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Kristy H (1252 KP) rated The Last Summer of the Garrett Girls in Books
Mar 6, 2019
Delightful novel about sisterhood and growing up
The Garrett sisters are pretty used to the routine of their lives in their small town. Des, 19, is caretaker of her sisters and Arden, the bookstore left behind by their late parents. Their seventy-year-old Gram counts on her to take care of things--even more so since her knee surgery. Bea, 18, is smart, ambitious, and heading to Georgetown in the fall, along with her longtime boyfriend, Erik. Kat, 16, is their theatrical diva, whom no one really takes seriously; she recently broke up with her boyfriend, and she'd do just about anything to get him back. At fifteen, Vi is the "baby" of the family. She's quiet, sensitive, and gay. It's all worked pretty well for a while, but little do they all know: things are about to change for the Garrett girls this summer.
Jessica Spotswood said that she pitched this novel as "Little Women meets Gilmore Girls by way of Sarah Dessen," and I couldn't agree more. I didn't read this until her epilogue, and both the Little Women and Gilmore Girls pieces had already crossed my mind. This is such a lovely, charming, and touching book--I thoroughly enjoyed it. The Garrett sisters were so wonderful and engaging that as the book ended, I immediately found myself wishing there was a sequel, because I was completely immersed in their lives.
Spotswood creates some excellent, different, and completely captivating characters in these sisters. Each is unique in their own way--their own person. I loved the wonderful diverse representation in this one: "there aren't many YA books about girls falling in love," Vi says. It's so true, and how nice it is to have a well-written book where that storyline is just one of the many plots. There are some absolutely beautiful exchanges, as Vi has a crush on the girl who works at the restaurant next door, Cece. It was easily my favorite part of the book--I adored sweet Vi. I also loved how books played a such a strong role in the story--between the girls' family owning a bookstore and all of them loving books and stories in some way.
The novel itself is really about the universal themes of growing up, finding your way, and friendship and sisterhood. And love. It's so well-done and really sweet and fun. The girls seem so real, and it was quite easy to get caught up in their lives and problems. I found it quite enjoyable, even if I could guess how most things would resolve themselves.
Overall, this was a delightful novel about sisterhood and growing up. I truly wish I could have spent more time with the Garrett sisters. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Jessica Spotswood said that she pitched this novel as "Little Women meets Gilmore Girls by way of Sarah Dessen," and I couldn't agree more. I didn't read this until her epilogue, and both the Little Women and Gilmore Girls pieces had already crossed my mind. This is such a lovely, charming, and touching book--I thoroughly enjoyed it. The Garrett sisters were so wonderful and engaging that as the book ended, I immediately found myself wishing there was a sequel, because I was completely immersed in their lives.
Spotswood creates some excellent, different, and completely captivating characters in these sisters. Each is unique in their own way--their own person. I loved the wonderful diverse representation in this one: "there aren't many YA books about girls falling in love," Vi says. It's so true, and how nice it is to have a well-written book where that storyline is just one of the many plots. There are some absolutely beautiful exchanges, as Vi has a crush on the girl who works at the restaurant next door, Cece. It was easily my favorite part of the book--I adored sweet Vi. I also loved how books played a such a strong role in the story--between the girls' family owning a bookstore and all of them loving books and stories in some way.
The novel itself is really about the universal themes of growing up, finding your way, and friendship and sisterhood. And love. It's so well-done and really sweet and fun. The girls seem so real, and it was quite easy to get caught up in their lives and problems. I found it quite enjoyable, even if I could guess how most things would resolve themselves.
Overall, this was a delightful novel about sisterhood and growing up. I truly wish I could have spent more time with the Garrett sisters. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Movie Metropolis (309 KP) rated Everest (2015) in Movies
Jun 11, 2019
A by the numbers adventure
The 1996 Everest disaster remains one of the greatest true stories to have ever been told. From made-for-TV movies to award-winning documentaries, it appears that audiences simply cannot get enough of this tale of survival.
Now, Universal Pictures ends its record-breaking summer campaign with Everest, a high-budget thriller based on those events in 1996. But does it get the balance between all-out spectacle and human characterisation spot on?
Everest follows the fortunes of two climbing teams planning on making it to the top of the deadly mountain. The Adventure Consultants, led by Rob Hall, and Mountain Madness, guided by Scott Fischer, all make their way to the summit of Everest, battling against horrific storms, avalanches and the mountain itself along the way.
The film features an all-star cast, something not forgotten in its marketing campaign, with the likes of Jason Clarke as Hall, Jake Gyllenhaal as Fischer, Josh Brolin, Keira Knightley, Emily Watson and Sam Worthington all making an appearance as climbers and base-camp attendees.
There’s some great talent here but Everest simply cannot cope with that many characters jostling for screen time and the majority of the cast, bar Clarke, feel like cardboard cut-outs – this is a real shame given the true-story that the writers had to work with.
Knightley in particular is wasted with only ten minutes of screen time and Brolin’s side story is never fully explored to make you remember his character – especially when the onslaught of stormy weather makes it difficult to pick out each person at a glance.
Effects-wise, this is a huge spectacle. The cinematography is absolutely astounding and every shot is filled to the brim with colours, sounds and ragged landscapes – it’s absolutely stunning.
The scenes before the mountaineers start their final climb are particularly beautiful and the summit sequences themselves feel ridiculously real, all culminating in a film that looks and sounds spectacular, but just lacks that human touch needed to make it matter.
Unfortunately, there are no risks here, despite the ones being taken by our intrepid explorers and whilst the true-story elements lend the film some gravitas, everything else feels a little clichéd with a been there, done that attitude.
Naturally, the finale is when the emotional side comes into play with a selection of real video footage and photographs. This ensures that Everest finishes on a thought-provoking and intentionally sombre note. Yes, this is Hollywood at work, but this is not a film to be ‘enjoyed’ in the traditional sense.
Overall, Everest is a fine film with some breath-taking action sequences and top-notch special effects. Unfortunately, despite the fascinating true-story, the human characters don’t register until the final act and this stops it from being as memorable as it should be.
https://moviemetropolis.net/2015/09/27/a-by-the-numbers-adventure-everest-review/
Now, Universal Pictures ends its record-breaking summer campaign with Everest, a high-budget thriller based on those events in 1996. But does it get the balance between all-out spectacle and human characterisation spot on?
Everest follows the fortunes of two climbing teams planning on making it to the top of the deadly mountain. The Adventure Consultants, led by Rob Hall, and Mountain Madness, guided by Scott Fischer, all make their way to the summit of Everest, battling against horrific storms, avalanches and the mountain itself along the way.
The film features an all-star cast, something not forgotten in its marketing campaign, with the likes of Jason Clarke as Hall, Jake Gyllenhaal as Fischer, Josh Brolin, Keira Knightley, Emily Watson and Sam Worthington all making an appearance as climbers and base-camp attendees.
There’s some great talent here but Everest simply cannot cope with that many characters jostling for screen time and the majority of the cast, bar Clarke, feel like cardboard cut-outs – this is a real shame given the true-story that the writers had to work with.
Knightley in particular is wasted with only ten minutes of screen time and Brolin’s side story is never fully explored to make you remember his character – especially when the onslaught of stormy weather makes it difficult to pick out each person at a glance.
Effects-wise, this is a huge spectacle. The cinematography is absolutely astounding and every shot is filled to the brim with colours, sounds and ragged landscapes – it’s absolutely stunning.
The scenes before the mountaineers start their final climb are particularly beautiful and the summit sequences themselves feel ridiculously real, all culminating in a film that looks and sounds spectacular, but just lacks that human touch needed to make it matter.
Unfortunately, there are no risks here, despite the ones being taken by our intrepid explorers and whilst the true-story elements lend the film some gravitas, everything else feels a little clichéd with a been there, done that attitude.
Naturally, the finale is when the emotional side comes into play with a selection of real video footage and photographs. This ensures that Everest finishes on a thought-provoking and intentionally sombre note. Yes, this is Hollywood at work, but this is not a film to be ‘enjoyed’ in the traditional sense.
Overall, Everest is a fine film with some breath-taking action sequences and top-notch special effects. Unfortunately, despite the fascinating true-story, the human characters don’t register until the final act and this stops it from being as memorable as it should be.
https://moviemetropolis.net/2015/09/27/a-by-the-numbers-adventure-everest-review/
Gareth von Kallenbach (980 KP) rated Repo Men (2010) in Movies
Aug 8, 2019
What does it mean to be both alive and dead?
Based on the novel “The Repossession Mambo” by Eric Garcia, Repo Men is a dark sci-fi action film from director Miguel Sapochnik. It is an oddly sadistic film that begins as a fantastic black comedy/drama, loses its way in the second act with well-shot but mindless action and predictable plot elements, yet still finds its way back before the credits roll.
Remy and Jake, played by Jude Law and Forest Whitaker, are both Repo Men for The Union, an alarming combination of loan shark and artificial organ manufacturer. Those unfortunate patients that fall too far behind on their payments have their artificial parts removed and reclaimed, often accompanied by grisly special effects. Through an accident at a routine repossession, Remy ends up needing a new heart. In the process of trying to pay for it, he realizes that he can no longer find the moral ambivalence necessary to take the life of a stranger in order to earn the money to save his own. This film is definitely not for the squeamish, and many scenes were not unlike watching a surgery in progress.
This film will certainly attract more than a nod from those clamoring for universal healthcare in the United States, as well as those railing against corporate greed at the expense of human life. The Union is everything we love to hate in a corporation. Nothing, from duping emotionally compromised patients, to putting profits above all else, to even killing people, is out of bounds for this corporation. It’s uncommon to see corporate evil of this magnitude in a film, and with Liev Schreiber manning the helm, this evil is personified and delivered with such panache that he becomes an enjoyable caricature to watch.
This movie would be nothing without Remy’s path from classic amoral psychopath to redeemed soul, but the journey at times becomes muddy and obscure. Law plays the part somewhat stiffly, but still manages to shine in his interactions with Whitaker and Schreiber. Whitaker, however, is fantastic as Remy’s uncompromisingly unsympathetic partner Jake, who holds on tightly to what he knows and believes, however unprincipled. By the film’s end, Whitaker’s performance as the frustrated partner becomes even more impressive when compared to Law’s movement from perpetrator to victim to agent of retribution.
For years, Remy had no moral compunction against repossessing organs, nearly always from those who will die without them. But when his heart is removed, he suddenly empathizes with the victims of his profession. An odd paradox: that becoming less human can impart more humanity. Remy is both more genuinely alive after receiving his artificial heart, and more certain he will be dead when he can no longer pay. This is the crux of the film, and on this basis a clever story is told about the intersection of making a living, being alive, and the entanglements they create.
Based on the novel “The Repossession Mambo” by Eric Garcia, Repo Men is a dark sci-fi action film from director Miguel Sapochnik. It is an oddly sadistic film that begins as a fantastic black comedy/drama, loses its way in the second act with well-shot but mindless action and predictable plot elements, yet still finds its way back before the credits roll.
Remy and Jake, played by Jude Law and Forest Whitaker, are both Repo Men for The Union, an alarming combination of loan shark and artificial organ manufacturer. Those unfortunate patients that fall too far behind on their payments have their artificial parts removed and reclaimed, often accompanied by grisly special effects. Through an accident at a routine repossession, Remy ends up needing a new heart. In the process of trying to pay for it, he realizes that he can no longer find the moral ambivalence necessary to take the life of a stranger in order to earn the money to save his own. This film is definitely not for the squeamish, and many scenes were not unlike watching a surgery in progress.
This film will certainly attract more than a nod from those clamoring for universal healthcare in the United States, as well as those railing against corporate greed at the expense of human life. The Union is everything we love to hate in a corporation. Nothing, from duping emotionally compromised patients, to putting profits above all else, to even killing people, is out of bounds for this corporation. It’s uncommon to see corporate evil of this magnitude in a film, and with Liev Schreiber manning the helm, this evil is personified and delivered with such panache that he becomes an enjoyable caricature to watch.
This movie would be nothing without Remy’s path from classic amoral psychopath to redeemed soul, but the journey at times becomes muddy and obscure. Law plays the part somewhat stiffly, but still manages to shine in his interactions with Whitaker and Schreiber. Whitaker, however, is fantastic as Remy’s uncompromisingly unsympathetic partner Jake, who holds on tightly to what he knows and believes, however unprincipled. By the film’s end, Whitaker’s performance as the frustrated partner becomes even more impressive when compared to Law’s movement from perpetrator to victim to agent of retribution.
For years, Remy had no moral compunction against repossessing organs, nearly always from those who will die without them. But when his heart is removed, he suddenly empathizes with the victims of his profession. An odd paradox: that becoming less human can impart more humanity. Remy is both more genuinely alive after receiving his artificial heart, and more certain he will be dead when he can no longer pay. This is the crux of the film, and on this basis a clever story is told about the intersection of making a living, being alive, and the entanglements they create.
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