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Emma @ The Movies (1786 KP) rated Thunder Force (2021) in Movies
May 23, 2021
I love Octavia Spencer's versatility, so a superhero type of film was intriguing, and the combination of her and Melissa McCarthy felt right. Then they throw in Bobby Cannavale and Jason Bateman too? There appears to be a lot to love about this film.
Lydia and Emily, once the best of friends, are brought back together by a school reunion. But things take a turn as the serum devised by Emily to help their city ends up accidentally changing their lives in a way they hadn't planned for.
We start with a wonderful comic book opening that give a very succinct review of how the whole has shaped the tale we're about to hear. That then drops us into Lydia and Emily's friendship. I really did enjoy this part, and the young Lydia's were particularly good. It gave a solid start to the film and I was feeling optimistic about what was to come after having enjoyed the trailer.
But at this point it starts to show a few issues.
Grown-up Emily (Spencer) feels a little inconsistent. She's reserved initially but it fluctuates a lot throughout, which doesn't feel right for a woman in her position.
Lydia seemed to be much more believable, and the outlandish behaviour was quite amusing while still cementing the caring person that she is, and what we can expect from her going forward.
Spencer and McCarthy do work well together, and the back and forth when it's there is really good, but Emily is never as strong in scenes that they share.
Bobby Cannavale as The King makes an excellent baddie, and Pom Klementieff as a henchwoman is too. They're backed by some wonderfully comedic "muscle", and as a team they work well together. But... while every character is a little quirky, The Crab is where my problems begin. Jason Bateman acts well during the "serious" scenes, but the humour that is attached to his character just didn't land. I was pleased they added in crab-like characteristics, but its amusement was short-lived.
The main problem with the humour in Thunder Force is something I see in other Melissa McCarthy films. It rushes up to the line of going too far, stops briefly, and the crab scuttles straight across it and far off into the distance. Why make one joke when you can make five in a row? This is particularly evident in Lydia and The Crab's interactions, and its repetition became a little tiresome.
The script didn't just mess with these characters, it also ruined a perfectly good (though mildly inexplicable) scene where The King and Laser come face to face with Lydia and Emily. It was going so well and then it jumped over that line. It does do some good things though. There's an ongoing joke with Lydia and her training that did land well every time, and it had some lovely moments of bonding with Tracy and Lydia. How all these things made it into the same film I don't know.
My time watching this didn't feel wasted, but I don't think I'd need to watch it again anytime soon. And that's a shame, because there's a really good film hiding in Thunder Force.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/05/thunder-force-movie-review.html
Lydia and Emily, once the best of friends, are brought back together by a school reunion. But things take a turn as the serum devised by Emily to help their city ends up accidentally changing their lives in a way they hadn't planned for.
We start with a wonderful comic book opening that give a very succinct review of how the whole has shaped the tale we're about to hear. That then drops us into Lydia and Emily's friendship. I really did enjoy this part, and the young Lydia's were particularly good. It gave a solid start to the film and I was feeling optimistic about what was to come after having enjoyed the trailer.
But at this point it starts to show a few issues.
Grown-up Emily (Spencer) feels a little inconsistent. She's reserved initially but it fluctuates a lot throughout, which doesn't feel right for a woman in her position.
Lydia seemed to be much more believable, and the outlandish behaviour was quite amusing while still cementing the caring person that she is, and what we can expect from her going forward.
Spencer and McCarthy do work well together, and the back and forth when it's there is really good, but Emily is never as strong in scenes that they share.
Bobby Cannavale as The King makes an excellent baddie, and Pom Klementieff as a henchwoman is too. They're backed by some wonderfully comedic "muscle", and as a team they work well together. But... while every character is a little quirky, The Crab is where my problems begin. Jason Bateman acts well during the "serious" scenes, but the humour that is attached to his character just didn't land. I was pleased they added in crab-like characteristics, but its amusement was short-lived.
The main problem with the humour in Thunder Force is something I see in other Melissa McCarthy films. It rushes up to the line of going too far, stops briefly, and the crab scuttles straight across it and far off into the distance. Why make one joke when you can make five in a row? This is particularly evident in Lydia and The Crab's interactions, and its repetition became a little tiresome.
The script didn't just mess with these characters, it also ruined a perfectly good (though mildly inexplicable) scene where The King and Laser come face to face with Lydia and Emily. It was going so well and then it jumped over that line. It does do some good things though. There's an ongoing joke with Lydia and her training that did land well every time, and it had some lovely moments of bonding with Tracy and Lydia. How all these things made it into the same film I don't know.
My time watching this didn't feel wasted, but I don't think I'd need to watch it again anytime soon. And that's a shame, because there's a really good film hiding in Thunder Force.
Originally posted on: https://emmaatthemovies.blogspot.com/2021/05/thunder-force-movie-review.html
Kristy H (1252 KP) rated Trouble Girls in Books
Jun 3, 2021
A queer Thelma & Louise that doesn't live up to its potential
High school best friends Trixie and Lux are headed for a much-needed weekend getaway. Trixie needs to forget about her depressing waitress job, where all the men are "hogs" and her sick mom, and Lux needs to escape her overbearing dad. But a horrific night of violence changes everything and Trixie and Lux find themselves fugitives, running away from their tiny West Virginia town and everything they've ever known. Before they know it, they are wanted by the police, their faces splashed across social media. The girls are scared and horrified--on an unplanned road trip where the only thing they can count on is each other.
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
The premise of this book sounded amazing -- a queer "Thelma & Louise." Unfortunately, it all fell apart for me. Rather than being a #MeToo rallying cry, this was a depressing and stressful read, featuring two teens who make a bunch of stupid and ill-fated decisions.
I definitely understand the overall idea for TROUBLE GIRLS and even why Trixie and Lux run, afraid that no one will believe their story. But the choices they make along the way--spending their money on junk, not trusting each other, stealing and lying... and everything else. It's maddening. They do not act like two smart girls on the run, but two idiots who do not believe in one another. Trixie's infatuation with Lux clouds everything, and Lux comes across as this adored princess with no real personality of her own.
We're (eventually) told a bit of Trixie's backstory, including why we have to read the word "hog" in what feels like every other darn sentence, but the character development here is severely lacking. Trixie has a sick mom and a dark secret. Lux... likes makeup and her camera? I think this story would have would worked so much more if we knew how and why these two teens ticked. Why, exactly, was Trixie so in love with Lux? How exactly did Lux feel back? There's a weird switch that turns at some point in the book, and it made no sense to me. If you're going to give me a queer story, give me queer characters who truly feel for one another and whose love is based in reality.
Trixie and Lux's story is supposed to have a #MeToo angle to it, and it does, in some ways, but this was not a #MeToo anthem to me. It's two girls running away, trying to figure out maps on the back roads, and making poor decisions as they flee what they've done. While, again, I understand why they run, the story I wanted to read was Trixie and Lux returning to Blue Bottle and fighting along side the Intersectional Feminist Union and the other women they supposedly "rally" with a few misplaced social media posts. It was these women and Judy, Trixie's co-worker back home, whose life I wanted to know about--I would have enjoyed that book much more!
Overall, this book can tug at your heart strings, but also frustrate you to no end. There was much to its overall premise, but most of it did not work for me. 2.5 stars (Trigger warning: sexual assault, rape)
Joe Goodhart (27 KP) rated Phoenix Resurrection: The Return of Jean Grey in Books
Nov 30, 2020
So, confession time, I had bought this on a Comixology sale a couple months before the whole "Death of the X-Men", etc., etc. I was not really following the recent X-debacles, but I am a Jean Grey fan from way (like when the whole "Dark Phoenix Saga" was coming out for the first time. Yeah, I'm OLD! lol) and well, I had pretty high hopes, y'know?
Unfortunately, I could not get into it at the time. Mind you, this was all pre-"Dawn of X"; as I am starting a big "Dawn of X" re-visit from HoX/PoX up to present, only without the dumpster fire that was FALLEN ANGELS, it made sense to try this one again! And, as I read it all in one afternoon, it's needless to say, but I am hella glad I did!
---
When I started reading it at first, I was apprehensive, as I saw some of Bendis' O5 X-Men were in it. It would appear my "apprehensive[ness]" was not really necessary as the O5 members included really had no memorable role to the story.
Matthew Rosenberg is an author's name I had heard in passing but had never had an occasion to read anything he'd written. Before embarking on this tale, I read Rosenberg's NEW MUTANTS: DEAD SOULS, giving me a taste (which I liked despite the unresolved cliffhanger ending) of his writing style and how he would handle writing for mutants.
I really liked his treatment of the characters! Beast felt in character, as did nearly everyone else. Even Old Man Logan, who was a great character in Millar's miniseries but who felt like a guest who didn't really know when to go home, was quite likable, bringing some real feels to the story, and the story's ending.
Do I think this was the worst way to bring back Jean? Good Lord, no! There have been a few other occasions over the years, which were closer to that notion! But this story? Yeah, it made sense (like <b>that</b> ever happens in comics!), giving Jean a return that felt proper as well as some genuine caring for her character's history as a whole!
And how about that art? WOW! I am not what you'd call a fan of Leinil Francis Yu's art style, finding it to be too "sketchy" at times. However, in the issues he turned in (Issues 1 and 5) were unlike any I had ever seen him draw before! While the other issues from Carlos Pacheco (Issue 2)Illustrator), Ramon Rosanas (Issue 4) and Joe Bennett (Issue 3 and Issue 5, alongside Yu) all seemed to tie together perfectly, never once swaying in art style, helping the story to remain visually consistent for all five of the issues of the the mini-series!
At the end of the day, I can find very little, if anything, to gripe about with PHOENIX RESURRECTION: THE RETURN OF JEAN GREY! It's a solid story that is all about characters we have grown up with and loved, as well as more than hearty helping of the feels! And, really, at the end of the day, isn't that what it's all about anyway?
Peace.
Unfortunately, I could not get into it at the time. Mind you, this was all pre-"Dawn of X"; as I am starting a big "Dawn of X" re-visit from HoX/PoX up to present, only without the dumpster fire that was FALLEN ANGELS, it made sense to try this one again! And, as I read it all in one afternoon, it's needless to say, but I am hella glad I did!
---
When I started reading it at first, I was apprehensive, as I saw some of Bendis' O5 X-Men were in it. It would appear my "apprehensive[ness]" was not really necessary as the O5 members included really had no memorable role to the story.
Matthew Rosenberg is an author's name I had heard in passing but had never had an occasion to read anything he'd written. Before embarking on this tale, I read Rosenberg's NEW MUTANTS: DEAD SOULS, giving me a taste (which I liked despite the unresolved cliffhanger ending) of his writing style and how he would handle writing for mutants.
I really liked his treatment of the characters! Beast felt in character, as did nearly everyone else. Even Old Man Logan, who was a great character in Millar's miniseries but who felt like a guest who didn't really know when to go home, was quite likable, bringing some real feels to the story, and the story's ending.
Do I think this was the worst way to bring back Jean? Good Lord, no! There have been a few other occasions over the years, which were closer to that notion! But this story? Yeah, it made sense (like <b>that</b> ever happens in comics!), giving Jean a return that felt proper as well as some genuine caring for her character's history as a whole!
And how about that art? WOW! I am not what you'd call a fan of Leinil Francis Yu's art style, finding it to be too "sketchy" at times. However, in the issues he turned in (Issues 1 and 5) were unlike any I had ever seen him draw before! While the other issues from Carlos Pacheco (Issue 2)Illustrator), Ramon Rosanas (Issue 4) and Joe Bennett (Issue 3 and Issue 5, alongside Yu) all seemed to tie together perfectly, never once swaying in art style, helping the story to remain visually consistent for all five of the issues of the the mini-series!
At the end of the day, I can find very little, if anything, to gripe about with PHOENIX RESURRECTION: THE RETURN OF JEAN GREY! It's a solid story that is all about characters we have grown up with and loved, as well as more than hearty helping of the feels! And, really, at the end of the day, isn't that what it's all about anyway?
Peace.
Lottie disney bookworm (1056 KP) rated So This is Love in Books
May 16, 2020
Never has a title of a book made me sing one verse over and over (and over) again. Seriously, I have been wandering around the house humming “So this is love” so much my husband probably thinks I have got myself a new fella!
‘So This is Love’ is the latest in the Disney Twisted Tale series and has been eagerly awaited by yours truly. The latest novel, by Elizabeth Lim (who also wrote the Mulan inspired tale ‘Reflection’) explores what would happen to the classic Cinderella tale if Cinders did not try on the glass slipper for the Grand Duke and scamper off towards her happily ever after. How would Cinderella fare if a dramatic stand off resulted in the remaining slipper shattering into a million pieces?
However, it is not, as you may suspect, Lady Tremaine who smashes the second glass slipper but Cinders herself. Lim’s Cinderella has her head firmly on her shoulders and is all too aware what the power of possessing this shoe may mean to herself, the Prince and the kingdom if it fell into the greedy hands of her relatives. Thus, in an act of bravery, she destroys her ticket to a happily ever after and faces the wrath of her stepmother in the process.
This is the first point in the twisted tale where we see a completely different Cinderella than we have ever seen before. After a dramatic turn of events Cinderella leaves her family home for good and finds herself at risk of a life living on the streets. However, Elizabeth Lim has not abandoned all aspects of a fairy tale: a chance encounter and a new friend present Cinders with the opportunity to find work within the palace where she once danced the night away.
In my opinion, the traditional Cinderella would go running straight to the Prince, explain her story, rely on her beautiful face and live happily ever after. Thankfully for the realists amongst us, our twisted tale Cinderella agonises over the possibility that the Prince is more in love with the idea of the “runaway princess”: she decides that their relationship would never work and that she should focus on her career and creating an independent life for herself.
This was such a refreshing character trait: I loved the fact that, although Elizabeth Lim did not change the time period of the novel, she modernised the main character into a young woman who does not need rescuing. Quite the opposite, as Cinderella soon finds herself witnessing corruption within the palace: can this Disney Princess become a hero and save the kingdom?
Lim’s Cinderella is truly a modern role model: she is resilient, sometimes stubborn but altogether kind and most importantly, she faces her fears despite overwhelming periods of anxiety in some of the most emotive and beautifully written pieces I have read in a long time.
In an Instagram post to Elizabeth Lim (@elimpix) I told her that this Cinderella is the version I would prefer my boys to chase after. However, on reflection that isn’t true. This Cinderella doesn’t deserve to be chased and hunted down in order to fit into a pretty shoe. This Cinderella is a partner in every aspect: working for the good of the kingdom and a ruler in her own right. This is the Cinderella I would want my boys to be worthy of.
‘So This is Love’ is the latest in the Disney Twisted Tale series and has been eagerly awaited by yours truly. The latest novel, by Elizabeth Lim (who also wrote the Mulan inspired tale ‘Reflection’) explores what would happen to the classic Cinderella tale if Cinders did not try on the glass slipper for the Grand Duke and scamper off towards her happily ever after. How would Cinderella fare if a dramatic stand off resulted in the remaining slipper shattering into a million pieces?
However, it is not, as you may suspect, Lady Tremaine who smashes the second glass slipper but Cinders herself. Lim’s Cinderella has her head firmly on her shoulders and is all too aware what the power of possessing this shoe may mean to herself, the Prince and the kingdom if it fell into the greedy hands of her relatives. Thus, in an act of bravery, she destroys her ticket to a happily ever after and faces the wrath of her stepmother in the process.
This is the first point in the twisted tale where we see a completely different Cinderella than we have ever seen before. After a dramatic turn of events Cinderella leaves her family home for good and finds herself at risk of a life living on the streets. However, Elizabeth Lim has not abandoned all aspects of a fairy tale: a chance encounter and a new friend present Cinders with the opportunity to find work within the palace where she once danced the night away.
In my opinion, the traditional Cinderella would go running straight to the Prince, explain her story, rely on her beautiful face and live happily ever after. Thankfully for the realists amongst us, our twisted tale Cinderella agonises over the possibility that the Prince is more in love with the idea of the “runaway princess”: she decides that their relationship would never work and that she should focus on her career and creating an independent life for herself.
This was such a refreshing character trait: I loved the fact that, although Elizabeth Lim did not change the time period of the novel, she modernised the main character into a young woman who does not need rescuing. Quite the opposite, as Cinderella soon finds herself witnessing corruption within the palace: can this Disney Princess become a hero and save the kingdom?
Lim’s Cinderella is truly a modern role model: she is resilient, sometimes stubborn but altogether kind and most importantly, she faces her fears despite overwhelming periods of anxiety in some of the most emotive and beautifully written pieces I have read in a long time.
In an Instagram post to Elizabeth Lim (@elimpix) I told her that this Cinderella is the version I would prefer my boys to chase after. However, on reflection that isn’t true. This Cinderella doesn’t deserve to be chased and hunted down in order to fit into a pretty shoe. This Cinderella is a partner in every aspect: working for the good of the kingdom and a ruler in her own right. This is the Cinderella I would want my boys to be worthy of.
Gareth von Kallenbach (980 KP) rated Spider-Man: Across the Spider-Verse (2023) in Movies
May 31, 2023
Life as a teenager is never easy and when you are gifted with the superhuman abilities of a spider and lead a double life as a student and crime fighter; life gets even harder.
Miles Morales (Shameik Moore) is finding it even harder to hide his secret from his family who has grown concerned that his erratic behavior is more than the usual teenage angst.
In another earth, Gwen Stacy (Hailee Steinfeld) deals with her Police officer father desperately hunting down her alter-ego believing that she is a killer which drives a wedge between them as Gwen desperately tries to find her way forward.
In “Spider-Man Across the Spider-Verse audiences learn that what one perceives as reality is often just the corner of a much larger picture and when Miles confronts what he dismisses as a “Villain of the Week” in a quirky enemy known as The Spot (Jason Schwartzman), starts a campaign against Spider-Man, he soon finds that the threat is much larger than he expected and secretly follows a visiting Gwen into an another Earth where his actions soon draw the attention of a larger temporal Spider squad.
Motivated by his feelings for Gwen and a desire to do good, Miles looks to undo the damage that the Spot is causing across various Earths and learns that each one has its own version of Spider-man or Woman to protect it.
At this point the film goes into overdrive as Miles learns more about his past and how he became Spider-Man but also learns more about the cost that his powers enact on his life and those around him. There are plenty of special moments and guest appearances that follow from the more obscure to the mainstream and the range of emotions from the audience at the press screening as they reacted to the film showed they were deeply engaged and loving it.
The film does take a darker turn and does end in a cliffhanger which sets up the next film very well but also may be a bit darker than younger viewers might want. That being said; I enjoyed this film far more than I did the prior film. I found the animation style a bit off-putting as the jerky way the characters moved was a bit much over the length of a feature film. This time around there is a mix of animation styles throughout and at times in the same frame which may be a bit hard for some as the film does come at the viewer with waves of flashing lights, sounds, and animations that very cleverly mimic reading a comic complete with small boxes to define various characters from time to time.
The film runs nearly two and a half hours and did seem to go on a bit long at times but thanks to the great voice-acting and strong cast as well as engaging storyline I found myself eagerly looking forward to the next film.
I first saw a rough cut of a scene at Cinemacon in 2022 and it was amazing seeing the final scene near the opening of the film as it was a rare instance of a film surpassing expectations and delivers the storyline and action with a good dose of solid characters that fans will love.
4.5 stars out of 5
Miles Morales (Shameik Moore) is finding it even harder to hide his secret from his family who has grown concerned that his erratic behavior is more than the usual teenage angst.
In another earth, Gwen Stacy (Hailee Steinfeld) deals with her Police officer father desperately hunting down her alter-ego believing that she is a killer which drives a wedge between them as Gwen desperately tries to find her way forward.
In “Spider-Man Across the Spider-Verse audiences learn that what one perceives as reality is often just the corner of a much larger picture and when Miles confronts what he dismisses as a “Villain of the Week” in a quirky enemy known as The Spot (Jason Schwartzman), starts a campaign against Spider-Man, he soon finds that the threat is much larger than he expected and secretly follows a visiting Gwen into an another Earth where his actions soon draw the attention of a larger temporal Spider squad.
Motivated by his feelings for Gwen and a desire to do good, Miles looks to undo the damage that the Spot is causing across various Earths and learns that each one has its own version of Spider-man or Woman to protect it.
At this point the film goes into overdrive as Miles learns more about his past and how he became Spider-Man but also learns more about the cost that his powers enact on his life and those around him. There are plenty of special moments and guest appearances that follow from the more obscure to the mainstream and the range of emotions from the audience at the press screening as they reacted to the film showed they were deeply engaged and loving it.
The film does take a darker turn and does end in a cliffhanger which sets up the next film very well but also may be a bit darker than younger viewers might want. That being said; I enjoyed this film far more than I did the prior film. I found the animation style a bit off-putting as the jerky way the characters moved was a bit much over the length of a feature film. This time around there is a mix of animation styles throughout and at times in the same frame which may be a bit hard for some as the film does come at the viewer with waves of flashing lights, sounds, and animations that very cleverly mimic reading a comic complete with small boxes to define various characters from time to time.
The film runs nearly two and a half hours and did seem to go on a bit long at times but thanks to the great voice-acting and strong cast as well as engaging storyline I found myself eagerly looking forward to the next film.
I first saw a rough cut of a scene at Cinemacon in 2022 and it was amazing seeing the final scene near the opening of the film as it was a rare instance of a film surpassing expectations and delivers the storyline and action with a good dose of solid characters that fans will love.
4.5 stars out of 5
Emma @ The Movies (1786 KP) rated Annabelle Comes Home (2019) in Movies
Jun 20, 2020
God help me I don't know why I went to see this.
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
The Warrens have contained Annabelle, her influence is safely blocked by a box crafted from sacred glass and they've locked her up in their artefact room. A year goes by without incident, but when their babysitter's friend visits unannounced, curious and looking for answers, the relative peace of the house is shattered.
Daniela unwittingly unleashes Annabelle's power onto the house and the three of them inside. The spirits in the Warren's basement are gradually escaping and coming out to play.
While me and horror don't mix, I do occasionally like the idea behind some of them. A story about objects with power like Annabelle Comes Home really appealed to me as I'm a fan of this sort of supernatural malarkey. As such, I decided to suck it up and be brave. I'm mainly glad I gave it a go... mainly.
This is the first horror film I have ever seen that has had any effect on me after seeing it. Most I just forget about and move on to the next, Annabelle Comes Home really messed with me though. I got up in the night and when I got back to bed I thought about it for the briefest moment and spent the next hour with the light on scrolling through Pinterest. Even when watching it at the cinema there were genuine moments where I was scared, not just the jumping out of my seat kind. Actually, I was impressed that it didn't just rely on the jump scare as a way of getting to its audience. More movies are doing that these days and it just feels like a very cheap way of trying for horror.
The scares here were much more... subtle... but subtle is absolutely not the right words. What I mean is that they were crafted in a much better and natural way than something popping out and screaming in your face. There is a moment with the bride where the shot genuinely moves so swiftly that it's almost inducing panic in you because you can't quite work out what's happening.
All of the spirits in the house are incredibly well done visually. The Ferryman in particular is very effective, it's amazing how something as simple as the sound of coins can add to the tension. When I said "all" at the beginning of this paragraph I did overstate slightly, there's one exception. Sadly Bob (our bit part love interest) is stuck outside trying to fend off a werewolf. I feel like the chances are high that he was designed for a Scooby Doo movie that was never produced. It's got a slightly cartoonish quality to it and when you add in the excess of rolling fog it becomes the least believable of all the unbelievable things.
Speaking of Bob, as a character, while adorable, does feel out of place as well. But the addition of this lighter storyline probably saved me from having a complete breakdown right in the cinema.
Daniela, the girl who can't read warning labels, left me annoyed. She's curious and looking for answers but it also feels like she's not convinced that the Warrens are for real. Either way, why would you play with the thing that is not only inside a locked room, but inside a locked box inside the locked room and has a very clear sign saying not to open it? Surely the only thing that's inside the box apart from a creepy doll and a chair is eternal damnation.
I thought that Madison Iseman as the babysitter Mary Ellen was a really good call in this. She's incredibly believable throughout and managed not to overact. Let's face it, there's always a strong chance of that in horror.
Finding out that Vera Farmiga and Patrick Wilson were barely in it was extremely disappointing. They're both good actors with a host of top roles under their belts and I'd been looking forward to seeing them on screen together. Once the set up is done though it's over to the younger cast members as Ed and Lorraine Warren go off on a trip. They do appear later in the film, but only after the action's conclusion to participate in the bizarrely conceived ending.
Mckenna Grace managed to deal with some of the creepy moments really well but I didn't feel like there was really much for her to do. Everything was very much guided by Mary Ellen and Daniela, and when she did get a moment on the screen it was swiftly snatched away by something else. Potentially by design I guess, but there wasn't much chance to make the role come alive.
I've not seen any of the other films in this franchise, and honestly, probably won't now. If someone who has could tell me if the others are as formulaic as this one I would appreciate it. I'm not saying formulaic is bad, sometimes knowing what's coming is easier to deal with, I'm sure it really helped me with this film. Near the beginning we have a sequence that gives you a checklist of things to wait for. Would I have stuck it out if I hadn't known what to look out for? Would some of those things scared me enough to leave? We'll never know.
I'm glad I managed to stick with it, the idea had been what really intrigued me and I feel like that came through well. Despite other issues with predictability and characters I actually enjoyed this film.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/07/annabelle-comes-home-movie-review.html
Darren (1599 KP) rated Aloha (2015) in Movies
Jun 20, 2019
Story: Aloha starts Brian Gilcrest (Cooper) who dreams of going into space but his dreams go sour after teaming up with billionaire Carson Welch (Murray) before getting a chance to go back to Hawaii. He is now a representative for Carson due to a war injury who has to deal with his ex-girlfriend Tracy (McAdams) but has to follow orders from captain Allison Ng (Stone), while meeting back up with former friends.
Brian working for Carson as he wants to introduce a space program to Hawaii but first Brian needs to negotiate with the locals. All this while Brian ends up in the middle of a love triangle with Allison and Tracy.
Aloha is a film that just never pulled my attention, be it the bland characters slow moving love triangle or whatever Carson was meant to be doing. I personally am not sure what was meant to be happening, everything that did happen just seemed to be very slow moving and offering nothing to really root for. You simply jut didn’t care what was happening. (2/10)
Actor Review
Bradley Cooper: Brain is an injured war veteran who has sided with billionaire Carson to look into making space travel happen, he has to return to Hawaii where he ends up having to see his ex-girlfriend and be followed around by the golden soldier of the local military. He is here to help create a deal to make space travel in Hawaii. Bradley gives a very average performance not getting a chance to show his real talent. (5/10)brian
Emma Stone: Allison is the most prized soldier of General Dixon who has to show Brian around, she admires him and doesn’t want you to forget she is a quarter Hawaii. While many people criticised the character created she was one of the better things in this film. (6/10)allison
Rachel McAdams: Tracy is the ex-girlfriend of Brian who lives on Hawaii with her new husband and family, when the two get to spend time together they get the closure they never really got. Rachel gives a plain performance that really doesn’t seem to do much. (4/10)
Bill Murray: Carson is the billionaire who is looking to make his own space program on the island of Hawaii and he give Brian one last chance to prove himself to him. Bill tries to bring his quirkiness to this role without really pulling it off. (5/10)
Support Cast: Aloha has the standard attempted comedic actors trying to pull this off but they had little to work with.
Director Review: Cameron Crowe – Cameron has given us some great films in the past but now he has managed to give us his worst. (2/10)
Comedy: Aloha doesn’t have many laughs at all can hardly be called a comedy. (2/10)
Romance: Aloha tries to give us an engaging love triangle but doesn’t really succeed to make us care enough. (3/10)
Settings: Aloha tries to give our location something special with the idea of putting it all on Hawaii for the beautiful setting and doesn’t even get that right. (3/10)
Suggestion: Aloha is one too miss this year, if anyone says to watch just say no. (Just Say No)
Best Part: The end.
Worst Part: It is over an Hour and half.
Funniest Scene: Woody and Brian’s ‘Conversation’.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Please God No.
Post Credits Scene: I didn’t both to look.
Oscar Chances: No
Box Office: $20 Million
Budget: $37 Million
Runtime: 1 Hour 45 Minutes
Tagline: Sometimes you have to say goodbye before you can say hello.
Overall: Just watch paint dry it will be more entertaining.
https://moviesreview101.com/2015/11/07/emma-stone-weekend-aloha-2015/
Brian working for Carson as he wants to introduce a space program to Hawaii but first Brian needs to negotiate with the locals. All this while Brian ends up in the middle of a love triangle with Allison and Tracy.
Aloha is a film that just never pulled my attention, be it the bland characters slow moving love triangle or whatever Carson was meant to be doing. I personally am not sure what was meant to be happening, everything that did happen just seemed to be very slow moving and offering nothing to really root for. You simply jut didn’t care what was happening. (2/10)
Actor Review
Bradley Cooper: Brain is an injured war veteran who has sided with billionaire Carson to look into making space travel happen, he has to return to Hawaii where he ends up having to see his ex-girlfriend and be followed around by the golden soldier of the local military. He is here to help create a deal to make space travel in Hawaii. Bradley gives a very average performance not getting a chance to show his real talent. (5/10)brian
Emma Stone: Allison is the most prized soldier of General Dixon who has to show Brian around, she admires him and doesn’t want you to forget she is a quarter Hawaii. While many people criticised the character created she was one of the better things in this film. (6/10)allison
Rachel McAdams: Tracy is the ex-girlfriend of Brian who lives on Hawaii with her new husband and family, when the two get to spend time together they get the closure they never really got. Rachel gives a plain performance that really doesn’t seem to do much. (4/10)
Bill Murray: Carson is the billionaire who is looking to make his own space program on the island of Hawaii and he give Brian one last chance to prove himself to him. Bill tries to bring his quirkiness to this role without really pulling it off. (5/10)
Support Cast: Aloha has the standard attempted comedic actors trying to pull this off but they had little to work with.
Director Review: Cameron Crowe – Cameron has given us some great films in the past but now he has managed to give us his worst. (2/10)
Comedy: Aloha doesn’t have many laughs at all can hardly be called a comedy. (2/10)
Romance: Aloha tries to give us an engaging love triangle but doesn’t really succeed to make us care enough. (3/10)
Settings: Aloha tries to give our location something special with the idea of putting it all on Hawaii for the beautiful setting and doesn’t even get that right. (3/10)
Suggestion: Aloha is one too miss this year, if anyone says to watch just say no. (Just Say No)
Best Part: The end.
Worst Part: It is over an Hour and half.
Funniest Scene: Woody and Brian’s ‘Conversation’.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: Please God No.
Post Credits Scene: I didn’t both to look.
Oscar Chances: No
Box Office: $20 Million
Budget: $37 Million
Runtime: 1 Hour 45 Minutes
Tagline: Sometimes you have to say goodbye before you can say hello.
Overall: Just watch paint dry it will be more entertaining.
https://moviesreview101.com/2015/11/07/emma-stone-weekend-aloha-2015/
Emma @ The Movies (1786 KP) rated The Goldfinch (2019) in Movies
Nov 7, 2019
Theo Decker's life is changed forever when a terrorist attack on the Metropolitan Museum of Art destroys everything he holds dear. In the debris he finds a man who pleads with him to take his ring and go to a shop, the last words before he dies.
After leaving the museum he is brough to the home of the Barbours, the only place he seems to be able to think of and they take him in rather than see him become part of the system.
Things should slowly be getting back on track for Theo but the ring wasn't the only thing he took from the museum, in his possession he has The Goldfinch, a priceless painting that will have a hold on him his whole life.
Much like the book the film is not for the faint hearted, 880 pages has become 2 hours and 29 minutes on screen. You could probably cut another chunk off this but that change would inevitable mess with the pace, which I don't think would suit the story all that well.
I wrote a lot of notes as I sat in this film and I've had to reread them all because I can remember the film/story but I can't remember anything about how I felt about it. I left myself a handy note though... "I am incredibly bored by this."
I know that I will never make it through the book, even before the film it wouldn't have been a possibility, but I would like to know what amendments were made to cram the story into that relatively small time frame.
The thing that threw me was Luke Wilson, I don't think I've ever seen him in a dramatic role before, plenty of comedy that I really enjoy but no drama. I can't say this made me want to watch him in this sort of role again. I didn't find him convincing as Theo's dad Larry, at least not convincingly through the film. Alongside him there's Sarah Paulson, she's a great actress but I felt that (while entertaining) her show of Xandra was too over the top for a film with this tone.
Nicole Kidman always brings a character to life and this was no exception but I found the relationship between Mrs Barbour and the kids, particularly Theo, to be confusing and difficult to navigate.
Where do I start with Ansel Elgort... I saw him in Baby Driver, I wasn't a fan, I watched him in this and I wanted to see something better, I don't feel like I got that. Even with the restrained characters actors can still give the role a little glimpse of something to click with but I don't get that from Elgort. There was the briefest flicker when he's confronted by a customer but soon enough it was back to the base level.
On the plus side I found the younger incarnation of Theo, Oakes Fegley, to be very engaging on screen. He worked well with the others and added something a little lighter to the heavy aspects of the film. He worked particularly well with Finn Wolfhard as Boris, though that's another part of the film that stuck out as strange and seemed to hold little meaning other than to allow for the ending to come together.
I'm sure that this is for someone out there, that person was not me though. While it did have a few touching moments here and there I just couldn't make it past the long run time and the slow story.
What you should do
I would only recommend this to people who have read the book.
Movie thing you wish you could take home
A large antiques store to explore.
After leaving the museum he is brough to the home of the Barbours, the only place he seems to be able to think of and they take him in rather than see him become part of the system.
Things should slowly be getting back on track for Theo but the ring wasn't the only thing he took from the museum, in his possession he has The Goldfinch, a priceless painting that will have a hold on him his whole life.
Much like the book the film is not for the faint hearted, 880 pages has become 2 hours and 29 minutes on screen. You could probably cut another chunk off this but that change would inevitable mess with the pace, which I don't think would suit the story all that well.
I wrote a lot of notes as I sat in this film and I've had to reread them all because I can remember the film/story but I can't remember anything about how I felt about it. I left myself a handy note though... "I am incredibly bored by this."
I know that I will never make it through the book, even before the film it wouldn't have been a possibility, but I would like to know what amendments were made to cram the story into that relatively small time frame.
The thing that threw me was Luke Wilson, I don't think I've ever seen him in a dramatic role before, plenty of comedy that I really enjoy but no drama. I can't say this made me want to watch him in this sort of role again. I didn't find him convincing as Theo's dad Larry, at least not convincingly through the film. Alongside him there's Sarah Paulson, she's a great actress but I felt that (while entertaining) her show of Xandra was too over the top for a film with this tone.
Nicole Kidman always brings a character to life and this was no exception but I found the relationship between Mrs Barbour and the kids, particularly Theo, to be confusing and difficult to navigate.
Where do I start with Ansel Elgort... I saw him in Baby Driver, I wasn't a fan, I watched him in this and I wanted to see something better, I don't feel like I got that. Even with the restrained characters actors can still give the role a little glimpse of something to click with but I don't get that from Elgort. There was the briefest flicker when he's confronted by a customer but soon enough it was back to the base level.
On the plus side I found the younger incarnation of Theo, Oakes Fegley, to be very engaging on screen. He worked well with the others and added something a little lighter to the heavy aspects of the film. He worked particularly well with Finn Wolfhard as Boris, though that's another part of the film that stuck out as strange and seemed to hold little meaning other than to allow for the ending to come together.
I'm sure that this is for someone out there, that person was not me though. While it did have a few touching moments here and there I just couldn't make it past the long run time and the slow story.
What you should do
I would only recommend this to people who have read the book.
Movie thing you wish you could take home
A large antiques store to explore.
Emma @ The Movies (1786 KP) rated Downhill (2020) in Movies
Mar 8, 2020
I'm not going to lie, the trailer did not look good. I went in expecting something that would hopefully be mildly amusing to pass the time before seeing The Invisible Man, thank goodness I saw this one first, ending my double bill with this would have been heart-breaking.
Pete and Billie are taking their two boys away for a skiing trip, things have been tough recently and they all need a chance to unwind. When a controlled explosion on the slopes gets a little too close for comfort the family are shaken. When the snow settles Billie, who instinctively went to protect her sons looks around and Pete is nowhere to be seen. Tensions run high between the could and they both start to wonder what the situation means for their family.
Let me first state that this is a confused mess of genre, I think that was clear even in the trailer, but it became more evident as I sat through the film. It isn't funny enough to be comedy and it's trying so hard to be comedy that it misses drama.
This could turn into a bitch fest if I let it but there are some good points I would like to mention (while I'm not angry at this film).
Both Julia Louis-Dreyfus and Will Ferrell get to have moments that are actually quite moving. In the trailer we see Billie relaying their story to their friends, that complete scene you can tell that Louis-Dreyfus is digging deep for that emotion and it comes through incredibly well. Ferrell, when he finally gets to open up about the event felt very sincere, though he does manage to get upstaged by Billie seconds later.
The setting is obviously very picturesque and they do a great job of showing the contrast between the two different resorts, there are quite a lot of clips of skiing that feel like stock footage and somehow feel out of place with whatever genre this film was. The snow footage that really excited me was that initial avalanche early on, for the briefest moment I thought I'd misjudged the film (it was a fleeting feeling). The rush of the snow, the sound and the reaction of the people on the deck really made for a tense moment.
I'm at a loss for anything apart from that thought. I think I vaguely remember laughing at one point, or more accurately, exhaling slightly more vigorously than normal, but I couldn't tell you which bit that was. The guy across the aisle from me (who arrived nearly 20 minutes late) was roaring with laughter... I just couldn't see any of it. None of the jokes landed and the one character who seemed to only be there for comedic effect was so over the top that it just became annoying.
Will Ferrell's movie career is an interesting thing to scroll through, it has a lot of films you've heard of, most of which I just kind of go "meh" at and will never see again. I honestly don't think I've enjoyed one of his films since Old School. Downhill is sadly no different. I had hoped that this might have been interestingly different with its drama aspect but there was nothing to dig it out of that avalanche.
Julia Louis-Dreyfus wasn't bad, I think mainly because her character wasn't overly burdened with any of the comic stuff to do. A lot of her role was serious and that really helped. But with the film feeling so mediocre/bad around her most of the good acting was lost.
If you can find the good in this film then I'm really pleased for you, but I was left confused and somewhat down about what I'd seen.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/downhill-movie-review.html
Pete and Billie are taking their two boys away for a skiing trip, things have been tough recently and they all need a chance to unwind. When a controlled explosion on the slopes gets a little too close for comfort the family are shaken. When the snow settles Billie, who instinctively went to protect her sons looks around and Pete is nowhere to be seen. Tensions run high between the could and they both start to wonder what the situation means for their family.
Let me first state that this is a confused mess of genre, I think that was clear even in the trailer, but it became more evident as I sat through the film. It isn't funny enough to be comedy and it's trying so hard to be comedy that it misses drama.
This could turn into a bitch fest if I let it but there are some good points I would like to mention (while I'm not angry at this film).
Both Julia Louis-Dreyfus and Will Ferrell get to have moments that are actually quite moving. In the trailer we see Billie relaying their story to their friends, that complete scene you can tell that Louis-Dreyfus is digging deep for that emotion and it comes through incredibly well. Ferrell, when he finally gets to open up about the event felt very sincere, though he does manage to get upstaged by Billie seconds later.
The setting is obviously very picturesque and they do a great job of showing the contrast between the two different resorts, there are quite a lot of clips of skiing that feel like stock footage and somehow feel out of place with whatever genre this film was. The snow footage that really excited me was that initial avalanche early on, for the briefest moment I thought I'd misjudged the film (it was a fleeting feeling). The rush of the snow, the sound and the reaction of the people on the deck really made for a tense moment.
I'm at a loss for anything apart from that thought. I think I vaguely remember laughing at one point, or more accurately, exhaling slightly more vigorously than normal, but I couldn't tell you which bit that was. The guy across the aisle from me (who arrived nearly 20 minutes late) was roaring with laughter... I just couldn't see any of it. None of the jokes landed and the one character who seemed to only be there for comedic effect was so over the top that it just became annoying.
Will Ferrell's movie career is an interesting thing to scroll through, it has a lot of films you've heard of, most of which I just kind of go "meh" at and will never see again. I honestly don't think I've enjoyed one of his films since Old School. Downhill is sadly no different. I had hoped that this might have been interestingly different with its drama aspect but there was nothing to dig it out of that avalanche.
Julia Louis-Dreyfus wasn't bad, I think mainly because her character wasn't overly burdened with any of the comic stuff to do. A lot of her role was serious and that really helped. But with the film feeling so mediocre/bad around her most of the good acting was lost.
If you can find the good in this film then I'm really pleased for you, but I was left confused and somewhat down about what I'd seen.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/downhill-movie-review.html
Kristy H (1252 KP) rated Never Look Back in Books
Sep 2, 2019
For Quentin Garrison, his podcast, entitled Closure, is truly about just that--closure. It centers on a series of murders in the 1970s committed by teens Gabriel LeRoy and April Cooper. The victims included Quentin's mother's little sister and his grandmother. As a result, Quentin has spent most of his life raised by a neglectful, drug addict mom. For Robin Diamond, a columnist, the podcast causes only confusion. When Quentin contacts her about it, asking specifically about April Cooper and tying her to Robin's own mother, Robin is bewildered. But the more she delves into the murders, the more she starts to wonder. Then there's a terrible home invasion at her parent's house, killing her father and leaving her mom unconscious. What exactly happened back in the '70s--and, now, in the home invasion?
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.