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Bob Mann (459 KP) rated Soul (2020) in Movies
Dec 30, 2020
Soul is Pixar at its most cerebral
In the last few days I've seen Pixar's latest animation - "Soul" - described by various reviewers as a cross between "Inside Out", "Coco", "La La Land" and "Whiplash". I'll add to that some older movies with more obvious parallels with the story: 1946's "A Matter of Life and Death" with David Niven; 1941's "Here Comes Mr Jordan" with Robert Montgomery and its 1978 remake - a personal favourite of mine - "Heaven Can Wait" with Warren Beatty. For these all tell the story of someone plucked from the world a tad too early.
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
In "Soul", Joe (Jamie Foxx) is a talented jazz pianist always dreaming of getting to be a big time session musician. He is stuck though in a worthwhile but unappreciated job as a high school music teacher. But his luck is - temporarily - about to change when an old successful student (nice touch) recommends him to provide backing to the fearsome jazz star Dorothea Williams (Angela Bassett).
Just as things seem to going his way, an open manhole cover has other ideas, and Joe falls to his 'death'. Feeling his soul has exited the world too early, and just before he gets his big shot, Joe's spirit struggles to return to the world with the help of reluctant soul/recruit "22" (Tina Fey).
Pete Docter seems to have done it again with "Soul". The man behind Pixar's hugely successful "Up" and "Inside Out" has the magic touch with these animated classics. He's had more than his share of Oscar success. (Although having gone straight to streaming on Disney+, does it qualify for the Oscars this year? Or have they relaxed the rules?) Assuming it is eligible, you'd be a brave man to bet against "Soul" winning Best Animated Feature this year.
For there are some sequences of this movie that are breathtakingly effective. The fall of Joe from the "stairway to the great beyond" to the pre-life domain (as shown in the trailer) is a masterpiece of graphic design. (And do I detect in there a tribute to the "stargate" in "2001: A Space Odyssey"?) What makes these sequences distinctive is not the afterlife soul's or the "great before" souls, who resemble blue variants of Casper. It's the 'counsellors' of the realms. They are surreally drawn Picasso-style in 2D and - although easy to draw for preschooler's with a crayon - might be a bit of a stretch for them to relate to.
But will the kids get it? I know that my 6-year old grandson enjoyed watching it. But ultimately, this is principally a Pixar film squarely targeted at adults to enjoy. Indeed, the themes of death and afterlife might be disturbing for younger children (as in "Coco"). They will certainly struggle to understand the land of lost souls, where those obsessed with their work or hobbies (metal detecting! LOL!) are almost beyond reach. And surely the message of 'enjoying the everyday here and now' rather than getting too wrapped up in career or life goals will only be relatable to adults.
"Soul" is brim-full with Pixar quirkiness. As per normal, the movie has a lot of detail that will need multiple watches. And I can confirm that the pause button helps! For example, "22" has been an earth-apprentice for so many millennia that he has had just about every mentor who's ever passed through. His 'den' is wallpapered with "Hello, My Name is ...." badges, and a pause at that point reveals mentors as varied as Gandhi, Aretha Franklin, Albert Einstein and Stephen Hawking! And in the end titles, the usual list of babies born during production are "Recent You Seminar graduates"!
The movie also features two of the most distinctive voices from UK television. Graham Norton plays Moonwind: a sign-spinning hippy and lost-soul-sea piratical captain (I've honestly not been taking drugs). And Richard Ayoade, a UK TV regular but familiar to US audiences from his role in "The IT Crowd", plays Counsellor Jerry (well, one of them!). Alice Braga, as another Counsellor Jerry and most recently seen as the doctor in "The New Mutants", is another familiar voice
For once, Michael Giacchino doesn't get the scoring gig. Instead, this went to the "Nine Inch Nails" partnership of Trent Reznor and Atticus Ross. (The soundtrack for "Mank" was their most recent work). The music is perhaps not as immediately accessible as some of the previous Pixar scores. But I think will be a 'grower'.
I have a "but" in my review. I sobbed like a young child during parts of "Up". And similarly, I was a mess as 'Bing Bong' faded away in "Inside Out". And yet here, my tear ducts remained stubbornly unchallenged. Perhaps this is a personal thing, and others were a soggy mess after this movie. But, for me, it simply didn't connect with me at the same raw emotional level that Docter's other work (and indeed other Pixar movies) have done. So, for that reason (only), I'm going to hold off my highest rating.
It's highly recommended since, notwithstanding this, it's a magnificent effort. (At the 11th hour, it made my "Number 7" slot in my Top 10 of 2020). It's also worth noting that it's mildly groundbreaking in being the first Pixar movie with a black leading character.
(For the full graphical review, please check out the full review in One Mann's Movies here - https://bob-the-movie-man.com/2020/12/30/soul-is-pixar-at-its-most-cerebral/).
Purple Phoenix Games (2266 KP) rated Haven in Tabletop Games
May 1, 2021
Have you ever been a spirit of the forest fighting to keep it from falling into the hands of a greedy nearby city? No? What about the greedy nearby city – ever been one of those? No?? Then you are in luck because Haven is all about pitting the inhabitants of the Forest against the expansion of the nearby City in a fight for the rights to the mysterious Forest. Who will champion the battlefield and further their agendas? Read on to find out!
Haven is a two player area control card game with elements of classic games in an amazingly themed skin. Players will be playing cards jockeying for position to gain Lore from the forest Elementals by winning combats and lore challenges (a la Battle Line and Hanamikoji). These battles are won and forest Elementals influenced to gain control of shrines within the forest. By claiming the majority of shrines in an enclosed area players will be able to place ownership tokens that will assist in scoring at the end of the game. The player with the most points at game’s end will be the winner!
To setup, place the main game board between the players, give each player (Forest and City) their respective components, arrange each player’s starting hand of cards, randomly place forest Elementals per the rule book, and place out Lore Tokens between the players to act as the line. The game may now begin!
On a turn a player will take two actions to begin. These actions are playing a Lore Power card (once only per turn), placing a Seeker, or removing a Seeker from play. In Haven, players are attempting to claim shrines on the board in order to have majority in a region so they may place their tokens within that area. To achieve this, players will be battling for influence chips and Lore Tokens at the same time. Assigning Seekers to the Lore Tokens with more weapon symbols than the opponent will result in won influence chips to be placed on shrines. Owning the team of Seekers that matches or comes closest to the Lore Token’s number threshold will earn that player the Lore Token to be scored at the end of the game. A team of Seekers whose total numbers surpass the threshold on the Lore Token will bust and be disqualified from winning the Lore Token.
After two actions have been completed, players will draw two cards from any of the three decks in front of them. These are Seekers, Offerings, and Lore Power cards. These draws can be of any combination as long as the player is left with at least one Offering card at the end of their turn.
Once the player’s two cards have been drawn and added to their hand, the player will then add an Offering card to one of the Lore Tokens’ battlefield. For once a battlefield has three or more Offerings upon it, the battle for the influence chips and Lore Tokens will commence.
Elementals will be moving throughout the forest once battles are won to be conquered and pressed for precious Lore. Once an Elemental has no more shrines to visit or if one of the stacks of Lore Tokens ever runs out the game ends and points are tallied to determine if the Forest has been protected by the Forest player or if it falls to the City and its champion.
Components. This game is absolutely gorgeous, as most Ryan Laukat illustrated games are. The art style is recognizably Laukat, but the theme is a little darker than some. The board is nice sized to place between two people, and all cardboard bits are great quality. The Elemental standees are just fine (vs having minis), and all the cards are small and entirely functional. The cogeeples and leafeeples (grr) are nice touches and add a pop of color onto the board once placed. I have no issues with the components at all.
It’s obvious from my score above that I absolutely love Haven. From my very first learning game (I usually play each game solo but multi-handed before introducing to other players) I knew this is my type of game. The out-thinking of your opponents, and the playing Seekers to different Lore Tokens to win areas on the board are just wonderful here. Granted, I’ve never played Battle Line, but I have played Hanamikoji tons, and I prefer the way that mechanic is used in Haven. I have played so many area control games, but I like the movement of the Elementals from shrine to shrine as targets for players to claim on the board. I love that both sides are completely balanced and any one game could award victory to either side. Having agency over the draw piles from which you must draw cards is great. I simply love everything about this game.
It was a complete surprise to me that I would end up falling for this game as I initially picked up from my FLGS clearance rack. It also took me a long time to get it to the table, but once I did it was magic for me. If you and I share similarities in the games we enjoy I implore you to assign your Seekers to track down a copy of Haven. It is perfect for couples or just any two people who enjoy great games. Purple Phoenix Games gives Haven a very well-loved GOLDEN FEATHER AWARD! Let’s show this hidden gem the love it deserves!
Haven is a two player area control card game with elements of classic games in an amazingly themed skin. Players will be playing cards jockeying for position to gain Lore from the forest Elementals by winning combats and lore challenges (a la Battle Line and Hanamikoji). These battles are won and forest Elementals influenced to gain control of shrines within the forest. By claiming the majority of shrines in an enclosed area players will be able to place ownership tokens that will assist in scoring at the end of the game. The player with the most points at game’s end will be the winner!
To setup, place the main game board between the players, give each player (Forest and City) their respective components, arrange each player’s starting hand of cards, randomly place forest Elementals per the rule book, and place out Lore Tokens between the players to act as the line. The game may now begin!
On a turn a player will take two actions to begin. These actions are playing a Lore Power card (once only per turn), placing a Seeker, or removing a Seeker from play. In Haven, players are attempting to claim shrines on the board in order to have majority in a region so they may place their tokens within that area. To achieve this, players will be battling for influence chips and Lore Tokens at the same time. Assigning Seekers to the Lore Tokens with more weapon symbols than the opponent will result in won influence chips to be placed on shrines. Owning the team of Seekers that matches or comes closest to the Lore Token’s number threshold will earn that player the Lore Token to be scored at the end of the game. A team of Seekers whose total numbers surpass the threshold on the Lore Token will bust and be disqualified from winning the Lore Token.
After two actions have been completed, players will draw two cards from any of the three decks in front of them. These are Seekers, Offerings, and Lore Power cards. These draws can be of any combination as long as the player is left with at least one Offering card at the end of their turn.
Once the player’s two cards have been drawn and added to their hand, the player will then add an Offering card to one of the Lore Tokens’ battlefield. For once a battlefield has three or more Offerings upon it, the battle for the influence chips and Lore Tokens will commence.
Elementals will be moving throughout the forest once battles are won to be conquered and pressed for precious Lore. Once an Elemental has no more shrines to visit or if one of the stacks of Lore Tokens ever runs out the game ends and points are tallied to determine if the Forest has been protected by the Forest player or if it falls to the City and its champion.
Components. This game is absolutely gorgeous, as most Ryan Laukat illustrated games are. The art style is recognizably Laukat, but the theme is a little darker than some. The board is nice sized to place between two people, and all cardboard bits are great quality. The Elemental standees are just fine (vs having minis), and all the cards are small and entirely functional. The cogeeples and leafeeples (grr) are nice touches and add a pop of color onto the board once placed. I have no issues with the components at all.
It’s obvious from my score above that I absolutely love Haven. From my very first learning game (I usually play each game solo but multi-handed before introducing to other players) I knew this is my type of game. The out-thinking of your opponents, and the playing Seekers to different Lore Tokens to win areas on the board are just wonderful here. Granted, I’ve never played Battle Line, but I have played Hanamikoji tons, and I prefer the way that mechanic is used in Haven. I have played so many area control games, but I like the movement of the Elementals from shrine to shrine as targets for players to claim on the board. I love that both sides are completely balanced and any one game could award victory to either side. Having agency over the draw piles from which you must draw cards is great. I simply love everything about this game.
It was a complete surprise to me that I would end up falling for this game as I initially picked up from my FLGS clearance rack. It also took me a long time to get it to the table, but once I did it was magic for me. If you and I share similarities in the games we enjoy I implore you to assign your Seekers to track down a copy of Haven. It is perfect for couples or just any two people who enjoy great games. Purple Phoenix Games gives Haven a very well-loved GOLDEN FEATHER AWARD! Let’s show this hidden gem the love it deserves!
Afro-Haitian Experimental Orchestra by Afro-Haitian Experimental Orchestra
Album Watch
Spearheaded by the legendary Afrobeat/Fela Kuti drummer Tony Allen, the Afro-Haitian Experimental...
world
Bob Mann (459 KP) rated Wordslingers: The Story of Self-Publishing (2021) in Movies
Sep 28, 2021
They say that everyone has a book in them. I guess the key question is whether anyone else wants to read it. Such is the subject of this new documentary from A. Brooks Bennett. As a publisher says at one point “Writing a book is a creative act; publishing a book is a business”.
The democratization of publishing
The internet has brought many advantages to modern life, but perhaps one of the most interesting is the democratization of publishing. No longer is control in the hands of publishing houses, who might glance at and immediately dismiss new ideas in literature. It’s worth remembering that 12 publishing houses turned down J.K. Rowling’s draft for Harry Potter! Now anyone can be creative in writing and self-publish on the web. My own wife – Sue Mann – did just this, self-publishing the WW1 poems and reminiscences of two of her great-uncles. (It’s available from all good bookshops… oh, no…. actually just from here!) Are the poems artistically any good? I have no idea! Will it sell many copies? Clearly not! Was it a personal goal achieved in honouring their memory? Absolutely! Different people want different things from the medium.
Very ‘American’.
It’s probably down to the pioneer spirit, but as a generalisation Americans seem far more ambitious than Brits: or at least, more OPENLY ambitious. Whereas most Brits will quietly get on with building their careers, some Americans will go hell-for-leather towards their vision of “success” no matter the cost: no guts; no glory; and be noisy about it!
But for every J.K. Rowling or Bill Bryson there are several thousand writers who have ‘failed to launch’.
Here we follow two budding authors – one from California; the other from North Carolina – self-publishing their work and seeking sales.
One – Giles A (“Andy”) Anderson – has self-published a seemingly disturbing work called “Vidu” – the first of what he hopes will be a five-part series. He first talks from a ghoulish bookstore, speaking psycho-babble with the requisite hyperbole of an ‘artiste’. (It suggests how the books might read… but perhaps that’s misjudging). It comes then as a surprise when we find he doesn’t live alone in a coffin playing video games on his own, but has a lovely wife and two young and perfectly normal children. So his book is an “off the beaten track kinda book”, but the man seems well-grounded and following his dream in bite-size pieces.
Moral: Avoid the Travel Books
As is often the case though, the documentary homes in on, and spends most of its time with, the other author – Adam Shephard. Shephard is struggling to launch as an author and also – in parallel – wrestling with the Green Card process for his supportive and vivacious Croatian wife Ivana. The problem is that Shephard has written an extended travel blog: ten-a-penny on sites like WordPress.
I read a Forbes article last year that reported that – astonishingly – in a survey 11% of American respondents had never travelled outside of their home state and 40% had never left the country. For such a well-heeled country, the US is incredibly insular. So Shephard’s vision is to encourage youngsters to step outside of their comfort zone and jump on that plane to Guatemala. It’s a fine objective. But does anyone want to listen? And – crucially – is the book any good and commercial enough? As the famous ‘founder of self-publishing’, the late Dan Poynter (to who the film is dedicated) says “You can’t make any money off a travel book”.
The film never goes as far as having either of the featured books critically reviewed: that might have added some extra spice to the story (and possibly provoked some painful reactions). But the piles of unopened boxes in Adam’s clinically white storage facility rather speaks for itself. Since Shephard never seems to do anything by halves, the boxes are piled high and thus the fall from grace is hard, long…. and absolutely riveting. (Ivana’s support and love in such difficult circumstances is commendable: he is a truly blessed man).
Jaw-dropping Walmart scene
At least at the start of the film, Adam’s self-belief and confidence in himself is infectious. The peak of his bravado, and a jaw-dropping highpoint in the movie for me, was a scene filmed in Walmart. Shephard, in a case of “reverse shoplifting”, sneaks HIS books onto the bookshelves of Walmart. What happens when they then try to buy one? It’s a real eye-opener and worth watching the documentary for in its own right.
It’s an interesting legal position: if Walmart were to be upset about this scene, what on earth could they charge them with!? Littering?
Highs and lows.
Shephard seems to have talent as a speaker, and it struck me that he would be genuinely suited to a job in sales. In the movie we see him performing self-confidence-building pitches to young people (and, boy, could we sometimes use that in the UK post-Brexit). A few books sold. But another event barely breaking even. The pattern becomes familiar and, in a way, rather tragic.
There are unexpected highs and lows for Adam and Ivana along the way though, unrelated to the publishing story, and the filmmaker skillfully weaves them into the narrative to good effect.
Thought-provoking.
I watched this on a whim and thought I’d probably switch off after 10 minutes. Documentaries normally are not my thing! But no. It had me gripped to see how things would turn out – like watching a slow-motion car crash! The journey was well-worth the ride: a real page-turner you might say.
The democratization of publishing
The internet has brought many advantages to modern life, but perhaps one of the most interesting is the democratization of publishing. No longer is control in the hands of publishing houses, who might glance at and immediately dismiss new ideas in literature. It’s worth remembering that 12 publishing houses turned down J.K. Rowling’s draft for Harry Potter! Now anyone can be creative in writing and self-publish on the web. My own wife – Sue Mann – did just this, self-publishing the WW1 poems and reminiscences of two of her great-uncles. (It’s available from all good bookshops… oh, no…. actually just from here!) Are the poems artistically any good? I have no idea! Will it sell many copies? Clearly not! Was it a personal goal achieved in honouring their memory? Absolutely! Different people want different things from the medium.
Very ‘American’.
It’s probably down to the pioneer spirit, but as a generalisation Americans seem far more ambitious than Brits: or at least, more OPENLY ambitious. Whereas most Brits will quietly get on with building their careers, some Americans will go hell-for-leather towards their vision of “success” no matter the cost: no guts; no glory; and be noisy about it!
But for every J.K. Rowling or Bill Bryson there are several thousand writers who have ‘failed to launch’.
Here we follow two budding authors – one from California; the other from North Carolina – self-publishing their work and seeking sales.
One – Giles A (“Andy”) Anderson – has self-published a seemingly disturbing work called “Vidu” – the first of what he hopes will be a five-part series. He first talks from a ghoulish bookstore, speaking psycho-babble with the requisite hyperbole of an ‘artiste’. (It suggests how the books might read… but perhaps that’s misjudging). It comes then as a surprise when we find he doesn’t live alone in a coffin playing video games on his own, but has a lovely wife and two young and perfectly normal children. So his book is an “off the beaten track kinda book”, but the man seems well-grounded and following his dream in bite-size pieces.
Moral: Avoid the Travel Books
As is often the case though, the documentary homes in on, and spends most of its time with, the other author – Adam Shephard. Shephard is struggling to launch as an author and also – in parallel – wrestling with the Green Card process for his supportive and vivacious Croatian wife Ivana. The problem is that Shephard has written an extended travel blog: ten-a-penny on sites like WordPress.
I read a Forbes article last year that reported that – astonishingly – in a survey 11% of American respondents had never travelled outside of their home state and 40% had never left the country. For such a well-heeled country, the US is incredibly insular. So Shephard’s vision is to encourage youngsters to step outside of their comfort zone and jump on that plane to Guatemala. It’s a fine objective. But does anyone want to listen? And – crucially – is the book any good and commercial enough? As the famous ‘founder of self-publishing’, the late Dan Poynter (to who the film is dedicated) says “You can’t make any money off a travel book”.
The film never goes as far as having either of the featured books critically reviewed: that might have added some extra spice to the story (and possibly provoked some painful reactions). But the piles of unopened boxes in Adam’s clinically white storage facility rather speaks for itself. Since Shephard never seems to do anything by halves, the boxes are piled high and thus the fall from grace is hard, long…. and absolutely riveting. (Ivana’s support and love in such difficult circumstances is commendable: he is a truly blessed man).
Jaw-dropping Walmart scene
At least at the start of the film, Adam’s self-belief and confidence in himself is infectious. The peak of his bravado, and a jaw-dropping highpoint in the movie for me, was a scene filmed in Walmart. Shephard, in a case of “reverse shoplifting”, sneaks HIS books onto the bookshelves of Walmart. What happens when they then try to buy one? It’s a real eye-opener and worth watching the documentary for in its own right.
It’s an interesting legal position: if Walmart were to be upset about this scene, what on earth could they charge them with!? Littering?
Highs and lows.
Shephard seems to have talent as a speaker, and it struck me that he would be genuinely suited to a job in sales. In the movie we see him performing self-confidence-building pitches to young people (and, boy, could we sometimes use that in the UK post-Brexit). A few books sold. But another event barely breaking even. The pattern becomes familiar and, in a way, rather tragic.
There are unexpected highs and lows for Adam and Ivana along the way though, unrelated to the publishing story, and the filmmaker skillfully weaves them into the narrative to good effect.
Thought-provoking.
I watched this on a whim and thought I’d probably switch off after 10 minutes. Documentaries normally are not my thing! But no. It had me gripped to see how things would turn out – like watching a slow-motion car crash! The journey was well-worth the ride: a real page-turner you might say.
Hadley (567 KP) rated The Shining in Books
Apr 6, 2019
Different from the movie (1 more)
Well written
Contains spoilers, click to show
In his most well-known horror story, 'The Shining,' which is either a ghost story or the collapse of a man's mental state, Jack Torrance, a recovering alcoholic who just lost his job teaching at a school, gets hired to be the Winter caretaker of the infamous Overlook Hotel. In this book, the readers follow Jack into a nervous breakdown, as well as his possession by the ghosts of this hotel.
While the Torrance's seem like every other family - a small boy and moving to a new town - we find out that their son, Danny, has special abilities that help him to see things that may or may not happen in the future.
Soon after the family arrives to take over the hotel for the Winter, Danny meets a man named Hallorann - a chef at the hotel - who has the same abilities as him, which he calls 'Shine:' "What you got son, I call it shinin' on, the Bible calls it having visions, and there's scientists that call it precognition. I've read up on it, son. I've studied on it. They all mean seeing the future. Do you understand that?" Hallorann tells Danny.
Why does Danny, or anyone for that matter, have the Shine? King doesn't explain this in the book, it just seems to be something specific people are born with, even Danny's parents take him to a doctor before the snowfall hits to figure out what is going on,but even the doctor believes it's just a child's overactive imagination. Even so, Danny continues to have visions: one is of the room 217 in the Overlook, which even Hallorann told him to never go inside, and the other is of a creature-like man swinging a roque mallet, yelling about someone needing to take their medicine,"Come out! Come out, you little shit! Take your medicine!" We,also,meet his imaginary friend, Tony, who is the one whom continues to show Danny these visions over and over.
Unlike the movie, 'The Shining' book stands on it's own as an almost completely different story, even having Jack wielding a roque mallet and not an axe. Also the infamous scene of the Grady twins showing up in a hallway, asking Danny to play with them, never happened in the book; Hallorann also survives Jack's attack, Wendy is nearly beaten to-death by the roque mallet, and the hedge maze doesn't even exist! Instead, King wrote about topiary animals that came to life to kill you, "The rabbit was down on all fours, cropping grass. Its belly was against the ground. But not ten minutes ago it had been up on its hind legs, of course it had been, he had trimmed its ears...and its belly."
Jack begins to change when he finds a scrapbook in the basement that contains articles and such of things that happened at the Overlook. One such thing that sticks with Jack is about a Masked Ball that took place at the grand opening of the hotel. "Horace M. Derwent Requests The Pleasure of Your Company At a Masked Ball to Celebrate The Grand Opening of THE OVERLOOK HOTEL...Dinner Will Be Served At 8 P.M. Unmasking And Dancing At Midnight August 29,1945...RSVP"
Later on in the story, Jack, Wendy and Danny are awoken by the elevator going up and down by itself, but inside is a surprise,"Then she was up, her cheeks flushed, her forehead as pale and shining as a spirit lamp. 'What about this, Jack? Is this a short circuit?' She threw something and suddenly the hall was full of drifting confetti, red and white and blue and yellow. 'Is this?' A green party streamer, faded to a pale pastel color with age." Continuously, throughout the book,the past hotel guests make themselves known, either by showing up in rooms or leaving things for the family to find.
King shines (pun intended) with this book, he keeps things moving so that readers don't get bored. Known for his horror books, he doesn't disappoint in this one, which I personally think that this is his best work ever. He doesn't jump from scene to scene (like in many of his other books), he flawlessly keeps the timeline going even though he switches from character view points, between Jack, Danny, Wendy and Hallorann.
Although the film 'The Shining' is a classic in the horror movie genre, it is a huge step away from the book itself. "And the Red Death held sway over all." is a line that was never in the movie,but is quite frequent through the book. Even the most recognizable scene of "Here's Johnny!" is not in the book!
Also, Hallorann's character has a much bigger part in the story, the reader gets to see him living his Winter life in Florida, working as a chef in another hotel.. Hallorann even has a back story in the book that is wonderful to read about; we get to accompany him to a lawyer's office where he feels the need to get his Will made out for everything to be left to his sister when he is overcome with the feeling that his life may be about to end,"Hallorann had stepped in and told this McIver that he wanted to make a will,and could McIver help him out? Well, McIver asked,how soon do you want the document? Yesterday, said Hallorann, and threw his head back and laughed."
This 659- page book is well worth the read. You not only get a different take on 'The Shining' that is so well known,but you also get a different ending!'The Shining' will now always be a staple on my book shelf.
Even if you love the movie as much as I do (it is my favorite horror movie of all time), you will love the book just as much. King went above and beyond when he wrote 'The Shining.' Highly recommend!
While the Torrance's seem like every other family - a small boy and moving to a new town - we find out that their son, Danny, has special abilities that help him to see things that may or may not happen in the future.
Soon after the family arrives to take over the hotel for the Winter, Danny meets a man named Hallorann - a chef at the hotel - who has the same abilities as him, which he calls 'Shine:' "What you got son, I call it shinin' on, the Bible calls it having visions, and there's scientists that call it precognition. I've read up on it, son. I've studied on it. They all mean seeing the future. Do you understand that?" Hallorann tells Danny.
Why does Danny, or anyone for that matter, have the Shine? King doesn't explain this in the book, it just seems to be something specific people are born with, even Danny's parents take him to a doctor before the snowfall hits to figure out what is going on,but even the doctor believes it's just a child's overactive imagination. Even so, Danny continues to have visions: one is of the room 217 in the Overlook, which even Hallorann told him to never go inside, and the other is of a creature-like man swinging a roque mallet, yelling about someone needing to take their medicine,"Come out! Come out, you little shit! Take your medicine!" We,also,meet his imaginary friend, Tony, who is the one whom continues to show Danny these visions over and over.
Unlike the movie, 'The Shining' book stands on it's own as an almost completely different story, even having Jack wielding a roque mallet and not an axe. Also the infamous scene of the Grady twins showing up in a hallway, asking Danny to play with them, never happened in the book; Hallorann also survives Jack's attack, Wendy is nearly beaten to-death by the roque mallet, and the hedge maze doesn't even exist! Instead, King wrote about topiary animals that came to life to kill you, "The rabbit was down on all fours, cropping grass. Its belly was against the ground. But not ten minutes ago it had been up on its hind legs, of course it had been, he had trimmed its ears...and its belly."
Jack begins to change when he finds a scrapbook in the basement that contains articles and such of things that happened at the Overlook. One such thing that sticks with Jack is about a Masked Ball that took place at the grand opening of the hotel. "Horace M. Derwent Requests The Pleasure of Your Company At a Masked Ball to Celebrate The Grand Opening of THE OVERLOOK HOTEL...Dinner Will Be Served At 8 P.M. Unmasking And Dancing At Midnight August 29,1945...RSVP"
Later on in the story, Jack, Wendy and Danny are awoken by the elevator going up and down by itself, but inside is a surprise,"Then she was up, her cheeks flushed, her forehead as pale and shining as a spirit lamp. 'What about this, Jack? Is this a short circuit?' She threw something and suddenly the hall was full of drifting confetti, red and white and blue and yellow. 'Is this?' A green party streamer, faded to a pale pastel color with age." Continuously, throughout the book,the past hotel guests make themselves known, either by showing up in rooms or leaving things for the family to find.
King shines (pun intended) with this book, he keeps things moving so that readers don't get bored. Known for his horror books, he doesn't disappoint in this one, which I personally think that this is his best work ever. He doesn't jump from scene to scene (like in many of his other books), he flawlessly keeps the timeline going even though he switches from character view points, between Jack, Danny, Wendy and Hallorann.
Although the film 'The Shining' is a classic in the horror movie genre, it is a huge step away from the book itself. "And the Red Death held sway over all." is a line that was never in the movie,but is quite frequent through the book. Even the most recognizable scene of "Here's Johnny!" is not in the book!
Also, Hallorann's character has a much bigger part in the story, the reader gets to see him living his Winter life in Florida, working as a chef in another hotel.. Hallorann even has a back story in the book that is wonderful to read about; we get to accompany him to a lawyer's office where he feels the need to get his Will made out for everything to be left to his sister when he is overcome with the feeling that his life may be about to end,"Hallorann had stepped in and told this McIver that he wanted to make a will,and could McIver help him out? Well, McIver asked,how soon do you want the document? Yesterday, said Hallorann, and threw his head back and laughed."
This 659- page book is well worth the read. You not only get a different take on 'The Shining' that is so well known,but you also get a different ending!'The Shining' will now always be a staple on my book shelf.
Even if you love the movie as much as I do (it is my favorite horror movie of all time), you will love the book just as much. King went above and beyond when he wrote 'The Shining.' Highly recommend!
Kristy H (1252 KP) rated Truly Madly Guilty in Books
Feb 13, 2018
Erika has the whole event planned: an afternoon tea with her friend, Clementine, Clementine's husband, Sam, and the couple's two young daughters, Holly and Ruby. She even has a glittery art table set up for the youngsters. But the day is derailed when Erika runs into her next-door neighbor, Vid, who invites both couples over for a last minute barbecue. Erika and her husband, Oliver, aren't the last minute types; besides, they had something they needed to talk about with Clementine and Sam. But, Erika feels like obligated to say yes. Clementine and Sam are secretly relieved, as Vid and his beautiful wife Tiffany are far more personable than Erika and Oliver. The afternoon starts off well enough; Tiffany and Vid's daughter, Dakota, is even happy enough to hang out with Holly and Ruby. But by the time the night is over, lives will be changed, and all the adults--Sam and Clementine in particular--will find themselves wishing they never attended this impromptu event.
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
Jordan Binkerd (567 KP) rated The Long Earth in Books
Aug 13, 2019
Note: this review is transposted from my personal review blog, and so was originally written several years ago. I figured if I reposted it here, someone might actually read it….
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/
Gareth von Kallenbach (980 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jul 2, 2019
Ever since X-men First Class was released, Jean Gray one of the more pivotal characters in the X-Men universe has been surprisingly absent. Often portrayed at not only having psychic abilities that rivals Charles Xavier, but also attracted the admiration of both Cyclops and Wolverine. While she was a staple in the original film and subsequent sequels her first appearance in the newest series did not occur until X-Men Apocalypse. With the release of Dark Phoenix, we had hoped to finally get an opportunity to explore a bit of her background story and her transformation into Dark Phoenix.
Dark Phoenix begins on a small country road where a very young Jean Grey is arguing with her parents over what music to listen to. In traditional parent fashion, her mother reminds her that the driver is the one who chooses the music and when she is old enough to drive she can choose her own music. This small disagreement turns into a deadly confrontation, when the young Jean, unable to control her vast powers causes her mom to fall asleep at the wheel, resulting in a head on collision killing both her parents. The doctors are amazed that this young girl has survived without a single scratch and a young Charles Xavier arrives to take her to a place where she can be safe.
Fast Forward to the year 1992 where the space shuttle Endeavor, on a routine mission, encounters a cosmic entity that cripples it in space. The X-men, who are now looked at as heroes by most of the world are tasked to bring the astronauts safely home, it’s a dangerous mission, but one that Charles feels will further cement the hero status of his team and continue to grow trust between mutants and humans alike. The mission goes surprisingly without incident until Jean and Night Crawler attempt to rescue the final remaining astronaut from the doomed shuttle. Night Crawler quickly teleports the astronaut to safety, but Jean is caught by the full force of the cosmic entity, absorbing it completely and destroying the shuttle. The team scrambles to locate her, and with the help of Night Crawler are once again able to bring her back to the safety of the X-Jet. Relieved that she has somehow miraculously survived the encounter the team is unaware that Jean and themselves will never be the same again.
As we’ve come to expect from the previous X-men movies, a star-studded cast leads the way. Familiar cast members such as Jennifer Lawrence (Raven), Tye Sheridan (Cyclops) and James McAvoy (Charles Xavier) are joined once again by Sophie Turner as the iconic Jean Grey. Sophie does an incredible job at bringing out both the uncertainty in her character and the extreme anger and rage that flows through her. Unfortunately for such a major character the movie only briefly touches the surface of who Jean Grey really is. The movie, even from the start tends to focus on Jean as a dangerous and angry young lady, unable to control her emotions which will ultimately open the doorway to her alter ego Dark Phoenix. The movie unfortunately treats her as a one-off character and skips most of her back story choosing to focus only on her Dark Phoenix personality. This leaves the audience with no understanding of the person she was prior to the transformation, only seeing Jean as an uncontrollable child who has now become an uncontrollable adult with “off the chart” powers. While Charles and other members of the team try to assure those around them (and the audience seated in the theaters) that Jean is a good person, a person worth saving, there is very little in the movie that allows us to sympathize with her plight. It ultimately villainizes her and leaves much of the cast (and the audience) wondering whether destroying her is the right choice for all humankind.
Visually Dark Phoenix is a masterpiece, whether it’s the awe-inspiring deepness of space, or the incredible visual effects as the mutants square off against each other with their powers. Buildings topple, subway cars are pulled from underground and general mayhem takes the stage. This is certainly one of the more action-packed movies in the series and getting the opportunity to watch some of our favorite mutants square off against one another is enough to excite even the ones least interested in the franchise.
Dark Phoenix as one might expect is also one of the darkest of the x-men movies. Unlike its other Marvel film counterparts, there is no levity in the movie at all. There are scenes that are heartwarming, but the movie takes itself very seriously. Even in a similarly dark Marvel movie Endgame there were moments that would make you laugh regardless of how dire the situation was, Dark Phoenix is not like this at all. It carries a weight to it that ensures that not only the people on screen, but those in the audience understand how truly dire the situation is. It detracts a bit from the spirit of the source material it derives from and could potentially alienate its core audience. This is a very adult movie, that deals with some very adult themes and parents might want to think twice before taking their youngest to see this film. With the X-Men franchise finally joining the MCU, it’ll be interesting to see how movies down the road treat these characters.
Dark Phoenix represents the end of an X-Men era that has existed in both its original and First-Class installments for over twenty years. The acquisition of Fox by Disney now brings this venerable franchise to the MCU family along with its cast of seemingly endless characters. While the movie is certainly better than Apocalypse, it can’t quite reach the heights of either First-Class or Days of Futures Past. The Dark Phoenix storyline does a good job staying closer to its comic book roots than its previous outing but rushes the origin and character development of Jean far more than she deserves. It’s a fine ending to the series as a whole but can’t quite deliver in all the ways I hoped it would.
Dark Phoenix begins on a small country road where a very young Jean Grey is arguing with her parents over what music to listen to. In traditional parent fashion, her mother reminds her that the driver is the one who chooses the music and when she is old enough to drive she can choose her own music. This small disagreement turns into a deadly confrontation, when the young Jean, unable to control her vast powers causes her mom to fall asleep at the wheel, resulting in a head on collision killing both her parents. The doctors are amazed that this young girl has survived without a single scratch and a young Charles Xavier arrives to take her to a place where she can be safe.
Fast Forward to the year 1992 where the space shuttle Endeavor, on a routine mission, encounters a cosmic entity that cripples it in space. The X-men, who are now looked at as heroes by most of the world are tasked to bring the astronauts safely home, it’s a dangerous mission, but one that Charles feels will further cement the hero status of his team and continue to grow trust between mutants and humans alike. The mission goes surprisingly without incident until Jean and Night Crawler attempt to rescue the final remaining astronaut from the doomed shuttle. Night Crawler quickly teleports the astronaut to safety, but Jean is caught by the full force of the cosmic entity, absorbing it completely and destroying the shuttle. The team scrambles to locate her, and with the help of Night Crawler are once again able to bring her back to the safety of the X-Jet. Relieved that she has somehow miraculously survived the encounter the team is unaware that Jean and themselves will never be the same again.
As we’ve come to expect from the previous X-men movies, a star-studded cast leads the way. Familiar cast members such as Jennifer Lawrence (Raven), Tye Sheridan (Cyclops) and James McAvoy (Charles Xavier) are joined once again by Sophie Turner as the iconic Jean Grey. Sophie does an incredible job at bringing out both the uncertainty in her character and the extreme anger and rage that flows through her. Unfortunately for such a major character the movie only briefly touches the surface of who Jean Grey really is. The movie, even from the start tends to focus on Jean as a dangerous and angry young lady, unable to control her emotions which will ultimately open the doorway to her alter ego Dark Phoenix. The movie unfortunately treats her as a one-off character and skips most of her back story choosing to focus only on her Dark Phoenix personality. This leaves the audience with no understanding of the person she was prior to the transformation, only seeing Jean as an uncontrollable child who has now become an uncontrollable adult with “off the chart” powers. While Charles and other members of the team try to assure those around them (and the audience seated in the theaters) that Jean is a good person, a person worth saving, there is very little in the movie that allows us to sympathize with her plight. It ultimately villainizes her and leaves much of the cast (and the audience) wondering whether destroying her is the right choice for all humankind.
Visually Dark Phoenix is a masterpiece, whether it’s the awe-inspiring deepness of space, or the incredible visual effects as the mutants square off against each other with their powers. Buildings topple, subway cars are pulled from underground and general mayhem takes the stage. This is certainly one of the more action-packed movies in the series and getting the opportunity to watch some of our favorite mutants square off against one another is enough to excite even the ones least interested in the franchise.
Dark Phoenix as one might expect is also one of the darkest of the x-men movies. Unlike its other Marvel film counterparts, there is no levity in the movie at all. There are scenes that are heartwarming, but the movie takes itself very seriously. Even in a similarly dark Marvel movie Endgame there were moments that would make you laugh regardless of how dire the situation was, Dark Phoenix is not like this at all. It carries a weight to it that ensures that not only the people on screen, but those in the audience understand how truly dire the situation is. It detracts a bit from the spirit of the source material it derives from and could potentially alienate its core audience. This is a very adult movie, that deals with some very adult themes and parents might want to think twice before taking their youngest to see this film. With the X-Men franchise finally joining the MCU, it’ll be interesting to see how movies down the road treat these characters.
Dark Phoenix represents the end of an X-Men era that has existed in both its original and First-Class installments for over twenty years. The acquisition of Fox by Disney now brings this venerable franchise to the MCU family along with its cast of seemingly endless characters. While the movie is certainly better than Apocalypse, it can’t quite reach the heights of either First-Class or Days of Futures Past. The Dark Phoenix storyline does a good job staying closer to its comic book roots than its previous outing but rushes the origin and character development of Jean far more than she deserves. It’s a fine ending to the series as a whole but can’t quite deliver in all the ways I hoped it would.
Bob Mann (459 KP) rated The Nutcracker and the Four Realms (2018) in Movies
Sep 28, 2021
A fantasy that’s glossy and beautiful to look at.
Before the heavyweight juggernaut of “Mary Poppins Returns” arrives at Christmas, here’s another Disney live action feature to get everyone in the festive spirit.
The Plot.
It’s Victorian London and Young Clara (Mackenzie Foy) lives with her father (Matthew Macfadyen), her older sister Louise (Ellie Bamber) and her younger brother Fritz (Tom Sweet). It’s Christmas and the family are having a hard time as they are grieving the recent death of wife and mother Marie (Anna Madeley). Like her mother, Clara has an astute mind with an engineering bias and is encouraged in this pursuit by her quirky inventor godfather, Drosselmeyer (Morgan Freeman). At his fabled Christmas ball, Clara asks for his help in accessing a gift Clara’s mother has bequeathed to her. This leads Clara on a magical adventure to a parallel world with four realms, where everything is not quite peace and harmony.
The Review.
This is a film that visually delights from the word go. The film opens with a swooping tour of Victorian London (who knew the Disney castle was in the capital’s suburbs?!) via Westminster bridge and into the Stahlbaum’s attic. It’s a spectacular tour-de-force of special-effects wizardry and sets up the expectation of what’s to come. For every scene that follows is a richly decorated feast for the eyes. Drosselmeyer’s party is a glorious event, full of extras, strong on costume design and with a rich colour palette as filmed by Linus Sandgren (“La La Land“). When we are pitched into the Four Realms – no wardrobe required – the magical visions continue.
The film represents a Narnia-esque take on the four compass-point lands of Oz, and on that basis it’s a bit formulaic. But the good vs evil angles are more subtley portrayed. Of the Four Realms leaders, Keira Knightley as Sugar Plum rather steals the show from the others (played by Richard E. Grant, Eugenio Derbez and Helen Mirren). Mirren in particular is given little to do.
What age kids would this be suitable for? Well, probably a good judge would be the Wizard of Oz. If your kids are not completely freaked out by the Wicked Witch of the West and the flying monkeys, then they will probably cope OK with the scary bits of the “Realm of Entertainment”. Although those who suffer from either musophobia or (especially) coulrophobia might want to give it a miss! All kids are different though, and the “loss of the mother” is also an angle to consider: that might worry and upset young children. It is definitely a “PG” certificate rather than a “U” certificate.
Young people who also enjoy ballet (I nearly fell into a sexist trap there!) will also get a kick out of some of the dance sequences, which are “Fantasia-esque” in their presentation and feature Misty Copeland, famously the first African American Female Principal Dancer with the American Ballet Theatre. (I have no appreciation at all for ballet, but I’m sure it was brilliant!)
As for the moral tone of the film, the female empowerment message is rather ladled on with a trowel, but as it’s a good message I have no great problem with that. I am often appalled at how lacking in confidence young people are in their own abilities. Here is a young lady (an engineer!) learning self-resilience and the confidence to be able to do anything in life she puts her mind to. Well said.
The story is rather generic – child visits a magical other world – but the screenplay is impressive given its the first-feature screenplay for Ashleigh Powell: there is an article on her approach to screenwriting that you might find interesting here.
The film is credited with two directors. This – particularly if there is also an army of screenwriters – is normally a warning sign on a film. (As a case in point, the chaotic 1967 version of “Casino Royale” had six different directors, and it shows!). Here, there clearly were issues with the filming since Disney insisted on reshoots for which the original director, Lasse Hallström, was not available. This is where the “Captain America” director Joe Johnston stepped in.
The turns.
I really enjoyed Mackenzie Foy‘s performance as Clara. Now 18, she is a feisty and believable Disney princess for the modern age. (If, like me, you are struggling to place where you’ve heard her name before, she was the young Murph in Nolan’s “Interstellar“).
Another name I was struggling with was Ellie Bamber as her sister. Ellie was excellent in the traumatic role of the daughter in the brilliant “Nocturnal Animals“, one of my favourite films of 2016. (Hopefully the therapy has worked and Ellie can sleep at night again!).
A newcomer with a big role is Jayden Fowora-Knight as the Nutcracker soldier: Jayden had a bit part in “Ready Player One” but does a great job here in a substantial role in the film. He stands out as a black actor in a Disney feature: notwithstanding the Finn character in “Star Wars”, this is a long-overdue and welcome approach from Disney.
British comedians Omid Djalili and Jack Whitehouse turn up to add some light relief, but the humour seems rather forced and not particularly fitting.
Final thoughts
I wasn’t expecting to enjoy this one much, but I did. Prinicipally because it is such a visual feast and worth going to see just for that alone: I have a prediction that this film will be nominated for production design, costume design and possible special effects.
I think kids of the right age – I would have thought 6 to 10 sort of range – will enjoy this a lot, particularly if they like dance. Young girls in particular will most relate to the lead character. For such kids, I’d rate this a 4*. The rating below reflects my rating as an adult: so I don’t think ‘drag-a-long’ parents in the Christmas holidays (if it is still on by then) will not be totally bored.
The Plot.
It’s Victorian London and Young Clara (Mackenzie Foy) lives with her father (Matthew Macfadyen), her older sister Louise (Ellie Bamber) and her younger brother Fritz (Tom Sweet). It’s Christmas and the family are having a hard time as they are grieving the recent death of wife and mother Marie (Anna Madeley). Like her mother, Clara has an astute mind with an engineering bias and is encouraged in this pursuit by her quirky inventor godfather, Drosselmeyer (Morgan Freeman). At his fabled Christmas ball, Clara asks for his help in accessing a gift Clara’s mother has bequeathed to her. This leads Clara on a magical adventure to a parallel world with four realms, where everything is not quite peace and harmony.
The Review.
This is a film that visually delights from the word go. The film opens with a swooping tour of Victorian London (who knew the Disney castle was in the capital’s suburbs?!) via Westminster bridge and into the Stahlbaum’s attic. It’s a spectacular tour-de-force of special-effects wizardry and sets up the expectation of what’s to come. For every scene that follows is a richly decorated feast for the eyes. Drosselmeyer’s party is a glorious event, full of extras, strong on costume design and with a rich colour palette as filmed by Linus Sandgren (“La La Land“). When we are pitched into the Four Realms – no wardrobe required – the magical visions continue.
The film represents a Narnia-esque take on the four compass-point lands of Oz, and on that basis it’s a bit formulaic. But the good vs evil angles are more subtley portrayed. Of the Four Realms leaders, Keira Knightley as Sugar Plum rather steals the show from the others (played by Richard E. Grant, Eugenio Derbez and Helen Mirren). Mirren in particular is given little to do.
What age kids would this be suitable for? Well, probably a good judge would be the Wizard of Oz. If your kids are not completely freaked out by the Wicked Witch of the West and the flying monkeys, then they will probably cope OK with the scary bits of the “Realm of Entertainment”. Although those who suffer from either musophobia or (especially) coulrophobia might want to give it a miss! All kids are different though, and the “loss of the mother” is also an angle to consider: that might worry and upset young children. It is definitely a “PG” certificate rather than a “U” certificate.
Young people who also enjoy ballet (I nearly fell into a sexist trap there!) will also get a kick out of some of the dance sequences, which are “Fantasia-esque” in their presentation and feature Misty Copeland, famously the first African American Female Principal Dancer with the American Ballet Theatre. (I have no appreciation at all for ballet, but I’m sure it was brilliant!)
As for the moral tone of the film, the female empowerment message is rather ladled on with a trowel, but as it’s a good message I have no great problem with that. I am often appalled at how lacking in confidence young people are in their own abilities. Here is a young lady (an engineer!) learning self-resilience and the confidence to be able to do anything in life she puts her mind to. Well said.
The story is rather generic – child visits a magical other world – but the screenplay is impressive given its the first-feature screenplay for Ashleigh Powell: there is an article on her approach to screenwriting that you might find interesting here.
The film is credited with two directors. This – particularly if there is also an army of screenwriters – is normally a warning sign on a film. (As a case in point, the chaotic 1967 version of “Casino Royale” had six different directors, and it shows!). Here, there clearly were issues with the filming since Disney insisted on reshoots for which the original director, Lasse Hallström, was not available. This is where the “Captain America” director Joe Johnston stepped in.
The turns.
I really enjoyed Mackenzie Foy‘s performance as Clara. Now 18, she is a feisty and believable Disney princess for the modern age. (If, like me, you are struggling to place where you’ve heard her name before, she was the young Murph in Nolan’s “Interstellar“).
Another name I was struggling with was Ellie Bamber as her sister. Ellie was excellent in the traumatic role of the daughter in the brilliant “Nocturnal Animals“, one of my favourite films of 2016. (Hopefully the therapy has worked and Ellie can sleep at night again!).
A newcomer with a big role is Jayden Fowora-Knight as the Nutcracker soldier: Jayden had a bit part in “Ready Player One” but does a great job here in a substantial role in the film. He stands out as a black actor in a Disney feature: notwithstanding the Finn character in “Star Wars”, this is a long-overdue and welcome approach from Disney.
British comedians Omid Djalili and Jack Whitehouse turn up to add some light relief, but the humour seems rather forced and not particularly fitting.
Final thoughts
I wasn’t expecting to enjoy this one much, but I did. Prinicipally because it is such a visual feast and worth going to see just for that alone: I have a prediction that this film will be nominated for production design, costume design and possible special effects.
I think kids of the right age – I would have thought 6 to 10 sort of range – will enjoy this a lot, particularly if they like dance. Young girls in particular will most relate to the lead character. For such kids, I’d rate this a 4*. The rating below reflects my rating as an adult: so I don’t think ‘drag-a-long’ parents in the Christmas holidays (if it is still on by then) will not be totally bored.
KittyMiku (138 KP) rated Her Last Goodbye in Books
May 23, 2019
Contains spoilers, click to show
As with any mystery, it is amazing to have that suspense with a tad bit of danger. After all, the excitement is in the wondering who did what and what may have caused an event to happen. However, Her Last Goodbye is more than just that. It allows the reader to see into some of the worries and dangers it is to be a parent, how romance can lead to vulnerable states of mind (which we all know can lead to some acts of intimacy), as well as how some people have some complicated views on how a relationship should work. It was even more shocking and terrifyingly real than the first book in the Morgan Dane series. I found myself ridden with anxiety, fear, and concern through out the book. Having so many difficult situations to have to sort through and ideas, I found this book hard to put down, even when it got too intense to keep reading at the moment.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.
First of all, Morgan having three children is always nice to see. With her concern about her children's livelihood always about her, it wasn't hard for her to connect with the missing woman, Chelsea, who was a mother of 2 small children, and how she wasn't likely to leave her children that she adored so much. It was, however, rough for her to try to come up with clues and facts to prove that the woman just didn't run away from her family. To see Morgan struggle through that idea and then to end up having her own children threatened on multiple occasions by a variety of men, only made things worse. I found those parts exceptionally hard to read. Having a child myself, I don't think I would have been as rational or as brave as she was. Just the thought of the things she went through and the ideas of a mother just abandoning her children, has me shaken. Even though, as stated in the book, mothers sometimes do strange things like that, it still isn't easy to process or understand. Then to watch a mother go into Mama Bear mode to protect her own, kept my own mind whirling. I like to think I would do anything to protect my daughter, but my own problem with conflict would have been enough to make sure I got out of whatever situation that would put me in that rough spot. It had fuel Morgan even more though. She pushed harder to find and get rid of the person behind her own children's danger. This only makes her even more loveable. It is actually inspiring to have such a strong woman character, who would do anything to protect her loved ones. I can't help but feel more drawn to her in this book, and I feel that my admiration and love for her will grow in the future. Even so, I still found a lot of other disturbing things within the story.
We all know that there are people out there who believe women should be completely submissive to men, but it was still really hard to read and stomach a character who had this belief. To kidnap, condition, and even train another person seems extremely harsh, yet a they existed. I found it harder to read how they would torture another human being to break their mind and their spirit, just to train a woman to think and be something they weren't. Especially when said person was supposedly in love with their prey. I did find it inspiring on how, even being tortured, a woman can overcome it and try to escape and get back to her family. In fact, the thought of her family propelled her and kept her trying to get back home. It really made me happy to see that family was her motivation. Though, it was rough to get through, it made me wonder how many women could go through what she had and still find the courage and strength to keep trying to figure out a way to escape and get home. Even though, it was clear she was traumatized, it was clear she was more concerned with getting home to her children than how she could be caught and tortured and punished for trying. I found this to be a pleasant idea to have about someone who was captured. After all, wouldn't you end up within just a few days of being hurt over and over, give up and just conform to whoever was trying to condition you was ways? I probably would have. But this woman character definitely shed some light how nothing else mattered where your family is concern.
I found how strong feelings for someone and their family can really change how you view things to be a nice delight. I hadn't expected Lance to end up falling for Morgan's children the way he did to happen. It had been hinted that he loved and wanted a relationship with Morgan, but to see him fall in love with her girls and want to protect them as much as Morgan did, was really a pleasant sight. I know there are men out there like that, but its still rare and to see how his love for Morgan ends up extending to her children was just the right about of sentiment and love the book need to keeps things from going overboard. I enjoyed how he tried his best to make sure her girls were safe and even let them into his house to keep them protected, to be exhilarating and touching. It is always nice to have some wholesome love and concern to help break up some of the tension in a storyline and Leigh's way of adding this to Lance's character was a nice call. It helped keep the danger presented while showing a parental side to Lance and offering up how your friends and potential lover's can easily adore your children as much as you do.
Overall, I would rate Melinda Leigh's Her Last Goodbye 5 stars out of 5 stars for how well written and emotional filled the book was. It could stand alone as it gives refreshers on what happened in the last book, as well as had its own storyline. Though, the character developments increased and they continued to grow through out the story, the reader wouldn't feel like they missed a whole lot by reading this book first. I have to say that has to be something that is delightful. After all, wouldn't is just bite if you had to read the first book to even think about picking up the second. Sometimes you don't always realize what you are grabbing and having a series that has books that could stand alone if they needed to, makes it so much easier to start by whatever book you happen to pick up first. I definitely recommend this book to all our thrill seekers. Its not for the faint of heart, but is still extremely excellent to read.