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Honeycomb by Joanne Harris is a collection of short fairy tales that are all connected by way of the Lacewing King so that a bigger picture of this world is built. The Lacewing King is a cruel and selfish ruler, as are many of the Kings and Queens of the Silken Folk. However the Lacewing King begins to learn that there are consequences to his actions.
I loved these stories. I’m a huge fan of fairytales, myths and legends - they’re most definitely not just stories for children, as these dark and often disturbing stories prove. In fact, these short tales are just like the original fairy tales, in that people are tricked, driven to madness and die (but not ALL the time!).
The seemingly separate stories gives the reader more insight to the world of the Silken Folk, and the overarching story of the Lacewing King was just perfection. The beautiful artwork by Charles Vess really does make this a very special book, and I’m going to be sad to see it go back to the library!
I’d highly recommend this wonderful book.
I loved these stories. I’m a huge fan of fairytales, myths and legends - they’re most definitely not just stories for children, as these dark and often disturbing stories prove. In fact, these short tales are just like the original fairy tales, in that people are tricked, driven to madness and die (but not ALL the time!).
The seemingly separate stories gives the reader more insight to the world of the Silken Folk, and the overarching story of the Lacewing King was just perfection. The beautiful artwork by Charles Vess really does make this a very special book, and I’m going to be sad to see it go back to the library!
I’d highly recommend this wonderful book.
Merissa (11800 KP) rated Dark Horse (Aspen Falls #3) in Books
May 16, 2018
Dark Horse (Aspen Falls #3) by Melissa Pearl & Anna Cruise
Dark Horse is the third book in the Aspen Falls series, and I have been waiting for this story from book one. Nate is a driven detective, you could say hard core, and Sally is his long-suffering and seemingly ever-patient girlfriend. But the thing is, people will only be long-suffering and ever-patient for so long, and I couldn't wait to see how this would pan out.
I wasn't disappointed.
Nate is an arse, pure and simple. He doesn't get on with Sally's family (and yes, they may be just slightly judgemental and over-bearing). He doesn't see the reason they don't like him though - because he never puts Sally first. It will take losing Sally and realising just exactly what she means to him, before Nate has a snowball's chance in hell of changing his ways.
I loved how this story progressed. There wasn't much from previous characters in this one, apart from Blaine telling him a few uncomfortable home truths. I don't think it needed it though. There was enough story going on with the historical murder, and what was happening now between Nate, Sally, and Oscar.
There were no editing or grammatical errors that disrupted my reading flow, and I adored the character development both Nate and Sally went through as they came to their own realisations.
This is a great series that I am thoroughly enjoying. Can't wait for the next one.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and my comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
I wasn't disappointed.
Nate is an arse, pure and simple. He doesn't get on with Sally's family (and yes, they may be just slightly judgemental and over-bearing). He doesn't see the reason they don't like him though - because he never puts Sally first. It will take losing Sally and realising just exactly what she means to him, before Nate has a snowball's chance in hell of changing his ways.
I loved how this story progressed. There wasn't much from previous characters in this one, apart from Blaine telling him a few uncomfortable home truths. I don't think it needed it though. There was enough story going on with the historical murder, and what was happening now between Nate, Sally, and Oscar.
There were no editing or grammatical errors that disrupted my reading flow, and I adored the character development both Nate and Sally went through as they came to their own realisations.
This is a great series that I am thoroughly enjoying. Can't wait for the next one.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and my comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Phillip McSween (751 KP) rated Velvet Buzzsaw (2019) in Movies
Oct 31, 2019
Lacking In the Entertainment Realm
Netflix has some solid hits on their hands…but they can’t all be hits. Velvet Buzzsaw is proof (just like The Dead Don’t Die) that you can add all the starpower in the world and it won’t be enough to save a bad movie. This satirical movie tells the story of what happens when art becomes real and consumes our lives.
Acting: 10
Beginning: 1
Characters: 9
The story revolves around a solid group of characters. In their own way, they each play a part in contributing to the chaos of the story as a whole. Their individual lives are unique and come crashing together to keep the story somewhat afloat. They are a great foundation indeed. Unfortunately, it’s the rest of the house that sucks.
Cinematography/Visuals: 10
Conflict: 10
There is enough within the story to keep you intrigued for most of it. You don’t know what’s real and what’s not which helps to build the intrigue. Every new scene brings the possibility of something bad happening and it definitely made for a bumpy, fun ride.
Entertainment Value: 5
To counter the above, however, there were a number of times where I expected something to happen and I was left disappointed. I feel like the movie spent so much time trying to be artsy fartsy that it forgets to actually entertain in spots. I hate to say it, but I spent half the movie bored, hence the 5.
Memorability: 4
Pace: 7
Plot: 10
The premise is intriguing and unique. Despite the poor translation to the big screen, I can’t deny the daring it took to attempt something like this. The movie’s intent isn’t to wow you with big blockbuster moments, but to make you think. As our movie world continues to become more money-driven daily, this was a refreshing change.
Resolution: 2
Totally unnecessary. I’ll just leave it at that.
Overall: 68
To its credit, Velvet Buzzsaw does spin a great tune about the dangers of selling out and the downside of being willing to do anything to get ahead. What good is art if it’s never seen? Probably not very good at all, which is why I can tell you it’s safe to stay away from this movie.
Acting: 10
Beginning: 1
Characters: 9
The story revolves around a solid group of characters. In their own way, they each play a part in contributing to the chaos of the story as a whole. Their individual lives are unique and come crashing together to keep the story somewhat afloat. They are a great foundation indeed. Unfortunately, it’s the rest of the house that sucks.
Cinematography/Visuals: 10
Conflict: 10
There is enough within the story to keep you intrigued for most of it. You don’t know what’s real and what’s not which helps to build the intrigue. Every new scene brings the possibility of something bad happening and it definitely made for a bumpy, fun ride.
Entertainment Value: 5
To counter the above, however, there were a number of times where I expected something to happen and I was left disappointed. I feel like the movie spent so much time trying to be artsy fartsy that it forgets to actually entertain in spots. I hate to say it, but I spent half the movie bored, hence the 5.
Memorability: 4
Pace: 7
Plot: 10
The premise is intriguing and unique. Despite the poor translation to the big screen, I can’t deny the daring it took to attempt something like this. The movie’s intent isn’t to wow you with big blockbuster moments, but to make you think. As our movie world continues to become more money-driven daily, this was a refreshing change.
Resolution: 2
Totally unnecessary. I’ll just leave it at that.
Overall: 68
To its credit, Velvet Buzzsaw does spin a great tune about the dangers of selling out and the downside of being willing to do anything to get ahead. What good is art if it’s never seen? Probably not very good at all, which is why I can tell you it’s safe to stay away from this movie.
Merissa (11800 KP) rated Landscape of a Marriage in Books
Aug 2, 2021 (Updated Jul 17, 2023)
LANDSCAPE OF A MARRIAGE is a historical fiction story based on true events and people. In fact, the author is distantly related to one of the main characters by marriage.
Instead of focusing on the man himself, we follow his wife, Mary, and see their life through her eyes. They had good times and, undeniably, bad times too. Mary fell in love with her husband of convenience, and he, with her. That led them to a life of adventure and hardship, love and loss.
This was a great read, full of freeze-frame moments, stuck in time. The emotions come across clearly and help move this character-driven story forward. Some of the real-life events were glossed over slightly and I would have liked to have known more, but then, was Mary involved in them anyway?
I will admit to getting lost in the times given. I relied on Mary to tell me that Marion had grown, or that John was now forty-one, as there was no way I would remember from just seeing dates at the beginning of each chapter.
This was a historical fiction novel that I enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 2, 2021
Instead of focusing on the man himself, we follow his wife, Mary, and see their life through her eyes. They had good times and, undeniably, bad times too. Mary fell in love with her husband of convenience, and he, with her. That led them to a life of adventure and hardship, love and loss.
This was a great read, full of freeze-frame moments, stuck in time. The emotions come across clearly and help move this character-driven story forward. Some of the real-life events were glossed over slightly and I would have liked to have known more, but then, was Mary involved in them anyway?
I will admit to getting lost in the times given. I relied on Mary to tell me that Marion had grown, or that John was now forty-one, as there was no way I would remember from just seeing dates at the beginning of each chapter.
This was a historical fiction novel that I enjoyed and have no hesitation in recommending.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Aug 2, 2021
BankofMarquis (1832 KP) rated Toy Story (1995) in Movies
Dec 16, 2018
Truly a classic
With Toy Story 4 coming out in theaters this summer, I thought I'd go back and check out a beloved classice - the original TOY STORY (1995) to see if this film holds up to my memory of it.
It sure does.
Directed by visionary Pixar founder John Lasseter, TOY STORY is the first computer generated full-length motion picture and tells the...story...of toys that come to life when the humans leave the room. It is a simple concept that is executed beautifully with wit, charm and heart that sustains to this day and (I would imagine) to infinity...and beyond.
Besides the revolutionary CGI work (which mostly holds up), the heartwarming story and the crispness of the pacing of the film, the masterstroke here is the pitch perfect voice casting. Tom Hanks was the first - and only - choice for Woody, the Cowboy doll that has been the main toy for Andy. His confidence is shattered when Andy receives a Buzz Lightyear action figure for his birthday and he struggles to maintain control of the room - and Andy's heart. In lesser hands, this character could be be annoying and a bit of a jerk, but with Hanks' inherent charm, Woody is lovable, neurotic and vulnerable as he tries to get out of one jam after another.
Tim Allen wasn't the first choice for the voice of Buzz Lightyear, but with his success in 1994's THE SANTA CLAUS he was called into service on this film - and the results couldn't be better. He blends machismo, bluster and a sincere earnestness that perfectly pairs and counterbalances Hanks' tics to form a movie duo that ranks right up there with the best in film history.
It is the attention to detail that these filmmakers really excel at and the supporting cast of voice actors really brings it here. From Don Rickles to John Ratzenberger to Annie Potts to R. Lee Emery to Jim Varney to Laurie Metcalf, all bring charm and heart to their characters even when they are in conflict.
Speaking of attention to detail, the CGI in this film works really, really well - even after 23 years of improvements. The filmmakers were blazing a trail and there is much to look at in the background, from the 2 "Hidden Mickey's" in Andy's room to the tribute to THE SHINING, the background and renderings are lush and are worth a viewing just to look at hidden gems (and Easter Eggs) in the background.
But none of this would matter if the story wasn't any good and I give story writers Lasseter and future Pixar Director's Pete Docter and Andrew Stanton credit for keeping the story crisp, clear and simple and infusing heart and sincerity without getting cloying or annoying. Interestingly enough, in looking at the credits, Joss Whedon, Joel Cohen and Alec Sokolow were all contributors to the screenplay as well. When I see that many writers on a screenplay, I worry about continuity and flow. But, make no mistake about it, this film has a strong vision driven by Lasseter and the results on the screen show that focus.
If you haven't seen this film in awhile, give yourself a treat and check it out again, it holds up very, very well and will be well worth the 84 minutes it will take to watch it (the shortest of all PIXAR films).
Letter Grade A+ - which means, of course...
A rare 10 stars (out of 10) and you can take that to the Bank(ofMarquis)
It sure does.
Directed by visionary Pixar founder John Lasseter, TOY STORY is the first computer generated full-length motion picture and tells the...story...of toys that come to life when the humans leave the room. It is a simple concept that is executed beautifully with wit, charm and heart that sustains to this day and (I would imagine) to infinity...and beyond.
Besides the revolutionary CGI work (which mostly holds up), the heartwarming story and the crispness of the pacing of the film, the masterstroke here is the pitch perfect voice casting. Tom Hanks was the first - and only - choice for Woody, the Cowboy doll that has been the main toy for Andy. His confidence is shattered when Andy receives a Buzz Lightyear action figure for his birthday and he struggles to maintain control of the room - and Andy's heart. In lesser hands, this character could be be annoying and a bit of a jerk, but with Hanks' inherent charm, Woody is lovable, neurotic and vulnerable as he tries to get out of one jam after another.
Tim Allen wasn't the first choice for the voice of Buzz Lightyear, but with his success in 1994's THE SANTA CLAUS he was called into service on this film - and the results couldn't be better. He blends machismo, bluster and a sincere earnestness that perfectly pairs and counterbalances Hanks' tics to form a movie duo that ranks right up there with the best in film history.
It is the attention to detail that these filmmakers really excel at and the supporting cast of voice actors really brings it here. From Don Rickles to John Ratzenberger to Annie Potts to R. Lee Emery to Jim Varney to Laurie Metcalf, all bring charm and heart to their characters even when they are in conflict.
Speaking of attention to detail, the CGI in this film works really, really well - even after 23 years of improvements. The filmmakers were blazing a trail and there is much to look at in the background, from the 2 "Hidden Mickey's" in Andy's room to the tribute to THE SHINING, the background and renderings are lush and are worth a viewing just to look at hidden gems (and Easter Eggs) in the background.
But none of this would matter if the story wasn't any good and I give story writers Lasseter and future Pixar Director's Pete Docter and Andrew Stanton credit for keeping the story crisp, clear and simple and infusing heart and sincerity without getting cloying or annoying. Interestingly enough, in looking at the credits, Joss Whedon, Joel Cohen and Alec Sokolow were all contributors to the screenplay as well. When I see that many writers on a screenplay, I worry about continuity and flow. But, make no mistake about it, this film has a strong vision driven by Lasseter and the results on the screen show that focus.
If you haven't seen this film in awhile, give yourself a treat and check it out again, it holds up very, very well and will be well worth the 84 minutes it will take to watch it (the shortest of all PIXAR films).
Letter Grade A+ - which means, of course...
A rare 10 stars (out of 10) and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated Network (1976) in Movies
Feb 19, 2019
“I’m mad as hell and I’m not gonna take it anymore!”
…the lasting legacy of Peter Finch’s rants, which began with a breakdown and became the ratings winner in the 1970’s Network driven news media. This is of course, fiction but the commentary on the changing and more corporate driven American media industry of the the time is not without merit.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Smartly scripted, on the ball cynicism and yet harking back to the rose tinted nostalgia common with American media movies in whcih the industry was supposedly filled with Walter Cronkites,
the notion that American press was once beyond reproach is clearly a fallacy, in contrast, the notion that American news media was becoming so ratings driven that the news gave way to outlandish editorialism, is not.
Howard Beale (Finch) has an on air breakdown and whilst his best friend and producer, Max Schumacher (William Holden) tries to pull him from the air waves, allowing him to bow out with some dignity, the new wave of corporate management lead by CEO Frank Hackett (Robert Duval) and Holden’s replacement and eventual lover, Diana, (Faye Dunaway), have other ideas.
She sees an opportunity in the ratings spike gained by Beale’s rants which speak to the peoples growing frustrations and takes advantage, only driven by ratings.
Though the screenplay and performances are nothing less than brilliant, there are two core problems with this movie.
The first being that it is too long. The plot seems to be dragged out and repetitive as we approach the almost inevitable conclusion and the second is the level of preaching. But this is a symptom of the first, opening with a good argument, with old school journalism versus the TV generation and as the film goes on, the arguments need to escalate but since this was covered in the first half an hour, the points become laboured and over started.
The notion that the TV generation is shallow and amoral is put at odds with the middle aged newspaper reader, where time and decency are standard. This is a point which I refuse to accept since some of the 20th centuries most amoral acts where committed either before 1936, the birth of television and in the first couple of decades there after, by the very generation whcih is being held up as the moral standard here.
large_network_blu-ray_3The press has always had its paymasters, always had to sell newspapers and whilst the medium and methods may have changed, this does feel like sour grapes by the end. Criticising the characters motivations is one thing, but this film seems to imply that the modern world of television is making sociopaths of us all, dumbing us down and numbing our emotions to the point of accepting nothing but pure spectacle.
In many ways this is true but is also a very flawed argument and comes across as bunch old men crying into there Scotch in some dimly lit bar, in a way not too dissimilar to the print or broadcast media of today, hitting out at the blogging and twitter generation.
The ending was amusing though with the quote “This was the story of Howard Beale, the only known case of a man killed because of poor ratings”.
Very droll.
Sarah (7798 KP) rated The Bone Clocks in Books
Dec 29, 2017
This is a very unusual book. Not quite in the realms of Cloud Atlas, but it’s still a strange and interesting read.
This is unusual because it starts off as a character driven life story, and a very good one at that, with a few odd snippets of a underlying fantasy subplot that create quite a lot of intrigue. Even when the focus of a chapter shifts to a different main character, it doesn’t lose the interest and great writing. It shows a great take on a dystopian future and it’s almost disturbing to read as it’s a future most of us could imagine coming true.
It’s also unusual as the main fantasy subplot isn’t fully revealed until well over two thirds of the way through the book. But for me, this is where the problem starts as the fantasy strands turn out to be the main plot and it’s a bit of a letdown. It isn’t complete nonsense, it just seems very overcomplicated and out of place with the rest of the novel. Parts of it could have worked well, but it has perhaps been a little overthought.
This is unusual because it starts off as a character driven life story, and a very good one at that, with a few odd snippets of a underlying fantasy subplot that create quite a lot of intrigue. Even when the focus of a chapter shifts to a different main character, it doesn’t lose the interest and great writing. It shows a great take on a dystopian future and it’s almost disturbing to read as it’s a future most of us could imagine coming true.
It’s also unusual as the main fantasy subplot isn’t fully revealed until well over two thirds of the way through the book. But for me, this is where the problem starts as the fantasy strands turn out to be the main plot and it’s a bit of a letdown. It isn’t complete nonsense, it just seems very overcomplicated and out of place with the rest of the novel. Parts of it could have worked well, but it has perhaps been a little overthought.
Sara Cox (1845 KP) rated The War of the Worlds in TV
Dec 3, 2019
Contains spoilers, click to show
I was really excited for this series. I have read the book a number of times and it is one of my favourites. I thought at first they were keeping very true to the book, although I have no idea why the writers decided to add an unnecessary love triangle into the mix which has no bearing on the story whatsoever. The filming and effects we good, I was really impressed with the tripods. However, when we finally saw the martians I was disappointed with the way they were portrayed, I was expecting tentacles and these beings (that I might add were meant to be of higher intelligence and based on the tripods have good dexterity) seemed a bit weak and useless. The acting on the whole was good, although at times it seemed people were unaware that the martians were terrifying and just seemed to be taking a leisure walk away rather than the chaos and fear driven manic you would expect. This is better than most adaptation of H.G.Wells's classic. The final episode was weak and didn't follow the storyline which was highly disappointing.
Logan Eccles (135 KP) rated Bumblebee (2018) in Movies
Oct 1, 2020 (Updated Oct 2, 2020)
I See You... Bumblebee
Wasn't directing and thought it'd be a drama based Transformers? Well, news flash Bay basically did direct it without directing it he handpicked his replacement who is pretty much his protégé. The film is just like any other Micheal Bay movie FUN, STUPID, and full of EXPLOSIONS! However, I do feel like the writing was stronger in this film at least it was more story-driven than the previous Transformers movies. I thought it was a weird choice to have Halie Sienfield in this but she was great. Her performance was both strong and adorable mixed together which also sums up this movie. And of course, before I finish this review I have to address John Cena's performance or my headline won't make since (You can't see me) ok anyway Cena actually left me wanting to see more of his character. It was an odd choice to have Cena cast as this character in my opinion but he does pull it off. If you want a movie to watch with your kids go buy this, this weekend you will all enjoy it.
ClareR (5603 KP) rated Nightshade in Books
Jan 15, 2023
As much as I loved reading this book, the main character Eve Laing is not a character to like. She’s self-centred, driven and oblivious to anything other than her work. She’s an artist,, but better known as the muse to an infamous male artist, much to her disgust.
Eve seems to be set on self-destruction, and over the course of a night walk through London (she’s braver than me!) from her former family home to the studio she now lives in, Eve tells her story. She’s an unlikeable and unreliable narrator. I will admit that I did feel some sympathy for her when her young lover shows his true colours.
And I kept thinking: why shouldn’t she want more? Because she’s married? Because she’s in her 60’s? Because she’s a mother? She’s clearly not a happy person and envies the life she imagines that she could have had.
I don’t think I’m giving too much away when I say that this is a book that can’t end well. And it may well say something about me when I say that I rather liked the ending.
Eve seems to be set on self-destruction, and over the course of a night walk through London (she’s braver than me!) from her former family home to the studio she now lives in, Eve tells her story. She’s an unlikeable and unreliable narrator. I will admit that I did feel some sympathy for her when her young lover shows his true colours.
And I kept thinking: why shouldn’t she want more? Because she’s married? Because she’s in her 60’s? Because she’s a mother? She’s clearly not a happy person and envies the life she imagines that she could have had.
I don’t think I’m giving too much away when I say that this is a book that can’t end well. And it may well say something about me when I say that I rather liked the ending.