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Sophia (Bookwyrming Thoughts) (530 KP) rated Hello, I Love You in Books
Jan 23, 2020
<b>I listen to far too much kpop songs for my own good.</b> When I heard that <i>Hello, I Love You</i> is a book about kpop, I just <i>had</i> to read the book.
<b>I despise this. Katie Stout's debut novel isn't about kpop</b> – that's just a small element. It's just about <b>an American girl trying to run away from her past and ends up falling in love with a Korean superstar</b>. Oh, and <b>that Korean superstar is also running away from HIS past,</b> so hooray! Past runners colliding.
<div class="separator" style="clear: both; text-align: center;"><a style="margin-left: 1em; margin-right: 1em;" href="http://1.bp.blogspot.com/--1WHSx-iaa4/Vcu_9iIqSpI/AAAAAAAAE5w/ZOJm3UkK-e8/s1600/sigh.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/sigh.gif"; width="188" height="200" border="0" /></a></div>
It's obvious <b>Grace didn't do much "research." She's tired of eating rice every day, and she wrinkles her nose in disgust at fish</b> – does she realize that <b>rice and seafood is quite <i>literally</i> associated with every part of Asian culture</b> or what? How else do Koreans or Japanese survive when they're surrounded by ocean all around (the seafood part)?
Grace's <b>research basically consisted of typing in "international boarding schools," clicking on the first result that seemed interesting and decided, "Why not? It's the way out."</b> She doesn't even know <i>why</i> she chose Korea. It's <b>all about running away from the past,</b> and that was probably repeated multiple times in the book. <b>I just want to throw a book at Grace and say, "Suck it up, buttercup."</b>
<blockquote>I've kept a big distance from it because it reminds me too much of my past, too much of what I left behind.</blockquote>
Methinks the lady doth protest too much.
<div class="separator" style="clear: both; text-align: center;"><a style="margin-left: 1em; margin-right: 1em;" href="http://1.bp.blogspot.com/-FXuDDyyknZc/Vcu_2-_rRRI/AAAAAAAAE5o/8E4pJbSzM1Q/s1600/angry-gif-o.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/angry-gif-o.gif"; border="0" /></a></div>
I suppose I can't blame her because <b>the mom's worse – she's all, "Hi, Korea. I'm FARRR more superior than you."</b> *sticks nose up and saunters away in ten-inch heels* <b>If Grace is so "language impaired," she could have considered England, Canada, Australia or New Zealand where English is the primary language, thank you very much. -_-</b>
<div class="separator" style="clear: both; text-align: center;"><b><a style="margin-left: 1em; margin-right: 1em;" href="http://4.bp.blogspot.com/-D4yvObK8a5g/VcvAC60UhSI/AAAAAAAAE58/wJW7gAeQ96c/s1600/you%2Bgot%2Bproblems.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/yougotproblems.gif"; width="320" height="180" border="0" /></a></b></div>
<b>
I'm not happy at all. I'm not even Korean. I'm Chinese and Vietnamese. I don't know if my Asian meter has been insulted or not.</b> I suppose I'll applaud Stout for trying to write a book about kpop, but that's about as far as I'll go for <i>Hello, I Love You</i>.
<a href="https://bookwyrmingthoughts.com/review-hello-i-love-you-by-katie-m-stout/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
<b>I despise this. Katie Stout's debut novel isn't about kpop</b> – that's just a small element. It's just about <b>an American girl trying to run away from her past and ends up falling in love with a Korean superstar</b>. Oh, and <b>that Korean superstar is also running away from HIS past,</b> so hooray! Past runners colliding.
<div class="separator" style="clear: both; text-align: center;"><a style="margin-left: 1em; margin-right: 1em;" href="http://1.bp.blogspot.com/--1WHSx-iaa4/Vcu_9iIqSpI/AAAAAAAAE5w/ZOJm3UkK-e8/s1600/sigh.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/sigh.gif"; width="188" height="200" border="0" /></a></div>
It's obvious <b>Grace didn't do much "research." She's tired of eating rice every day, and she wrinkles her nose in disgust at fish</b> – does she realize that <b>rice and seafood is quite <i>literally</i> associated with every part of Asian culture</b> or what? How else do Koreans or Japanese survive when they're surrounded by ocean all around (the seafood part)?
Grace's <b>research basically consisted of typing in "international boarding schools," clicking on the first result that seemed interesting and decided, "Why not? It's the way out."</b> She doesn't even know <i>why</i> she chose Korea. It's <b>all about running away from the past,</b> and that was probably repeated multiple times in the book. <b>I just want to throw a book at Grace and say, "Suck it up, buttercup."</b>
<blockquote>I've kept a big distance from it because it reminds me too much of my past, too much of what I left behind.</blockquote>
Methinks the lady doth protest too much.
<div class="separator" style="clear: both; text-align: center;"><a style="margin-left: 1em; margin-right: 1em;" href="http://1.bp.blogspot.com/-FXuDDyyknZc/Vcu_2-_rRRI/AAAAAAAAE5o/8E4pJbSzM1Q/s1600/angry-gif-o.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/angry-gif-o.gif"; border="0" /></a></div>
I suppose I can't blame her because <b>the mom's worse – she's all, "Hi, Korea. I'm FARRR more superior than you."</b> *sticks nose up and saunters away in ten-inch heels* <b>If Grace is so "language impaired," she could have considered England, Canada, Australia or New Zealand where English is the primary language, thank you very much. -_-</b>
<div class="separator" style="clear: both; text-align: center;"><b><a style="margin-left: 1em; margin-right: 1em;" href="http://4.bp.blogspot.com/-D4yvObK8a5g/VcvAC60UhSI/AAAAAAAAE58/wJW7gAeQ96c/s1600/you%2Bgot%2Bproblems.gif"><img src="http://bookwyrmingthoughts.bookblog.io/wp-content/uploads/sites/317/2015/08/yougotproblems.gif"; width="320" height="180" border="0" /></a></b></div>
<b>
I'm not happy at all. I'm not even Korean. I'm Chinese and Vietnamese. I don't know if my Asian meter has been insulted or not.</b> I suppose I'll applaud Stout for trying to write a book about kpop, but that's about as far as I'll go for <i>Hello, I Love You</i>.
<a href="https://bookwyrmingthoughts.com/review-hello-i-love-you-by-katie-m-stout/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Sophia (Bookwyrming Thoughts) (530 KP) rated Spellhacker in Books
Jan 23, 2020
Review going live on the blog at midnight EST because UBB doesn't want to get along with block editor.
<b><i>The author/publisher provided a free copy of the book for review purposes - thank you! Receiving a review copy does not guarantee a positive review and therefore do not affect the opinion or content of the review.</i></b>
I love heists in books. We've got a group of people (each who are talented AF), something goes wrong (oop--) and then they're scrambling to fix things. Sometimes there's a character or two (or more) pining for another character and we just want to smush/protect them.
And it's definitely the case with <em>Spellhacker</em> by M.K. England, which follows Diz and her friends (Ania, Jaesin and Remi) as they take on one last job that ends up backfiring horribly in their faces. It's never happened in the two years they've been running their side business. There's magic (known as maz) and seriously cool technology involved, and that's usually a good recipe for me to enjoy the book. <s>Provided that something explodes, of course, but don't tell anyone.</s>
Which I did... for the most part. <em>Spellhacker</em> is a bit difficult for me to rate since a couple of issues throughout ruined some of my enjoyment.
<h2><strong>Two Things in <em>Spellhacker</em> I have issues with:</strong></h2>
(There were more, but they're minor.)
<h3><strong>The magic system</strong></h3>
I probably wouldn't have noticed it if Kal from Reader Voracious never mentioned it, but the moment she asked, I kept noticing... and not just the name. I keep thinking formaz is pronounced like "form ass." (Maybe that's just my sense of humor trying to get through the parts of the book I struggled with.)
But what I got really confused about were the differences between techwitch and spellweaver (kind of got an idea, still confused) and just how it worked... which I kept thinking of <a href="https://rwby.fandom.com/wiki/Dust">how dust works in RWBY</a>. It's most likely a very inaccurate depiction, though.
<h3><strong>The miscommunication</strong></h3>
I noticed this faintly at the beginning few chapters and didn't let it bother me <em>too</em> much. In fact, it pretty much slipped my mind until Kal brought it up. At times, it did get pretty damn irritating and I just wanted to shove Diz in front of a certain character like the many chances she had throughout the book. <em>And there are a lot of chances</em>.
<h2>Two <strong>Things I definitely didn't have an issue in <em>Spellhacker</em>:</strong></h2>
Or maybe just minor issues and they turned out to be good things in the end (after I thought about it).
<h3><strong>Diz's narration</strong></h3>
Diz is one of those characters I found absolutely annoying at first but slowly grew on me over the book. She's bitter and salty and full of sass; she's pretty much 95% angst teenager who wants things to go her way. She also sucks at communication big time; every time she <em>wants</em> to say something, she chooses not to. Even if she's called out by her friends, it takes a while before she actually comes out with it.
I hardcore relate.
<b><i>The author/publisher provided a free copy of the book for review purposes - thank you! Receiving a review copy does not guarantee a positive review and therefore do not affect the opinion or content of the review.</i></b>
I love heists in books. We've got a group of people (each who are talented AF), something goes wrong (oop--) and then they're scrambling to fix things. Sometimes there's a character or two (or more) pining for another character and we just want to smush/protect them.
And it's definitely the case with <em>Spellhacker</em> by M.K. England, which follows Diz and her friends (Ania, Jaesin and Remi) as they take on one last job that ends up backfiring horribly in their faces. It's never happened in the two years they've been running their side business. There's magic (known as maz) and seriously cool technology involved, and that's usually a good recipe for me to enjoy the book. <s>Provided that something explodes, of course, but don't tell anyone.</s>
Which I did... for the most part. <em>Spellhacker</em> is a bit difficult for me to rate since a couple of issues throughout ruined some of my enjoyment.
<h2><strong>Two Things in <em>Spellhacker</em> I have issues with:</strong></h2>
(There were more, but they're minor.)
<h3><strong>The magic system</strong></h3>
I probably wouldn't have noticed it if Kal from Reader Voracious never mentioned it, but the moment she asked, I kept noticing... and not just the name. I keep thinking formaz is pronounced like "form ass." (Maybe that's just my sense of humor trying to get through the parts of the book I struggled with.)
But what I got really confused about were the differences between techwitch and spellweaver (kind of got an idea, still confused) and just how it worked... which I kept thinking of <a href="https://rwby.fandom.com/wiki/Dust">how dust works in RWBY</a>. It's most likely a very inaccurate depiction, though.
<h3><strong>The miscommunication</strong></h3>
I noticed this faintly at the beginning few chapters and didn't let it bother me <em>too</em> much. In fact, it pretty much slipped my mind until Kal brought it up. At times, it did get pretty damn irritating and I just wanted to shove Diz in front of a certain character like the many chances she had throughout the book. <em>And there are a lot of chances</em>.
<h2>Two <strong>Things I definitely didn't have an issue in <em>Spellhacker</em>:</strong></h2>
Or maybe just minor issues and they turned out to be good things in the end (after I thought about it).
<h3><strong>Diz's narration</strong></h3>
Diz is one of those characters I found absolutely annoying at first but slowly grew on me over the book. She's bitter and salty and full of sass; she's pretty much 95% angst teenager who wants things to go her way. She also sucks at communication big time; every time she <em>wants</em> to say something, she chooses not to. Even if she's called out by her friends, it takes a while before she actually comes out with it.
I hardcore relate.
Gareth von Kallenbach (980 KP) rated The Finest Hours (2016) in Movies
Aug 6, 2019
The Finest Hours tells the story of four men who, in February of 1952, undertook one of the most daring rescue attempts in the history of the Unites States Coast Guard. A tanker, the SS Pendleton, is caught in a storm off the coast of New England and is ripped in half, leaving more than 30 sailors adrift and sinking. While Bernard Webber (Chris Pine) leads an impossible rescue in a lifeboat designed to hold only 12, his fiancée, Miriam (Holliday Grainger), struggles to come to terms with what it means to be the wife of a man who has to willingly risk his life for others.
Year after year, it proves out. January is just not a good month for cinema. With one hand, the studios campaign for award season glory and with the other, dump their trash. That’s not to say The Finest Hours is total garbage. Even I’m not that cynical to unconditionally condemn something that shines a light on the triumph of the human spirit when faced with insurmountable odds. It’s just that there is only about one-third of a good film here. Anytime the crew of the Pendelton was onscreen, I was captivated. Their struggle for survival and their feats of engineering under incredible pressure make for riveting entertainment and should have been a film unto itself. These scenes unfortunately are interspaced with and, more often than not, forced to take a back seat to paint-by-numbers dialogue, two-dimensional caricatures (both disappointing when you consider the three writers on this film were behind The Fighter) and a shockingly abrasive score during the main U.S. Coast Guard narrative. And yes, it may be called The Finest Hours, but if that’s the title they’re going with a little more effort should have been put into the rescuers, as opposed to those being rescued. Overall, we’re deprived of a sense of urgency, in what is supposed to be a race against time, and an intimacy with any character performed well enough to be worth caring about.
At least this isn’t a complete waste of an all-star cast. I’ll ease off on Chris Pine, tempted as I might be to pick on him. After having fumbled his way through both Captain Kirk and Jack Ryan, doing so now in a flick produced by Disney would feel rather like a cheap shot. Instead it’s fairer to write off the other, usually more dependable leads and praise Casey Affleck, who alone makes The Finest Hours watchable. Ironically, he plays the man who has to keep not only half a ship afloat, but an entire crew together. Between Eric Bana’s overstatement, Ben Foster’s understatement, and a questionable casting choice in Holliday Grainger, Affleck is heads above the rest when it comes to making courage and sentiment ring true.
A regrettable execution notwithstanding, better can and should have been done to honor these distinguished service members and viewers looking for a storytelling standard above the level of your average Hallmark original are advised to look elsewhere. Try, for instance, Oliver Stone’s (not as controversial as we all thought it was going to be) World Trade Center for a better example of how these tales of perseverance and survival are supposed to be done.
Year after year, it proves out. January is just not a good month for cinema. With one hand, the studios campaign for award season glory and with the other, dump their trash. That’s not to say The Finest Hours is total garbage. Even I’m not that cynical to unconditionally condemn something that shines a light on the triumph of the human spirit when faced with insurmountable odds. It’s just that there is only about one-third of a good film here. Anytime the crew of the Pendelton was onscreen, I was captivated. Their struggle for survival and their feats of engineering under incredible pressure make for riveting entertainment and should have been a film unto itself. These scenes unfortunately are interspaced with and, more often than not, forced to take a back seat to paint-by-numbers dialogue, two-dimensional caricatures (both disappointing when you consider the three writers on this film were behind The Fighter) and a shockingly abrasive score during the main U.S. Coast Guard narrative. And yes, it may be called The Finest Hours, but if that’s the title they’re going with a little more effort should have been put into the rescuers, as opposed to those being rescued. Overall, we’re deprived of a sense of urgency, in what is supposed to be a race against time, and an intimacy with any character performed well enough to be worth caring about.
At least this isn’t a complete waste of an all-star cast. I’ll ease off on Chris Pine, tempted as I might be to pick on him. After having fumbled his way through both Captain Kirk and Jack Ryan, doing so now in a flick produced by Disney would feel rather like a cheap shot. Instead it’s fairer to write off the other, usually more dependable leads and praise Casey Affleck, who alone makes The Finest Hours watchable. Ironically, he plays the man who has to keep not only half a ship afloat, but an entire crew together. Between Eric Bana’s overstatement, Ben Foster’s understatement, and a questionable casting choice in Holliday Grainger, Affleck is heads above the rest when it comes to making courage and sentiment ring true.
A regrettable execution notwithstanding, better can and should have been done to honor these distinguished service members and viewers looking for a storytelling standard above the level of your average Hallmark original are advised to look elsewhere. Try, for instance, Oliver Stone’s (not as controversial as we all thought it was going to be) World Trade Center for a better example of how these tales of perseverance and survival are supposed to be done.
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Sean Freese (4 KP) rated The Witch (2015) in Movies
Jun 25, 2020
THE VVITCH
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
