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Annie Chanse (15 KP) rated Shadows & Dreams in Books
Dec 19, 2017
Review** spoiler alert ** *Warning: contains spoilers, bad words, and quite a long rant*
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
Kirk Bage (1775 KP) rated Roma (2018) in Movies
Mar 2, 2020 (Updated Mar 3, 2020)
I watched Roma exactly a week ago today. And although I knew 20 minutes in that I loved it, and at the end that I really loved it, I have taken that time to let it settle within me in before coming to write about it. Some films are so good that you have to do that: let it sink into you fully, before doing anything so trivial as judging and comparing them. Roma is incomparable! I have never seen anything like it, or felt as deeply moved by a film in a long time.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
pheebs (3 KP) rated Simon vs. the Homo Sapiens Agenda in Books
Nov 23, 2017
The plot is progressive and thoroughly entertaining. (1 more)
The main character is a big fan of musical theatre, stars in Oliver (a play that I love)
Hands down the best biscuit is an oreo
Synopsis:Simon Spier is sixteen and trying to work out who he is – and what hes looking for. But when one of his emails to the very distracting blue falls into the wrong hands, things get all kinds of complicated. Because for Simon, falling for Blue is a big deal.
‘The love child of John Green and Rainbow Rowell’ – Teen Vogue
“The best kind of love story.”—Alex Sanchez, Lambda Award-winning author of Rainbow Boys and Boyfriends with Girlfriends
This book is a whirlwind of emotions, as soon as I finished scouring its pages I felt as if I had to read the book all over again, I did then abruptly lent it to a friend who found it just as amazing as I did. It’s a heartfelt story which really seems to capture the essence of being a teen in modern-day society, dealing with our problems, our worries, our trials and tribulations.
The main character is Simon, a boy who is finding life hard, with an overly happy family who like to be very involved and love to talk openly about their feelings, something that Simon is finding increasingly hard more specifically with his sexual preferences. The protagonist of the story is an unlikely fellow who creates dilemmas in Simon’s mind as he wishes to save his previous ‘Blue’. Simon is surrounded by bountiful characters that link smoothly into to his life an thoughts in a normal manner. We learn about his family through his fond memories and thoughts as well as the conversations they exchange in the book, the same can be said for his closest friends. He has three friends that stand out as more prominent characters, the book also focuses on how his relations with them change and how it affects them.
The book is written in a subjective narrative, it tells us only the information that Simon knows so that we know no more or less than him, equating to us having a possibly bias view towards certain characters, thus once again making it more realistic. It deals with problems that teens struggling with their sexuality in day-to-day life face both in the real world and the cyber one. It reveals to us just how hard it is to control information that gets leaked out onto the internet, how fast it can spread and change your life in the ‘real’ world. Your life can be drastically altered by a few words and a persons malicious intentions and this book helps prove just how down heartening it can be as well as focusing on the light at the other end of the tunnel.
All of the characters play great roles in Simon’s life, he lives in a very open family so he feels as if he is keeping something terrible from them especially with of hand comments that his fathers sometimes makes. We read about different things in his life that he loves such as drama, as he attends school play rehearsals often.he deals with the struggles of maintaining friendships under pressure.
I would recommend this book to anyone no matter their age, race, gender or sexual preference. It’s a romantic coming of age comedy that warms me to my toes making me wanting to keep reading over and over again (as I have done many a time). If you liked ‘Will Grayson, Will Grayson’ by John Green and David Levithan then you will most definitely enjoy this book.
‘The love child of John Green and Rainbow Rowell’ – Teen Vogue
“The best kind of love story.”—Alex Sanchez, Lambda Award-winning author of Rainbow Boys and Boyfriends with Girlfriends
This book is a whirlwind of emotions, as soon as I finished scouring its pages I felt as if I had to read the book all over again, I did then abruptly lent it to a friend who found it just as amazing as I did. It’s a heartfelt story which really seems to capture the essence of being a teen in modern-day society, dealing with our problems, our worries, our trials and tribulations.
The main character is Simon, a boy who is finding life hard, with an overly happy family who like to be very involved and love to talk openly about their feelings, something that Simon is finding increasingly hard more specifically with his sexual preferences. The protagonist of the story is an unlikely fellow who creates dilemmas in Simon’s mind as he wishes to save his previous ‘Blue’. Simon is surrounded by bountiful characters that link smoothly into to his life an thoughts in a normal manner. We learn about his family through his fond memories and thoughts as well as the conversations they exchange in the book, the same can be said for his closest friends. He has three friends that stand out as more prominent characters, the book also focuses on how his relations with them change and how it affects them.
The book is written in a subjective narrative, it tells us only the information that Simon knows so that we know no more or less than him, equating to us having a possibly bias view towards certain characters, thus once again making it more realistic. It deals with problems that teens struggling with their sexuality in day-to-day life face both in the real world and the cyber one. It reveals to us just how hard it is to control information that gets leaked out onto the internet, how fast it can spread and change your life in the ‘real’ world. Your life can be drastically altered by a few words and a persons malicious intentions and this book helps prove just how down heartening it can be as well as focusing on the light at the other end of the tunnel.
All of the characters play great roles in Simon’s life, he lives in a very open family so he feels as if he is keeping something terrible from them especially with of hand comments that his fathers sometimes makes. We read about different things in his life that he loves such as drama, as he attends school play rehearsals often.he deals with the struggles of maintaining friendships under pressure.
I would recommend this book to anyone no matter their age, race, gender or sexual preference. It’s a romantic coming of age comedy that warms me to my toes making me wanting to keep reading over and over again (as I have done many a time). If you liked ‘Will Grayson, Will Grayson’ by John Green and David Levithan then you will most definitely enjoy this book.
Sutton and Ethan Montclair had the ideal life--a beautiful marriage, a gorgeous house, successful writing careers, and a beautiful baby son. But with the death of their baby, Dashiell, things started to crumble. Peering into the cracks, it was clear that Ethan's career isn't going well and Sutton was depressed and broken after Dashiell's death. So when Ethan wakes up and finds a note from Sutton telling him that she's left and not to look for her, he doesn't know what to think. Did she really run off, leaving her phone, laptop, credit cards, and ID behind? Or did something more sinister happen? As for Ethan and Sutton's friends--and the police--they quickly start to wonder if the something sinister is Ethan.
So in the years since [b:Gone Girl|19288043|Gone Girl|Gillian Flynn|https://images.gr-assets.com/books/1397056917s/19288043.jpg|13306276] has come out, I've seen so many books compared to that juggernaut and felt that so little truly were similar (and keep in mind that I wasn't one of those that *adored* the novel). However, reading LIE TO ME, I felt like this book really deserved the plot comparison to GONE GIRL -- wife missing, volatile marriage, husband under suspicion, unreliable narrators, etc. For a while, I was curious how [a:J.T. Ellison|1311949|J.T. Ellison|https://images.gr-assets.com/authors/1450824118p2/1311949.jpg] would differentiate her novel from GONE GIRL, but she pulled it off (more on that later).
<i>This novel was compulsively readable</i>; I read it basically in two sittings. I stayed up until midnight to finish it, which is no small feat considering my small children don't care how late I stay up! It slowly builds suspense with the unknown, dropping little hints as to bits and pieces of the story. We start with Ethan's piece of the story, eventually switch to Sutton, and then finish with both of them. Interspersed are various portions where an unknown "narrator" speaks directly to us, the reader, as well as the police. All of this <i>creates suspicion and tension</i> and lets us know that we certainly have unreliable narrators in both Ethan and Sutton. Who do we believe? Even the police--called in to investigate Sutton's disappearance--are confused. <i>I was completely hooked and, honestly, madly flipping the pages. </i>
The Sutton portion slowed things down slightly, but things rapidly picked back up. I won't lie (ha), I worked out some of the plot, but it certainly didn't diminish my enjoyment of the novel, and I definitely didn't figure out everything. <i>The book's a little crazy, with a slightly wild plot, but it's a fun and thrilling read.</i> The supporting cast is interesting--especially a policewoman itching to become a detective, and some of Sutton and Ethan's friends. As I mentioned, the plot is a little insane, but fun crazy, and Ellison weaves together all the pieces quite effectively.
This is my second novel by Ellison and I'm finding that I just enjoy the suspense and escapism of her novels. (You can read my review of her novel, NO ONE KNOWS, <a href="https://www.goodreads.com/review/show/1460145588?book_show_action=false&from_review_page=1">here</a>;). The book isn't always perfect, but it's a really enjoyable thriller, hence the 4-star rating--which makes it higher than GONE GIRL for me. Sacrilege for some, but I just enjoyed this one more.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 09/05/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
So in the years since [b:Gone Girl|19288043|Gone Girl|Gillian Flynn|https://images.gr-assets.com/books/1397056917s/19288043.jpg|13306276] has come out, I've seen so many books compared to that juggernaut and felt that so little truly were similar (and keep in mind that I wasn't one of those that *adored* the novel). However, reading LIE TO ME, I felt like this book really deserved the plot comparison to GONE GIRL -- wife missing, volatile marriage, husband under suspicion, unreliable narrators, etc. For a while, I was curious how [a:J.T. Ellison|1311949|J.T. Ellison|https://images.gr-assets.com/authors/1450824118p2/1311949.jpg] would differentiate her novel from GONE GIRL, but she pulled it off (more on that later).
<i>This novel was compulsively readable</i>; I read it basically in two sittings. I stayed up until midnight to finish it, which is no small feat considering my small children don't care how late I stay up! It slowly builds suspense with the unknown, dropping little hints as to bits and pieces of the story. We start with Ethan's piece of the story, eventually switch to Sutton, and then finish with both of them. Interspersed are various portions where an unknown "narrator" speaks directly to us, the reader, as well as the police. All of this <i>creates suspicion and tension</i> and lets us know that we certainly have unreliable narrators in both Ethan and Sutton. Who do we believe? Even the police--called in to investigate Sutton's disappearance--are confused. <i>I was completely hooked and, honestly, madly flipping the pages. </i>
The Sutton portion slowed things down slightly, but things rapidly picked back up. I won't lie (ha), I worked out some of the plot, but it certainly didn't diminish my enjoyment of the novel, and I definitely didn't figure out everything. <i>The book's a little crazy, with a slightly wild plot, but it's a fun and thrilling read.</i> The supporting cast is interesting--especially a policewoman itching to become a detective, and some of Sutton and Ethan's friends. As I mentioned, the plot is a little insane, but fun crazy, and Ellison weaves together all the pieces quite effectively.
This is my second novel by Ellison and I'm finding that I just enjoy the suspense and escapism of her novels. (You can read my review of her novel, NO ONE KNOWS, <a href="https://www.goodreads.com/review/show/1460145588?book_show_action=false&from_review_page=1">here</a>;). The book isn't always perfect, but it's a really enjoyable thriller, hence the 4-star rating--which makes it higher than GONE GIRL for me. Sacrilege for some, but I just enjoyed this one more.
I received a copy of this novel from the publisher and Netgalley (thank you!); it is available everywhere as of 09/05/2017.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
postapocalypticplayground (27 KP) rated Heart of Thorns (Heart of Thorns #1) in Books
Aug 13, 2018
Firstly, I did enjoy Heart of Thorns, I found it an easy going read with lots going on and some twists I genuinely didn't see coming. Whilst Mia is the MC, I have to say that Quin does actually steal the show. As far as character development goes his transformation from formal and unemotional prince to what he becomes is a real joy to read with so many facets of his personality. I liked the way that the history of the world we find ourselves in is laid out conversationally rather than in one big chunk. The journey Mia and Quin find themselves on is long and for the most part without peril so it's the perfect way to fill the time. Given Quin's sheltered upbringing at the castle it's not so far fetched that given his fathers fears, he would know very little of the surrounding lands. Mia does struggle to get out her one dimension though, which I don't know if is by design to explain things later on or whether she simply needed a bit more breathing room and perhaps a different focus from time to time. Things really felt like she was too transfixed on righting the wrongs of the past to focus upon the present dangers.
The book also raises a lot about feminism, I have to say that it take a while to get to this point and to start I felt it was yet again another misrepresentation that Fighter = Feminist but thankfully all that changed. It makes much of the differences in society between men and women and how women need to fight to be anything but a pair of legs that needed to open. The origins of the magic within the story are really quite heartbreaking and born out of a necessity for self preservation which naturally becomes misrepresented and skewed over time to make magic a true evil which is feared by men. There is an element of the macabre in the King's fascination with the slaughter of those with magic and his trophy room will have your stomach clenching.
This book does misdirection well and it's all the more easier to achieve with a large supporting cast. I genuinely was left with a number of WTF moments as the story went on, I had to re-read a few pages just to confirm that the twist was as awesome as it was and this book has them in spades towards the end.
However, all this needs to be offset by some things that made it fall just short for me. It's clear that Mia has studied medicine, but her overly complex use of medical descriptions of bodily parts is unnecessary and makes for jarring reading "She dug her fingertips into the bridge of her nose. 'The sphenoid bone. It's like my whole cerebrum is on fire." Why not just say she had a headache? It's also mega tropey - I don't as a rule mind tropes in books, they exist for a reason but this book turned out so many including the ever present MC as a huntress with the sister who dreamed of marrying a nice prince, that I found my eyes rolling. There is also a lot of tick boxing going on in respect of LGBT diversity, there was a neon sign for one character as if the author was labouring the point - the disappointing thing is that this element did fit organically into the story in a really beautiful yet heartbreaking way at a later time which made me feel that the earlier depiction was somewhat unnecessary.
Whilst there are some failings, this is an enjoyable read with plenty of magic, mystery, and misdirection and if you are in the mood for an adventure you will hopefully enjoy Heart of Thorns
3*
The book also raises a lot about feminism, I have to say that it take a while to get to this point and to start I felt it was yet again another misrepresentation that Fighter = Feminist but thankfully all that changed. It makes much of the differences in society between men and women and how women need to fight to be anything but a pair of legs that needed to open. The origins of the magic within the story are really quite heartbreaking and born out of a necessity for self preservation which naturally becomes misrepresented and skewed over time to make magic a true evil which is feared by men. There is an element of the macabre in the King's fascination with the slaughter of those with magic and his trophy room will have your stomach clenching.
This book does misdirection well and it's all the more easier to achieve with a large supporting cast. I genuinely was left with a number of WTF moments as the story went on, I had to re-read a few pages just to confirm that the twist was as awesome as it was and this book has them in spades towards the end.
However, all this needs to be offset by some things that made it fall just short for me. It's clear that Mia has studied medicine, but her overly complex use of medical descriptions of bodily parts is unnecessary and makes for jarring reading "She dug her fingertips into the bridge of her nose. 'The sphenoid bone. It's like my whole cerebrum is on fire." Why not just say she had a headache? It's also mega tropey - I don't as a rule mind tropes in books, they exist for a reason but this book turned out so many including the ever present MC as a huntress with the sister who dreamed of marrying a nice prince, that I found my eyes rolling. There is also a lot of tick boxing going on in respect of LGBT diversity, there was a neon sign for one character as if the author was labouring the point - the disappointing thing is that this element did fit organically into the story in a really beautiful yet heartbreaking way at a later time which made me feel that the earlier depiction was somewhat unnecessary.
Whilst there are some failings, this is an enjoyable read with plenty of magic, mystery, and misdirection and if you are in the mood for an adventure you will hopefully enjoy Heart of Thorns
3*
Heather Cranmer (2721 KP) rated Good Girl, Bad Girl in Books
Aug 8, 2019
While browsing the books in my local library, I stumbled across Good Girl, Bad Girl by Michael Robotham. I was instantly intrigued by the synopsis. A teenager with a mysterious past, yes please! A murder mystery, heck yes! Good Girl, Bad Girl did not disappoint.
I felt like the synopsis was wrong a little. The story doesn't focus on Evie as much as the synopsis makes it seem. Good Girl, Bad Girl does start out focused on Evie though. No one knows Evie's past or even how old Evie really is. All anyone knows is that Evie knows when another person is lying. From there, the book seemed like it was going to be a paranormal read, but it wasn't. Not very long after we are introduced to Evie, we learn about Jodie Sheehan, a 15 year old girl who was a very talented figure skater and the girl next door type. When Jodie is found murdered, psychologist Cyrus Haven starts to piece together Jodie's life before her murder and realizes that she wasn't as squeaky clean as everyone thought she was which puts Cyrus and others in danger. Jodie Sheehan's life and murder is what Good Girl, Bad Girl mainly focuses on throughout the novel.
I did enjoy the plot, and I found it to be very intriguing. There were quite a few plot twists peppered throughout Good Girl, Bad Girl that I never predicted. I would think I had the story figured out, but then there would be another fantastic twist that always had me second guessing myself. All my questions were answered about Jodie's disappearance and murder, but I still was left wondering about Evie and her past. Michael Robotham leaves Evie a mystery on purpose, but I would have liked some closure on knowing Evie's past. It's obvious she remembers somewhat. (Goodreads has Good Girl, Bad Girl as a series, but I can't find anything on the actual cover of the book or on any book retailer that has this book as part of a series. I really hope it will be a series though so I can learn more about Evie.) One good thing about this book is that there are no cliff hanger endings. Also, the pacing is done fantastically throughout Good Girl, Bad Girl. This was one book that I really couldn't put down. I'd say it could even be read in one sitting. It is just so good, and it flows so well!
I felt like all the characters, even the supporting ones, were very well written and very fleshed out in Good Girl, Bad Girl. I liked the character of Evie. I liked the fact she was this mysterious force to be reckoned with. She was pretty hardcore, yet she still had that childlike vulnerability about her. I really enjoyed the character of Cyrus. He was such a fantastic main character. He had been dealt a bad hand, but he was able to rise above it. I thought it was fantastic to read about how much he cared for Evie as well as his perseverance to learn the truth about Jodie even when the police were ready to close the case.
Trigger warnings for Good Girl, Bad Girl include violence, drugs, drinking (both adult and underage), sexual references, profanity, death, abduction, attempted murder, and attempted rape.
Overall, Good Girl, Bad Girl is such a fun and thrilling read! I can't fault this book at all. It's got such a great plot as well as fantastic characters with interesting backstories. The plot twists will definitely keep you guessing throughout. I would wholeheartedly recommend Good Girl, Bad Girl by Michael Robotham to those aged 17+ who love thrilling and suspenseful novels. You will not be disappointed.
I felt like the synopsis was wrong a little. The story doesn't focus on Evie as much as the synopsis makes it seem. Good Girl, Bad Girl does start out focused on Evie though. No one knows Evie's past or even how old Evie really is. All anyone knows is that Evie knows when another person is lying. From there, the book seemed like it was going to be a paranormal read, but it wasn't. Not very long after we are introduced to Evie, we learn about Jodie Sheehan, a 15 year old girl who was a very talented figure skater and the girl next door type. When Jodie is found murdered, psychologist Cyrus Haven starts to piece together Jodie's life before her murder and realizes that she wasn't as squeaky clean as everyone thought she was which puts Cyrus and others in danger. Jodie Sheehan's life and murder is what Good Girl, Bad Girl mainly focuses on throughout the novel.
I did enjoy the plot, and I found it to be very intriguing. There were quite a few plot twists peppered throughout Good Girl, Bad Girl that I never predicted. I would think I had the story figured out, but then there would be another fantastic twist that always had me second guessing myself. All my questions were answered about Jodie's disappearance and murder, but I still was left wondering about Evie and her past. Michael Robotham leaves Evie a mystery on purpose, but I would have liked some closure on knowing Evie's past. It's obvious she remembers somewhat. (Goodreads has Good Girl, Bad Girl as a series, but I can't find anything on the actual cover of the book or on any book retailer that has this book as part of a series. I really hope it will be a series though so I can learn more about Evie.) One good thing about this book is that there are no cliff hanger endings. Also, the pacing is done fantastically throughout Good Girl, Bad Girl. This was one book that I really couldn't put down. I'd say it could even be read in one sitting. It is just so good, and it flows so well!
I felt like all the characters, even the supporting ones, were very well written and very fleshed out in Good Girl, Bad Girl. I liked the character of Evie. I liked the fact she was this mysterious force to be reckoned with. She was pretty hardcore, yet she still had that childlike vulnerability about her. I really enjoyed the character of Cyrus. He was such a fantastic main character. He had been dealt a bad hand, but he was able to rise above it. I thought it was fantastic to read about how much he cared for Evie as well as his perseverance to learn the truth about Jodie even when the police were ready to close the case.
Trigger warnings for Good Girl, Bad Girl include violence, drugs, drinking (both adult and underage), sexual references, profanity, death, abduction, attempted murder, and attempted rape.
Overall, Good Girl, Bad Girl is such a fun and thrilling read! I can't fault this book at all. It's got such a great plot as well as fantastic characters with interesting backstories. The plot twists will definitely keep you guessing throughout. I would wholeheartedly recommend Good Girl, Bad Girl by Michael Robotham to those aged 17+ who love thrilling and suspenseful novels. You will not be disappointed.
Matthew Krueger (10051 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 27, 2019 (Updated Jul 27, 2019)
Overhyped and disappointed
Contains spoilers, click to show
This review will contain spoilers.... and this is my opinon.
Once upon a time in hollywood is Quentin Tarantino’s ninth film and has a large ensemble cast.
This to me didnt seem like a quentin tarantino film, i mean it had some elements that he does but overall it didnt seem like a tarantino film, it was missing all of elements pervious used in his other films. There are only three storylines in this film. Rick's storyline, Cliff's storyline and Sharon's storyline and thats it. When in reservoir dogs, pulp fiction, jackie brown and four roons their were more than three storylines. Its also missing all the blood and gore like in his other films. Yes that sence at the end, and one of Rick's movies he has a flamflower but thats it. When as the other films that tarantino did had alot of blood and gore and violence and swearing. This movie seemed like it had none of that.
I was very disappointed because iam a huge quentin tarantino fan, i think he is one of the best directors of all time and like his other movies. So i was very excited for this movie and turns out i was very disappointed.
It didnt seem like it was a 2h and 40min movie.
Also lets talk about charles manson and his family throwed into this movie. I thought the movie was going to be about Rick and Cliff invisagating the murder of sharon taron and invisagating the manson family. Their are only three sences that have to do with the manson family.
1. The scene were charles introduces himself to polanski home.
2. When cliff goes to Spahn ranch run by the manson family and thier meanching charlies and cliff should meet him. This sence right here is the best part of the movie. Its myserious, dramatic, you dont know if the family is going to murder cliff or not. So your questioning if thats going to happen. But unfourtaly this sence is only like 5-15 mins long and at no point charles comes. You think something is going to happen than boom sence ends.
3. The end, were some of the manson family are about to kill tate and her friends and then thier try to kill rick and cliff because cliff was mad at them for being hillbillys and being on privite property. Which was like a unexpected turn but why??? Cliff fights them off and kills two of them and then rick kills one with a flameflower.
Thats it, three sences with the manson family and one with charles what a let down.
This whole movie was a let down,
Dakota Fanning, Bruce Dern, Luke Perry , Damian Lewis, Timothy Olyphant and micheal madsen all had one sence and these are big movie stars. To waste all of this talent is sad. Basically most of the supporting cast was wasted and only had one sence.
Also the ending, after rick and cliff fight off some of the manson family, cliff is being taking off to the hostipal and rick finally meets sharon tate then the movie's title comes on and then boom movie off. I thought that cant be it, that wasnt 2h and 40mins. It didnt feel like it, but it was. I thought why are the credits showing. Their should be more, but no the credits are showing.
Once upon a time in hollywood, is alternate timeline movie about the late 1960's in hollywood. But why have the manson family in it when your not going to use them that much. Why develop this alternate storyline, when their is a real life story and your using the real life people in the movie. Stupid it.
I can go on and on how this movie was very disappointed but i think i did this movie its justice.
Overall, once upon a time in hollywood is a very dissappointed movie.
:(
Once upon a time in hollywood is Quentin Tarantino’s ninth film and has a large ensemble cast.
This to me didnt seem like a quentin tarantino film, i mean it had some elements that he does but overall it didnt seem like a tarantino film, it was missing all of elements pervious used in his other films. There are only three storylines in this film. Rick's storyline, Cliff's storyline and Sharon's storyline and thats it. When in reservoir dogs, pulp fiction, jackie brown and four roons their were more than three storylines. Its also missing all the blood and gore like in his other films. Yes that sence at the end, and one of Rick's movies he has a flamflower but thats it. When as the other films that tarantino did had alot of blood and gore and violence and swearing. This movie seemed like it had none of that.
I was very disappointed because iam a huge quentin tarantino fan, i think he is one of the best directors of all time and like his other movies. So i was very excited for this movie and turns out i was very disappointed.
It didnt seem like it was a 2h and 40min movie.
Also lets talk about charles manson and his family throwed into this movie. I thought the movie was going to be about Rick and Cliff invisagating the murder of sharon taron and invisagating the manson family. Their are only three sences that have to do with the manson family.
1. The scene were charles introduces himself to polanski home.
2. When cliff goes to Spahn ranch run by the manson family and thier meanching charlies and cliff should meet him. This sence right here is the best part of the movie. Its myserious, dramatic, you dont know if the family is going to murder cliff or not. So your questioning if thats going to happen. But unfourtaly this sence is only like 5-15 mins long and at no point charles comes. You think something is going to happen than boom sence ends.
3. The end, were some of the manson family are about to kill tate and her friends and then thier try to kill rick and cliff because cliff was mad at them for being hillbillys and being on privite property. Which was like a unexpected turn but why??? Cliff fights them off and kills two of them and then rick kills one with a flameflower.
Thats it, three sences with the manson family and one with charles what a let down.
This whole movie was a let down,
Dakota Fanning, Bruce Dern, Luke Perry , Damian Lewis, Timothy Olyphant and micheal madsen all had one sence and these are big movie stars. To waste all of this talent is sad. Basically most of the supporting cast was wasted and only had one sence.
Also the ending, after rick and cliff fight off some of the manson family, cliff is being taking off to the hostipal and rick finally meets sharon tate then the movie's title comes on and then boom movie off. I thought that cant be it, that wasnt 2h and 40mins. It didnt feel like it, but it was. I thought why are the credits showing. Their should be more, but no the credits are showing.
Once upon a time in hollywood, is alternate timeline movie about the late 1960's in hollywood. But why have the manson family in it when your not going to use them that much. Why develop this alternate storyline, when their is a real life story and your using the real life people in the movie. Stupid it.
I can go on and on how this movie was very disappointed but i think i did this movie its justice.
Overall, once upon a time in hollywood is a very dissappointed movie.
:(
Gareth von Kallenbach (980 KP) rated Magic Mike XXL (2015) in Movies
Aug 6, 2019
When we last saw Mike Lane (Channing Tatum) he was trading in his g-string and the adulation of grown women with lots of dollar bills to spare, for a custom furniture business of his own and a serious relationship with a girl named Brooke. He said goodbye to his band of magical, muscular men (and by magical, we mean in the art of making clothes disappear) and headed off into a better future.
Or so he thought.
Three years later, we find Mike has found a little success, his company has grown by one employee. The empty apartment with no sign of a roommate suggests his future no longer includes Brooke. A phone call from Tarzan (Kevin Nash) has Mike donning a suit to attend a “wake”. Cue the reunion with his old gang that is far from somber, and more of a ruse to see him. Apparently, his orphaned crew is set on one last hurrah before they follow in Mike’s footsteps and go after their own entrepreneurial dreams.
Does Mike want in on the swan song of stripteases at Myrtle Beach’s stripper convention? Of course not. He has a business to run, employees to pay, he postures. But considering this movie is a sequel entitled “Magic Mike XXL” you know he changes his mind. And, boy, how he changes his mind! With a little help from power tools and Genuwine’s “Pony”, natch.
Magic Mike XXL is a road trip of discovery for Mike, Tarzan, Tito (Adam Rodriguez), Ken (Matt Bomer), Tobias (Gabriel Iglesias) and Big Dick Richie (Joe Mangeniello). There were a few times I wondered where exactly this story was going, but as ensemble features go, the insightful peeks into the guys’ individual stories distracted from the meandering plot. Okay, why I was looking for a plot in a movie clearly made to titillate fans of sculpted male phsyiques, I don’t know. Sorry. Not sorry.
The road to Myrtle Beach is littered with conquests, old and new, and epiphanies fueled by pharmaceuticals inspire the Kings of Tampa to learn a few new tricks along the way. XXL actually achieves that rare feat of being better than the original. I know, that may not exactly be high praise, but it delivers more of what fans enjoyed in the original – the male entertainment.
XXL has the same awkward, but slightly improved banter between Mike and the females he encounters, but it also has new routines, a sexier emcee in Jada Pinkett-Smith (with all due respect to Matthew McConaughey) and it doesn’t require Kevin Nash to dance like a lost mannequin. There are some eyebrow-raising casting choices for a couple of new strippers. You may find yourself asking “Hey, is that who I think it is jumping all over that woman?” And “Okay…so he doesn’t actually strip. He just sings?” But don’t worry, that singer inspires Matt Bomer to do both. Very well. How did I not know Matt Bomer could sing?
The finale is one the screener audience, the majority of which were female, of course, did not want to end. I admit I could’ve stayed in my seat for more Channing Tatum and professional dancer, Stephen “tWitch” Boss, who could make his own Magic Malik movie. As my girlfriends and I left the theater, one commented that her face hurt from smiling the whole time. At the risk of sounding extremely shallow, we all agreed that the only way the movie could have been better is if it was shown on the IMAX screen in 3D. Maybe in Dbox seats.
Probably not a movie women will want to take their significant others to, but their girlfriends for a ladies night out? Hell to the yeah.
For story, acting and plot? Ummm 2 out of 5
For sheer, eye-candy entertainment? 4 stars.
Or so he thought.
Three years later, we find Mike has found a little success, his company has grown by one employee. The empty apartment with no sign of a roommate suggests his future no longer includes Brooke. A phone call from Tarzan (Kevin Nash) has Mike donning a suit to attend a “wake”. Cue the reunion with his old gang that is far from somber, and more of a ruse to see him. Apparently, his orphaned crew is set on one last hurrah before they follow in Mike’s footsteps and go after their own entrepreneurial dreams.
Does Mike want in on the swan song of stripteases at Myrtle Beach’s stripper convention? Of course not. He has a business to run, employees to pay, he postures. But considering this movie is a sequel entitled “Magic Mike XXL” you know he changes his mind. And, boy, how he changes his mind! With a little help from power tools and Genuwine’s “Pony”, natch.
Magic Mike XXL is a road trip of discovery for Mike, Tarzan, Tito (Adam Rodriguez), Ken (Matt Bomer), Tobias (Gabriel Iglesias) and Big Dick Richie (Joe Mangeniello). There were a few times I wondered where exactly this story was going, but as ensemble features go, the insightful peeks into the guys’ individual stories distracted from the meandering plot. Okay, why I was looking for a plot in a movie clearly made to titillate fans of sculpted male phsyiques, I don’t know. Sorry. Not sorry.
The road to Myrtle Beach is littered with conquests, old and new, and epiphanies fueled by pharmaceuticals inspire the Kings of Tampa to learn a few new tricks along the way. XXL actually achieves that rare feat of being better than the original. I know, that may not exactly be high praise, but it delivers more of what fans enjoyed in the original – the male entertainment.
XXL has the same awkward, but slightly improved banter between Mike and the females he encounters, but it also has new routines, a sexier emcee in Jada Pinkett-Smith (with all due respect to Matthew McConaughey) and it doesn’t require Kevin Nash to dance like a lost mannequin. There are some eyebrow-raising casting choices for a couple of new strippers. You may find yourself asking “Hey, is that who I think it is jumping all over that woman?” And “Okay…so he doesn’t actually strip. He just sings?” But don’t worry, that singer inspires Matt Bomer to do both. Very well. How did I not know Matt Bomer could sing?
The finale is one the screener audience, the majority of which were female, of course, did not want to end. I admit I could’ve stayed in my seat for more Channing Tatum and professional dancer, Stephen “tWitch” Boss, who could make his own Magic Malik movie. As my girlfriends and I left the theater, one commented that her face hurt from smiling the whole time. At the risk of sounding extremely shallow, we all agreed that the only way the movie could have been better is if it was shown on the IMAX screen in 3D. Maybe in Dbox seats.
Probably not a movie women will want to take their significant others to, but their girlfriends for a ladies night out? Hell to the yeah.
For story, acting and plot? Ummm 2 out of 5
For sheer, eye-candy entertainment? 4 stars.
Chris Sawin (602 KP) rated Werewolves Within (2021) in Movies
Dec 14, 2021
An incredible ensemble cast. (2 more)
Plot stays true to the classic 'whodunit' formula.
Milana Vayntrub.
Not enough horror. (2 more)
Not enough werewolves.
The burning desire for a hard R-rating.
A Sleepover with Guns
A horror comedy film based on the 2016 Red Storm Entertainment developed, Ubisoft published multiplayer VR video game of the same name, Werewolves Within keeps the same mystery/whodunit element of the game by introducing audiences to a small town under attack from a werewolf and leaving them to wonder which of the townsfolk could be the actual lycanthrope.
Directed by Josh Ruben and written by Mishna Wolff, Werewolves Within begins as Ranger Finn Wheeler (Sam Richardson) arrives in Beaverfield for his new post. Finn hits it off with the local mail carrier Cecily (Milana Vayntrub), but the rest of the town is unusually eccentric, to say the least.
There’s Trisha (Micahela Watkins) and Pete (Michael Chernus) Aderton, a couple who makes weird miniature dolls of everyone they meet and care a little too much for their dog. Devon (Cheyenne Jackson) and Joaquim (Harvey Guillén) are a homosexual couple living off the riches of a successful technological company. The town’s resident mechanic is Gwen (Sarah Burns), a crude woman whose husband Marcus (George Basil) is largely regarded as the town idiot.
Elsewhere in town, rounding out Beaverfield’s colorful cast of characters, is the clingy owner of the local lodge, Jeanine (Catherine Curtin), canine attack expert Dr. Ellis (Rebecca Henderson), oil magnate Sam (Wayne Duvall) who hopes to install a pipeline through the town at any cost, and Emerson, a ‘scary’ hunter who hates people and lives on the outskirts of town.
One night, when the power suddenly goes out and with the town’s back-up generators in a state of disrepair, everyone in town takes refuge in Jeanine’s lodge. However, after a corpse is discovered underneath the lodge’s porch and the townsfolk barricade themselves inside the building in an attempt to protect themselves from whatever may be lurking outside, the werewolf manages to attack from within.
In the aftermath of the attack, everyone begins to turn on each other, as the monster’s strike from inside the lodge provides them with a shocking revelation: Somebody in the lodge is the werewolf.
The cast works so well together. Richardson is does an excellent job of portraying Finn, a guy so nice and soft spoken that he feels like an African American Ned Flanders attempting to take charge as the authority figure.
Similarly, Vayntrub is so charming as Cecily that it makes you wonder why she hasn’t been in much else outside of AT&T commercials and the occasional voice role as Marvel’s Squirrel Girl, while Guillén is just as funny here as he is on What We Do in the Shadows, albeit in a slightly different way.
However, the most entertaining aspect of the film’s casting is the way everyone’s eccentric chemistry bounces off each other in a way that evokes this palpable sense of quirky absurdity that you can’t really find anywhere else.
The formula of Werewolves Within is a lot like Knives Out or Murder on the Orient Express, as it’s a mystery wrapped within the confines of a horror comedy, with the ensemble cast taking center stage as they dance around the comedy genre and a mild R-rating while the horror aspect is mostly reduced to sitting in the backseat and tapping you on the shoulder from time to time.
In fact, to that same mysterious end, the eponymous werewolf isn’t actually revealed until the last ten or so minutes of the film.
As someone who hasn’t played the original video game, the film adaptation of Werewolves Within was, overall, a little disappointing from a personal standpoint.
Yes, the film is more of a whodunit than a straight horror film, and thus it’s understandable why it did not lean completely into the more gory and terrifying potential of its premise. Yet, even with this fact in mind, the film still feels particularly lacking when it comes to its actual horror elements.
It’s also one of the softest R-rated films to come along in quite some time. While some aspects, such as Finn biting his tongue or saying “Heavens to Betsy” instead of dropping an F-bomb make sense, it remains frustrating nonetheless that Werewolves Within constantly feels as if it’s purposely holding itself back.
Which is a shame, because there’s more to a film like this than silly on-screen hijinks and running attempts by the audience to figure out who the killer is – after all, some of us will pay good money to see the monster you’ve advertised your entire film.
Recently, there seems to be a rising trend among modern werewolf movies to barely feature a film’s respective monster on screen. This year’s Bloodthirsty is a great example and, as much as I love the film, The Wolf of Snow Hollow did the horror/comedy concoction to a much more satisfying degree than Werewolves Within, and yet totally massacred the idea of an actual werewolf being the culprit.
At the end of the day, Werewolves Within is a film where a bunch of weirdos in some-little-nowhere-town are forcibly crammed into a lodge during a snowstorm and proceed to irritate one another to semi-humorous results as a werewolf hides among them. The film is essentially a wolf in a person’s clothing, as while Werewolves Within is fine for what it is and features some great performances here and a couple laugh-out-loud moments, its potential seems to be far greater than what we received.
Ultimately, Werewolves Within leaves horror fans starving and salivating for more.
Directed by Josh Ruben and written by Mishna Wolff, Werewolves Within begins as Ranger Finn Wheeler (Sam Richardson) arrives in Beaverfield for his new post. Finn hits it off with the local mail carrier Cecily (Milana Vayntrub), but the rest of the town is unusually eccentric, to say the least.
There’s Trisha (Micahela Watkins) and Pete (Michael Chernus) Aderton, a couple who makes weird miniature dolls of everyone they meet and care a little too much for their dog. Devon (Cheyenne Jackson) and Joaquim (Harvey Guillén) are a homosexual couple living off the riches of a successful technological company. The town’s resident mechanic is Gwen (Sarah Burns), a crude woman whose husband Marcus (George Basil) is largely regarded as the town idiot.
Elsewhere in town, rounding out Beaverfield’s colorful cast of characters, is the clingy owner of the local lodge, Jeanine (Catherine Curtin), canine attack expert Dr. Ellis (Rebecca Henderson), oil magnate Sam (Wayne Duvall) who hopes to install a pipeline through the town at any cost, and Emerson, a ‘scary’ hunter who hates people and lives on the outskirts of town.
One night, when the power suddenly goes out and with the town’s back-up generators in a state of disrepair, everyone in town takes refuge in Jeanine’s lodge. However, after a corpse is discovered underneath the lodge’s porch and the townsfolk barricade themselves inside the building in an attempt to protect themselves from whatever may be lurking outside, the werewolf manages to attack from within.
In the aftermath of the attack, everyone begins to turn on each other, as the monster’s strike from inside the lodge provides them with a shocking revelation: Somebody in the lodge is the werewolf.
The cast works so well together. Richardson is does an excellent job of portraying Finn, a guy so nice and soft spoken that he feels like an African American Ned Flanders attempting to take charge as the authority figure.
Similarly, Vayntrub is so charming as Cecily that it makes you wonder why she hasn’t been in much else outside of AT&T commercials and the occasional voice role as Marvel’s Squirrel Girl, while Guillén is just as funny here as he is on What We Do in the Shadows, albeit in a slightly different way.
However, the most entertaining aspect of the film’s casting is the way everyone’s eccentric chemistry bounces off each other in a way that evokes this palpable sense of quirky absurdity that you can’t really find anywhere else.
The formula of Werewolves Within is a lot like Knives Out or Murder on the Orient Express, as it’s a mystery wrapped within the confines of a horror comedy, with the ensemble cast taking center stage as they dance around the comedy genre and a mild R-rating while the horror aspect is mostly reduced to sitting in the backseat and tapping you on the shoulder from time to time.
In fact, to that same mysterious end, the eponymous werewolf isn’t actually revealed until the last ten or so minutes of the film.
As someone who hasn’t played the original video game, the film adaptation of Werewolves Within was, overall, a little disappointing from a personal standpoint.
Yes, the film is more of a whodunit than a straight horror film, and thus it’s understandable why it did not lean completely into the more gory and terrifying potential of its premise. Yet, even with this fact in mind, the film still feels particularly lacking when it comes to its actual horror elements.
It’s also one of the softest R-rated films to come along in quite some time. While some aspects, such as Finn biting his tongue or saying “Heavens to Betsy” instead of dropping an F-bomb make sense, it remains frustrating nonetheless that Werewolves Within constantly feels as if it’s purposely holding itself back.
Which is a shame, because there’s more to a film like this than silly on-screen hijinks and running attempts by the audience to figure out who the killer is – after all, some of us will pay good money to see the monster you’ve advertised your entire film.
Recently, there seems to be a rising trend among modern werewolf movies to barely feature a film’s respective monster on screen. This year’s Bloodthirsty is a great example and, as much as I love the film, The Wolf of Snow Hollow did the horror/comedy concoction to a much more satisfying degree than Werewolves Within, and yet totally massacred the idea of an actual werewolf being the culprit.
At the end of the day, Werewolves Within is a film where a bunch of weirdos in some-little-nowhere-town are forcibly crammed into a lodge during a snowstorm and proceed to irritate one another to semi-humorous results as a werewolf hides among them. The film is essentially a wolf in a person’s clothing, as while Werewolves Within is fine for what it is and features some great performances here and a couple laugh-out-loud moments, its potential seems to be far greater than what we received.
Ultimately, Werewolves Within leaves horror fans starving and salivating for more.
Lee (2222 KP) rated The Founder (2017) in Movies
Jul 26, 2017
These days McDonalds is everywhere. You don’t have to travel too far before you see those familiar golden arches – in fact, there are three of them within a two mile radius of my home! I’m not personally a big fan of them, but that’s not to say I haven’t enjoyed the odd meal occasionally when in a hurry. It’s one of those things that’s just always been there in life, taken for granted without much of a thought as to how it all came to be so huge. Turns out there’s a pretty interesting story to be told involving a couple of pioneering brothers, and the guy who eventually completely screwed them over…
Michael Keaton is Ray Kroc, a hardworking salesman who always seems to be on the road while his bored wife (Laura Dern) is at home. Repeatedly getting the brush off from restaurant owners who don’t want to buy his amazing new five-spindled milkshake machine and frustrated by the slow, unreliable service from the drive-ins where he goes to get his lunch. For this part of the movie, we’re actually pretty sympathetic with Ray as he struggles in his lonely, boring, unfullfilling job, listening to motivational records in motel rooms as he drifts off to sleep. And then he gets a call from two brothers, Dick and Mac McDonald. They don’t just want to buy one of his milkshake machines, they want to buy at least six in order to cope with demand in their restaurant. Ray puts down the phone and his mind immediately goes into overdrive – what kind of restaurant have these guys got that’s producing this kind of demand? He pulls out a map and looks them up – they’re in San Bernadino California, so he heads off in his car to pay them a visit.
When he arrives, the place is packed with customers queuing for food. As Ray joins the queue a woman assures him that he won’t have to wait long and sure enough, after placing his 15 cent order for a burger, fries and soft drink (bargain!), he promptly gets his order within 30 seconds – served in a paper bag, no plates, no cutlery. He thinks there must be some mistake and it’s pretty amusing to see the bemused look on his face as he struggles to accept the concept that we now all take for granted. Fast, cheap food that you can eat absolutely anywhere you want – in your car, at the park, it’s up to you.
Ray offers to take the brothers out to dinner so that he can hear their story. It’s a wonderful, captivating story too, one that could so easily have been the entire movie. The brothers have such a good rapport as they passionately talk about what they’ve worked to achieve. Moving their restaurant to where it is now, developing their own machines for applying perfect amounts of ketchup and mustard into each bun and spending six hours sketching out potential restaurant layouts on a tennis court while their restaurant staff choreograph their optimised cooking routines. Everything has been tweaked to perfection, even down to the exact cooking time and temperature for their fries. After sleeping on all this information, Ray goes back to the brothers early the next morning and offers them the idea of franchising. But, it’s something they’ve dabbled in before and gave up on, having felt that they had no control over the quality and attention to detail that they pride themselves on in their own restaurant. Eventually Ray wins them over though and a contract is drawn up. The brothers get final say on everything and get half a percent of the profits but it’s up to Ray to setup the franchises and find the people to run them.
It’s a slow, hard process though and although Ray does setup a few successful restaurants, he soon becomes frustrated at the lack of money he seems to be making and the lack of control he has on the decision making process whenever he wants to save costs. The McDonald brothers just seem to keep saying ‘no’! But after he receives some business advice, telling him he should be concentrating on buying the land that the restaurants are on rather than the burgers being cooked, the tide begins to turn. He eventually becomes powerful enough to overpower the brothers, trademark their name, and generally take credit for everything the brothers worked for and built, eventually putting them out of business.
Kroc becomes ruthless, and a complete arsehole. The brothers did eventually make some decent money out of their final deal with Ray, but it certainly wasn’t the 100 million dollars a year they could have been making if they’d been treated right. You really feel for them, as they completely lose control of everything. But you can’t help wondering if things would have worked out that much different for them if they had never met Ray at all. Their restaurant will certainly have continued to do well for a while, but by focusing on just their one restaurant, how long before somebody else stole their idea and ran with it, somebody with the drive and vision to make real money like Ray, leaving them with no money settlement at all? After all, as the motivational LP that Ray listens to clearly pointed out at the start of the movie, “Nothing in the world can take the place of persistence, talent will not, nothing is more common than unsuccessful men with talent …”.
Michael Keaton is Ray Kroc, a hardworking salesman who always seems to be on the road while his bored wife (Laura Dern) is at home. Repeatedly getting the brush off from restaurant owners who don’t want to buy his amazing new five-spindled milkshake machine and frustrated by the slow, unreliable service from the drive-ins where he goes to get his lunch. For this part of the movie, we’re actually pretty sympathetic with Ray as he struggles in his lonely, boring, unfullfilling job, listening to motivational records in motel rooms as he drifts off to sleep. And then he gets a call from two brothers, Dick and Mac McDonald. They don’t just want to buy one of his milkshake machines, they want to buy at least six in order to cope with demand in their restaurant. Ray puts down the phone and his mind immediately goes into overdrive – what kind of restaurant have these guys got that’s producing this kind of demand? He pulls out a map and looks them up – they’re in San Bernadino California, so he heads off in his car to pay them a visit.
When he arrives, the place is packed with customers queuing for food. As Ray joins the queue a woman assures him that he won’t have to wait long and sure enough, after placing his 15 cent order for a burger, fries and soft drink (bargain!), he promptly gets his order within 30 seconds – served in a paper bag, no plates, no cutlery. He thinks there must be some mistake and it’s pretty amusing to see the bemused look on his face as he struggles to accept the concept that we now all take for granted. Fast, cheap food that you can eat absolutely anywhere you want – in your car, at the park, it’s up to you.
Ray offers to take the brothers out to dinner so that he can hear their story. It’s a wonderful, captivating story too, one that could so easily have been the entire movie. The brothers have such a good rapport as they passionately talk about what they’ve worked to achieve. Moving their restaurant to where it is now, developing their own machines for applying perfect amounts of ketchup and mustard into each bun and spending six hours sketching out potential restaurant layouts on a tennis court while their restaurant staff choreograph their optimised cooking routines. Everything has been tweaked to perfection, even down to the exact cooking time and temperature for their fries. After sleeping on all this information, Ray goes back to the brothers early the next morning and offers them the idea of franchising. But, it’s something they’ve dabbled in before and gave up on, having felt that they had no control over the quality and attention to detail that they pride themselves on in their own restaurant. Eventually Ray wins them over though and a contract is drawn up. The brothers get final say on everything and get half a percent of the profits but it’s up to Ray to setup the franchises and find the people to run them.
It’s a slow, hard process though and although Ray does setup a few successful restaurants, he soon becomes frustrated at the lack of money he seems to be making and the lack of control he has on the decision making process whenever he wants to save costs. The McDonald brothers just seem to keep saying ‘no’! But after he receives some business advice, telling him he should be concentrating on buying the land that the restaurants are on rather than the burgers being cooked, the tide begins to turn. He eventually becomes powerful enough to overpower the brothers, trademark their name, and generally take credit for everything the brothers worked for and built, eventually putting them out of business.
Kroc becomes ruthless, and a complete arsehole. The brothers did eventually make some decent money out of their final deal with Ray, but it certainly wasn’t the 100 million dollars a year they could have been making if they’d been treated right. You really feel for them, as they completely lose control of everything. But you can’t help wondering if things would have worked out that much different for them if they had never met Ray at all. Their restaurant will certainly have continued to do well for a while, but by focusing on just their one restaurant, how long before somebody else stole their idea and ran with it, somebody with the drive and vision to make real money like Ray, leaving them with no money settlement at all? After all, as the motivational LP that Ray listens to clearly pointed out at the start of the movie, “Nothing in the world can take the place of persistence, talent will not, nothing is more common than unsuccessful men with talent …”.