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Lucy Buglass (45 KP) rated Rare Beasts (2019) in Movies
Oct 14, 2019
Directorial debuts are tough, and it gives people a chance to establish their personal style. Sadly for me, Billie Piper’s first film had a style that didn’t sit well with me at all. She was heavily involved in the project; directing, writing and starring in it, but her unique first film is perhaps a bit too quirky.
Rare Beasts follows Mandy, a career-driven single mother (Billie Piper) and her turbulent relationship with Pete (Leo Bill). Possibly the most frustrating thing about this film as it’s unclear why the two of them even ended up together at all.
It’s not uncommon for people to choose poorly when they’re dating, and end up in a relationship that doesn’t work, but Rare Beasts offers no reason for the two to even end up together in the first place. Mandy’s a single mother, she’s wild, she wears bold clothing, and Pete is a traditionalist who is, frankly, a misogynist with anger issues.
Interestingly, the film’s synopsis describes Pete as ‘charming’, and I’m unable to see that quality in him, nor is it ever shown from Mandy’s point of view. She never once looks at Pete lovingly, or seems charmed by him.
The lack of context or any indication as to what drove them to be together is a problem for me. Even if we saw one tiny nice moment between them it would make sense, but throughout the film they’re consistently awful to each other with no redeeming features.
Combined with a narrative that is all over the place and dialogue that feels very unnatural, it comes across as jarring most of the time. I have no issue with unconventional film styles, but I found it very hard to follow what was going on at various points.
It seems Rare Beasts is confused about what tone its actually going for, switching between whimsical musical style scenes (minus the music or singing) and gritty realism in a matter of seconds.
I appreciated the efforts to raise awareness of social issues such as domestic abuse, gender inequalities and the struggles of bringing up a child as a single parent, but these messages are squashed by a visual style that is rather overwhelming.
There is also a sub-plot involving Mandy’s parents (Kerry Fox and David Thewlis), who have separated but appear to have a complicated relationship. This is never fully explained either so it’s hard to connect with them, especially when Mandy’s mother falls ill.
This attempt to tug at our heartstrings falls flat, which is disappointing as it had the potential to bring some real, raw emotion to Rare Beasts. Sadly it’s as disjoined and confusing as Mandy and Pete’s relationship.
It’s clear those involved in the film gave it their all, and I can’t fault the quality of the actors even though some of the lines didn’t work and felt too far removed from natural conversation to be taken seriously. At least they tried.
Billie Piper has talent, there’s no doubt about it, but she hasn’t quite made it work in this very daring debut behind the camera. If Rare Beasts was attempting to be relatable and resonate with audiences, it failed to do that with me.
Rare Beasts follows Mandy, a career-driven single mother (Billie Piper) and her turbulent relationship with Pete (Leo Bill). Possibly the most frustrating thing about this film as it’s unclear why the two of them even ended up together at all.
It’s not uncommon for people to choose poorly when they’re dating, and end up in a relationship that doesn’t work, but Rare Beasts offers no reason for the two to even end up together in the first place. Mandy’s a single mother, she’s wild, she wears bold clothing, and Pete is a traditionalist who is, frankly, a misogynist with anger issues.
Interestingly, the film’s synopsis describes Pete as ‘charming’, and I’m unable to see that quality in him, nor is it ever shown from Mandy’s point of view. She never once looks at Pete lovingly, or seems charmed by him.
The lack of context or any indication as to what drove them to be together is a problem for me. Even if we saw one tiny nice moment between them it would make sense, but throughout the film they’re consistently awful to each other with no redeeming features.
Combined with a narrative that is all over the place and dialogue that feels very unnatural, it comes across as jarring most of the time. I have no issue with unconventional film styles, but I found it very hard to follow what was going on at various points.
It seems Rare Beasts is confused about what tone its actually going for, switching between whimsical musical style scenes (minus the music or singing) and gritty realism in a matter of seconds.
I appreciated the efforts to raise awareness of social issues such as domestic abuse, gender inequalities and the struggles of bringing up a child as a single parent, but these messages are squashed by a visual style that is rather overwhelming.
There is also a sub-plot involving Mandy’s parents (Kerry Fox and David Thewlis), who have separated but appear to have a complicated relationship. This is never fully explained either so it’s hard to connect with them, especially when Mandy’s mother falls ill.
This attempt to tug at our heartstrings falls flat, which is disappointing as it had the potential to bring some real, raw emotion to Rare Beasts. Sadly it’s as disjoined and confusing as Mandy and Pete’s relationship.
It’s clear those involved in the film gave it their all, and I can’t fault the quality of the actors even though some of the lines didn’t work and felt too far removed from natural conversation to be taken seriously. At least they tried.
Billie Piper has talent, there’s no doubt about it, but she hasn’t quite made it work in this very daring debut behind the camera. If Rare Beasts was attempting to be relatable and resonate with audiences, it failed to do that with me.
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Bob Mann (459 KP) rated Searching (2018) in Movies
Sep 28, 2021
A phenomenally intriguing social media-focused movie.
There have been many movies that have featured computing and, more specifically, social media at their heart. Some these have used the device of the view “from the screen”: 2016’s entertaining “Nerve” had elements of this, with the majority of the rest of the film being ‘augmented reality’ over the video. But it was 2014’s teen-horror “Unfriended” that set a new bar being seen entirely through a computer screen. No surprise then that the producer of that one – Timur Bekmambetov – is also behind “Searching”. For – although taking a few liberties with news vidoes, that may or may not be showing on Youtube – the whole film is shot through computer screens.
“Oh no!” you sigh “another gimmicky B-movie”. Far from it. Not only is this a really helpful training film for Windows tips and tricks! It’s also a totally absorbing crime mystery anchored by a superb script that keeps the audience guessing to the end.
John Cho – most famous as Sulu in the Star Trek reboots – plays David Kim who is trying to control his 16 year-old daughter Margot (Michelle Ya, in her movie debut). Kim, working in some form of product development, is no technology luddite, and when Margot disappears he uses his nous about social media to try to piece together the fragments of the puzzle to assist police Detective Vick (Debra Messing, “Grace” in “Will and Grace”).
To say any more would ruin what is a masterly roller-coaster ride of twists and turns. The script by first-time director Aneesh Chaganty and Sev Ohanian doesn’t let its audience relax for a moment, spawning more movie cul-de-sacs and red herrings than a classic Agatha Christie.
In the acting stakes John Cho – who really doesn’t get given much to do in the Star Trek background – is here impressively believable as the parent, struggling with both bringing up a teen – enough to stress any mortal out – and an emotional past. Ms La is also equally engaging, given most of her scenes are via close-up web cam.
Criticisms? The film, at 102 minutes, might have usefully trimmed 10 minutes to be an even tighter 90 minute classic. I also thought it pulled its punches in the finale, where a director of the calibre of Hitchcock might have gone for a much darker angle without a qualm.
But I’m nit-picking. This is an excellent thriller that also effectively drills into grief and bereavement (a warning for anyone struggling with this – especially via the “Big C”… you might want to give this one a miss… #Up). It also ironically highlights that whilst broadcasting by people has never been more prevelant, communication between family members is sometimes totally lacking.
Clearly people agree with me that it is excellent: the preview cinema audience I saw this with was buzzing afterwards, and this won the “Audience Award” at Sundance.
“Searching” will be on general release in the UK and US from August 31st 2018. Highly recommended!
“Oh no!” you sigh “another gimmicky B-movie”. Far from it. Not only is this a really helpful training film for Windows tips and tricks! It’s also a totally absorbing crime mystery anchored by a superb script that keeps the audience guessing to the end.
John Cho – most famous as Sulu in the Star Trek reboots – plays David Kim who is trying to control his 16 year-old daughter Margot (Michelle Ya, in her movie debut). Kim, working in some form of product development, is no technology luddite, and when Margot disappears he uses his nous about social media to try to piece together the fragments of the puzzle to assist police Detective Vick (Debra Messing, “Grace” in “Will and Grace”).
To say any more would ruin what is a masterly roller-coaster ride of twists and turns. The script by first-time director Aneesh Chaganty and Sev Ohanian doesn’t let its audience relax for a moment, spawning more movie cul-de-sacs and red herrings than a classic Agatha Christie.
In the acting stakes John Cho – who really doesn’t get given much to do in the Star Trek background – is here impressively believable as the parent, struggling with both bringing up a teen – enough to stress any mortal out – and an emotional past. Ms La is also equally engaging, given most of her scenes are via close-up web cam.
Criticisms? The film, at 102 minutes, might have usefully trimmed 10 minutes to be an even tighter 90 minute classic. I also thought it pulled its punches in the finale, where a director of the calibre of Hitchcock might have gone for a much darker angle without a qualm.
But I’m nit-picking. This is an excellent thriller that also effectively drills into grief and bereavement (a warning for anyone struggling with this – especially via the “Big C”… you might want to give this one a miss… #Up). It also ironically highlights that whilst broadcasting by people has never been more prevelant, communication between family members is sometimes totally lacking.
Clearly people agree with me that it is excellent: the preview cinema audience I saw this with was buzzing afterwards, and this won the “Audience Award” at Sundance.
“Searching” will be on general release in the UK and US from August 31st 2018. Highly recommended!
Gareth von Kallenbach (980 KP) rated Turning Red (2022) in Movies
Mar 7, 2022
The digital animation geniuses at Pixar are back with “Turning Red” and it marks a departure for the studio known for the “Toy Story” and “Cars”, franchises.
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
Set in 1990s Toronto, the film centers around 8th grader Mei (Rosalie Chiang), who considers herself an adult at 13 and eagerly applies herself to school when she is not helping her family tour business at a local Temple or hanging with her friends.
Life comes crashing to a halt when after a traumatic day of embarrassment; Mei awakens in the form of a large Red Panda. In a panic, Mei attempts to hide her situation which causes her over-protective mother to assume it is Puberty related and that her hormones are kicking in.
Mei desperately wants to get her life back to normal and learns that as long as she is calm her Panda is under control. However, this proves to be harder than expected and soon Mei learns that the Panda is the result of a family bloodline but there is a way to end it during a Lunar ceremony in a couple of weeks.
Chaos soon follows as Mei struggles with her situation and must find a way to cope with the changes that are going on and make some very important decisions about her life and her future.
The film is a difficult one to review for me as never having been a teenage girl dealing with puberty, raging estrogen, and the issues that go with it. That being said the film struggles to find a balance as it tacks on the capers of Mei in Panda form without being overly funny or charming and keeps the focus on Teen Angst, puberty-related issues and becoming an adult.
The film lacks the interesting characters, charm, and appeal that have set the foundation for so many Pixar films and it is surprising that a company that can elicit a range of emotions in an animated short fail to really connect with their latest feature. There were some amusing parts but the film as a whole was rather dull and lacked much in the way of humor and was very predictable.
The decision to put the film directly on Disney+ as the studio’s recent “Soul” and “Luca” was raised some controversy but in the end, I do believe it was the right decision as “Turning Red” is not likely to be a film that draws people to the cinema beyond the opening weekend.
It is a film that is a bold step for the company, but one that lacks the charm and humor of previous films as not everyone is going to want to sit through a feature-length film on teenage angst and dealing with changing bodies and the emotional turmoil that follows. However, the target audience is likely to connect with the characters and it will be interesting to see what the reaction to the film is long-term.
3 stars out of 5
“Turning Red” will debut on Disney+ on March 11th
BankofMarquis (1832 KP) rated Prey (2022) in Movies
Aug 12, 2022
Less Is More - And It Works!
In 1987, at the height of the ‘80’s action movie craze with the likes of Stallone, Van Damme, Segal, Norris and Willis, Arnold Schwarzenegger came out with what on the surface looked like a throw away macho, sci-fi action flick, PREDATOR. What it turned out to be was one of the all-time classic action films.
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
It has taken 35 years for a sequel (in this case, a prequel) to be mentioned in the same stratosphere as the first.
While the other 5 sequels (if you count the Alien vs. Predator cross-over films) delve deeper and harder into the science fiction and macho-action of the first film, the straight-to-streaming prequel PREY (on Hulu and now on Disney+) decided to go in the other direction, it simplified the Predator/Prey dynamic, eschewing deep sci-fi mythology and settled on the “less is more” dictum of storytelling to great affect.
Set in the Midwestern Plains in the 1710’s, PREY follows a group of Comanches as they live their unassuming lifestyle - living off and giving back to the land. A lifestyle that is slowly being encroached upon by foreign entities. At first these “aliens” are terrestrial in nature (the approach of the White Man, in this case, they are in the guise of French Voyageurs), but later, in it takes the form of the extraterrestrial Predator. It’s an interesting juxtaposition of the duo forces outside of what this tribe of Native Americans know - and how they deal with it.
Leading us into the conflict are the main protagonists - the brother/sister combo of Naru (Amber Midthunder, HELL OR HIGHWATER) and her older brother, Taabe (Dakota Beavers, in what is his feature film debut). These 2 - along with their Comanche brethren track and then begin to understand what they are encountering and since they know they are out-gunned, they need to outsmart the Predator.
This could have devolved, quickly, into a gorey, CGI-fest of carnage, but in the careful hands of Director Dan Trachtenberg (10 CLOVERFIELD LANE) and with an interesting screenplay by Trachtenberg and Patrick Aison, this film becomes a thoughtful, intelligence game of wits that is satisfying on both sides.
Midthunder and Beavers are very strong in their roles of the brother and sister Comanches and they are 2 characters that you quickly start rooting for in their battle. These characters are drawn in an interesting, 3-dimensional, way and are a pair that you want to spend these 2 hours of struggle with.
Trachtenberg helps these 2 - and the story - by setting a deliberate pace, as if you the audience are thinking and encountering things along with these 2. There are long bits of thought and talk highlighted by spikes of action that are well choreographed and interesting, but really add to the depths of the characters.
I am as surprised as you are that I encountered an interesting character study in disguise in an action-packed Predator film - but that is just what this is…and very well done to boot.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Holdovers (2023) in Movies
Dec 31, 2023
Emotional Rich...and Real
The last time Paul Giamatti starred in an Alexander Payne film (2004’s SIDEWAYS), Payne won the Oscar for Best Adapted Screenplay.
Reunited for THE HOLDOVERS, it might be time for Giamatti to win the Oscar.
THE HOLDOVERS tells a well-worn story of a cranky older guy, all-Male Prep School teacher Paul Hunham (Giamatti) who is forced to spend the Christmas holidays sometime in the early 1970’s with arrogant, intelligent, student, Angus Tully (Dominic Sessa). Will they learn to tolerate - and then respect - each other by the time school is back in session? Of course they are.
But it is the journey and not the destination that this film is about - and, boy, what a journey.
Director Payne (working off a screenplay by David Hemingson - WHISKEY CAVALIER) infuses his usual human style into the HOLDOVERS focusing on the characters and driving strong, emotional performances. Sometimes this works (SIDEWAYS, NEBRASKA), sometimes it doesn’t (DOWNSIZING) but in a Payne film it all depends on the strength of the script - and performances - in the film.
Payne was wise to turn over the central character of Paul “Walleye” Hunham to Giamatti who rides the line of curmudgeonly without becoming evil. From the start you can see some sort of humanity under the cranky surface of Paul and when the facade starts to fade away you see a real human being under there. It is, perhaps, the finest performance of Giamatti’s career and expect to see Giamatti’s name called come Oscar Nomination time.
Of course, Giamatti’s performance is only as good as the other actors that he is working against and in newcomer Sessa, Payne has given Giamatti a very good counterpoint indeed - especially since this is Sessa’s Major Motion Picture screen debut. He imbues Tulley with the requisite youthful arrogance but you can sense the vulnerability underneath from a young man who just wants to be accepted - and loved - for who he is.
A joyful surprise of this film is the work of Da’Vine Joy Randolph (ONLY MURDERS IN THE BUILDING) as the cafeteria worker (with a secret tragedy of her own) who volunteers to stay behind to cook for these two. She provides a welcome 3rd leg to this stool and counterbalances both Giamatti’s and Sessa’s performance in a strong - and real - way.
All of this, of course, is due to the fine direction of Payne and the smart, funny and emotionally rich script by Hemingson. They wisely set this piece in the early 1970’s - so there are no cell phones or Internet to draw these people away from each other. They are trapped with one another and must deal with each other in an emotionally satisfying manner.
One of the best films of 2023 (expect to see it in my Top 5 of the year), THE HOLDOVERS is the type of film that the Academy loves - so expect more than 1 Oscar nomination and, just maybe, an Oscar win for Giamatti.
All would be well deserved.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Reunited for THE HOLDOVERS, it might be time for Giamatti to win the Oscar.
THE HOLDOVERS tells a well-worn story of a cranky older guy, all-Male Prep School teacher Paul Hunham (Giamatti) who is forced to spend the Christmas holidays sometime in the early 1970’s with arrogant, intelligent, student, Angus Tully (Dominic Sessa). Will they learn to tolerate - and then respect - each other by the time school is back in session? Of course they are.
But it is the journey and not the destination that this film is about - and, boy, what a journey.
Director Payne (working off a screenplay by David Hemingson - WHISKEY CAVALIER) infuses his usual human style into the HOLDOVERS focusing on the characters and driving strong, emotional performances. Sometimes this works (SIDEWAYS, NEBRASKA), sometimes it doesn’t (DOWNSIZING) but in a Payne film it all depends on the strength of the script - and performances - in the film.
Payne was wise to turn over the central character of Paul “Walleye” Hunham to Giamatti who rides the line of curmudgeonly without becoming evil. From the start you can see some sort of humanity under the cranky surface of Paul and when the facade starts to fade away you see a real human being under there. It is, perhaps, the finest performance of Giamatti’s career and expect to see Giamatti’s name called come Oscar Nomination time.
Of course, Giamatti’s performance is only as good as the other actors that he is working against and in newcomer Sessa, Payne has given Giamatti a very good counterpoint indeed - especially since this is Sessa’s Major Motion Picture screen debut. He imbues Tulley with the requisite youthful arrogance but you can sense the vulnerability underneath from a young man who just wants to be accepted - and loved - for who he is.
A joyful surprise of this film is the work of Da’Vine Joy Randolph (ONLY MURDERS IN THE BUILDING) as the cafeteria worker (with a secret tragedy of her own) who volunteers to stay behind to cook for these two. She provides a welcome 3rd leg to this stool and counterbalances both Giamatti’s and Sessa’s performance in a strong - and real - way.
All of this, of course, is due to the fine direction of Payne and the smart, funny and emotionally rich script by Hemingson. They wisely set this piece in the early 1970’s - so there are no cell phones or Internet to draw these people away from each other. They are trapped with one another and must deal with each other in an emotionally satisfying manner.
One of the best films of 2023 (expect to see it in my Top 5 of the year), THE HOLDOVERS is the type of film that the Academy loves - so expect more than 1 Oscar nomination and, just maybe, an Oscar win for Giamatti.
All would be well deserved.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Becs (244 KP) rated Monster Catchers in Books
Jul 6, 2019
Captivating middle grade novel!
You can also find this review on my blog: bookingwayreads.wordpress.com
Thank you to Smith Publicity and the author, George Brewington, for allowing me the wonderful opportunity to be a part of the Monster Catchers blog tour and for sending me a copy to read and review.
TRIGGER WARNINGS: death, kidnapping
"We can't always think of ourselves. There are so many creatures in the world that need love."
Main Characters:
Bailey Buckleby - the main character and co-owner of Buckleby and Sons. He's a monster catcher like his father, but questions how his father goes about the business. Very compassionate and has a good Frisbee throwing arm.
Dougie Buckleby - Bailey's father and the owner of Buckleby and Sons. He has taught Bailey everything he knows about being a monster catcher. A bit selfish by not really listening to Bailey, even though he always ends up being right.
Savannah - schoolmate of Bailey's turned friend. A part of the Bullhead Brigade, which Nikos is also a part of.
Henry - baby Swiss troll that is taken in by Dougie. But is he?
Candycane Boom - a loan shark that ends up teaming up with Axel Pazuzu. Later become an alley to Bailey, Savannah, and Nikos.
Nikos - a Minotaur that is hired to take down Bailey and his father but after being beaten, he joins forces.
Axel Pazuzu - a cynocephaly (part human, part dog that is a god). Known for scamming people worse than Candycane Boom. Ends up causing a lot of problems for Bailey, Savannah, and Dougie.
"Sometimes passion makes one do really, really stupid things. You mustn't beat yourself up about it."
Review:
**Possible spoilers ahead**
Monster Catchers is a middle grade novel about friendship, adventure, sacrifices, saving the ones you love, with a hint of romance and drama. It starts with Bailey sitting at the register in the family shop, rereading In the Shadows of Monsters by his favorite monster catcher. Some teenage boys come in looking for trouble, but Bailey scares them off by showing them the monitor that shows the back room. This very back room is where the real business of Buckleby and Sons take place: monster catching.
Soon after the group of teenage boys leave, a customer comes in needing to have a 'pest' taken care of. Once the Buckleby's are hired, Candycane Boom comes in looking for another fairy friend for his current fairy. He picks on out while Bailey walks Henry on Whalefat Beach. This is where the two meet Axel Pazuzu a cynocephaly, which is a half human, half dog god creature. Axel tries buying Henry from Bailey, but he refuses because he doesn't want to loose this best friend. Bailey quickly heads home with Henry before Axel tries stealing Henry away.
That night, Dougie and Bailey head out to the customer's home to catch the little rascal that has been stealing all of the lights. Well, things don't go according to plane and instead of catching just one little goblin, they catch two and encounter about ten others. This doesn't turn out for Dougie as one of the goblins bites his finger off!
After they returned home, Bailey fell asleep. The next morning, he headed to school to give the report that was due but that he wasn't ready for. So he improvised and told about one of the real stories from In the Shadow of Monsters. Now, the thing with people within Monster Catchers, is that they don't believe that the monsters are real. They are in a constant denial, even when they've seen the monsters themselves. This sparks some major debate in Bailey's class.
Savannah ends up following Bailey back to the store where she is introduced to all the monsters in the back room and even eventually meets Axel Pazuzu when they head to the beach to walk Henry. Axel hires Candycane to get Henry from the Buckleby's. Well, this causes a bunch of different action packed scenes that will leave you turning the pages until the ending.
When you think monsters, you don't think of a father-son duo saving California. But that's just what Dougie and Bailey Buckleby do. For the right price, they will capture anything from goblins and trolls to harpies and fairies. If it's a monster of any sort, the Buckleby's are the one's to call. But, Bailey soon finds out that his father has been lying to him all of his life and it must be he who saves the people of the world. Monster Catcher is a fast-paced, action-packed adventure that will capture young hearts everywhere.
Character/ Story background and development -
I was generally surprised at how much development was within this little novel. Especially for it being book one in a series and a debut! Bailey's and his fathers development were some of the best. The two go from best buds to Bailey questioning everything about him to having to sacrifice him for the sake of the world. It just blew me away the relationship that the duo had as they were massively different, but brought very similar aspects to the relationship.
Plot -
George Brewington weaves lessons of friendship, morals, and action into this fantasy filled debut. Bailey's interest in monsters is heartwarming, especially when he finds out that monsters have feelings and all aren't bad like they are perceived to be.
Spelling/ Grammatical errors -
I honestly didn't seem to find any spelling or grammatical errors that popped out or took away from the overall story. Monster Catchers is a very well-written novel.
Enjoyment -
I really enjoyed going on an adventure with Bailey and all the lovable monsters. I will most defiantly be rereading this. One thing I rather enjoyed, that I have to point out, is how George Brewington mixed extremely important world issues like: environmental issues, understanding differences, and sacrifices along with adding that fantasy aspect that is common among middle-grade novels.
Overall -
With the interwoven lessons and morals, the fun and quirky lines, the cliff hangers, discovering oneself, understanding differences, Monster Catchers encourages the reader to think beyond the words that are written.
Do I recommend? -
Yes! I highly recommend The Monster Catchers by George Brewington. It was such a cute little novel and I need more!!
"We either try or die, Bailey Boy."
Thank you to Smith Publicity and the author, George Brewington, for allowing me the wonderful opportunity to be a part of the Monster Catchers blog tour and for sending me a copy to read and review.
TRIGGER WARNINGS: death, kidnapping
"We can't always think of ourselves. There are so many creatures in the world that need love."
Main Characters:
Bailey Buckleby - the main character and co-owner of Buckleby and Sons. He's a monster catcher like his father, but questions how his father goes about the business. Very compassionate and has a good Frisbee throwing arm.
Dougie Buckleby - Bailey's father and the owner of Buckleby and Sons. He has taught Bailey everything he knows about being a monster catcher. A bit selfish by not really listening to Bailey, even though he always ends up being right.
Savannah - schoolmate of Bailey's turned friend. A part of the Bullhead Brigade, which Nikos is also a part of.
Henry - baby Swiss troll that is taken in by Dougie. But is he?
Candycane Boom - a loan shark that ends up teaming up with Axel Pazuzu. Later become an alley to Bailey, Savannah, and Nikos.
Nikos - a Minotaur that is hired to take down Bailey and his father but after being beaten, he joins forces.
Axel Pazuzu - a cynocephaly (part human, part dog that is a god). Known for scamming people worse than Candycane Boom. Ends up causing a lot of problems for Bailey, Savannah, and Dougie.
"Sometimes passion makes one do really, really stupid things. You mustn't beat yourself up about it."
Review:
**Possible spoilers ahead**
Monster Catchers is a middle grade novel about friendship, adventure, sacrifices, saving the ones you love, with a hint of romance and drama. It starts with Bailey sitting at the register in the family shop, rereading In the Shadows of Monsters by his favorite monster catcher. Some teenage boys come in looking for trouble, but Bailey scares them off by showing them the monitor that shows the back room. This very back room is where the real business of Buckleby and Sons take place: monster catching.
Soon after the group of teenage boys leave, a customer comes in needing to have a 'pest' taken care of. Once the Buckleby's are hired, Candycane Boom comes in looking for another fairy friend for his current fairy. He picks on out while Bailey walks Henry on Whalefat Beach. This is where the two meet Axel Pazuzu a cynocephaly, which is a half human, half dog god creature. Axel tries buying Henry from Bailey, but he refuses because he doesn't want to loose this best friend. Bailey quickly heads home with Henry before Axel tries stealing Henry away.
That night, Dougie and Bailey head out to the customer's home to catch the little rascal that has been stealing all of the lights. Well, things don't go according to plane and instead of catching just one little goblin, they catch two and encounter about ten others. This doesn't turn out for Dougie as one of the goblins bites his finger off!
After they returned home, Bailey fell asleep. The next morning, he headed to school to give the report that was due but that he wasn't ready for. So he improvised and told about one of the real stories from In the Shadow of Monsters. Now, the thing with people within Monster Catchers, is that they don't believe that the monsters are real. They are in a constant denial, even when they've seen the monsters themselves. This sparks some major debate in Bailey's class.
Savannah ends up following Bailey back to the store where she is introduced to all the monsters in the back room and even eventually meets Axel Pazuzu when they head to the beach to walk Henry. Axel hires Candycane to get Henry from the Buckleby's. Well, this causes a bunch of different action packed scenes that will leave you turning the pages until the ending.
When you think monsters, you don't think of a father-son duo saving California. But that's just what Dougie and Bailey Buckleby do. For the right price, they will capture anything from goblins and trolls to harpies and fairies. If it's a monster of any sort, the Buckleby's are the one's to call. But, Bailey soon finds out that his father has been lying to him all of his life and it must be he who saves the people of the world. Monster Catcher is a fast-paced, action-packed adventure that will capture young hearts everywhere.
Character/ Story background and development -
I was generally surprised at how much development was within this little novel. Especially for it being book one in a series and a debut! Bailey's and his fathers development were some of the best. The two go from best buds to Bailey questioning everything about him to having to sacrifice him for the sake of the world. It just blew me away the relationship that the duo had as they were massively different, but brought very similar aspects to the relationship.
Plot -
George Brewington weaves lessons of friendship, morals, and action into this fantasy filled debut. Bailey's interest in monsters is heartwarming, especially when he finds out that monsters have feelings and all aren't bad like they are perceived to be.
Spelling/ Grammatical errors -
I honestly didn't seem to find any spelling or grammatical errors that popped out or took away from the overall story. Monster Catchers is a very well-written novel.
Enjoyment -
I really enjoyed going on an adventure with Bailey and all the lovable monsters. I will most defiantly be rereading this. One thing I rather enjoyed, that I have to point out, is how George Brewington mixed extremely important world issues like: environmental issues, understanding differences, and sacrifices along with adding that fantasy aspect that is common among middle-grade novels.
Overall -
With the interwoven lessons and morals, the fun and quirky lines, the cliff hangers, discovering oneself, understanding differences, Monster Catchers encourages the reader to think beyond the words that are written.
Do I recommend? -
Yes! I highly recommend The Monster Catchers by George Brewington. It was such a cute little novel and I need more!!
"We either try or die, Bailey Boy."