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Gareth von Kallenbach (980 KP) rated T2 Trainspotting (2017) in Movies
Jul 12, 2019
The first time I saw Trainspotting was my senior year of high school. At the time, I knew that I wanted to get involved in film, and I really did for about ¾ of a year after I graduated. I looked at movies for their artistry and cinematography even at a young age. I was a band geek, so music was also things I would love about movies. I was deep for a 17-year-old, or so I thought any way. But I explain this to you so you don’t think that I loved this movie simply because of the drug use or humor it presented. I have always been of the mind to find something I like about a movie, watch it for what it is, and try to just find the enjoyment value (I know, weird coming from a film reviewer). I didn’t even have to try for Trainspotting. It was the complete package, and ground breaking. It also introduced me to Ewan McGregor, who is one of my favorite actors. I loved the movie so much, I bought Irvine Welsh’s book that the movie was based on of the same title, Trainspotting, which I highly recommend simply for the fact that it’s written in phonetic Scottish. I never picked up Porno, the literary sequel to Trainspotting, but I hear it is bizarre and will need to pick it up, but not because of this movie. I’ll explain in a moment.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
Naturally, when the announcement was made for a second Trainspotting movie, I was both excited and terrified at the same time. The first was so good, why did Hollywood need to ruin it with a sequel that has a bigger budget. What was promising was that it was announced that the entire cast of characters (that survived from the first film) would be back, including Diane (Kelly MacDonald). But it’s been 20 years. Typically, when you see sequels come out even after only 10 years, the whole film seems a contrite, forced replication of the first. Hell, look at all the criticism for the Hangover films being exactly that, and they were only a few years apart. Whether the script feels forced just for the sake of a sequel, or the actors are trying too hard to be the character they played many years prior, it never quite works. So, as we neared the release date, I was getting more and more weary of seeing the film. Then, the trailer dropped.
Damn the trailer looked good. And I will tell you, the movie did not fall into the trap of forced sequels. The main cast came back and played the characters perfectly. Not as they were, but as the people they grew to be over the 20-year period. The plot was fun and pointless, with all of the same charm as its predecessor. I saw the movie with fellow SKNR staffer Joshua Aja, and we had a pretty good conversation following the film. We both came to the same conclusion, that neither of us could remember the last time we saw a film that just that good.
So now to the actual meat of the review itself. What was the movie about? Well, I won’t give away too much, but I will give you a quick recap of the events leading up to this film. Basically, do you remember the end of Trainspotting? Renton (Ewan McGregor), Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle) had successfully pulled off a heist, and Renton was making off with the money while everyone slept, except Spud of course who saw Renton leaving but didn’t say anything. As a result, Renton left Spud’s share of the cash for him in a locker. Okay; all caught up.
T2 Trainspotting picks up 20 years later. Renton comes back to Scotland because his mother passed away, he ends up reuniting with Spud, and eventually Sick Boy, who we now know by his real name, Simon. Begbie is in prison because, well… he’s Begbie, but he doesn’t stay there long. Tempers fly, old feelings flare, and not every reunited moment is met with glee. But soon enough, Renton, Simon and Spud are drawn into old habits, though not old drugs, and start to build money up to open a ‘sauna’ (read: undercover brothel) for Simon’s girlfriend, Veronika (Angela Nedyalkova). It’s not long before Begbie shows up and starts mucking things up leading to a suspenseful conclusion between Renton, Simon and Begbie.
That’s all I can say. There was an excellent use of the history from the first film, and of course we get another fantastic ‘Choose Life’ speech from Renton. The soundtrack, while not quite as good as the first, still holds its own very well. And be sure to look for the Bowie tribute, since it was he who helped Danny Boyle obtain a lot of music rights on the cheap for the first film. And, you will find Spud’s writings throughout the movie to be lifted, verbatim, from the Trainspotting by Irvine Welsh. But what’s interesting, is that there is not a lot that relates this film to the literary sequel, Porno. Much of the plot of this film is taken from, or at least inspired by, parts of the book that were not used in the first film. That combined with some new writing and storytelling from Irvine Welsh and John Hodge.
Bottom line: if you liked the Trainspotting even in the slightest, you will absolutely enjoy T2 Trainspotting. A phenomenal job by cast, crew, and writers, and an excellent soundtrack will leave you wanting a trilogy. This is only the third film I have given a perfect score to in my 7 years of reviewing films, and it is well deserved. Go see this movie.
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Bob Mann (459 KP) rated The Front Runner (2018) in Movies
Sep 28, 2021
Candidate for a downfall.
We can all probably rattle off some of the classics movies with US politics as their backdrop. For me, “All the President’s Men”; “Primary Colors”; and “Frost/Nixon” might make that list. In the next tier down there are many great drama/thrillers – “Miss Sloane“; “The Post“; “The Ides of March”; “The American President”; “JFK” – and even some pretty funny comedies – “Dave” and “My Fellow Americans” for example. It’s actually quite difficult to think of many films on the subject that are outright dire, proving it remains a fertile ground for film-makers.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
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Chris Sawin (602 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Aug 11, 2019 (Updated Aug 11, 2019)
The monsters. (1 more)
Special effects - blend of CG and practical.
The Pale Lady. (2 more)
Basic rinse and repeat horror formula.
No emotional attachment to characters.
Fishing for Turds
Scary Stories to Tell in the Dark is probably considered the introduction to horror fiction for anyone who was in middle school in the mid to late 1990s. I distinctly remember checking out at least one of the books before I was a teenager, but the story that has stuck with me multiple decades later has and always will be, “The Red Spot.” The thing about the Scary Stories books is that they were just these random collections of creepy tales meant to make the reader anxious, uneasy, or even frightened, so the fact that somebody attempted to make a coherent film out of a jumbled mix of stories from all three books is kind of incredible.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
The horror film directed by André Øvredal (Trollhunter, The Autopsy of Jane Doe) follows a group of teenagers in the small town of Mill Valley, Pennsylvania during Halloween in 1968. Stella (Zoe Colletti) is a die-hard fan of the horror genre, Auggie (Gabriel Rush) is a bit too infatuated with girls for his own good, and Chuck (Austin Zajur) lives on candy and pranks when he’s not driving his older sister Ruth (Natalie Ganzhorn) insane. They cross paths with a mysterious drifter named Ramon (Michael Garza) who joins the group seemingly out of boredom.
They initially use trick or treating as a front for revenge against local jock and full-time bully Tommy (Austin Abrams), which leads them to a condemned and rumored to be haunted house of the Bellows family. Sarah Bellows lived in isolation and dramatically killed herself because of her family. Sarah turned her devastating life into inspiration for a series of terrifying stories. After Stella discovers the book Sarah wrote her stories in, strange things begin happening in Mill Valley and everyone in the Bellows house from that night becomes a target.
The monsters of the film attempt to be as explicitly accurate as possible to Stephen Gammell’s original illustrations from the Scary Stories books. This typically pays off, especially with Harold the Scarecrow and The Toe Monster but it seems to backfire with The Pale Lady. While she does still look like a living incarnation of Gammell’s artwork, the story has the weakest conclusion of the entire film. Scary Stories makes up for this by introducing The Jangly Man, who is seriously worth the price of admission alone even if you typically can’t understand a word that he says. The Jangly Man contorts his body in the most inhuman of ways, can separate all of his limbs from his torso, and has this bloodcurdling voice that rattles your insides.
There’s been an emphasis on the lack of a narrative in Scary Stories to Tell in the Dark. That may be true, but the film is based on a trilogy of books that is close to thirty years old and is supposed to be aimed at younger readers. The film adapts the stories in a way that isn’t totally successful, but it is surprisingly great at times. Despite some recognizable names in the supporting cast such as Dean Norris (Breaking Bad), Gil Bellows (The Shawshank Redemption), and Lorraine Toussaint (Orange is the New Black), the main cast is mostly filled with unknowns. Some reviews claim that the acting isn’t up to par, but I was pleasantly surprised. Austin Zajur can be annoying as the mischievous Chuck, but he was also rather humorous the majority of the time. Zoe Colletti goes a little overboard when she cries, but she’s also solid when she gushes over horror. Austin Abrams is seriously nasty as Tommy. He is always sweaty and has no remorse for anyone. He takes bullying to frightening heights.
I guess I expected the film to be corny (pun intended) with lame PG-13 kills and a cast that had no idea what they were doing. The film managed to make me a fan during the Harold segment. That surround sound in the cornfield is masterful with the wind blowing through corn stalks in every direction and the rusty creaking of the scarecrow as he tries to walk. How these teenagers are terrorized manages to transcend what movie ratings typically mean for a given film; this would be unsettling regardless of what it’s rated or how old the viewer is.
Scary Stories to Tell in the Dark is not a perfect horror anthology since it’s extremely simple in concept. A monster shows up, a kid disappears, and then it’s rinse and repeat for an hour and 47 minutes. At the same time though, it’s probably the scariest film of the summer and could potentially become the next big horror franchise. Scary Stories to Tell in the Dark could easily take over where the Final Destination films left off or even be this generation’s answer to that. The practical effects mixed with just the right amount of CGI for the monsters are what really sell the film. Despite being as disjointed and unnatural as The Jangly Man, Scary Stories to Tell in the Dark is way more amusing and eerie than it has any right to be.
The Altruistic Brain: How We are Naturally Good
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Since the beginning of recorded history, law and religion have provided "rules" that define good...
Hazel (1853 KP) rated Immortal Writers in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
Words are the most powerful form of magic. Jill Bowers creates a unique fantasy concept in this soon to be published adventure novel. When <i>Immortal Writers</i> begins, the genre is similar to many contemporary novels: characters living normal day-to-day lives. Eighteen-year-old Liz has just landed back in her hometown after touring to promote her new novel, the next in a popular fantasy series that won her the Best Young Fantasy Award. All she wants is to return to her apartment and go to bed, so being kidnapped was not part of her plan. Especially not being kidnapped by the formidable William Shakespeare.
What Liz and readers both learn next is a brilliant, awe-inspiring idea. Imagine that all the world’s most famous authors were immortal and lived together in a magical castle manipulated by the science fiction novelists. That is what Liz suddenly has to come to terms with. Although she is only young, her books show so much potential that she is already initiated into the Immortal Writers. But it is not only legendary writers inhabiting this fortress. When an author becomes immortal, their characters become real. Liz is shocked to come face to face with the handsome hero of her story as well as a few of her supporting characters. However that is not all that has crossed over into reality.
As well as the goodies, the evil characters have also been brought into the world. Kenric, Liz’s antagonist, has hidden himself nearby with hundreds of dragons. He wants dominion over the entire planet and the only person that can stop him is Liz herself. So begins an adventure of learning to use magic, sword fights, dragon attacks and inevitable, heart wrenching causalities.
As a writer, Jill Bowers has not quite got the level of standard that the top authors have achieved. This is evident from the lack of description and awkwardness of the prose throughout the first few chapters. Once the storyline is well under way it becomes a lot easier to read; whether her writing improves is debatable, but her imagination captures the readers attention and provides a thoroughly entertaining narrative.
It is not solely the plot, characters and action that will stay in readers’ minds – the overall concept is fantastic. Who would not want their favourite authors to live forever? I would love to meet a William Shakespeare who has adapted himself to modern day living. Even more exciting is the possibility of meeting fictional characters. Each reader is bound to start daydreaming about which of their most loved books they would like to become real. How great would it be to meet Harry Potter, or see a unicorn, or eat some chocolate made by Willy Wonka, or… the possibilities are endless.
<i>Immortal Writers</i> is the first novel in a series so there will be more books that focus on this amazing idea. From the preview at the end of this copy, it appears that the following book will be about different authors/characters, therefore will provide a whole new outline to wrap our heads around.
Fantasy fans should definitely seek out this series. The writing may not exactly be up to par, but the general storyline is unquestionably worth it. Encompassing, contemporary, adventure and romance genres, <i>Immortal Writers</i> is an incredible fantasy story based in the “real” world.
Words are the most powerful form of magic. Jill Bowers creates a unique fantasy concept in this soon to be published adventure novel. When <i>Immortal Writers</i> begins, the genre is similar to many contemporary novels: characters living normal day-to-day lives. Eighteen-year-old Liz has just landed back in her hometown after touring to promote her new novel, the next in a popular fantasy series that won her the Best Young Fantasy Award. All she wants is to return to her apartment and go to bed, so being kidnapped was not part of her plan. Especially not being kidnapped by the formidable William Shakespeare.
What Liz and readers both learn next is a brilliant, awe-inspiring idea. Imagine that all the world’s most famous authors were immortal and lived together in a magical castle manipulated by the science fiction novelists. That is what Liz suddenly has to come to terms with. Although she is only young, her books show so much potential that she is already initiated into the Immortal Writers. But it is not only legendary writers inhabiting this fortress. When an author becomes immortal, their characters become real. Liz is shocked to come face to face with the handsome hero of her story as well as a few of her supporting characters. However that is not all that has crossed over into reality.
As well as the goodies, the evil characters have also been brought into the world. Kenric, Liz’s antagonist, has hidden himself nearby with hundreds of dragons. He wants dominion over the entire planet and the only person that can stop him is Liz herself. So begins an adventure of learning to use magic, sword fights, dragon attacks and inevitable, heart wrenching causalities.
As a writer, Jill Bowers has not quite got the level of standard that the top authors have achieved. This is evident from the lack of description and awkwardness of the prose throughout the first few chapters. Once the storyline is well under way it becomes a lot easier to read; whether her writing improves is debatable, but her imagination captures the readers attention and provides a thoroughly entertaining narrative.
It is not solely the plot, characters and action that will stay in readers’ minds – the overall concept is fantastic. Who would not want their favourite authors to live forever? I would love to meet a William Shakespeare who has adapted himself to modern day living. Even more exciting is the possibility of meeting fictional characters. Each reader is bound to start daydreaming about which of their most loved books they would like to become real. How great would it be to meet Harry Potter, or see a unicorn, or eat some chocolate made by Willy Wonka, or… the possibilities are endless.
<i>Immortal Writers</i> is the first novel in a series so there will be more books that focus on this amazing idea. From the preview at the end of this copy, it appears that the following book will be about different authors/characters, therefore will provide a whole new outline to wrap our heads around.
Fantasy fans should definitely seek out this series. The writing may not exactly be up to par, but the general storyline is unquestionably worth it. Encompassing, contemporary, adventure and romance genres, <i>Immortal Writers</i> is an incredible fantasy story based in the “real” world.
graveyardgremlin (7194 KP) rated Double Love (Sweet Valley High, #1) in Books
Feb 15, 2019
<u><b>SVH: WTF?</b></u>
<b>Cover Models:</b> Jessica and Elizabeth
<b>Page count:</b> 182
<b>Special Event:</b> Some sorority thing.
<b>Number of times "a hundred and thirty-seven" was mentioned:</b> Two, plus five hundred and thirty-seven and seven hundred and thirty-seven. See below.
<b>Mental Illness Winner of the Week:</b> Jessica. Is there any surprise there?
<b>Jessica's Bitchyness scale:</b> ***** (out of five)
<b>WTFery Meter:</b> ****1/2 stars (out of five)
-------------------------
<b>Quotes & Snarky comments:</b>
What a peach:<blockquote>"How can you be best friends with somebody as blah as Eeny Rollins? I don't want you to go over there. Somebody might think it was <i>me</i> talking to her." - Jessica Wakefield, page 18</blockquote>Jessica's thoughts about Liz's lack of enthusiasm at being accepted into the sorority, Pi Beta Alpha: <blockquote>"No big deal? Elizabeth, how can you say that? How can you even think it? You've got to be seven hundred and thirty-seven kinds of idiots not to be excited about associating with the best girls at Sweet Valley High. What's wrong with you?" - page 34/5</blockquote>Isn't she simply the sweetest girl in the world? (note: Enid was also accepted.)
On butting into their brother's, Steven, love life: <blockquote>"You can do whatever you want, Elizabeth Wakefield, but it's just not in my nature to be cold and selfish when it comes to the happiness of a member of my family!" - page 39</blockquote>This as she attempts to steal Todd away from Liz the whole book. Yeah, real selfless of ya, Jess.<blockquote>"He has got to be the most wonderful boy in a hundred and thirty-seven states!" - Jessica, page 108</blockquote> Uh, she does realize there are only 50, right?<blockquote>Elizabeth wondered how her sister could possibly descend from cloud nine with Todd Wilkins to the pits of depression so fast and simply because she had to do a little thing like help fix dinner. - page 108</blockquote>I bet a psychologist (or a whole team of them) is the only one that could help you figure that out, Liz. What follows immediately afterward sees Jessica having a complete meltdown. Seriously.
<blockquote>"This family has got to be the biggest bummer in five hundred and thirty-seven cities!" - Jess, page 111</blockquote><blockquote>"You selfish little twerp," Steven said, glaring at Jessica. - page 114</blockquote>Hear, hear! Way to go Steve!
<blockquote>"I'll never forgive you, not if I live to be a hundred and thirty-seven years." - Jessica, page 182</blockquote>Aah! Please don't live that long, please. 8O
<b>Final thoughts:</b>
Elizabeth = Goody-two-shoes doormat.
Jessica = Satan incarnate.
Sounds like a bad sitcom.
<b>Disclaimer:</b> I am not a teenager or preteen, but an adult. Supposedly. Everyone keeps telling me I am but I'm not sure I'm buying what they're selling. Therefore my views are based from that perspective rather than someone in the target age range. I inhaled these suckers when I was young, hale, and hearty, so in an apparent moment of weakness have decided to re-visit one of my favorite old series in a fondly-remembered, tongue-in-cheek, and mostly sarcastic approach. So since I couldn't manage to devise a rating system for SVH books, I came up with this little way to have some fun, which is in the review form you've (hopefully) just read. Why else would you be reading this if you hadn't read all the way through anyway? Sometimes me not so bright. ;P
Next review: <a href="http://www.goodreads.com/review/show/166889313"><b>Secrets</b></a>;
<b>Cover Models:</b> Jessica and Elizabeth
<b>Page count:</b> 182
<b>Special Event:</b> Some sorority thing.
<b>Number of times "a hundred and thirty-seven" was mentioned:</b> Two, plus five hundred and thirty-seven and seven hundred and thirty-seven. See below.
<b>Mental Illness Winner of the Week:</b> Jessica. Is there any surprise there?
<b>Jessica's Bitchyness scale:</b> ***** (out of five)
<b>WTFery Meter:</b> ****1/2 stars (out of five)
-------------------------
<b>Quotes & Snarky comments:</b>
What a peach:<blockquote>"How can you be best friends with somebody as blah as Eeny Rollins? I don't want you to go over there. Somebody might think it was <i>me</i> talking to her." - Jessica Wakefield, page 18</blockquote>Jessica's thoughts about Liz's lack of enthusiasm at being accepted into the sorority, Pi Beta Alpha: <blockquote>"No big deal? Elizabeth, how can you say that? How can you even think it? You've got to be seven hundred and thirty-seven kinds of idiots not to be excited about associating with the best girls at Sweet Valley High. What's wrong with you?" - page 34/5</blockquote>Isn't she simply the sweetest girl in the world? (note: Enid was also accepted.)
On butting into their brother's, Steven, love life: <blockquote>"You can do whatever you want, Elizabeth Wakefield, but it's just not in my nature to be cold and selfish when it comes to the happiness of a member of my family!" - page 39</blockquote>This as she attempts to steal Todd away from Liz the whole book. Yeah, real selfless of ya, Jess.<blockquote>"He has got to be the most wonderful boy in a hundred and thirty-seven states!" - Jessica, page 108</blockquote> Uh, she does realize there are only 50, right?<blockquote>Elizabeth wondered how her sister could possibly descend from cloud nine with Todd Wilkins to the pits of depression so fast and simply because she had to do a little thing like help fix dinner. - page 108</blockquote>I bet a psychologist (or a whole team of them) is the only one that could help you figure that out, Liz. What follows immediately afterward sees Jessica having a complete meltdown. Seriously.
<blockquote>"This family has got to be the biggest bummer in five hundred and thirty-seven cities!" - Jess, page 111</blockquote><blockquote>"You selfish little twerp," Steven said, glaring at Jessica. - page 114</blockquote>Hear, hear! Way to go Steve!
<blockquote>"I'll never forgive you, not if I live to be a hundred and thirty-seven years." - Jessica, page 182</blockquote>Aah! Please don't live that long, please. 8O
<b>Final thoughts:</b>
Elizabeth = Goody-two-shoes doormat.
Jessica = Satan incarnate.
Sounds like a bad sitcom.
<b>Disclaimer:</b> I am not a teenager or preteen, but an adult. Supposedly. Everyone keeps telling me I am but I'm not sure I'm buying what they're selling. Therefore my views are based from that perspective rather than someone in the target age range. I inhaled these suckers when I was young, hale, and hearty, so in an apparent moment of weakness have decided to re-visit one of my favorite old series in a fondly-remembered, tongue-in-cheek, and mostly sarcastic approach. So since I couldn't manage to devise a rating system for SVH books, I came up with this little way to have some fun, which is in the review form you've (hopefully) just read. Why else would you be reading this if you hadn't read all the way through anyway? Sometimes me not so bright. ;P
Next review: <a href="http://www.goodreads.com/review/show/166889313"><b>Secrets</b></a>;