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Gareth von Kallenbach (980 KP) rated The 15:17 To Paris (2018) in Movies
Jul 8, 2019
Based on book, The 15:17 to Paris: The True Story of a Terrorist, a Train, and Three American Soldiers by Jeffrey E. Stern, Spencer Stone, Anthony Sadler and Alek Skarlatos, the film, The 15:17 to Paris tells the story of three America friends who stop a terrorist attempt on a train to Paris.
The men are heroes and it is inspiring to see how ordinary people can step up and put their lives at risk to save lives.
As such, this film would have been better told as a short documentary. Mostly because I found myself wondering what these men were thinking in those moments. How were they feeling when they saw people running and heard a gunshot. What made them take action? Was there doubt? And how did their friendship/bond contribute to being able to support each other in that moment and after?
Unfortunately, we do not get the answers to these questions. Instead Director Clint Eastwood decided to make a film that was trying to imitate real life as much as possible. So much so, the three actual heroes Stone, Sadler and Skarlatos play themselves. If Eastwood’s goal was to show how mundane life is in every day moments and a terrorist attack can happen at any moment in any mundane situation and end just as quickly, he succeeded. These three friends have cringe worthy dialogue that goes nowhere throughout the story. It makes these real life friends feel like they do not have any chemistry as it is clear they all feel out of their element in front of the camera. Not exactly the level of amateurism you would expect from a full feature film.
The semi bright spot is when we are shown how these three men became friends as boys and how they grew up. We get an understanding of how they like to play “war” in their back yard and how they would get in trouble but still have each other’s back when it counted. However, like the rest of this film, I wish this was told as a documentary or dramatic documentary. I wanted to hear from them firsthand what they thought about their friendship and how it evolved.
Stone, Sadler and Skarlatos are Heroes. They deserve better than this film. These three men deserve an opportunity to have their story told so people everywhere can care and understand. One of them had a call to duty because of his grandfather who served in WWII. What did that truly mean to him? We don’t know. One felt like he was being pushed to greatness by the universe. What did that mean to him now that it’s happened? We don’t know because we don’t hear from him first hand. The other was always just looking to have a good time. How does he feel about what happened and his friends? We don’t know. Because we are never given anything buy hollow dialogue, some loose information to surmise these things and bad screen chemistry from three real life friends.
I left the movie in awe of what the trio did in a moment where most people would run or think only of themselves. But I cannot in good faith recommend anyone spend money at a theater for a film that feels like it was produced by an amateur and should have been premiered on YouTube.
The men are heroes and it is inspiring to see how ordinary people can step up and put their lives at risk to save lives.
As such, this film would have been better told as a short documentary. Mostly because I found myself wondering what these men were thinking in those moments. How were they feeling when they saw people running and heard a gunshot. What made them take action? Was there doubt? And how did their friendship/bond contribute to being able to support each other in that moment and after?
Unfortunately, we do not get the answers to these questions. Instead Director Clint Eastwood decided to make a film that was trying to imitate real life as much as possible. So much so, the three actual heroes Stone, Sadler and Skarlatos play themselves. If Eastwood’s goal was to show how mundane life is in every day moments and a terrorist attack can happen at any moment in any mundane situation and end just as quickly, he succeeded. These three friends have cringe worthy dialogue that goes nowhere throughout the story. It makes these real life friends feel like they do not have any chemistry as it is clear they all feel out of their element in front of the camera. Not exactly the level of amateurism you would expect from a full feature film.
The semi bright spot is when we are shown how these three men became friends as boys and how they grew up. We get an understanding of how they like to play “war” in their back yard and how they would get in trouble but still have each other’s back when it counted. However, like the rest of this film, I wish this was told as a documentary or dramatic documentary. I wanted to hear from them firsthand what they thought about their friendship and how it evolved.
Stone, Sadler and Skarlatos are Heroes. They deserve better than this film. These three men deserve an opportunity to have their story told so people everywhere can care and understand. One of them had a call to duty because of his grandfather who served in WWII. What did that truly mean to him? We don’t know. One felt like he was being pushed to greatness by the universe. What did that mean to him now that it’s happened? We don’t know because we don’t hear from him first hand. The other was always just looking to have a good time. How does he feel about what happened and his friends? We don’t know. Because we are never given anything buy hollow dialogue, some loose information to surmise these things and bad screen chemistry from three real life friends.
I left the movie in awe of what the trio did in a moment where most people would run or think only of themselves. But I cannot in good faith recommend anyone spend money at a theater for a film that feels like it was produced by an amateur and should have been premiered on YouTube.
Phillip McSween (751 KP) rated Minority Report (2002) in Movies
Jul 19, 2020
I Knew I Would Love it Before I Watched it...See What I Did There?
In the future, “precogs” help predict a murder before it happens. When they predict that John Anderton, head of the precrime divison, will be the next killer, Anderton has to go on the run to prove his innocence.
Acting: 10
We give Tom Cruise shit for being crazy in real life. Say what you want about him on a personal level, the energy that he brings to the big screen is excellent. The way he taps into the emotions of a father that just lost his son hits you with a strong emotional tie to the movie.
Outside of a strong performance from Cruise as John Anderton, it’s also the lesser roles that drive this movie into classic status. Actors/actresses like Lois Smith as the matter-of-fact Dr. Hinneman and Colin Farrell sticking his nose into every single scene as Detective Danny Witwer bring fresh life to this movie throughout its duration. The female performances were particularly strong. This movie just doesn’t function the same without wonderful actresses Samantha Morton and Kathryn Morris helping to drive the story.
Beginning: 10
The first ten minutes really set the stage for the insanity to come. We see the precrime unit led by Anderton moving on their next target: A man who catches his wife in bed cheating, or at least he will. The act has yet to happen, but the unit is there to stop it before it does.
Characters: 10
Anderton is a troubled cop stuck between a terrible past and a troubling future. You can relate to his pain and why he has ended up the way he has. Like Anderton, each character has enough depth and backstory to make you care about them one way or the other. I was particularly drawn to Agatha, head of the precogs, and her story.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
There is a scene in this movie I consider one of the greatest in any film ever done. Anderton has captured the precog Agatha to try and get into her brain to unearth his innocence. With the police in hot pursuit, he has to escape through a mall using Agatha as a cognitive guide to help him escape danger. It is truly a brilliant layout of a scene and it really enhances this movie. This is a movie packed with a number of those same type of scenes that leave an impact in your brain.
Pace: 10
Plot: 10
A brilliant story from cover to cover. Steven Spielberg pulls out the heart and glitz of this movie with true wonder that only he can achieve. There is a reason I consider him the GOAT, because his stories wow you while making you think and feel at the same time. This story couldn’t have been put together more perfectly.
Resolution: 10
The ending couldn’t have been more perfect. It’s all about redemption and starting over. I won’t spoil it by going into further detail.
Overall: 100
Every now and then a movie comes along that manages to sit with me for a long time. It’s the primary reason I consider Minority Report to be the greatest sci-fi movie ever made and #3 on my all-time list. Quite frankly, it’s just plain dope.
Acting: 10
We give Tom Cruise shit for being crazy in real life. Say what you want about him on a personal level, the energy that he brings to the big screen is excellent. The way he taps into the emotions of a father that just lost his son hits you with a strong emotional tie to the movie.
Outside of a strong performance from Cruise as John Anderton, it’s also the lesser roles that drive this movie into classic status. Actors/actresses like Lois Smith as the matter-of-fact Dr. Hinneman and Colin Farrell sticking his nose into every single scene as Detective Danny Witwer bring fresh life to this movie throughout its duration. The female performances were particularly strong. This movie just doesn’t function the same without wonderful actresses Samantha Morton and Kathryn Morris helping to drive the story.
Beginning: 10
The first ten minutes really set the stage for the insanity to come. We see the precrime unit led by Anderton moving on their next target: A man who catches his wife in bed cheating, or at least he will. The act has yet to happen, but the unit is there to stop it before it does.
Characters: 10
Anderton is a troubled cop stuck between a terrible past and a troubling future. You can relate to his pain and why he has ended up the way he has. Like Anderton, each character has enough depth and backstory to make you care about them one way or the other. I was particularly drawn to Agatha, head of the precogs, and her story.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
There is a scene in this movie I consider one of the greatest in any film ever done. Anderton has captured the precog Agatha to try and get into her brain to unearth his innocence. With the police in hot pursuit, he has to escape through a mall using Agatha as a cognitive guide to help him escape danger. It is truly a brilliant layout of a scene and it really enhances this movie. This is a movie packed with a number of those same type of scenes that leave an impact in your brain.
Pace: 10
Plot: 10
A brilliant story from cover to cover. Steven Spielberg pulls out the heart and glitz of this movie with true wonder that only he can achieve. There is a reason I consider him the GOAT, because his stories wow you while making you think and feel at the same time. This story couldn’t have been put together more perfectly.
Resolution: 10
The ending couldn’t have been more perfect. It’s all about redemption and starting over. I won’t spoil it by going into further detail.
Overall: 100
Every now and then a movie comes along that manages to sit with me for a long time. It’s the primary reason I consider Minority Report to be the greatest sci-fi movie ever made and #3 on my all-time list. Quite frankly, it’s just plain dope.
Gareth von Kallenbach (980 KP) rated Cherry (2021) in Movies
Feb 25, 2021
Tom Holland and Joe and Anthony Russo have teamed up again but this time on a project which is about as far away from the Marvel universe as possible. Based on the book Nico Walker; “Cherry” is a compelling tale told in segments that depict a different style and phase of the main character’s life.
Holland stars as a young man who is trying to find a direction in his life. He meets a young girl named Emily (Ciara Bravo), and soon begins a relationship with her. This phase of the film plays out as a Young Romance film and the audience is given a good look at their world.
When Emily decides to move to Montreal to go to school and escape the issues she has’ Cherry goes into a downward spiral and enlists in the Army as a way to escape his pain and to try to find direction.
The film takes a dramatic turn at this point as Emily and Cherry reunite and marries but he is facing his pending military service which will split the couple. The film then pivots and becomes a war movie as we see Cherry go through Basic Training and then is deployed to Afghanistan as a medic. The horrors he experiences during his two years in the service traumatize him and he returns home to Emily with a severe case of PTSD which complicates their life and relationship.
The film then pivots again to show a descent into depression and drug addiction as Cherry and Emily fall deeply into the spell of drugs which causes Cherry to become more and more desperate to fund their habit which soon includes bank robbery.
While the film is deeply dark and depressing; there is a thread of hope throughout the film as despite their numerous issues; the bond between Emily and Cherry remains despite challenges well beyond what any normal relationship faces.
The honest and brutal nature of the story is amplified by the fact that this is a true story based on the life of Nico Walker. There have been films that depict the challenges facing Vets such as “The Deer Hunter” “Coming Home”, and “Born on the 4th of July”, which underscores the struggles that Vietnam Vets faced after their service. While “Cherry” looks at a modern conflict; it underscores how Vets are still struggling to get the care they need as many survivors to return broken and unable to resume their lives.
Holland and Bravo have solid chemistry with one another and the story is gripping and engaging throughout. Seeing Holland in a much more mature and darker role than we are used to seeing him in shows that he has a range of talents and is very capable of taking on a variety of parts.
Joe and Anthony Russo moved well from their recent Marvel films to a deeply personal and troubling story and the fact that they cover the multiple genres in each of the film segments shows they are very talented filmmakers with a bright future.
Do not be shocked to see “Cherry” come up at the next awards season as it is a film not to be missed and you can see it on Apple TV on March 12th. and cinemas on February 26th.
4.5 stars out of 5
Holland stars as a young man who is trying to find a direction in his life. He meets a young girl named Emily (Ciara Bravo), and soon begins a relationship with her. This phase of the film plays out as a Young Romance film and the audience is given a good look at their world.
When Emily decides to move to Montreal to go to school and escape the issues she has’ Cherry goes into a downward spiral and enlists in the Army as a way to escape his pain and to try to find direction.
The film takes a dramatic turn at this point as Emily and Cherry reunite and marries but he is facing his pending military service which will split the couple. The film then pivots and becomes a war movie as we see Cherry go through Basic Training and then is deployed to Afghanistan as a medic. The horrors he experiences during his two years in the service traumatize him and he returns home to Emily with a severe case of PTSD which complicates their life and relationship.
The film then pivots again to show a descent into depression and drug addiction as Cherry and Emily fall deeply into the spell of drugs which causes Cherry to become more and more desperate to fund their habit which soon includes bank robbery.
While the film is deeply dark and depressing; there is a thread of hope throughout the film as despite their numerous issues; the bond between Emily and Cherry remains despite challenges well beyond what any normal relationship faces.
The honest and brutal nature of the story is amplified by the fact that this is a true story based on the life of Nico Walker. There have been films that depict the challenges facing Vets such as “The Deer Hunter” “Coming Home”, and “Born on the 4th of July”, which underscores the struggles that Vietnam Vets faced after their service. While “Cherry” looks at a modern conflict; it underscores how Vets are still struggling to get the care they need as many survivors to return broken and unable to resume their lives.
Holland and Bravo have solid chemistry with one another and the story is gripping and engaging throughout. Seeing Holland in a much more mature and darker role than we are used to seeing him in shows that he has a range of talents and is very capable of taking on a variety of parts.
Joe and Anthony Russo moved well from their recent Marvel films to a deeply personal and troubling story and the fact that they cover the multiple genres in each of the film segments shows they are very talented filmmakers with a bright future.
Do not be shocked to see “Cherry” come up at the next awards season as it is a film not to be missed and you can see it on Apple TV on March 12th. and cinemas on February 26th.
4.5 stars out of 5
Gareth von Kallenbach (980 KP) rated The Wall (2017) in Movies
Jul 11, 2019
US Ranger Sniper, Staff Sargent Shane Matthews (John Cena), and his spotter, Sargent Allen “Eyes” Isaac, are investigating a distress call in the hot Iraqi desert above an oil pipeline construction area. From their camouflaged position they can see several dead bodies. They have waited close to 18 hours while sitting and observing the bodies and landscape, trying to determine what happened. Matthews decides the dead men below them must have been killed by a raid and after the hours of waiting he leaves the covered position to investigate up close. While Isaac believes that there is a chance this could be the work of a skilled sniper, he reluctantly agrees to let Matthews go.
As Isaac watches from cover Mathews surveys the carnage from up close and quickly realizes that Isaac must have been right. All of the men below were killed with skilled shots to the head. Before he can find cover or find where the shooter was positioned Mathews is shot in the stomach and falls to the ground. Isaac rushes to his aide but as soon as he gets close to his comrade he is shot in the knee. As shots rain down on him Isaac dives for cover behind a dilapidated wall. Now he is stuck behind fragile cover bleeding with his partner unable to move due to his wounds. Isaac scrabbles to radio for help but he only finds his radio antenna has been shot off. He has no idea where the shots came from only that he may be in the only safe place. Isaac is now suck behind a wall with no way to get to his severely wounded friend or call in reinforcements. Then over his short range two-way radio a voice can be heard and it’s not Matthews or help…it’s the enemy sniper.
The Wall is a suspense film directed by Doug Liman (Edge of Tomorrow, Fair Game and Mr. and Mrs. Smith). Overall the small cast gave good performances. I thought that John Cena did a good job in a limited role in this film. Aaron Taylor-Johnson did an adequate job, but since he was on screen by himself for the majority of the film I thought his performance was at times week. He was also really compelling at times which is why I think overall it was adequate. I think it was a good story but the build up to the end lacked the true suspense that could have made it a great story. I just didn’t have the ending that really made me sit on the edge of my seat. It felt like what was happening was inevitable. I commend the originality of the overall story. But when I am going to watch a suspenseful film I want just a little bit more. To me it lacked an edge and really captivating moment at the end. One of the things the film got right was how realistic it felt. The cinematography was gritty and fit the story really well.
Overall I came out of this film feeling good but thought that it was missing a little something. Worth a second viewing sometime in the future but probably save it for video or on demand.
As Isaac watches from cover Mathews surveys the carnage from up close and quickly realizes that Isaac must have been right. All of the men below were killed with skilled shots to the head. Before he can find cover or find where the shooter was positioned Mathews is shot in the stomach and falls to the ground. Isaac rushes to his aide but as soon as he gets close to his comrade he is shot in the knee. As shots rain down on him Isaac dives for cover behind a dilapidated wall. Now he is stuck behind fragile cover bleeding with his partner unable to move due to his wounds. Isaac scrabbles to radio for help but he only finds his radio antenna has been shot off. He has no idea where the shots came from only that he may be in the only safe place. Isaac is now suck behind a wall with no way to get to his severely wounded friend or call in reinforcements. Then over his short range two-way radio a voice can be heard and it’s not Matthews or help…it’s the enemy sniper.
The Wall is a suspense film directed by Doug Liman (Edge of Tomorrow, Fair Game and Mr. and Mrs. Smith). Overall the small cast gave good performances. I thought that John Cena did a good job in a limited role in this film. Aaron Taylor-Johnson did an adequate job, but since he was on screen by himself for the majority of the film I thought his performance was at times week. He was also really compelling at times which is why I think overall it was adequate. I think it was a good story but the build up to the end lacked the true suspense that could have made it a great story. I just didn’t have the ending that really made me sit on the edge of my seat. It felt like what was happening was inevitable. I commend the originality of the overall story. But when I am going to watch a suspenseful film I want just a little bit more. To me it lacked an edge and really captivating moment at the end. One of the things the film got right was how realistic it felt. The cinematography was gritty and fit the story really well.
Overall I came out of this film feeling good but thought that it was missing a little something. Worth a second viewing sometime in the future but probably save it for video or on demand.
James P. Sumner (65 KP) rated Ad Astra (2019) in Movies
Sep 18, 2019
Not quite (Inter)stellar...
Ad Astra is a discreet sci-fi film set in an unspecified near future, and is the claustrophobic, deliberate and tense story of Major Roy McBride (played intentionally one-dimensional by Brad Pitt), a soldier and an astronaut, recruited to a top secret mission revolving around the father he never knew, portrayed by Tommy Lee Jones.
This is one of those films where you start watching it and find yourself pleasantly surprised at how little the trailer actually gave away. The story makes a couple of significant changes in direction throughout the 122min runtime. It begins as a standard semi-sci-fi affair, similar in tone and approach to "Arrival (2016)". It's a slow build, yet has comfortable pacing. Then, it takes inspiration from "2001: A Space Odyssey (1968)", "Gravity (2013)" and even "Alien (1979)", when a deep space distress call provides a brief diversion and introduces some horror undertones. Finally, it settles in for the home run, turning into a 'one man against the clock' thriller.
Pitt does a nice job of establishing the character's mindset early on, which is a primary focus of the movie. It's never so much about what's happening as it is about how it's affecting him personally. A big deal is made about how he's this emotionless, unflappable super astronaut, which is perhaps a little unbelievable at times, but serves to amplify the significance of the character's inevitable struggle with how things play out in the final act.
The soundtrack is especially clever throughout, guiding your own emotions with the peaks and troughs of dramatic music, helping build the tension when it needed to.
What I liked about this was that it reminded me of how "Minority Report (2002)" was made, in that it's a sci-fi film, but it doesn't play on the fact it's a sci-fi film. It carries on as if the setting is everyone's normal, which allows you to focus on the story without the distraction of this fantastic, make-believe world going on around you.
However, for all the things I can say it did well, it ultimately fell short of being anything other than a poor imitation of those who have come before it. Inevitable comparisons will be made with "Interstellar (2014)", "The Martian (2015)", and even "Event Horizon (1997)". It took clear inspiration from these genre heavyweights, taking elements of each and making them its own, but never quite does anything as well as these movies did. A prime example of being the jack of all trades and the master of none.
There's never really a true attachment to the characters. Every word is uttered with morose. The locations look both beautiful and barren at the same time - perhaps an unintentional reflection of the movie itself.
This wasn't a particularly bad film. It was okay. It just suffered because it spent way too long trying to be like something else, but never quite figured out exactly what it wanted to be like. The result is a film that, much like the story, drifts aimlessly through a void it never quite understood how to fill. A movie to watch if you're in the mood for something that requires an investment of your time, but don't have access to anything better.
This is one of those films where you start watching it and find yourself pleasantly surprised at how little the trailer actually gave away. The story makes a couple of significant changes in direction throughout the 122min runtime. It begins as a standard semi-sci-fi affair, similar in tone and approach to "Arrival (2016)". It's a slow build, yet has comfortable pacing. Then, it takes inspiration from "2001: A Space Odyssey (1968)", "Gravity (2013)" and even "Alien (1979)", when a deep space distress call provides a brief diversion and introduces some horror undertones. Finally, it settles in for the home run, turning into a 'one man against the clock' thriller.
Pitt does a nice job of establishing the character's mindset early on, which is a primary focus of the movie. It's never so much about what's happening as it is about how it's affecting him personally. A big deal is made about how he's this emotionless, unflappable super astronaut, which is perhaps a little unbelievable at times, but serves to amplify the significance of the character's inevitable struggle with how things play out in the final act.
The soundtrack is especially clever throughout, guiding your own emotions with the peaks and troughs of dramatic music, helping build the tension when it needed to.
What I liked about this was that it reminded me of how "Minority Report (2002)" was made, in that it's a sci-fi film, but it doesn't play on the fact it's a sci-fi film. It carries on as if the setting is everyone's normal, which allows you to focus on the story without the distraction of this fantastic, make-believe world going on around you.
However, for all the things I can say it did well, it ultimately fell short of being anything other than a poor imitation of those who have come before it. Inevitable comparisons will be made with "Interstellar (2014)", "The Martian (2015)", and even "Event Horizon (1997)". It took clear inspiration from these genre heavyweights, taking elements of each and making them its own, but never quite does anything as well as these movies did. A prime example of being the jack of all trades and the master of none.
There's never really a true attachment to the characters. Every word is uttered with morose. The locations look both beautiful and barren at the same time - perhaps an unintentional reflection of the movie itself.
This wasn't a particularly bad film. It was okay. It just suffered because it spent way too long trying to be like something else, but never quite figured out exactly what it wanted to be like. The result is a film that, much like the story, drifts aimlessly through a void it never quite understood how to fill. A movie to watch if you're in the mood for something that requires an investment of your time, but don't have access to anything better.
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Kristy H (1252 KP) rated I Kissed a Girl in Books
Aug 12, 2021
A fun movie set romance
Noa Birnbaum's dream is to work in the movies: in horror special effects and makeup. She finally gets a chance to work on a real movie (one step closer to joining the union), but it means dropping out of school, where she's earning her theater degree. Her parents won't be pleased. On the set, she's face to face with actress Lilah Silver, whom Noa has had a crush on for ages. Lilah has her own dreams, to move beyond B-list horror films and into true stardom. This starring role as the "final girl" could be her opportunity. When she meets openly out Noa, Lilah may finally have a chance to admit to her own bisexuality. But a relationship could have its own problems for both Lilah and Noa.
"Noa'd thrown away everything else in her life for this job. And now she was seriously considering throwing the job away for a chance at a girl? Stupid beyond words."
This is a cute story whose strength comes across in its representation--queer characters covering bi, trans, lesbian and more. There's also some excellent Jewish representation, as both Noa and Lilah bond over their religious beliefs. As a member of the LGBTQIA community, I love seeing stories that reflect myself and my friends. Watching Lilah grapple with her bisexuality and coming out and seeing Noa hang out with her friends, being openly out and accepted. These are still stories and characters we do not get to see and read about regularly. Even better, it seems like I read a lot of queer YA books, not a lot where the characters are adults (although they might not always act like it in this story, ha). It was fun and refreshing.
"Special effects artist had never been on the list of things Good Jewish Girls Did."
For me, this book was a little long. It could have been a bit shorter and would have felt more snappy. A lot of the focus in this story is on miscommunication, which is a pet peeve of mine. I just can't handle when so much of the plot could be avoided if the characters just spoke openly to one another. It's also not entirely clear why Noa crushes so much on Lilah, to the point that it seems that she can't rationalize clearly. A lot of this inability to communicate or think clearly leads to some back and forth storylines, so it seems like as if the plot zigs and zags. Up and down. Will Noa go for a relationship with Lilah or keep her job? Is Lilah willing to risk her career for her sexuality? Again, if things had been just a bit shorter, we probably could have skipped a bit of this.
Still, this is a fun story. While Lilah and Noa can be frustrating sometimes, they are engaging characters. The horror film set adds an interesting level to the book (there's another plot line involving Lilah and threats to her safety). It's a little long, but I appreciated all the queer and Jewish rep. 3+ stars.
I received a copy of this book from Sourcebooks Casablanca and Netgalley in return for an unbiased review. It releases 8/3/2021.
"Noa'd thrown away everything else in her life for this job. And now she was seriously considering throwing the job away for a chance at a girl? Stupid beyond words."
This is a cute story whose strength comes across in its representation--queer characters covering bi, trans, lesbian and more. There's also some excellent Jewish representation, as both Noa and Lilah bond over their religious beliefs. As a member of the LGBTQIA community, I love seeing stories that reflect myself and my friends. Watching Lilah grapple with her bisexuality and coming out and seeing Noa hang out with her friends, being openly out and accepted. These are still stories and characters we do not get to see and read about regularly. Even better, it seems like I read a lot of queer YA books, not a lot where the characters are adults (although they might not always act like it in this story, ha). It was fun and refreshing.
"Special effects artist had never been on the list of things Good Jewish Girls Did."
For me, this book was a little long. It could have been a bit shorter and would have felt more snappy. A lot of the focus in this story is on miscommunication, which is a pet peeve of mine. I just can't handle when so much of the plot could be avoided if the characters just spoke openly to one another. It's also not entirely clear why Noa crushes so much on Lilah, to the point that it seems that she can't rationalize clearly. A lot of this inability to communicate or think clearly leads to some back and forth storylines, so it seems like as if the plot zigs and zags. Up and down. Will Noa go for a relationship with Lilah or keep her job? Is Lilah willing to risk her career for her sexuality? Again, if things had been just a bit shorter, we probably could have skipped a bit of this.
Still, this is a fun story. While Lilah and Noa can be frustrating sometimes, they are engaging characters. The horror film set adds an interesting level to the book (there's another plot line involving Lilah and threats to her safety). It's a little long, but I appreciated all the queer and Jewish rep. 3+ stars.
I received a copy of this book from Sourcebooks Casablanca and Netgalley in return for an unbiased review. It releases 8/3/2021.
Kristy H (1252 KP) rated You Must Not Miss in Books
Jun 21, 2019
Magpie Lewis has been abandoned. Her father left. Then her sister, Eryn, too. Now it's just Magpie and her mom. Who truly isn't really present, as she drowns herself in booze and a haze of alcoholism. Magpie's sister left the same night as Brandon Phipps's party--after which Magpie's longtime friendship with Allison ended, and Magpie was branded a slut and left to be an outcast at school. So she starts writing in a yellow notebook, creating a world called Near. It's Magpie's magical place, where everything is perfect: no cheating father, no drunk mom, no missing sister, and no horrific school experiences. She thinks up Near so clearly, so fully, that she wills it into existence, and Magpie realizes that in Near, she can have it all: even revenge on those who have hurt her.
"There was one month left of her sophomore year of high school, and she had decided, after a mountain of evidence to support it, that the entire world was a joke."
I just love Katrina Leno, and her beautiful writing. You Must Not Miss is no exception: it's a poetic, stark take on high school friendship, rape culture, and the ties that bind us. The story is a clever variation of "One for Sorrow." Magpie is our main character and takes center stage: it's hard not to feel sympathetic for this poor abandoned girl--with no family who cares for her and, for a while, no friends.
"If you give a name to an impossible thing, does it make the impossible thing any less impossible?
But then the story takes a dramatic, dark twist--as Magpie creates Near both in her mind and in reality--and as Magpie's portal to another world takes true shape, we see our character find strength before our very eyes. I won't lie, I'm not sure this book is for everyone. It reminded me in some ways of a Maggie Stiefvater novel. It's true magical realism, and there's a suspension of disbelief to be had, to be sure. But it's a book that I feel like Leno was meant to be write. Her way of eviscerating rape culture, misogyny, and more is so adept, so searing. It is a call to arms to those who are not believed, who are ignored and mocked, who are the ones who see their lives ruined when the attackers run free.
In this way, You Must Not Miss is a strong, complex book tackling a tough topic. It may be difficult for some that this topic is underneath the magical world of Near, but I liked how that was what Magpie needed to deal with all that happened to her. Beware, this book is brutal at times (and yes, there's a trigger warning for rape/sexual assault). But it's beautifully written, too. It's complicated, much like its subject matter and its protagonist, who is still trying to figure herself out, as well. It's a different read, but if you're willing to give it a try, I think you'll be glad you did. 4 stars.
"There was one month left of her sophomore year of high school, and she had decided, after a mountain of evidence to support it, that the entire world was a joke."
I just love Katrina Leno, and her beautiful writing. You Must Not Miss is no exception: it's a poetic, stark take on high school friendship, rape culture, and the ties that bind us. The story is a clever variation of "One for Sorrow." Magpie is our main character and takes center stage: it's hard not to feel sympathetic for this poor abandoned girl--with no family who cares for her and, for a while, no friends.
"If you give a name to an impossible thing, does it make the impossible thing any less impossible?
But then the story takes a dramatic, dark twist--as Magpie creates Near both in her mind and in reality--and as Magpie's portal to another world takes true shape, we see our character find strength before our very eyes. I won't lie, I'm not sure this book is for everyone. It reminded me in some ways of a Maggie Stiefvater novel. It's true magical realism, and there's a suspension of disbelief to be had, to be sure. But it's a book that I feel like Leno was meant to be write. Her way of eviscerating rape culture, misogyny, and more is so adept, so searing. It is a call to arms to those who are not believed, who are ignored and mocked, who are the ones who see their lives ruined when the attackers run free.
In this way, You Must Not Miss is a strong, complex book tackling a tough topic. It may be difficult for some that this topic is underneath the magical world of Near, but I liked how that was what Magpie needed to deal with all that happened to her. Beware, this book is brutal at times (and yes, there's a trigger warning for rape/sexual assault). But it's beautifully written, too. It's complicated, much like its subject matter and its protagonist, who is still trying to figure herself out, as well. It's a different read, but if you're willing to give it a try, I think you'll be glad you did. 4 stars.
BankofMarquis (1832 KP) rated Harriet (2019) in Movies
Nov 4, 2019
Collapses under the weight of it's own earnestness
The filmmakers behind the true story of HARRIET, the film based on the remarkable actions of Harriet Tubman (the former slave who helped free others slaves via the Underground Railroad) were surprised to find that there had been no accurate film portrayal of this remarkable woman, so they set out to make one.
And the result, was a film that is very deep in accuracy and very slight everywhere else.
Starring Cynthia Erivo (WIDOWS), HARRIET tells the tale of Harriet Tubman from her time as a slave, through her escape to freedom and her return (many, many times) via the "Underground Railroad" to free many other slaves. Her story is astonishing, filled with heroes, villains, visions, successes and failures and should have lent itself to a film befitting of the great heights this woman achieved.
Unfortunately, Writer Director Kasi Lemmons (EVE'S BAYOU) spends a great deal of the film showing the actual, accurate events of Tubman's tale, so much so that it suffers one of the most deadly of sins in filmdom - it drags into boredom under the weight of it's own earnestness. Lemmons, obviously, has great respect for Tubman and shows her in a reverential light throughout this film, showing few (if any) warts and giving us a one-note character that is laser-focused on her purpose, and not much else. While this might have been true-to-life, it does not lend itself to an interesting film.
The same goes for the lead performance from Erivo. I have liked her previous work in films like WIDOWS and BAD TIMES AT THE EL ROYALE, so was excited to see her take the lead in an important film like this. But...her portrayal is one-note and slight and does not plumb the depths of a character that I am sure has many, many more layers than is portrayed on this screen.
The supporting cast (including Leslie Odom, Jr, Vondie Curtis-Hall and Clarke Peters) are also earnest and slight and don't really add anything to the proceedings. Only Janelle Monae, as a fictional free black woman who becomes a mentor of sorts to Tubman, seems to rise above this weak script.
Usually, in films about slavery, the evil (or conflicted) slave owners have a tendency to shine out because of their wickedness (or their confliction) - but in this film, and with this script, Joe Alwyn as Gideon Brodess (the fictional owner of Tubman who is obsessed with bringing her back to slavery) and Jennifer Nettles (as his mother) are...you guessed it...slight and underwritten and don't really bring anything to the proceedings.
What this film did do - and did do well - was make me want to find out more about this hero...and that is a good thing. So, if that is all this film does, then I applaud the attempt, I just wished it would have landed as a film in a much stronger way.
Letter Grade B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)
And the result, was a film that is very deep in accuracy and very slight everywhere else.
Starring Cynthia Erivo (WIDOWS), HARRIET tells the tale of Harriet Tubman from her time as a slave, through her escape to freedom and her return (many, many times) via the "Underground Railroad" to free many other slaves. Her story is astonishing, filled with heroes, villains, visions, successes and failures and should have lent itself to a film befitting of the great heights this woman achieved.
Unfortunately, Writer Director Kasi Lemmons (EVE'S BAYOU) spends a great deal of the film showing the actual, accurate events of Tubman's tale, so much so that it suffers one of the most deadly of sins in filmdom - it drags into boredom under the weight of it's own earnestness. Lemmons, obviously, has great respect for Tubman and shows her in a reverential light throughout this film, showing few (if any) warts and giving us a one-note character that is laser-focused on her purpose, and not much else. While this might have been true-to-life, it does not lend itself to an interesting film.
The same goes for the lead performance from Erivo. I have liked her previous work in films like WIDOWS and BAD TIMES AT THE EL ROYALE, so was excited to see her take the lead in an important film like this. But...her portrayal is one-note and slight and does not plumb the depths of a character that I am sure has many, many more layers than is portrayed on this screen.
The supporting cast (including Leslie Odom, Jr, Vondie Curtis-Hall and Clarke Peters) are also earnest and slight and don't really add anything to the proceedings. Only Janelle Monae, as a fictional free black woman who becomes a mentor of sorts to Tubman, seems to rise above this weak script.
Usually, in films about slavery, the evil (or conflicted) slave owners have a tendency to shine out because of their wickedness (or their confliction) - but in this film, and with this script, Joe Alwyn as Gideon Brodess (the fictional owner of Tubman who is obsessed with bringing her back to slavery) and Jennifer Nettles (as his mother) are...you guessed it...slight and underwritten and don't really bring anything to the proceedings.
What this film did do - and did do well - was make me want to find out more about this hero...and that is a good thing. So, if that is all this film does, then I applaud the attempt, I just wished it would have landed as a film in a much stronger way.
Letter Grade B-
6 stars (out of 10) and you can take that to the Bank(ofMarquis)