY be a little uncomfortable, but cheeks turning pinky pink is NOT exactly uncomfortable.</li>
<li><b>Noah's first day with Scarlett: yip, yip, yip – all about learning Scarlett. I'm a little perplexed as to how she's not a little creeped out</b> by the whole interrogation-like questions that I imagine Noah to be asking. Doesn't it raise a red flag?</li>
<li>How long were they together? I mean, it may seem a little longer than actuality, but in rereading some parts.... <b>they've probably been together for probably a month or two before they got close together. And I mean <i>really, really</i> close together.</b> I won't be surprised if it's just a few weeks.</li>
<li>Scarlett's kind of <b>obsessed with Noah from the get-go.</b> Over a hundred texts exchanged in the week they met, nonstop thinking about Noah, yada yada.</li>
</ol>
<blockquote>I slapped it, earning a glare from the guy I couldn't seem to get out of my head.</blockquote>
The romance doesn't overshadow the plot – I probably wouldn't have noticed how fast their relationship was going if I didn't make a really random note at a really random place that later raised a flag.
<i>Awake</i> is a little slow – <b>definitely slower than <i>The Cellar</i></b> – in the whole development. Preston <b>takes time to build up and uses Scarlett's and Noah's relationship as a filler,</b> among Scarlett questioning a four-year gap of memories missing and Noah beginning to question Eternal Light's values. <b>It's not a book that'll make me rage, but it's not a book I'll praise either.</b>
Hence, Gray Area Book.
<a href="https://bookwyrmingthoughts.com/arc-review-awake-by-natasha-preston/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Bad, Dad, And Dangerous Anthology
Rhys Ford, TA Moore, Bru Baker and Jenn Moffatt
8.5
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Bad, Dad, and Dangerous Anthology When the kids are away, the monsters will play. School’s out...
Paranormal Romance MM MF