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Hazel (1853 KP) rated Saint Death in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
What must life be like living in a poor neighbourhood? Every night your sleep is disturbed by gunshots, the people you know slowly disappear each time a gang raids the town, you live in fear for your own life. This is the concept international award-winning author Marcus Sedgwick explores in his latest Young Adult novel. Set in Anapra, one of the poorest communities in Mexico, Sedgwick delivers a story of poverty, gang crime and greed.
A young man – presumably still in his teens – named Arturo is living in a falling down shack, surviving on the small amount he earns at the local garage. Having kept to himself for the past year in order to remain safe, he experiences mixed emotions when his long lost friend turns up on his door stop – if you can call it that – and asks him to win $1000 by gambling at cards to appease a brutal gang leader.
What follows is an intense game against dangerous criminals with only prayers to Santa Muerte – Saint Death – to help Arturo get by. However, in the same way that the gang leaders are obsessed with wealth, Arturo begins to be overcome with greed, putting both himself and his friend in mortal danger.
<i>Saint Death</i> is not a book to be <i>liked</i>, after all, who would be fond of death, pain and violence? Instead it is a story that introduces an alternative culture to the readers – presuming that most will be from the more typical western world. Sedgwick throws us right into the slums of Mexico where religion, superstition, law and safety have an entirely different meaning. We learn that life in these areas is mostly a war between power and poverty, with the wealthy naturally championing over the rest.
Unfortunately <i>Saint Death</i> is a difficult book to read. For a start, it is a little bit boring. Whilst the events may be realistic there is no thrill or enjoyment garnered from reading about them. Understandably, Sedgwick is trying to bring a sense of culture into his work, however there is barely anything that a Young Adult reader can relate to. We are never told Arturo’s age and only assume he his in his teens, however he acts like a much older adult. It is difficult to imagine and comprehend the poverty, gangs and violence when we have not been witness to it ourselves. Whilst attempting to shock, Sedgwick lacks on description making it a challenge to picture the scene in our heads.
Prior to this book, I had only read Sedgwick’s <i>My Sword Hand is Singing</i> (2006), therefore I was unsure what to expect with his latest novel. It was my understanding that he tends to write horror or paranormal novels, whereas <i>Saint Death</i> was a complete change of genre. Of course authors experiment with their writing style all the time; some are successful, others less so. In this instance I personally think Sedgwick fell short of his goal, trying too hard to copy other writers that had influenced him to make this conversion. Whether Sedgwick decides to continue along this theme or revert back to what he has already been successful with remains to be seen, but I am hoping for the latter.
What must life be like living in a poor neighbourhood? Every night your sleep is disturbed by gunshots, the people you know slowly disappear each time a gang raids the town, you live in fear for your own life. This is the concept international award-winning author Marcus Sedgwick explores in his latest Young Adult novel. Set in Anapra, one of the poorest communities in Mexico, Sedgwick delivers a story of poverty, gang crime and greed.
A young man – presumably still in his teens – named Arturo is living in a falling down shack, surviving on the small amount he earns at the local garage. Having kept to himself for the past year in order to remain safe, he experiences mixed emotions when his long lost friend turns up on his door stop – if you can call it that – and asks him to win $1000 by gambling at cards to appease a brutal gang leader.
What follows is an intense game against dangerous criminals with only prayers to Santa Muerte – Saint Death – to help Arturo get by. However, in the same way that the gang leaders are obsessed with wealth, Arturo begins to be overcome with greed, putting both himself and his friend in mortal danger.
<i>Saint Death</i> is not a book to be <i>liked</i>, after all, who would be fond of death, pain and violence? Instead it is a story that introduces an alternative culture to the readers – presuming that most will be from the more typical western world. Sedgwick throws us right into the slums of Mexico where religion, superstition, law and safety have an entirely different meaning. We learn that life in these areas is mostly a war between power and poverty, with the wealthy naturally championing over the rest.
Unfortunately <i>Saint Death</i> is a difficult book to read. For a start, it is a little bit boring. Whilst the events may be realistic there is no thrill or enjoyment garnered from reading about them. Understandably, Sedgwick is trying to bring a sense of culture into his work, however there is barely anything that a Young Adult reader can relate to. We are never told Arturo’s age and only assume he his in his teens, however he acts like a much older adult. It is difficult to imagine and comprehend the poverty, gangs and violence when we have not been witness to it ourselves. Whilst attempting to shock, Sedgwick lacks on description making it a challenge to picture the scene in our heads.
Prior to this book, I had only read Sedgwick’s <i>My Sword Hand is Singing</i> (2006), therefore I was unsure what to expect with his latest novel. It was my understanding that he tends to write horror or paranormal novels, whereas <i>Saint Death</i> was a complete change of genre. Of course authors experiment with their writing style all the time; some are successful, others less so. In this instance I personally think Sedgwick fell short of his goal, trying too hard to copy other writers that had influenced him to make this conversion. Whether Sedgwick decides to continue along this theme or revert back to what he has already been successful with remains to be seen, but I am hoping for the latter.
Gareth von Kallenbach (971 KP) rated WALL-E (2008) in Movies
Aug 14, 2019
To be honest, I didn’t put much faith in a movie about a robot who could only say, “Wa-AA-lleee….” Especially one that’s been by himself for 700 years. Then again, the last Pixar release of talking machines wasn’t exactly a stellar production, either. Give me talking rats or talking fish, at least they had personality. But talking cars? C’mon, now. But maybe Pixar learned from its mistake of verbosity in Cars and decided limited dialogue would bring back the luster of Pixar’s blinding three dimensional success. If that’s how WALL*E came about, then kudos to Pixar. WALL*E not only kept me fascinated, it made me giggle throughout and left me sighing.
In this new offering from the same team who brought you Finding Nemo, The Incredibles and Ratatouille, Earth is a virtual wasteland, and no longer inhabited by humans. The humans are all aboard a space colony called Axiom, pampered and waited on in robot-assisted existence. Left behind is WALL*E, a hardworking Waste Allocation Load Lifter – Earth class robot, has done what he was programmed to do, compact trash and stack it neatly, cleaning the planet one trash cube at a time. Apparently the passing of years all alone has given this clunky, rusty, dented and creaky machine, time to develop a sense of curiosity, a playful personality, and a love for “Hello, Dolly” showtunes and choreography. His best friend is a cockroach, he’s managed to amass a treasure trove of junk, is seemingly content, albeit lonely.
Then along came EVE. A sleek, state-of-the art egg-shaped robot deposited on earth by an Axiom spacecraft to scan its surroundings as an Extra-terrestrial Vegetation Evaluator. WALL*E is instantly enthralled and admires EVE’s speed, versatility and gracefulness from a tentative distance. She exudes efficiency and focus and comes with a laser she’s not afraid to use. EVE has a classified directive and WALL*E, after he’s overcome his fear of her laser, befriends her and inadvertently helps EVE achieve her goal. EVE has to return to the Axiom to report her findings, but WALL*E is desperate to build on this new found friendship. Who can blame him? If you’d been alone for 700 years, wouldn’t you be reluctant to say good bye to a new friend? So WALL*E becomes an accidental tourist of the galaxy, embarking on a thrilling adventure that makes him an anxious stowaway aboard a ship of advanced machines and lazy humans.
Under the direction of by Academy Award(r)-winning writer-director Andrew Stanton, the gifted storytellers and artists who brought charm and innovation to The Incredibles and Ratatouille, elevated their game by enabling WALL*E to convey in beeps and tones and soulful eyes a gamut of emotions that captivates the viewer. Limited dialogue was definitely on the menu, at least between robots. Which makes WALL-E all the more enchanting. It’s up to the viewer to draw on simple exchanges and the robots’ varying intonations of each other’s names to interpret their growing affection for one another.
With its breathtaking animation and deft rendering of heartwarming characters, CGI-animated features don’t get much better than this.
A fantastic voyage with an eco-friendly warning wrapped in a poignant love story, WALL*E restored my faith in Pixar’s well-deserved, acclaim.
In this new offering from the same team who brought you Finding Nemo, The Incredibles and Ratatouille, Earth is a virtual wasteland, and no longer inhabited by humans. The humans are all aboard a space colony called Axiom, pampered and waited on in robot-assisted existence. Left behind is WALL*E, a hardworking Waste Allocation Load Lifter – Earth class robot, has done what he was programmed to do, compact trash and stack it neatly, cleaning the planet one trash cube at a time. Apparently the passing of years all alone has given this clunky, rusty, dented and creaky machine, time to develop a sense of curiosity, a playful personality, and a love for “Hello, Dolly” showtunes and choreography. His best friend is a cockroach, he’s managed to amass a treasure trove of junk, is seemingly content, albeit lonely.
Then along came EVE. A sleek, state-of-the art egg-shaped robot deposited on earth by an Axiom spacecraft to scan its surroundings as an Extra-terrestrial Vegetation Evaluator. WALL*E is instantly enthralled and admires EVE’s speed, versatility and gracefulness from a tentative distance. She exudes efficiency and focus and comes with a laser she’s not afraid to use. EVE has a classified directive and WALL*E, after he’s overcome his fear of her laser, befriends her and inadvertently helps EVE achieve her goal. EVE has to return to the Axiom to report her findings, but WALL*E is desperate to build on this new found friendship. Who can blame him? If you’d been alone for 700 years, wouldn’t you be reluctant to say good bye to a new friend? So WALL*E becomes an accidental tourist of the galaxy, embarking on a thrilling adventure that makes him an anxious stowaway aboard a ship of advanced machines and lazy humans.
Under the direction of by Academy Award(r)-winning writer-director Andrew Stanton, the gifted storytellers and artists who brought charm and innovation to The Incredibles and Ratatouille, elevated their game by enabling WALL*E to convey in beeps and tones and soulful eyes a gamut of emotions that captivates the viewer. Limited dialogue was definitely on the menu, at least between robots. Which makes WALL-E all the more enchanting. It’s up to the viewer to draw on simple exchanges and the robots’ varying intonations of each other’s names to interpret their growing affection for one another.
With its breathtaking animation and deft rendering of heartwarming characters, CGI-animated features don’t get much better than this.
A fantastic voyage with an eco-friendly warning wrapped in a poignant love story, WALL*E restored my faith in Pixar’s well-deserved, acclaim.
Andy K (10821 KP) rated The Irishman (2019) in Movies
Nov 28, 2019
Great but disappointing
Frank Sheeran starts in humble beginnings driving a meat truck while trying to make a living to support his family. He takes the favor of the right connect mobsters and quickly rises through the ranks to become one of its elite. He perpetrates countless villainous activities including murder, bribery, extortion and general unpleasantness toward his fellow man to the point where it almost becomes routine.
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
Enter Jimmy Hoffa.
Sheeran befriends the mighty Teamsters union boss and popular, yet controversial figure and the two form a lasting friendship. Sheeran sometimes operates as middle man between the hot-headed Hoffa and his mob contacts, always trying to unruffle feathers and keep the peace. Over many years, there are ups and downs even when Hoffa goes to prison, but their friendship endures.
Sheeran's life of excess has fractures his own family life; however, as his daughter becomes estranged after seeing just what her father is capable of. Their relationship is strained and may never recover. Sheeran's mob connections become more of a family for him as they are where his true loyalties lie.
Sheeran's role n the death of Hoffa has to be considered speculation as, to my knowledge, the perpetrator(s) have never been fully identified. This could be due to the source book by Charles Brandt "I Heard You Paint Houses" where Sheeran confesses. There is forensic evidence to back this up, so I guess it could be more definitive than I first suspected.
If you are comparing The Irishman to Goodfellas and/or Casino, you will be disappointed. Easily in 3rd place of the 3, I enjoyed while watching, but no sequence in particular really stood out. I can remember entire sections of both Goodfellas and Casino and here it seems like Scorsese has lost some of his creativity as far as cool camera shots, long pans or long takes in favor o just letting his fantastic cast have the spotlight. Not a bad idea if you have De Niro, Pacino and Pesci, but I still feel like the film lacked that extra "spark" making it truly great. The screenplay was adequate which is also surprising since Academy Award winning screenwriter Steven Zaillian is no stranger to an epic story, but, again, seems more by the numbers and not very standout.
The run time of almost 3 1/2 hours doesn't help as the film gets bogged down somewhat in the union infighting politics and I can see where that would bore much of the audience. There is a lot to enjoy about the film led by the stellar cast of course. De Niro, while always fantastic, doesn't really have the flashy part this time. Even Joe Pesci is understated compared to his characters in other Scorsese films. Pacino as the stubborn, bullish Hoffa is the standout in my opinion, but every time he gets angry and starts shouting I always think of his role as Big Boy Caprice in Dick Tracy (ok I'm a little weird).
I won't be surprised if the film gets lots of Oscars nods for acting, directing and technicals; however, I feel this is a case where it might be a hot property for a little while and then fade away quickly. We also still don't know if history might repeat itself and Oscar voters turn a cheek away from a Netflix film in favor of one with a more "traditional" distribution. Many believe the same happened in 2018 when critic favorite Roma lost to Green Book for the same reason.
We shall see...
BankofMarquis (1832 KP) rated The Sting (1973) in Movies
Mar 29, 2020
On my list of All Time Favorite Films
I'll come right out and say it - the 1973 Academy Award winning film for Best Picture, THE STING, is one of the greatest films of all time. It's well written, well acted, well directed with a memorable musical score and characters, situations, costumes and set design that become richer over time and through repeated viewings.
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Set in Chicago in the gangster-ridden, depression era mid-1930's, THE STING tells the tale of two con man who join forces for the ultimate con of a vile N.Y. Gangster who is responsible for killing a friend of theirs.
From everything I have read about it, the script by David S. Ward (who won an Oscar for his work) arrived pretty much finished. He shaped the story of the con men - and the myriad pieces of misdirection - fully before shopping it around to the studios. Universal jumped all over it and tabbed veteran Director George Roy Hill (BUTCH CASSIDY AND THE SUNDANCE KID) to helm the picture. Hill - being no dummy - saw this as a vehicle to re-team Newman and Redford (stars of Butch Cassidy) and the rest...as they say...is history.
Newman and Redford are perfectly cast as veteran grifter Henry Gondorff (Newman) and up and coming grifter Johnny Hooker (Redford). They have an ease of playing off of each other - each one complimenting the other one - both giving in their scenes with the other one which makes the scenes more rich and alive. They are joined by a veritable "who's who" of late '60's/early '70's character actors - Harold Gould, Eileen Brennan, Charles Durning, Ray Walston and Dana Elcar - all of them bring their "A" game and they are fun to watch. Special notice should be made to Robert Earl Jones (father of James Earl Jones) as Luther, the character who's fate propels the plot forward.
But...none of this would work if you didn't have a "bad guy" that was interesting to watch - and to root against - and bad guys don't get much better...and badder...than Robert Shaw's Doyle Lonnegan. Shaw plays Lonnegan as a physically tough boss who doesn't suffer failure, but is smart enough to avoid obvious traps. He is a worthy adversary of Gondorff and Hooker's and it is fun to watch Newman, Redford and Shaw play off each other. One other note - it was with this performance that Universal recommended Shaw to young Director Stephen Spielberg for his "shark flick" JAWS.
Edith Head won her 8th (and last) Oscar for the magnificent period costumes in this film and Marvin Hamlisch won for the Music - a surprising hit on the pop charts of re-channeled Scott Joplin tunes. The set design won an Oscar - as did the Director, George Roy Hill. All in all, the film won 7 out of the 11 Oscars it was nominated for (Redford was nominated for Best Actor, but did not win).
THE STING is a well crafted film. One that tells a timeless story and that stands the test of time as a testament of how great of an achievement in film this is. It is one of my All Time favorites.
Letter Grade: the rare A+
5 stars (out of 5) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated Brave (2012) in Movies
Aug 7, 2019
The digital wizards at Pixar have an incredible dossier of Academy award-winning animated films. Their latest film “Brave“, is a prime example of the bold new direction for the company behind such classics as “Finding Nemo“, “Toy Story“, “The Incredible’s“, and “Monsters, Inc.” just to name a few. This time out Scotland provides the setting for the animation masters to weave their magic, and they do in a splendid 3-D feast of sight, sound, and color that captures the breathtaking beauty of the Scottish Highlands.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
Sarah (7798 KP) rated The Departed (2006) in Movies
Feb 20, 2021
The best gangster flick made to date
Film #15 on the 100 Movies List: The Departed
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
The Departed is Martin Scorcese’s Oscar winning Irish gangster film released in 2006, a remake of the 2002 Hong Kong film Infernal Affairs, and loosely based around the real life Boston Hill Gang led by Whitey Bulger. It’s a film I remember watching when it was first released when I was at university, and I was blown away. It centres around Irish gang boss Frank Costello (Jack Nicholson) and his relationships with police detective mole Colin Sullivan (Matt Damon) and undercover state trooper Billy Costigan (Leonardo DiCaprio), as the latter two attempt to uncover each other’s identities.
Colin Sullivan was introduced to Costello as a young boy, groomed into joining the Massachusetts State Police and soon rises to the ranks of detective in the Special Investigation Unit, led by Captain Ellerby (Alec Baldwin)and responsible for bringing down Costello and his gang. Conversely Billy Costigan suffered a troubled youth with numerous members of his family involved in Costello’s gang. He trains as a state trooper and due to his family’s criminal ties, is turned into an undercover agent by Captain Queenan (Martin Sheen) and Staff Sergeant Dignam (Mark Wahlberg), his role to infiltrate Costello’s gang. Soon suspicions are raised and the net begins to close in on everyone involved, with dire consequences.
Personally, I think this is one of the best gangster films I’ve ever seen, if not the best. It’s everything you’d expect and more from a film in this genre, and I’m not sure anyone other than Scorcese could pull off a crime thriller that manages to feature such prominent Celtic music with such flair. It has a whip smart, often funny script that features some cracking one liners and quips, especially from Mark Wahlberg’s Dignam. Yes it is a little crude and some of the dialogue could be considered as offensive by some, but to me this just makes it more realistic as you can’t exactly expect gangsters and police to talk politely. Of course the script is brought to life by a truly phenomenal cast, and arguably one of the best ensembles in a gangster film in terms of talent. Leonardo DiCaprio is no longer the fresh faced youngster he was in the days of Titanic, although he puts in a terrific performance as Billy. This is also one of the few films I’ve seen of Matt Damon’s where he doesn’t play a nice guy, and he really fits this surprisingly well. But it’s Nicholson who steals the show as Costello and he definitely gets the biggest share of the witty script, bringing some light humour to an otherwise menacing criminal figure. You can’t keep your eyes off him whenever he’s on screen, and I don’t believe anyone else could pull this off without seeming like an over the top caricature.
However it isn’t perfect. The relationship between police psychiatrist Madolyn Madden (Vera Farmiga) and both Sullivan and Costigan is a little unnecessary and not important to the main plot, but fortunately the performances from all involved mean this isn’t a major issue. And again, the film is rather long but fortunately the tense scenes and great acting, alongside a few well placed action scenes, mean it never feels too drawn out.
This is a shining example of how to do a gangster film, and one I’d wholeheartedly recommend. It’s an intelligent, performance driven masterpiece and entirely deserving of it’s Best Picture Academy Award win.
Lyndsey Gollogly (2893 KP) rated Some Will Not Sleep: Selected Horrors in Books
Jun 22, 2021
90 of 250
Kindle
Some Will Not Sleep: selected horrors
By Adam Nevill
Once read a review will be written via Smashbomb and link posted in comments
A bestial face appears at windows in the night.
In the big white house on the hill angels are said to appear.
A forgotten tenant in an isolated building becomes addicted to milk.
A strange goddess is worshipped by a home-invading disciple.
The least remembered gods still haunt the oldest forests.
Cannibalism occurs in high society at the end of the world.
The sainted undead follow their prophet to the Great Dead Sea.
A confused and vengeful presence occupies the home of a first-time buyer.
In ghastly harmony with the nightmarish visions of the award-winning writer's novels, these stories blend a lifelong appreciation of horror culture with the grotesque fascinations and childlike terrors that are the author's own.
So I wrote a few notes on each story that I enjoyed!
They are just little rambling I’m far from a in depth critic!
1. Where Angels come in
I’ve read this before and it it’s stuck with me for some reason. We all had that one house as kids that spooked us, only luckily mine was never full of creepy things.
2. The Original Occupant
A man determined to spend time in a Swedish forest finds himself disturbing a sacred ritual only to disappear after writing a frantic letter to his friends. After a search of the house and forest he’s never seen again! Really good and quite creepy never mess with someone’s sacred alter!
3. Mother’s Milk
Well that’s just made my stomach turn! A man thinks he’s found lodgings and a job finds himself turned into a milk fiend the source of the milk is definitely an interesting one.
4. Yellow Teeth
An old friend comes to visit and never leaves. This was creepy I’d just hate having someone around me that filthy and smelly.
5. Pig Thing
A strange little piggy tale after a family move to New Zealand
6. What God have Wrought
This follows a soldier searching across desert for the creature that holds his sister! For some reason this didn’t grab me.
7. Doll Hands
This is what will happen when the world comes to an end the over privileged using the poor souls as meat! Quite chilling!
8. To Forget and be Forgotten
I loved this! It reminded me of his Apartment 16 which is a book I fell totally in love with and the first book I read of Adams and this was in that style. A lot of the paragraphs struck home with me especially at the start! Solitude is something we all seek at some point and being around people can be taxing.
9. The Ancestors
This is the second time I’ve read this and it still creeps me out! A little girl makes friends with a ghost and some toys that have dark intentions and definitely dislike parents!
10.!The Age of Entitlement
11. Florrie
Another brilliant short! I think a good cleansing of all newly brought houses is in order to prevent this!
Overall I absolutely love his writing style each story even ones I didn’t quite click with transports you to that scene you’re reading. I’m building a steady collection of Adams books I highly recommend anyone of them!
Kindle
Some Will Not Sleep: selected horrors
By Adam Nevill
Once read a review will be written via Smashbomb and link posted in comments
A bestial face appears at windows in the night.
In the big white house on the hill angels are said to appear.
A forgotten tenant in an isolated building becomes addicted to milk.
A strange goddess is worshipped by a home-invading disciple.
The least remembered gods still haunt the oldest forests.
Cannibalism occurs in high society at the end of the world.
The sainted undead follow their prophet to the Great Dead Sea.
A confused and vengeful presence occupies the home of a first-time buyer.
In ghastly harmony with the nightmarish visions of the award-winning writer's novels, these stories blend a lifelong appreciation of horror culture with the grotesque fascinations and childlike terrors that are the author's own.
So I wrote a few notes on each story that I enjoyed!
They are just little rambling I’m far from a in depth critic!
1. Where Angels come in
I’ve read this before and it it’s stuck with me for some reason. We all had that one house as kids that spooked us, only luckily mine was never full of creepy things.
2. The Original Occupant
A man determined to spend time in a Swedish forest finds himself disturbing a sacred ritual only to disappear after writing a frantic letter to his friends. After a search of the house and forest he’s never seen again! Really good and quite creepy never mess with someone’s sacred alter!
3. Mother’s Milk
Well that’s just made my stomach turn! A man thinks he’s found lodgings and a job finds himself turned into a milk fiend the source of the milk is definitely an interesting one.
4. Yellow Teeth
An old friend comes to visit and never leaves. This was creepy I’d just hate having someone around me that filthy and smelly.
5. Pig Thing
A strange little piggy tale after a family move to New Zealand
6. What God have Wrought
This follows a soldier searching across desert for the creature that holds his sister! For some reason this didn’t grab me.
7. Doll Hands
This is what will happen when the world comes to an end the over privileged using the poor souls as meat! Quite chilling!
8. To Forget and be Forgotten
I loved this! It reminded me of his Apartment 16 which is a book I fell totally in love with and the first book I read of Adams and this was in that style. A lot of the paragraphs struck home with me especially at the start! Solitude is something we all seek at some point and being around people can be taxing.
9. The Ancestors
This is the second time I’ve read this and it still creeps me out! A little girl makes friends with a ghost and some toys that have dark intentions and definitely dislike parents!
10.!The Age of Entitlement
11. Florrie
Another brilliant short! I think a good cleansing of all newly brought houses is in order to prevent this!
Overall I absolutely love his writing style each story even ones I didn’t quite click with transports you to that scene you’re reading. I’m building a steady collection of Adams books I highly recommend anyone of them!
Lottie disney bookworm (1056 KP) rated The Once and Future Witches in Books
Sep 20, 2020
Thank you to Netgalley for luring me in with this recommendation and the gorgeous cover art. Thank you to Alix E Harrow for providing such an amazing story for this ARC review. All the opinions expressed below are my own.
"Witches and women's rights. Suffrage and spells. They're both...a kind of power...the kind we're not allowed to have."
I'm not often drawn to books involving witches to be honest. I love an annual viewing of Hocus Pocus (who doesn't?!) but that is usually where the affinity ends.
If anything can change my nonchalance, I suspect it may be Alix E. Harrow. This is the first piece of work I have read by the Hugo award winning writer and I don’t need any tarot cards to predict it will not be the last. From the outset of The Once and Future Witches I was hooked: the worldbuilding alone is amazing; you can immediately picture the mills, avenues, squares and slums of New Salem as well as the mysterious tower that pulls our three main characters together.
The three Eastwood sisters themselves are another work of art. Juniper, Agnes and Bella are fierce, formidable women in wildly different ways. They are also flawed, stubborn and quite frankly, inspirational: by linking women’s rights and witchcraft this fantasy novel suddenly becomes more real and relatable to the modern female reader, despite being set in 1893. We empathise, sympathise and rage right alongside the Eastwood sisters on their quest for equality in a male-controlled world.
However, not even witches can act alone and the Eastwood sisters have an amazing cast of supporting characters surrounding them. Impressively, not a single one of these characters can be accused of being two-dimensional: the character development that Harrow has invested into this novel is incredible and must have taken so much work! From the Suffragette’s secretary to the skin-crawling villain to the women and men fighting (and witching) side by side; every single character is substantial and memorable. The sarcasm within Juniper for example is hilarious and even the traditional figures of the Maiden, the Mother and the Crone refuse to conform to stereotypes: I LOVED it!
The format of this novel is very clever and practically forbids you from becoming too comfortable by peppering the main story with “witch-tales”. These complement rather than distract from the storyline and also provide small changes that make you smile – such as the tales of the Sisters Grimm.
Do not be fooled though: the use of witch-tales does not prevent The Once and Future Witches from being an incredibly modern piece of writing. Topics covered include sexuality, gender identity, feminism, race as well as smashing the patriarchy: all interspersed with magic, betrayal and a hell of a lot of emotion.
I would however argue that some topics are slightly too mature for the novel to be considered YA, the description of torture and suggestions of sexual abuse probably push this book firmly into general/adult fantasy fiction novels.
The Once and Future Witches is a future bestseller in my opinion. This unique, powerful novel provides characters that you can’t help but empathise with; slow-burning, intense relationships; the trials and tribulations that come with sisterhood and plot twists at every turn.
This book will swallow you heart and soul, make you laugh, make you cry and leave you bereft at the end.
It is a must read!
"Witches and women's rights. Suffrage and spells. They're both...a kind of power...the kind we're not allowed to have."
I'm not often drawn to books involving witches to be honest. I love an annual viewing of Hocus Pocus (who doesn't?!) but that is usually where the affinity ends.
If anything can change my nonchalance, I suspect it may be Alix E. Harrow. This is the first piece of work I have read by the Hugo award winning writer and I don’t need any tarot cards to predict it will not be the last. From the outset of The Once and Future Witches I was hooked: the worldbuilding alone is amazing; you can immediately picture the mills, avenues, squares and slums of New Salem as well as the mysterious tower that pulls our three main characters together.
The three Eastwood sisters themselves are another work of art. Juniper, Agnes and Bella are fierce, formidable women in wildly different ways. They are also flawed, stubborn and quite frankly, inspirational: by linking women’s rights and witchcraft this fantasy novel suddenly becomes more real and relatable to the modern female reader, despite being set in 1893. We empathise, sympathise and rage right alongside the Eastwood sisters on their quest for equality in a male-controlled world.
However, not even witches can act alone and the Eastwood sisters have an amazing cast of supporting characters surrounding them. Impressively, not a single one of these characters can be accused of being two-dimensional: the character development that Harrow has invested into this novel is incredible and must have taken so much work! From the Suffragette’s secretary to the skin-crawling villain to the women and men fighting (and witching) side by side; every single character is substantial and memorable. The sarcasm within Juniper for example is hilarious and even the traditional figures of the Maiden, the Mother and the Crone refuse to conform to stereotypes: I LOVED it!
The format of this novel is very clever and practically forbids you from becoming too comfortable by peppering the main story with “witch-tales”. These complement rather than distract from the storyline and also provide small changes that make you smile – such as the tales of the Sisters Grimm.
Do not be fooled though: the use of witch-tales does not prevent The Once and Future Witches from being an incredibly modern piece of writing. Topics covered include sexuality, gender identity, feminism, race as well as smashing the patriarchy: all interspersed with magic, betrayal and a hell of a lot of emotion.
I would however argue that some topics are slightly too mature for the novel to be considered YA, the description of torture and suggestions of sexual abuse probably push this book firmly into general/adult fantasy fiction novels.
The Once and Future Witches is a future bestseller in my opinion. This unique, powerful novel provides characters that you can’t help but empathise with; slow-burning, intense relationships; the trials and tribulations that come with sisterhood and plot twists at every turn.
This book will swallow you heart and soul, make you laugh, make you cry and leave you bereft at the end.
It is a must read!
BankofMarquis (1832 KP) rated Oppenheimer (2023) in Movies
Jul 27, 2023
Gonna Win A Ton of Awards
Clear your shelves, Christopher Nolan and many of those involved in the making of his new movie OPPENHEIMER, you’re going to need the space for the many, many trophies you are going to receive next spring.
Based on the life of the “Father of the Atomic Bomb”, J. Robert Oppenheimer, Nolan’s latest epic is a rarity in today’s Motion Picture landscape - a prestige picture, bankrolled lavishly, filmed gorgeously and populated with a veritable who’s who of “A” list actors that tells a complex story of a complicated man who ends up remorseful of what he has unleashed in this world.
And it works very, very well.
Nolan regular, Cillian Murphy, is equal parts quirky, driven, determined and haunted in his multi-layered performance as the titular character - who is in almost every scene of this 3 hour film. He is fascinating to watch and his “more internal than external” performance draws the audience in throughout the events depicted in this film. It is the Best Performance of the career of one of the most interesting actors of this generation and one should not be surprised if his name is called during awards season next year.
Murphy is capably supported by a long list of strong performers giving strong performances in roles that are much smaller than ones they normally receive. Matt Damon, Florence Pugh, Josh Hartnett(!), Casey Affleck, Rami Malek, Matthew Modine, Kenneth Branagh (of course, it’s a Nolan film), Jason Clarke and Alden Ehrenreich bring their “A” game to roles that could have been thrown away.
Also, good ol’ Tom Conti (one of the most interesting actors from the late ‘70’s and early ‘80’s) shows up in this film as Albert Einstein and reminds us all why he is such a good performer…and…wait until you see who shows up for one scene in this film as President Harry S. Truman!
Oh…and don’t forget Emily Blunt (as Oppenheimer’s wife) and (surprisingly) Robert Downey, Jr. (as a politician using Oppenheimer for his own purposes). Both of them put in Award-winning-level uspporting performances, elevating two “A” list actors to the “A+ list”.
But this film is more than just it’s performers. Nolan demands - and receives - top notch work from the Cinematographer, the Sound Designer, the Editor, the Costume Designer and the Composer (Ludwig Goranssson, NOT Nolan regular Hans Zimmer). They (along with Nolan) craft a beautifully made and put together film that will dazzle the senses. If you get a chance, see this film in a movie theater and, if you can, see it in either iMAX or 70mm, you will be glad you did.
What holds this film back - just a little bit - is the story that is being told. Nolan (as he is want to do) plays with time and pretty frenetically cuts back and forth between about 4 different timelines to tell this story. It’s effective most of the time, but at other times, it becomes distracting and….with a 3 hour run time…does drag a bit at times.
But these are quibbles to a film that is “as good as it gets” by the BEST DIRECTOR plying his trade today. It is another triumph for Nolan and he will be making many, many acceptance speeches in just a few short months.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Based on the life of the “Father of the Atomic Bomb”, J. Robert Oppenheimer, Nolan’s latest epic is a rarity in today’s Motion Picture landscape - a prestige picture, bankrolled lavishly, filmed gorgeously and populated with a veritable who’s who of “A” list actors that tells a complex story of a complicated man who ends up remorseful of what he has unleashed in this world.
And it works very, very well.
Nolan regular, Cillian Murphy, is equal parts quirky, driven, determined and haunted in his multi-layered performance as the titular character - who is in almost every scene of this 3 hour film. He is fascinating to watch and his “more internal than external” performance draws the audience in throughout the events depicted in this film. It is the Best Performance of the career of one of the most interesting actors of this generation and one should not be surprised if his name is called during awards season next year.
Murphy is capably supported by a long list of strong performers giving strong performances in roles that are much smaller than ones they normally receive. Matt Damon, Florence Pugh, Josh Hartnett(!), Casey Affleck, Rami Malek, Matthew Modine, Kenneth Branagh (of course, it’s a Nolan film), Jason Clarke and Alden Ehrenreich bring their “A” game to roles that could have been thrown away.
Also, good ol’ Tom Conti (one of the most interesting actors from the late ‘70’s and early ‘80’s) shows up in this film as Albert Einstein and reminds us all why he is such a good performer…and…wait until you see who shows up for one scene in this film as President Harry S. Truman!
Oh…and don’t forget Emily Blunt (as Oppenheimer’s wife) and (surprisingly) Robert Downey, Jr. (as a politician using Oppenheimer for his own purposes). Both of them put in Award-winning-level uspporting performances, elevating two “A” list actors to the “A+ list”.
But this film is more than just it’s performers. Nolan demands - and receives - top notch work from the Cinematographer, the Sound Designer, the Editor, the Costume Designer and the Composer (Ludwig Goranssson, NOT Nolan regular Hans Zimmer). They (along with Nolan) craft a beautifully made and put together film that will dazzle the senses. If you get a chance, see this film in a movie theater and, if you can, see it in either iMAX or 70mm, you will be glad you did.
What holds this film back - just a little bit - is the story that is being told. Nolan (as he is want to do) plays with time and pretty frenetically cuts back and forth between about 4 different timelines to tell this story. It’s effective most of the time, but at other times, it becomes distracting and….with a 3 hour run time…does drag a bit at times.
But these are quibbles to a film that is “as good as it gets” by the BEST DIRECTOR plying his trade today. It is another triumph for Nolan and he will be making many, many acceptance speeches in just a few short months.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
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.