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Ivana A. | Diary of Difference (1171 KP) rated Just My Luck in Books
Aug 3, 2020
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<b><i>What would you do if you win the lottery?</i></b>
What happens when a person suddenly has a chance to be rich? Just My Luck by Adele Parks is a brutal book about bad luck, betrayals, friendships and most importantly – how life can change in just one moment.
For fifteen years, Lexi and Jake have played the same six numbers with their friends. Over dinners, they have discussed many important things over the years: kids, marriages, houses and jobs… But one Saturday night, there is an argument in the group. Someone is lying. And then, six numbers come up on the lottery that are about to change everything.
Lexi and Jake have the winning ticket for almost £18 million. And their friends want their share in it…
<b><i>My Thoughts:</i></b>
I dived into this book completely unprepared. I only knew that someone wins the lottery, but I wasn’t too familiar with the synopsis. And trust me – it was better for me to explore it all throughout the book.
We follow the story mostly focused on Lexi’s point of view, however, we also get a glimpse of other people’s stories as well, which I think for me was refreshing and kept the pace moving in a nice manner.
Not only do we meet different characters in this book, but we also meet different personalities, with different motivations, dreams and life goals. When Lexi and Jake realised they have won the lottery, they both behave in a very different way.
Lexi is the one that wants to keep things as normal as they are, plan for their future, have small luxuries and then keep the rest of the money mostly as savings, and donate some of it to charity and try to help other people.
Jake, on the other side, wants to enjoy the money they won, and spend it on a new house, new car, be part of the upper class and hire driver services for his children, when they move to a private school.
The relationship between Lexi and Jake will begin to change, as they both will change during this period. This book is a perfect summary of what money may actually do to people and relationships, and how it may help them or destroy them completely.
I loved the drama where the friends were involved as well, also when the children played their part as well into the whole situation. It is crazy to see how easily children can be manipulated by words and wealth too, in their own little worlds.
I really wished I have seen more of Toma’s story and point of view, and had a proper closure to his chapter. His story was definitely my favorite one for sure!
<b><i>If you are a fan of thrillers and drama, you will definitely enjoy this book. It will keep you on the edge until the very last chapter. And that last chapter will change everything! Let me know once you’ve read it, because I am dying to talk to someone about that last revelation!</i></b>
I am extremely lucky to be part of the blog tour organised by the amazing team at HQ! Thank you for this opportunity, and thank you for sending me this book in exchange for my review! Check out the other amazing participants of this blog tour as well:
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<b><i>What would you do if you win the lottery?</i></b>
What happens when a person suddenly has a chance to be rich? Just My Luck by Adele Parks is a brutal book about bad luck, betrayals, friendships and most importantly – how life can change in just one moment.
For fifteen years, Lexi and Jake have played the same six numbers with their friends. Over dinners, they have discussed many important things over the years: kids, marriages, houses and jobs… But one Saturday night, there is an argument in the group. Someone is lying. And then, six numbers come up on the lottery that are about to change everything.
Lexi and Jake have the winning ticket for almost £18 million. And their friends want their share in it…
<b><i>My Thoughts:</i></b>
I dived into this book completely unprepared. I only knew that someone wins the lottery, but I wasn’t too familiar with the synopsis. And trust me – it was better for me to explore it all throughout the book.
We follow the story mostly focused on Lexi’s point of view, however, we also get a glimpse of other people’s stories as well, which I think for me was refreshing and kept the pace moving in a nice manner.
Not only do we meet different characters in this book, but we also meet different personalities, with different motivations, dreams and life goals. When Lexi and Jake realised they have won the lottery, they both behave in a very different way.
Lexi is the one that wants to keep things as normal as they are, plan for their future, have small luxuries and then keep the rest of the money mostly as savings, and donate some of it to charity and try to help other people.
Jake, on the other side, wants to enjoy the money they won, and spend it on a new house, new car, be part of the upper class and hire driver services for his children, when they move to a private school.
The relationship between Lexi and Jake will begin to change, as they both will change during this period. This book is a perfect summary of what money may actually do to people and relationships, and how it may help them or destroy them completely.
I loved the drama where the friends were involved as well, also when the children played their part as well into the whole situation. It is crazy to see how easily children can be manipulated by words and wealth too, in their own little worlds.
I really wished I have seen more of Toma’s story and point of view, and had a proper closure to his chapter. His story was definitely my favorite one for sure!
<b><i>If you are a fan of thrillers and drama, you will definitely enjoy this book. It will keep you on the edge until the very last chapter. And that last chapter will change everything! Let me know once you’ve read it, because I am dying to talk to someone about that last revelation!</i></b>
I am extremely lucky to be part of the blog tour organised by the amazing team at HQ! Thank you for this opportunity, and thank you for sending me this book in exchange for my review! Check out the other amazing participants of this blog tour as well:
<img src="https://i1.wp.com/diaryofdifference.com/wp-content/uploads/2020/05/JUST-MY-LUCK-BTB.jpg?resize=594%2C1536&ssl=1"/>;
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Ivana A. | Diary of Difference (1171 KP) rated Living My Best Li(f)e in Books
Oct 2, 2020
Fast and chill reads are always the hit for me. I definitely enjoy drinking my hot chocolate and cuddling my blanket while reading a chill book on my sofa. '' Living My Best Li(f)e '' was a modern-day book, that captures today's problems, and it felt familiar, because I have seen these problems in my surrounding. It focuses mostly on social media, and the differences between what we present online, and who we really are in the real world.
We have one woman - Bell - who is about to turn 40, and her comfort is broken when her man decides to leave her after years of togetherness.
We also have another woman, Millie, in her mid-thirties, and her little son Wolf (who names their child Wolf?). Millie fell in love with a football star Louis and had a child with him. To her disappointment, she realized the man she is in love with is the most unreliable parent in the world. She also happens to be an Instagram star, that only shows the world what she wants them to see.
While the followers see expensive dresses and well-behaved child, the reality shows that Millie takes a picture of the dresses and returns them to the shop, unable to afford them. She is also receiving calls from Wolfie's school that he has not be behaving in his best manners.
When these two women accidentally meet, they turn out to be besties. In fact, they became besties so fast, that I had to laugh out loud at how bizarre and unrealistic that was. Do you ever go to a coffee shop, say hi to a person, and then THE SAME DAY, THE SAME CONVERSATIONS you both start sharing your deepest secrets? Yes - it was that bizarre.
I really wanted to love '' Living My Best Li(f)e '' , as it captured a lot of problems. But it only captured the surface of these problems, then solved them instantly and moved on. And I wasn't satisfied. There were so many little plot problems that the author kept adding to the book randomly to keep the story going, and kept resolving them one by one - no anticipation, no hunger for one more chapter. Disappointing.
First of all, all the characters were not realistic. We have this woman that keeps saying she can be on her own, but she also keeps complaining every second of the day.
Then, we have this other woman, who seems like such a person that everyone is looking up to, but in fact, she is too scared to say no to her ex-love and father of her child, and she keeps up with all his nonsense on a daily bases.
Last, but not least, we have the 5-year-old Wolf boy, who talks like a 20-year-old boy, but behaves like a toddler, and I don't know how to react to that.
And finally, we have ''the rest of the characters'', who were mentioned and had their own roles in the book, but didn't have enough of a back story or air-time in order to be remembered by the audience.
The author also introduced us to a plot twist, that came out unexpectedly - but suddenly the government were about to destroy their community center and it was up to them to collect money and save this place in a record time. How convenient for the story, right? With no building up to it, the problem just raised from the ground... And you can all imagine the happy endings and soppy stories that followed with their success.
So yeah - that got me, and I didn't believe it for a second, and therefore this review. I really wanted to love Living My Best Li(f)e, but nothing worked out. Disappointing characters, plots and lack of thrill. Not a great experience for me. I wouldn't recommend it, but if you choose to read it, I would love to know what you think! <3
We have one woman - Bell - who is about to turn 40, and her comfort is broken when her man decides to leave her after years of togetherness.
We also have another woman, Millie, in her mid-thirties, and her little son Wolf (who names their child Wolf?). Millie fell in love with a football star Louis and had a child with him. To her disappointment, she realized the man she is in love with is the most unreliable parent in the world. She also happens to be an Instagram star, that only shows the world what she wants them to see.
While the followers see expensive dresses and well-behaved child, the reality shows that Millie takes a picture of the dresses and returns them to the shop, unable to afford them. She is also receiving calls from Wolfie's school that he has not be behaving in his best manners.
When these two women accidentally meet, they turn out to be besties. In fact, they became besties so fast, that I had to laugh out loud at how bizarre and unrealistic that was. Do you ever go to a coffee shop, say hi to a person, and then THE SAME DAY, THE SAME CONVERSATIONS you both start sharing your deepest secrets? Yes - it was that bizarre.
I really wanted to love '' Living My Best Li(f)e '' , as it captured a lot of problems. But it only captured the surface of these problems, then solved them instantly and moved on. And I wasn't satisfied. There were so many little plot problems that the author kept adding to the book randomly to keep the story going, and kept resolving them one by one - no anticipation, no hunger for one more chapter. Disappointing.
First of all, all the characters were not realistic. We have this woman that keeps saying she can be on her own, but she also keeps complaining every second of the day.
Then, we have this other woman, who seems like such a person that everyone is looking up to, but in fact, she is too scared to say no to her ex-love and father of her child, and she keeps up with all his nonsense on a daily bases.
Last, but not least, we have the 5-year-old Wolf boy, who talks like a 20-year-old boy, but behaves like a toddler, and I don't know how to react to that.
And finally, we have ''the rest of the characters'', who were mentioned and had their own roles in the book, but didn't have enough of a back story or air-time in order to be remembered by the audience.
The author also introduced us to a plot twist, that came out unexpectedly - but suddenly the government were about to destroy their community center and it was up to them to collect money and save this place in a record time. How convenient for the story, right? With no building up to it, the problem just raised from the ground... And you can all imagine the happy endings and soppy stories that followed with their success.
So yeah - that got me, and I didn't believe it for a second, and therefore this review. I really wanted to love Living My Best Li(f)e, but nothing worked out. Disappointing characters, plots and lack of thrill. Not a great experience for me. I wouldn't recommend it, but if you choose to read it, I would love to know what you think! <3
Lottie disney bookworm (1056 KP) rated The Girl In The Clockwork Tower in Books
Aug 30, 2021
Steampunk Rapunzel-inspired tale? Check.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Bob Mann (459 KP) rated Crazy Rich Asians (2018) in Movies
Sep 28, 2021
Singapore Bling.
I’ve been catching up on films that I missed at the cinema during 2018. And this is one of the ones I most wanted to see but missed due to work commitments.
The Plot.
Rachel (Constance Wu) and Nick (Henry Golding) are young New Yorker professionals in love: Rachel is a successful economics professor and Nick… well, I’m not sure we ever find out what Nick ever does for a job, but his dress and confidence imply he’s doing well. Nick has an announcement: that his best friend Colin (Chris Pang) is getting married in Singapore and he invites Rachel to join him and meet his parents.
The trip discloses something previously hidden to Rachel: that Nick is actually heir to one of the richest families in Singapore. Indeed, as they got their money from property, the family effectively BUILT Singapore! But once in Singapore, life becomes hard for Rachel. She has to deal with the “not good enough for my Nick” disapproval of Nick’s family (led by Nick’s mother, the imperious Eleanor (Michelle Yeoh). Not only that, but thanks to Nick’s eligible-batchelor status and the pervasive nature of social media, everyone in Singapore knows about Nick and Rachel. As such, many of the ‘hens’ of Colin’s fiancee Araminta have it in for Rachel. (Araminta is played by Sonoya Mizuno, so memorable in “Ex Machina“).
Layers of rich characters.
This is not your average rom-com. Because here there’s a depth of characters within Nick’s broader family to entertain, each with their own set of quirks and issues. The dynamic of the family matriarch, grandmother (Lisa Lu), with the rest of the family is also fascinating; Friend or foe for Rachel? – it’s often difficult to tell.
Also entertaining is the introduction of Rachel’s old college room-mate Peil Lin Goh (a superbly over-the-top bonkers performance by Awkwafina) and her ‘nouveau-riche’ family. Her father (Ken Jeong) is simply hilarious in a bat-shit crazy sort of way.
But it’s the two engaging leads that impress most, particularly Henry Golding. Prior to this – his debut movie role – he was a Malaysian TV travel reporter! (He of course followed this performance up a month later with his equally impressive role as Blake Lively’s husband in “A Simple Favour“).
As sponsored by the Singapore tourist board.
Much of the action could be lifted from “My Best Friend’s Wedding”, “Meet the Parents” or “Mean Girls”. But it’s all given a refreshing asian facelift with its Singapore setting.
Singapore is one of my favourite cities: safe, clean and vibrant and with drop-dead gorgeous architecture. And I actually saw this movie while flying back out of Singapore itself. As such, I reflected on just what a great promotional flick for the tourist industry it was. From the wedding party at the Gardens by the Bay to the utterly jaw-dropping infinity pool at the “ship-hotel” (the Marina Bay Sands hotel, featured through a stunning fireworks-infused drone shot), all convey the excitement of the place.
A fun feel-good classic.
What’s impressive about the sharp writing is that this is the movie screenplay debut for co-writers Peter Chiarelli and Adele Lim. It’s a movie that makes you occasionally sit up and go ‘wow’. As an example, there’s a quirky ‘social media tsunami’ scene in the first 10 minutes. But the movie then builds with character-development stories that, while not particularly novel, are engagingly well-written and well delivered by the enthusiastic ensemble cast.
The director is John M Chu, whose less-than-stellar CV includes “GI: Joe” and “Now You See Me 2”, but here delivers a breathless momentum that lasts to the final scene.
The perfect wife and the perfect husband? Michael (Pierre Png), the boy who married well (which feels a plot borrowed from “Lost”), with the lovely Astrid (Gemma Chan). (Source: Warner Brothers).
And it’s that denouement that got to me. I don’t tend to get slushy about these sort of romantic comedies. But there’s a “reveal” in the final few minutes of the movie that completely surprised me (even though it should have been obvious!). It actually made me well-up!
It didn’t make a big dent in the awards nominations. But for fans of quirky romantic comedies it’s a recommended watch. It’s really difficult to dislike!
The Plot.
Rachel (Constance Wu) and Nick (Henry Golding) are young New Yorker professionals in love: Rachel is a successful economics professor and Nick… well, I’m not sure we ever find out what Nick ever does for a job, but his dress and confidence imply he’s doing well. Nick has an announcement: that his best friend Colin (Chris Pang) is getting married in Singapore and he invites Rachel to join him and meet his parents.
The trip discloses something previously hidden to Rachel: that Nick is actually heir to one of the richest families in Singapore. Indeed, as they got their money from property, the family effectively BUILT Singapore! But once in Singapore, life becomes hard for Rachel. She has to deal with the “not good enough for my Nick” disapproval of Nick’s family (led by Nick’s mother, the imperious Eleanor (Michelle Yeoh). Not only that, but thanks to Nick’s eligible-batchelor status and the pervasive nature of social media, everyone in Singapore knows about Nick and Rachel. As such, many of the ‘hens’ of Colin’s fiancee Araminta have it in for Rachel. (Araminta is played by Sonoya Mizuno, so memorable in “Ex Machina“).
Layers of rich characters.
This is not your average rom-com. Because here there’s a depth of characters within Nick’s broader family to entertain, each with their own set of quirks and issues. The dynamic of the family matriarch, grandmother (Lisa Lu), with the rest of the family is also fascinating; Friend or foe for Rachel? – it’s often difficult to tell.
Also entertaining is the introduction of Rachel’s old college room-mate Peil Lin Goh (a superbly over-the-top bonkers performance by Awkwafina) and her ‘nouveau-riche’ family. Her father (Ken Jeong) is simply hilarious in a bat-shit crazy sort of way.
But it’s the two engaging leads that impress most, particularly Henry Golding. Prior to this – his debut movie role – he was a Malaysian TV travel reporter! (He of course followed this performance up a month later with his equally impressive role as Blake Lively’s husband in “A Simple Favour“).
As sponsored by the Singapore tourist board.
Much of the action could be lifted from “My Best Friend’s Wedding”, “Meet the Parents” or “Mean Girls”. But it’s all given a refreshing asian facelift with its Singapore setting.
Singapore is one of my favourite cities: safe, clean and vibrant and with drop-dead gorgeous architecture. And I actually saw this movie while flying back out of Singapore itself. As such, I reflected on just what a great promotional flick for the tourist industry it was. From the wedding party at the Gardens by the Bay to the utterly jaw-dropping infinity pool at the “ship-hotel” (the Marina Bay Sands hotel, featured through a stunning fireworks-infused drone shot), all convey the excitement of the place.
A fun feel-good classic.
What’s impressive about the sharp writing is that this is the movie screenplay debut for co-writers Peter Chiarelli and Adele Lim. It’s a movie that makes you occasionally sit up and go ‘wow’. As an example, there’s a quirky ‘social media tsunami’ scene in the first 10 minutes. But the movie then builds with character-development stories that, while not particularly novel, are engagingly well-written and well delivered by the enthusiastic ensemble cast.
The director is John M Chu, whose less-than-stellar CV includes “GI: Joe” and “Now You See Me 2”, but here delivers a breathless momentum that lasts to the final scene.
The perfect wife and the perfect husband? Michael (Pierre Png), the boy who married well (which feels a plot borrowed from “Lost”), with the lovely Astrid (Gemma Chan). (Source: Warner Brothers).
And it’s that denouement that got to me. I don’t tend to get slushy about these sort of romantic comedies. But there’s a “reveal” in the final few minutes of the movie that completely surprised me (even though it should have been obvious!). It actually made me well-up!
It didn’t make a big dent in the awards nominations. But for fans of quirky romantic comedies it’s a recommended watch. It’s really difficult to dislike!
Bob Mann (459 KP) rated Book Club (2018) in Movies
Sep 29, 2021
A book club without a spine.
Let’s be clear before we start; I am NOT in the demographic that this film is aimed at. And judging from the general reactions of the cinema audience I shared this with – 90%+ of who were women aged over 50 – my views are NOT going to necessarily reflect the general view, since there seemed to be quite a few satisfied customers in the audience. But my personal view would be, if you’re going to make a light-hearted comedy aimed at the lucrative silver pound, then at least make it a good one. For this – for me – felt like 50 shades of lame.
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
The action – if we can stretch the use of English that far – revolves around the four middle-class white ladies (this film challenges neither class nor racial divides) who meet periodically with copious quantities of wine and goat-cheese stuffed tomatoes to discuss a book. Hotel owner Vivian (Jane Fonda, “Klute”, “On Golden Pond”) is making lots of love but is reluctant to commit to it herself; Diane (Diane Keaton, “”Annie Hall”, “Something’s Gotta Give”) is recently widowed and struggling against being pigeon-holed as an ‘old duffer’ by her two daughters; Sharon (Candice Bergen, “Soldier Blue”, “Miss Congeniality”) has devoted her life to her career as a high court judge at the expense of a physical relationship (“What happens to a vagina that hasn’t been used in 18 years?!”); and Carol (Mary Steenburgen (“Back to the Future Part III”) is in a sexless marriage with her recently retired husband Bruce (Craig T Nelson, “Get Hard“, “Poltergeist”).
Vivian introduces the book club to “50 Shades of Grey” and the book influences everyone’s lives in different ways.
What ensues is 100 minutes of double entendres (“You have a lethargic pussy” says a veterinarian… you get the level) as the four separate stories (bump and) grind towards their separate conclusions. There are one or too laugh-out-loud moments but the majority of the screenplay is merely smile-worthy: “Mostly harmless” as Douglas Adams would have said.
What IS good, which is the reason my rating won’t have a “1” in it, is that it does give a reason to see some of our more senior actors and actresses strut their stuff again on the main stage.
In terms of the lead performances, while Steenburgen is good, it is Candice Bergen who impresses most as a fine comic actress. More please! Fonda and Don Johnson (“Miami Vice”) were supposed to be a hot couple, but their acting to me appeared false and their chemistry non-existent: did they have a fight outside the trailer every morning? And Diane Keaton was… well… Diane Keaton: the ditzy old hippy shtick wore a bit thin for me by the end.
We also have appearances from the great Andy Garcia (“The Godfather Part III”, “Oceans 11”), Wallace Shawn (just SOOooo good as the sleazy mob lawyer in “The Good Wife/Fight”) and (best of all) Richard Dreyfuss (“Jaws”, “Close Encounters of the Third Kind”). Dreyfuss has merely a cameo, but I was just longing for more of his character.
Alicia Silverstone (“Clueless”, “Batman & Robin”) even turns up, but her character (together with her sister played by Katie Aselton) is so annoying and vacuous that it’s not easy to warm to her.
A standout – but not in a good way – is the special effects, with some of the dodgiest green screen work I’ve seen in many a year. Think “North by Northwest” quality….. but that’s nearly 60 years old!
So, it’s not a film I would run to see again, but I’m not going to pan it completely, since if you are of the demographic that enjoys such films, you may really enjoy this one. It reminds me somewhat of “It’s Complicated” – and that’s one of my wife’s personal favourites! It also addresses some key topics that will be of relevance to a senior audience, not normally addressed by movies: male impotence resulting from self-doubt; the need to keep a young and ever-inquiring mind; and the good times to be had by getting out and back in the game again after bereavement (yes, you know who you are and you know I’m addressing YOU here!).
Gareth von Kallenbach (971 KP) rated Venom: Let There Be Carnage (2021) in Movies
Sep 30, 2021
Venom: Let There Be Carnage Has Some Moments But Could Have Been So Much More
When audiences last saw Eddie Brock (Tom Hardy); the journalist and his parasitic symbiote Venom; had just saved the day and cemented their unusual bond with one another.
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
In the new film “Venom: Let There Be Carnage”; Eddie and Venom are at the end of their Honeymoon phase as Venom is lingering to be free to eat bad people and do what is natural for him. Eddie meanwhile wants a more conservative approach feeding Venom chicken and chocolate as he knows the eyes of the authorities are still upon him and he has to convince the world that Venom is dead and no longer a threat.
At the same time; serial killer Cletus Kasady (Woody Harrelson) has selected Eddie to interview him in San Quentin and the two form an unusual connection as Cletus cryptically speaks to Eddie which underlines a deeper motivation.
With the help of Venom; Eddie is able to decipher clues found on the walls of Cletus’s cell which leads authorities to several of his victims. This results in a rapid rise in status for Eddie and fast tracks Cletus for execution as his main means of leverage is now gone.
This leads to a rift where Eddie and Venom split and each has to struggle to adjust to life without one another.
At this point, the film has mainly been odd bits of whimsy between Venom and Eddie around the establishment of the plot and threat. However, things go into chaos mode when Cletus becomes infected with a Symbiote and turns into a destruction spewing death machine known as “Carnage”.
Cletus and Carnage both have their own agendas and Cletus uses Carnage to exact his revenge as well as locate a figure from his past that is as big a danger as he is.
As any fan of films of this genre knows; this scenario leads to a showdown between the central characters which are awash in abundant CGI, loud noises, and destruction. While this is not a bad thing and certainly one of the main reasons I enjoy films of this type; the film never seemed to fully click for me and as such was not as good as I thought it could have been.
In many ways, the film reminded me of how comic-based films were done before Marvel started their own studios and their phenomenal run of hits based on their work.
There have been multiple attempts to adapt comics into films over the last few decades and many of them have not lived up to expectations or failed outright. One of the biggest reasons is in my opinion is that those behind the projects were hindered by the studio, wanted to put their own spin on the material and strayed from the source; or failed to show the attributes that made the characters so appealing to fans.
What we often get is action sequences and CGI galore but without stories or characters that fully draw in the audience and fail to capture the essence of the comics.
Director Andy Serkis has done a great job with the visuals of the film but the tone seems off. The early part of the film is filled with comedic moments that are either hit or miss. Some of which was almost to the point where I wondered if it was supposed to be a parody.
The plot is fairly linear with nothing unexpected as it is simply bad guys get loose; bad guys cause death and destruction, can the heroes stop them. The climactic scene lacks any “wow” moments for me as it was mainly CGI characters rapidly moving around causing damage to one another and their environment. There was no real tension for me and the ultimate resolution seemed a bit anti-climactic.
For me the best moment of the film was a mid-credits scene that really popped as it sets up all sorts of interesting options and indicates that Venom may be about to graduate to bigger and better things.
For now; the cast is solid as is the CGI; I just wish the story was more engaging as it had the potential to be so much more.
3 stars out of 5
Bob Mann (459 KP) rated Arrival (2016) in Movies
Sep 29, 2021
Wow – what a surprise.
Sometimes I can get very irritated by a trailer for giving too much away (case in point, “Room” – which I recut – and more recently “Passengers”). Sometimes I can get very excited by a really good teaser trailer (case in point, “10 Cloverfield Lane”). But most of the time a “ho hum” trailer typically drives the expectation of a “ho hum” film: “Jack Reacher: Never Look Back” being a good recent example. Then there is “Arrival”…
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Because the trailer for “Arrival” belies absolutely nothing about the depth and complexity of the film. At face value, it looks like a dubious “Close Encounters” wannabe, with a threat of movement towards the likes of “Independence Day” and “The 5th Wave”. Actually what you get is a film that approaches the grandeur of “Close Encounters” but interlaces it with the intellectual depth of “Inception”, the mystery of “Intersteller” and a heavy emotional jolt or two of “Up”.
Amy Adams (“Batman vs Superman”) plays Dr Louise Banks, a language teacher at a US university facing a bunch of particularly disengaged students one morning. For good reason since world news is afoot. Twelve alien craft have positioned themselves strategically around the world, hanging a few feet from the ground in just the sort of way that bricks don’t. Banks is approached by Colonel Weber (Forest Whitaker) and offered the job of trying to communicate with the aliens: where did they come from? why are they here? Banks faces the biggest challenge of her academic career in trying to devise a strategy for communication without any foundation of knowledge on what level communication even works at for them. Assisted by Ian Donelly (Jeremy Renner, “Mission Impossible IV/V”, “Avengers”), a theoretical physicist, the pair try to crack the code against a deadline set by the inexorable rise of international tensions – driven by China’s General Chang (Tzi Ma, “Veep”; “24”).
Steven Spielberg made a rare error of judgement by adding scenes in his “Special Edition” of “Close Encounters of the Third Kind” showing everyman power guy Roy Neary (Richard Dreyfuss) entering the alien spacecraft. Some things are best left to the imagination. Here, a reprise of that mistake seems inevitable, but – perversely – seems to be pulled off with mastery and aplomb. The aliens are well rendered, and the small scale nature of the set (I’m sure I’ve been in similar dingy waiting rooms in UK railway stations!) is cleverly handled by the environmental conditions.
But where the screenplay really kills it is in the emergence of the real power unleashed by the translation work. To say any more would deliver spoilers, which I won’t do. But this is a masterly piece of science-fiction writing. The screenplay was by Eric Heisserer – someone with a limited scriptwriting CV of horror film reboots/sequels such as “Final Destination 5”, “The Thing” and “A Nightmare on Elm Street” – so the portents were not good, which just adds to the surprise. If I were to be critical, some of the dialogue at times is a little TOO clever for its own good and smacks of Aaron Sorkin over-exposition: the comment about “They have a word for it in Hungary” for example went right over my head.
Denis Villeneuve (“Sicario”) deftly directs, leaving the pace of the story glacially slow in places to let the audience deduce what is going on at their own speed. This will NOT be to the liking of movie fans who like their films in a wham-bam of CGI, but was very much to my liking. The film in fact has very little exposition, giving you lots to think about after the credits roll: there were elements of the story (such as her book) that still generated debate with my better half on the drive home.
Amy Adams and Jeremy Renner are first rate and an effectively moody score by Jóhann Jóhannsson (“Sicario”; “The Theory of Everything”) round off the other high-point credits for me.
An extraordinary film, this is a must see for sci-fi fans but also for lovers of good cinema and well-crafted stories.
Gareth von Kallenbach (971 KP) rated The Flash (2023) in Movies
Jun 7, 2023
Amidst numerous delays and offscreen speculations about the fate of the movie, Director Andy Muschietti has finally seen his big-screen adaptation of DC Comics "The Flash" arrive.
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5
We first saw the film in late April at Cinemacon and now that we have seen the final cut with additional footage and a noticing credits, I can finally give you my impressions.
The movie opens with Barry Allen (Ezra Miller), called into action to help with an issue in Gotham City which offers a chance for an extended action scene as well as some cameo appearances that should delight fans.
Like most superheroes, Barry has to contend with work and personal issues and his time as the Flash often makes him late for work and even more of a social outcast than he already is. And the arrival of an old school friend reminds him that his father is scheduled to have a court appearance on appeal of his conviction for murdering his wife many years earlier. Barry is obsessed with proving his father's innocence however there is little evidence that can support his appeal.
Despite warnings not to alter time, Barry travels to the past to make a slight adjustment which results in his mother living and growing up in a two-parent household for himself.
His euphoria becomes short-lived when Barry runs into a younger version of himself and realizes that if he does not enable his younger self with his powers, then he will never exist to create the alternate reality where his parents are safe and happy.
The younger Barry is extremely immature and annoying and when he becomes confused with powers while the other loses them, there are numerous opportunities for comic mayhem which the film briefly touches upon before returning to the more serious aspects of the story.
As he was warned, Barry has created fractions in reality, and the one that he finds himself in has several changes from the one that knows including a world free of superpowered beings. This becomes a serious problem when General Zod (Michael Shannon) arrives and there is no Superman or Justice League to save the day.
In an act of desperation, Barry seeks out Batman (Michael Keaton), and is shocked to discover that he is different than the one that he knows in his reality. Both Barrys and Batman hatch a plan of desperation that sees them desperately mounting a rescue and offensive to save humanity.
The film has some fantastic visual effects but like most hero films becomes heavily bogged down on them in a final act that in many ways seems at times anticlimactic to the potential that the story has been building to. Miller is solid as the two Barrys although the younger version of them becomes very annoying and at times and some segments drag on.
Keaton absolutely steals the film and brings a much-needed presence to the action as he seems to really be enjoying his return to the role and his segments are often the most compelling parts of the film as he provides a stabilizing and grounding presence to the Barrys.
There are numerous cameos throughout the film that I will not spoil but suffice it to say they should delight fans and do offer some intriguing questions.
The biggest issue now is the future of the character as Gunn and Saffron are busy building their DC universe while outside projects currently are in the works. It is not a secret that legal issues and outside distractions have been associated with Miller to the point where some question whether the film could be released despite its lavish budget.
The final box office numbers will be very interesting because I found the film quite enjoyable and a pleasant surprise in one of the better DC cinematic efforts notwithstanding the final act which became a bit formulaic and anticlimactic for my liking. While it doesn't approach the level of several of the Marvel films, it does show that there is plenty of potential to make solid stories within the DC universe.
4 stars out of 5
Ryan Hill (152 KP) rated Wonder Woman (2017) in Movies
May 18, 2019
"I can save today, you can save the world"
Remember when some trickster claiming to be a former worker from Warner Bros. wrote an open letter saying that Wonder Woman was just another mess of a DC movie, et cetera? I remember how Patty Jenkins responded to that. She tweeted: "Just wait and you'll see".
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
Honestly, I don't know how anyone could even consider that there was the slightest chance of this movie not being good, and I'm gonna tell you why: this is the very first big female-led superhero movie, in which the title character also happens to be the greatest female superhero in history. If you really think that Patty Jenkins, also the first woman to ever direct a superhero movie of this caliber in a industry where women barely stand any chances to get to direct major blockbusters, would let this movie be anything less than great... You've got another thing coming, mate.
Wonder Woman is a traditional, oldschool superhero movie, but the first essentially feminist one at it, and they couldn't have chosen a better setting to tell this story, or a better character to star in it. The movie's social comments are strong and constantly present, but never forced, because it is only natural: by placing Diana, a princess raised in an island of warrior women, in the middle of the reality of World War I, the absurdities of the feminine role in the world - and so many other human corruptions - automatically come to light. The way Diana reacts to this world raises a great sense of awareness, with a touch of poignant humor to it. There is a very funny subtle arc of her wanting to take out her cloak, but not being able to because her armor is "barely any clothes", hinting not only at society's sexist feminine dressing code - which is still a thing today -, but also gradually adding power to the iconography of Wonder Woman in full costume; this is Wonder Woman's much awaited debut on the big screen in a solo movie, and like Superman and Batman before her, her first appearance needed to be something incredibly striking. Patty knew that, Gal knew that, and they made it happen. Even if we already saw her in BVS, the very first time Wonder Woman walks up in full costume here is undoubtedly one of the most iconic moments in superhero cinema.
Jenkins is extremely devoted to giving Wonder Woman the iconic debut film she deserves, and she nails it - there's quite a bit of remarkable shots and set pieces that let out the same imagetic power as in Donner's Superman, Burton's Batman or even Raimi's Spider-Man, and I must highlight the No Man's Land sequence. It's my favorite part of the movie; Jenkins and Heinberg carefully work on Diana's mindset as she first witness the horrors of human war, not being able to help everyone, horses being hurt so they can move faster, a mother and a child begging for help, and it all leads up to the powerful moment of a woman crossing the land no man could cross - and Heinberg's dialogue doesn't rely on obvious statements such as "fortunately I'm a woman" (I'm looking at you, Batwoman trailer), it simply lets the image strike us, because it is powerful enough by itself, and boy did that cause some serious goosebumps.
Speaking of dialogue... It's so terrific, so well written. The exchanges between Diana and Steve Trevor are very clever and funny, but most of all natural. All the characters are also extremely likable; Allan Heinberg's writing knows that not all of them can be given deep development, but nonetheless he gives them stories, personalities and purposes, and that - plus the charismatic performances - makes them very empathetic. The villains are not as remarkable as in some of the other DCEU films, but they didn't need to be; the movie doesn't require in-depth arcs from its villains. They have a strong presence when they're in scene and a well elaborated lore, and that's everything they need.
Contrary to the Nordic mythology depicted in the MCU, here we are talking about real gods, true deities, not superpowerful aliens that only strike a similar image - and that also brings a few narrative dangers along with it, after all, it was in greek mythological stories that the concept of Deus Ex Machina first appeared. Heinberg's screenplay, though, makes a few clever twists in that mythology to avoid easy solutions, which adds to the storytelling, the world building and the developing of the themes as well. The lore surrounding the God of War Ares, for example, is not a simple Diabolus Ex Machina as "he influences men to war and if you kill him every man goes back to being good and everything's alright", no, it's more narratively complicated and socially engaging than that.
And Gal Gadot... I'm at a loss for words. I'll confess right here that when she was first announced as Wonder Woman, I was one of the few who were very opposed to that casting. I've never been so wrong in my life, and I've never been so happy about it. She really is Wonder Woman. She's so graceful and adorable, but a major badass when she needs to be. The way she moves, the way she curiously looks at things, the way she speaks, and the way she incarnates Diana's evolving from her naive beginnings to the wise warrior... She's not only an icon, she's a true hero. Comparisons to Christopher Reeve's Superman were made for good reasons.
Chris Pine is also great, he walks perfectly in the line between funny and serious, Steve Trevor is a darling character and his chemistry with Gal is on point. Their relationship is very well constructed and becomes highly emotional by the end - there are scenes that filled my heart with joy, and others that made it ache.
The action is exciting and full of originality, and I like how Jenkins uses slow-motion differently than Zack Snyder. I know that Snyder helped her direct some of the action sequences, which is understandable since Jenkins had no experience with this type of movie, but you can tell it's not the same. In the fights themselves, there's this feel of sensibility to how these people react to Diana, and it's slightly different from the typical "regular people react to superhumans among them" trope. The cinematography is very keen on portraying the difference between Themyscira - an island of colors and natural beauty - and "jolly ol' London" - desaturated and smoggy, a scenario in which Diana's colorful armor shines in a most beautiful contrast.
And the soundtrack. Rupert Gregson-Williams made a beautiful score that brings out the best in every scene. It's heroic, very heartfelt, and loyal to the foundations of what makes superhero music so memorable. Gregson-Williams adds new themes to compose Wonder Woman's musical identity, but Hans Zimmer's main theme from BVS still lives, and it plays in some heart-pounding scenes. I love that they're dedicating that much attention to the musical continuity, because amongst Marvel's many qualities, they're doing a lousy job in that area. Wonder Woman's theme is the most catchy superhero theme in a long time, it quickly gained a lot of appreciation and by continuing on using it, Gregson-Williams collaborates to making Wonder Woman the strong cinematic icon she's setting out to be.
The irregular reception of previous DCEU movies also extols the impact of Wonder Woman, as do the distinct styles between the films. One of the DCEU's biggest virtues is that singularity of each film; be it a near disaster movie epic such as Man Of Steel, a complex deconstruction of heroic values such as Batman v Superman, an stylish chaos such as Suicide Squad or a traditional, graceful superhero film such as Wonder Woman, these movies are all in the same universe, and that very fact is an example of its richness. A lot of people will think Wonder Woman is the best DCEU movie of the lot, some will stick to BVS, others to MOS, maybe for some it's Shazam, but that's the fun of it: we can discuss this forever. Each of these movies mean different things to different people, we're way past simply labelling one as "better" and the other as "worse".
Wonder Woman, however, is not simply a movie about a very strong woman. It's an achievement for every woman. There were tons of girls dressed up as Wonder Woman in the theater, and just seeing how ecstatic they were after the movie brought me joy. There were tons of applause. It's a mark. Be that as it may, Wonder Woman will be remembered as the most impactful superhero film of its time. In 1978, Superman showed to the world how a man could fly; in 2017, Wonder Woman showed to the world how a woman can fight.
honingwords (32 KP) rated After Mrs Hamilton in Books
Jul 5, 2018 (Updated Jul 6, 2018)
It’s an absolute masterpiece.
I’m going to go out on a limb here. I think After Mrs Hamilton by Clare Ashton is my all time favourite book.
Ever.
In any genre.
Normally when I recommend a book to a friend I’ll drop it into conversation. If I really like it I’ll send you a link to a review and follow up a few days later with a question on how you got on with it.
With this one I bought you your own copy, cos you ain’t getting mine, I opened it at the beginning and thrust it into your hands, I took your phone off the hook AND I rang your boss to tell her you won’t be in tomorrow morning.
Here’s a duvet for you too - you’ll be under it until the end.
Did I say favourite book?
Of all time.
And quite rightly so. It’s an absolute masterpiece.
This was my Book Club’s book of the month and it was suggested to me at a time when I was becoming jaded with the sheer number of books set in America, which I’d been reading up to then. It opened me up to an author I’d never heard of before, who sets her books in England and Wales. One who has come up with an original plot that starts off gently unfolding, before twisting and turning to a most unpredictable ending.
I absolutely devoured it.
I wanted to re-open it immediately the last page closed, but forced myself to wait using the interim to read Clare Ashton’s other books in quick succession. I had to see if the absolute need to re-immerse myself in her addictive, easy to read, rich in description, style would continue to be as strong. Also, I needed a clear period of time in front of me to allow for the fact the characters would take over my life again.
After over ten years of reading lesfic Clare Ashton is now the one I use to compare all other authors. I’m slightly worried that I can’t decide which of her novels is my favourite, but as this is the first one I read, it probably takes pride of place.
I’d say there are five or six characters to pay attention to but Clo is the main one. The plot revolves around her friends and family but, more specifically, it is woven around a web of coincidences. Coincidences about people who each have secrets and who may have known each other in the past, coincidences about where they lived and met, coincidences about how their pasts and futures may be intertwined.
Coincidences which prove just how small the world really is, especially if you ever lived in Middle Heyford.
Clare deals with two taboo subjects. The first is that Clo works for Marella as an escort to women. (“Prostitution. You can call it what it is,” says Clo.) She uses the income to allow her to care for her arthritic grandmother Amelia.
The second taboo subject I will let you find out for yourself, but for the record, I am not squeamish about it and think Clare was extremely brave to include it. I found myself nodding along with Clo’s reaction.
The novel begins with Marella interviewing her new client, Mrs Hamilton. Marella is the lynch pin to everything, yet we learn little about her throughout the book and she isn’t in many scenes. She is vitally important; there would be no story without her, yet Clare manages to allow Marella to stay mainly in the shadows. I would very much like to see future stories with her in them and think it is a huge shame Clare has no plans to visit this storyline again.
Clo knows Laura from university and Susan from living in Middle Heyford. Clo’s grandmother Amelia is the mother of Alice who has a special page all to herself in my imaginary book “People I’d Like To Punch In The Face” and Helen is Susan’s dead Mother’s sister. The intricate relationships between the characters are all explained as you go along but it is difficult to keep them all straight in your head, unless you either pay very good attention, or draw an L Word type chart for them, which is what I ended up doing.
Mrs Hamilton tells us she is fifty-four and throughout the book Clare refers to her, and certainly Mrs Hamilton thinks of herself, as an older woman. Clo meets with her professionally at the beginning and it is their mutual attraction which is explored throughout the rest of the book. There is an age difference there but it is not an issue for either of them.
There is a little part of me which wants to rebel against the idea that fifty-four is old though, and I wonder now that since the publication of the book was in 2012, and Clare is five years closer to Mrs Hamilton’s age now, would she still consider fifty-four year old skin to be ageing and mottled?
On that point, with me coming along five years after publication, I have to say there is nothing in the novel to date it. It is as fresh today as it would have been back then. Five years isn't long enough to notice too much, but I’m going to predict that readers in another twenty years will be saying this novel is ‘timeless.’
By necessity, there are a few back stories to wade through - the two main sets of characters could, possibly, have been dealt with in two books instead of one. At 308 pages this is a fairly long book, at the beginning it flows a tad more slowly than in the later chapters, but I’m sticking with my first impressions on it, and I wouldn’t have wanted Clare to have handled it any other way.
I like all the main characters. Amelia is so important to Clo and I am relieved when she returns home after a trip away and want to hug her! I like Laura, but feel she may be a high maintenance friend! I think Susan and I would be friends in real life. Clo’s father, Edward is a frustrating coward of a man, but is in an important scene with Clo’s lover and I melted a little towards him when she blurts out “I’m in love with your daughter’” and he says “Well I had gathered that.” Other than Clare’s well-written sex scenes this, and the few paragraphs leading up to it, would be my favourite part of the book.
One character has to deal with what I would suggest is a ‘betrayal by omission’ - others, those closest to her, know facts about her but don’t let her in on the secret. When it all comes out she seems able to accept this, after only a very short time adjusting. This isn't something I could have coped with and this is the one thing that made me uncomfortable during the book and the time mulling it over immediately after.
There are three points in this story when I spoke out loud. There was an
Oh!
A
Huh!
And finally an
OH MY GOD!
There is a split at the end - one side gets their happily ever after and the other story is one where we are left with a total absence of a conclusion. It was about a day later before I realised I didn’t know what happened with that story line and had to go back and reread the ending! Yup, there is nothing - we are left to make our own minds up!
Clare has been known to say that she is in denial about her breast obsession, but there are no fewer than 50 times the word ‘breast’ is used in this book and I loved every single one of them! I’m hoping she continues to not have any breast obsession in her future work!
After finishing the book the first time I added a category to help me rate books I am reviewing. I added “Should this be made into a film?” because it was a most definite YES! for After Mrs Hamilton.
The second time round I am about to add another category: Would I cherish a signed copy of this book? Errr YES!
My advice is to read this once. Then, with the knowledge you have at the end, go and read it again. Clare has so many clues and references cleverly placed throughout which you may think are just lovely details at the time, but they are actually very important to being able to fully understand the book.
It’s nearly impossible to sleep until this story is fully unravelled. Read it during a weekend when you have no work to worry about because otherwise you will want to pull a sickie.
Ever.
In any genre.
Normally when I recommend a book to a friend I’ll drop it into conversation. If I really like it I’ll send you a link to a review and follow up a few days later with a question on how you got on with it.
With this one I bought you your own copy, cos you ain’t getting mine, I opened it at the beginning and thrust it into your hands, I took your phone off the hook AND I rang your boss to tell her you won’t be in tomorrow morning.
Here’s a duvet for you too - you’ll be under it until the end.
Did I say favourite book?
Of all time.
And quite rightly so. It’s an absolute masterpiece.
This was my Book Club’s book of the month and it was suggested to me at a time when I was becoming jaded with the sheer number of books set in America, which I’d been reading up to then. It opened me up to an author I’d never heard of before, who sets her books in England and Wales. One who has come up with an original plot that starts off gently unfolding, before twisting and turning to a most unpredictable ending.
I absolutely devoured it.
I wanted to re-open it immediately the last page closed, but forced myself to wait using the interim to read Clare Ashton’s other books in quick succession. I had to see if the absolute need to re-immerse myself in her addictive, easy to read, rich in description, style would continue to be as strong. Also, I needed a clear period of time in front of me to allow for the fact the characters would take over my life again.
After over ten years of reading lesfic Clare Ashton is now the one I use to compare all other authors. I’m slightly worried that I can’t decide which of her novels is my favourite, but as this is the first one I read, it probably takes pride of place.
I’d say there are five or six characters to pay attention to but Clo is the main one. The plot revolves around her friends and family but, more specifically, it is woven around a web of coincidences. Coincidences about people who each have secrets and who may have known each other in the past, coincidences about where they lived and met, coincidences about how their pasts and futures may be intertwined.
Coincidences which prove just how small the world really is, especially if you ever lived in Middle Heyford.
Clare deals with two taboo subjects. The first is that Clo works for Marella as an escort to women. (“Prostitution. You can call it what it is,” says Clo.) She uses the income to allow her to care for her arthritic grandmother Amelia.
The second taboo subject I will let you find out for yourself, but for the record, I am not squeamish about it and think Clare was extremely brave to include it. I found myself nodding along with Clo’s reaction.
The novel begins with Marella interviewing her new client, Mrs Hamilton. Marella is the lynch pin to everything, yet we learn little about her throughout the book and she isn’t in many scenes. She is vitally important; there would be no story without her, yet Clare manages to allow Marella to stay mainly in the shadows. I would very much like to see future stories with her in them and think it is a huge shame Clare has no plans to visit this storyline again.
Clo knows Laura from university and Susan from living in Middle Heyford. Clo’s grandmother Amelia is the mother of Alice who has a special page all to herself in my imaginary book “People I’d Like To Punch In The Face” and Helen is Susan’s dead Mother’s sister. The intricate relationships between the characters are all explained as you go along but it is difficult to keep them all straight in your head, unless you either pay very good attention, or draw an L Word type chart for them, which is what I ended up doing.
Mrs Hamilton tells us she is fifty-four and throughout the book Clare refers to her, and certainly Mrs Hamilton thinks of herself, as an older woman. Clo meets with her professionally at the beginning and it is their mutual attraction which is explored throughout the rest of the book. There is an age difference there but it is not an issue for either of them.
There is a little part of me which wants to rebel against the idea that fifty-four is old though, and I wonder now that since the publication of the book was in 2012, and Clare is five years closer to Mrs Hamilton’s age now, would she still consider fifty-four year old skin to be ageing and mottled?
On that point, with me coming along five years after publication, I have to say there is nothing in the novel to date it. It is as fresh today as it would have been back then. Five years isn't long enough to notice too much, but I’m going to predict that readers in another twenty years will be saying this novel is ‘timeless.’
By necessity, there are a few back stories to wade through - the two main sets of characters could, possibly, have been dealt with in two books instead of one. At 308 pages this is a fairly long book, at the beginning it flows a tad more slowly than in the later chapters, but I’m sticking with my first impressions on it, and I wouldn’t have wanted Clare to have handled it any other way.
I like all the main characters. Amelia is so important to Clo and I am relieved when she returns home after a trip away and want to hug her! I like Laura, but feel she may be a high maintenance friend! I think Susan and I would be friends in real life. Clo’s father, Edward is a frustrating coward of a man, but is in an important scene with Clo’s lover and I melted a little towards him when she blurts out “I’m in love with your daughter’” and he says “Well I had gathered that.” Other than Clare’s well-written sex scenes this, and the few paragraphs leading up to it, would be my favourite part of the book.
One character has to deal with what I would suggest is a ‘betrayal by omission’ - others, those closest to her, know facts about her but don’t let her in on the secret. When it all comes out she seems able to accept this, after only a very short time adjusting. This isn't something I could have coped with and this is the one thing that made me uncomfortable during the book and the time mulling it over immediately after.
There are three points in this story when I spoke out loud. There was an
Oh!
A
Huh!
And finally an
OH MY GOD!
There is a split at the end - one side gets their happily ever after and the other story is one where we are left with a total absence of a conclusion. It was about a day later before I realised I didn’t know what happened with that story line and had to go back and reread the ending! Yup, there is nothing - we are left to make our own minds up!
Clare has been known to say that she is in denial about her breast obsession, but there are no fewer than 50 times the word ‘breast’ is used in this book and I loved every single one of them! I’m hoping she continues to not have any breast obsession in her future work!
After finishing the book the first time I added a category to help me rate books I am reviewing. I added “Should this be made into a film?” because it was a most definite YES! for After Mrs Hamilton.
The second time round I am about to add another category: Would I cherish a signed copy of this book? Errr YES!
My advice is to read this once. Then, with the knowledge you have at the end, go and read it again. Clare has so many clues and references cleverly placed throughout which you may think are just lovely details at the time, but they are actually very important to being able to fully understand the book.
It’s nearly impossible to sleep until this story is fully unravelled. Read it during a weekend when you have no work to worry about because otherwise you will want to pull a sickie.
