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Lee (2222 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 3, 2019
I think I was one of the few people that was ultimately disappointed by Spider-Man: Homecoming. After Spider-Man's impressive and thrilling introduction to the Marvel universe during Captain America: Civil War, I felt Homecoming to be somewhat lacking - set pieces that had already been shown in the trailer, bigger set pieces that were difficult to follow on screen and, to quote my review, "too much awkward teen, not enough action hero". I even used the phrase "superhero fatigue", which funnily enough is a phrase currently being bandied around by some for this next Spider-Man venture, Far From Home, particularly in the wake of the intense Avengers: Endgame earlier this year. So, let's just say I was cautiously optimistic heading in to see this movie.
We kick off with a brief introduction to what will dominate the rest of the movie - Nick Fury and Maria Hill arrive in Mexico, where "a cyclone with a face" has completely destroyed a small town. As this new threat returns to wreak even more havoc, a mysterious new hero arrives to face it square on in battle, dramatically declaring to the startled S.H.I.E.L.D agents, "you don't want any part of this". From there, we switch to a lighthearted wrap up of the devastating events surrounding Infinity War/Endgame, in the form of an amateur high school news report. Mourning the loss of fallen heroes (accompanied by Whitney Houston singing 'I Will Always Love You'!), the report goes on to explain how "The Blip" - the term many are using to describe the effects of the 5 year period where half of the population were wiped from existence. Having the population age 5 years while the returning half haven't aged at all naturally has humorous consequences when it comes to students and their school life, but essentially humanity has managed to move on and has learnt to deal with it. Someone who is struggling to move on though, particularly from the loss of mentor/surrogate father, Tony Stark, is young Peter Parker. Desperately in need of a summer vacation, and a break from being Spider-Man, Parker cannot wait to join the rest of his friends, and crucially MJ (Zendaya), on an upcoming school trip which will take them to various European destinations.
But there's no chance of any kind of break for Spider-Man just yet, as Nick Fury has other plans for him. Peter does the unthinkable though and ignores the many phone calls from Fury, until he eventually tracks him down for a face to face meeting in his Venice hotel room. Since the incident in Mexico, S.H.I.E.L.D have been working with the mysterious new hero, Quentin Beck, or 'Mysterio' as he has now been dubbed, and Peter (along with us) are now brought up to speed on the origins of Quentin and these new global threats. Quentin actually comes from an alternate Earth where these creatures, known as The Elementals (monstrous versions of wind, fire, water and air), were responsible for the destruction of not only his world but his entire family too. The most powerful Elemental, fire, is yet to appear on our Earth and Mysterio, along with the help of S.H.I.E.L.D and Spider-Man, need to locate and stop it before it becomes too powerful for them to defeat.
Peter isn't initially interested though, being more concerned about jeopardising his school trip and exposing his identity, not to mention ruining his chances of finally hooking up with MJ. So, the rest of the movie nicely splits itself between teen high school banter/comedy drama and international superhero action. Happy Hogan (Jon Favreau) features prominently throughout the movie, helping to guide and mentor Peter in the absence of his old boss Tony Stark, and providing plenty of comic relief along the way too. He also passes onto Peter, a gift from Tony Stark - a pair of Jarvis-like talking shades called EDITH (Even Dead I'm The Hero!) - which initially act as a funny and poignant accessory for Peter, but proves to be a hugely important part of how the rest of the movie plays out.
Beyond that, I'm struggling to avoid spoilers. And there are a lot of them. If you're familiar with the comics though (and despite having some vague familiarity with them, I'd completely forgotten everything!), you'll be able to predict a lot of what comes next anyway. But, once again, I have to say how amazed I am that Marvel managed to produce trailers for this movie which not only mislead you into believing that you know exactly which direction this movie is heading in, but also feature scenes which aren't in the final movie! As a result, I found Far From Home to be a truly wonderful surprise, and even if you know how it's all going to play out, you should still manage to get a huge amount of enjoyment from seeing the masters of storytelling at work yet again. This movie gave me Endgame-level thrills and goose-bump moments, over and over again throughout. Visually, it's outstanding - with impressive action scenes and trippy sequences the likes of which we haven't seen since Doctor Strange. Jake Gyllenhaal is perfect as Mysterio too, really bringing the character to life, and by the end of it all I was just completely blown away. So when the mid credit sequence hit, opening up some shocking possibilities for future movies, I was almost hyperventilating with excitement!
We kick off with a brief introduction to what will dominate the rest of the movie - Nick Fury and Maria Hill arrive in Mexico, where "a cyclone with a face" has completely destroyed a small town. As this new threat returns to wreak even more havoc, a mysterious new hero arrives to face it square on in battle, dramatically declaring to the startled S.H.I.E.L.D agents, "you don't want any part of this". From there, we switch to a lighthearted wrap up of the devastating events surrounding Infinity War/Endgame, in the form of an amateur high school news report. Mourning the loss of fallen heroes (accompanied by Whitney Houston singing 'I Will Always Love You'!), the report goes on to explain how "The Blip" - the term many are using to describe the effects of the 5 year period where half of the population were wiped from existence. Having the population age 5 years while the returning half haven't aged at all naturally has humorous consequences when it comes to students and their school life, but essentially humanity has managed to move on and has learnt to deal with it. Someone who is struggling to move on though, particularly from the loss of mentor/surrogate father, Tony Stark, is young Peter Parker. Desperately in need of a summer vacation, and a break from being Spider-Man, Parker cannot wait to join the rest of his friends, and crucially MJ (Zendaya), on an upcoming school trip which will take them to various European destinations.
But there's no chance of any kind of break for Spider-Man just yet, as Nick Fury has other plans for him. Peter does the unthinkable though and ignores the many phone calls from Fury, until he eventually tracks him down for a face to face meeting in his Venice hotel room. Since the incident in Mexico, S.H.I.E.L.D have been working with the mysterious new hero, Quentin Beck, or 'Mysterio' as he has now been dubbed, and Peter (along with us) are now brought up to speed on the origins of Quentin and these new global threats. Quentin actually comes from an alternate Earth where these creatures, known as The Elementals (monstrous versions of wind, fire, water and air), were responsible for the destruction of not only his world but his entire family too. The most powerful Elemental, fire, is yet to appear on our Earth and Mysterio, along with the help of S.H.I.E.L.D and Spider-Man, need to locate and stop it before it becomes too powerful for them to defeat.
Peter isn't initially interested though, being more concerned about jeopardising his school trip and exposing his identity, not to mention ruining his chances of finally hooking up with MJ. So, the rest of the movie nicely splits itself between teen high school banter/comedy drama and international superhero action. Happy Hogan (Jon Favreau) features prominently throughout the movie, helping to guide and mentor Peter in the absence of his old boss Tony Stark, and providing plenty of comic relief along the way too. He also passes onto Peter, a gift from Tony Stark - a pair of Jarvis-like talking shades called EDITH (Even Dead I'm The Hero!) - which initially act as a funny and poignant accessory for Peter, but proves to be a hugely important part of how the rest of the movie plays out.
Beyond that, I'm struggling to avoid spoilers. And there are a lot of them. If you're familiar with the comics though (and despite having some vague familiarity with them, I'd completely forgotten everything!), you'll be able to predict a lot of what comes next anyway. But, once again, I have to say how amazed I am that Marvel managed to produce trailers for this movie which not only mislead you into believing that you know exactly which direction this movie is heading in, but also feature scenes which aren't in the final movie! As a result, I found Far From Home to be a truly wonderful surprise, and even if you know how it's all going to play out, you should still manage to get a huge amount of enjoyment from seeing the masters of storytelling at work yet again. This movie gave me Endgame-level thrills and goose-bump moments, over and over again throughout. Visually, it's outstanding - with impressive action scenes and trippy sequences the likes of which we haven't seen since Doctor Strange. Jake Gyllenhaal is perfect as Mysterio too, really bringing the character to life, and by the end of it all I was just completely blown away. So when the mid credit sequence hit, opening up some shocking possibilities for future movies, I was almost hyperventilating with excitement!
Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
Lee (2222 KP) rated Hustlers (2019) in Movies
Sep 16, 2019
Hustlers is 'inspired by a true story' and is based on a New York Magazine article written by Jessica Pressler in 2015 titled "The Hustlers at Scores". The tagline for that article was “Here’s a modern Robin Hood story for you: a few strippers who stole from (mostly) rich, (usually) disgusting, (in their minds) pathetic men and gave to, well, themselves" - something which pretty much sums up the entire plot of the movie. You'd be forgiven for thinking you'd seen this kind of thing a hundred times before, and to be honest the trailer didn't really do it any justice either in my opinion. But, turns out that Hustlers is actually a pretty slick and hugely entertaining piece of fun, something that I wasn't expecting to like anywhere near as much as I did.
We're in 2007 and Destiny (Constance Wu) is working nights at a Manhattan strip club called Moves. Caring for her grandmother and catching up on sleep by day, it soon becomes clear that life as a stripper isn't quite as glamorous as she'd imagined it to be. With a large number of girls working at the club, competition is strong, as are the internal politics, and the clients frequenting the club are just as disgusting as you'd imagine rich drunken assholes to be. And, at the end of a shift, the money that Destiny earns is subjected to numerous deductions and penalties from the manager and doorman as they all take their cuts, leaving Destiny with not very much at all.
And then one night, as the DJ introduces her, "The one, the only, Ramona!" (Jennifer Lopez) hits the stage to show everyone how it's all done, highlighting to Destiny the kind of money she could be making if she upped her game. Dominating the main stage, Ramona masterfully works the pole as she slinks around in time to the music. And it clearly works too - dollar bills shower her, and cover the stage, while the stunned onlookers lose their minds and overreact like something out of a Tex Avery cartoon.
Destiny follows Ramona up onto the roof, where she's taking time out for a smoke break and it's not long before Ramona decides to take Destiny under her wing. Along with showing her the more dexterously impressive moves on stage, she also reveals the three levels of client who visit the club and how to best work them to your advantage. They become good friends, working together to earn more than either of them have before. But then, during 2008, the recession hits and the club no longer benefits from the wild spending habits of Wall Street's biggest earners. Destiny becomes pregnant, leaving the club along with most of the other girls, but struggles to re-enter the workforce a few years later having had no real experience outside of a strip club. And then she meets up with Ramona once more, and learns about fishing...
Fishing involves the girls leaving the confines and constraints of the club in order to lure guys in from outside. Working as a group, they lace their drinks in bars (enough to make them happy, but not really conscious enough to fully appreciate or remember what happens for the rest of the night), then bringing them back to the club. There they can freely swipe their credit cards, have a great time and make thousands of dollars per night. As Ramona sells it to Destiny and the other girls they've recruited to help them, this isn't just survival, it's revenge against all of the Wall Street workers behind the recession, who had no comeback for their actions.
Occasionally the movies flashes forward a few years, where Destiny is being interviewed by the reporter who will eventually go on to write the article on their story (played by Julia Stiles). These scenes work well as a narrative device for the movie and it's clear that, while Destiny seems to have fared pretty well financially over the years, whatever she's done to get there has all gone horribly wrong at some point.
But for now, their scam works perfectly. After the lows and struggles of life as a lowly stripper, it's a real thrill to follow these girls on their journey to expensive clothes, big flashy cars and penthouse apartments. They all become like family, even enjoying an expensive Christmas together with their real families joining them. Hustlers moves beyond its humble strip club beginnings and the camaraderie and power these women develop together feels so genuine, it really makes this movie shine. Scenes where the girls go shopping, or even work together in the kitchen to perfect their drug recipe, are a lot of fun and Hustlers features just as much humour as it does drama. Much of what makes this all work so well is down to it's cast. Hustlers features some pretty strong support, but it's the pairing of Constance Wu and Jennifer Lopez that really stands out. Both are on top form, better than anything I've seen them in before and many reviews I've read are already recommending Oscar nominations for Jennifer Lopez.
Like I say, I wasn't expecting to like this as much as I thought I would based on the trailer. What I got was a fun, exhilarating story of female empowerment with a strong, solid cast. And, as the New York Magazine article so eloquently put it, a modern Robin Hood story.
We're in 2007 and Destiny (Constance Wu) is working nights at a Manhattan strip club called Moves. Caring for her grandmother and catching up on sleep by day, it soon becomes clear that life as a stripper isn't quite as glamorous as she'd imagined it to be. With a large number of girls working at the club, competition is strong, as are the internal politics, and the clients frequenting the club are just as disgusting as you'd imagine rich drunken assholes to be. And, at the end of a shift, the money that Destiny earns is subjected to numerous deductions and penalties from the manager and doorman as they all take their cuts, leaving Destiny with not very much at all.
And then one night, as the DJ introduces her, "The one, the only, Ramona!" (Jennifer Lopez) hits the stage to show everyone how it's all done, highlighting to Destiny the kind of money she could be making if she upped her game. Dominating the main stage, Ramona masterfully works the pole as she slinks around in time to the music. And it clearly works too - dollar bills shower her, and cover the stage, while the stunned onlookers lose their minds and overreact like something out of a Tex Avery cartoon.
Destiny follows Ramona up onto the roof, where she's taking time out for a smoke break and it's not long before Ramona decides to take Destiny under her wing. Along with showing her the more dexterously impressive moves on stage, she also reveals the three levels of client who visit the club and how to best work them to your advantage. They become good friends, working together to earn more than either of them have before. But then, during 2008, the recession hits and the club no longer benefits from the wild spending habits of Wall Street's biggest earners. Destiny becomes pregnant, leaving the club along with most of the other girls, but struggles to re-enter the workforce a few years later having had no real experience outside of a strip club. And then she meets up with Ramona once more, and learns about fishing...
Fishing involves the girls leaving the confines and constraints of the club in order to lure guys in from outside. Working as a group, they lace their drinks in bars (enough to make them happy, but not really conscious enough to fully appreciate or remember what happens for the rest of the night), then bringing them back to the club. There they can freely swipe their credit cards, have a great time and make thousands of dollars per night. As Ramona sells it to Destiny and the other girls they've recruited to help them, this isn't just survival, it's revenge against all of the Wall Street workers behind the recession, who had no comeback for their actions.
Occasionally the movies flashes forward a few years, where Destiny is being interviewed by the reporter who will eventually go on to write the article on their story (played by Julia Stiles). These scenes work well as a narrative device for the movie and it's clear that, while Destiny seems to have fared pretty well financially over the years, whatever she's done to get there has all gone horribly wrong at some point.
But for now, their scam works perfectly. After the lows and struggles of life as a lowly stripper, it's a real thrill to follow these girls on their journey to expensive clothes, big flashy cars and penthouse apartments. They all become like family, even enjoying an expensive Christmas together with their real families joining them. Hustlers moves beyond its humble strip club beginnings and the camaraderie and power these women develop together feels so genuine, it really makes this movie shine. Scenes where the girls go shopping, or even work together in the kitchen to perfect their drug recipe, are a lot of fun and Hustlers features just as much humour as it does drama. Much of what makes this all work so well is down to it's cast. Hustlers features some pretty strong support, but it's the pairing of Constance Wu and Jennifer Lopez that really stands out. Both are on top form, better than anything I've seen them in before and many reviews I've read are already recommending Oscar nominations for Jennifer Lopez.
Like I say, I wasn't expecting to like this as much as I thought I would based on the trailer. What I got was a fun, exhilarating story of female empowerment with a strong, solid cast. And, as the New York Magazine article so eloquently put it, a modern Robin Hood story.
Justin Patchett (42 KP) rated Roma (2018) in Movies
Mar 3, 2019
Caught in a bad Roma
Contains spoilers, click to show
It’s been a long while since I watched a film deserving of a truly, harshly negative review. I have gotten so close so many times, and I’ll be damned if Netflix hadn’t gotten close to earning that with the fridge-logic that ruined Bird Box. Even Bird Box, though, feels enjoyable in retrospect compared to another Netflix exclusive: Alfonso Cuarón’s Roma.
Since I’m in a clear minority on this film, I feel obligated to preemptively address some common criticisms. If Roma had been produced in English, presented in color and with any score, it couldn’t fix the fact that I simply dislike Roma’s genre. Sure, I’ve liked slice-of-life drama films, and modern period pieces do fine by me. Pretentious Oscar-farming arthouse flicks like this, though, never win my praise.
Roma follows Cleo, a housemaid in Mexico City. Cleo has gotten pregnant and the presumed father, Fermín, leaves her to buy cigarettes before the baby’s even born. Her employer, Sofía, is dealing with a cheating spouse. What follows is two hours of both of these women marginally helping each other with their respective situations. As slice-of-life films do.
Since it's a slice-of-life film, much of the story just basically happens. You'll remember a scene here or there that happened, even if it was ultimately insignificant. In one scene for instance, Cleo goes to confront the baby daddy, who’s at a huge martial arts class. She spectates and proves to be the only one able to perform a certain yoga pose. Which is important because it helped add another few minutes to the film.
Cleo goes into labor not long after this confrontation, but her daughter ends up being stillborn. This all happens in the midst of the Corpus Christi Massacre. What the heck was the Corpus Christi Massacre, you may ask? According to this film, it was a brutal inconvenience on Cleo’s way to the hospital after her water breaks. This actual historical event simply happens and is never addressed for one second more. You know, just like in Titanic where the shipwreck just makes things inconvenient for Rose and Jack.
The last major scene in the film comes when Sofía invites Cleo to come with her family on a trip to the beach, not as staff but to help Cleo cope with the tragedy of losing her child. While they’re there, Sofía leaves the children in Cleo’s care for two freaking minutes, and two of the kids nearly drown. Cleo, though, can’t swim, and so she stands out in the water as the kids rescue each other. And that's about as close as Roma gets to a cohesive plot. Cleo only came with them to help her grieving, which meant she could be there to be powerless while her employer’s kids save each other’s lives. Bad things happen to us, the film teaches, so that good things can coincidentally happen in our proximity.
In fact, coincidence seems to be the running theme, here. Remember the Corpus Christi Massacre? No? What if I call it “the scene where Cleo goes into labor”? Maybe that helps? Fermín briefly held Cleo at gunpoint in the middle of it. Again, mere coincidence. Just like it’s a mere coincidence that she goes into labor the same day as a massacre that killed 120 people. As coincidences do.
Roma isn’t an aggressively bad film. There are a rare few moments within Roma’s 2-hour runtime where you think, “I can see that clip showing up during a Facebook video binge,” but again: These are moments more rare than our current president ordering a rare steak. That rarity has everything to do with the fact that the movie has so few moments, at all. The rest is shots that linger too long from angles that repeat themselves all too often. It’s like Cuarón asked someone, “What does a movie like Juno need to be better?” They responded, “Nothing.” So Cuarón packed Roma with nothing.
Which brings up one of my biggest criticisms of Roma: The cinematography is bland. Cuarón shot practically the entire film on one camera, set a specific distance from the subject, and kept takes running as longer than they should have, padding out a short-film’s worth of content to feature length. It’s bland cinematography that somehow earned an Oscar for Best Cinematography.
Gravity showed us what Cuarón was capable of. Beyond bringing a seemingly authentic view of space to the big screen, Gravity offered variety. Yes, the huge collision scene in Gravity takes on the feel of a one-take scene, but even then, the camera moves with the action. And if your attention moves away from the foreground the shot, you’re able to see other important things going on. With Roma, though, your foreground is your film. Period. And to be sure, you'll be kept at arm's length from that foreground at all times, both metaphorically and cinematically.
There's a number of reasons why Roma wasn't the Best Picture, this year. Gravity proved that Roma is not Cuarón’s best film. Bo Burnham–yes, that Bo Burnham–wrote and directed a better slice-of-life film with Eighth Grade. And Roma might not even be the past year’s best black-and-white film; I dare suggest that Cold War may have been better.
To give it the credit it’s due, Roma’s cast rightly earned nominations for their performances. Yalitza Aparicio and Marina de Tavira earned Best Actress nominations for their roles, and for their part, their performances were authentic as can be. It's the least the Academy could do for having them endure Cuarón's lengthy takes.
But now that I've given it credit, I demand my time back for the scene of Fermín going Star Wars Kid meets Full Monty.
Since I’m in a clear minority on this film, I feel obligated to preemptively address some common criticisms. If Roma had been produced in English, presented in color and with any score, it couldn’t fix the fact that I simply dislike Roma’s genre. Sure, I’ve liked slice-of-life drama films, and modern period pieces do fine by me. Pretentious Oscar-farming arthouse flicks like this, though, never win my praise.
Roma follows Cleo, a housemaid in Mexico City. Cleo has gotten pregnant and the presumed father, Fermín, leaves her to buy cigarettes before the baby’s even born. Her employer, Sofía, is dealing with a cheating spouse. What follows is two hours of both of these women marginally helping each other with their respective situations. As slice-of-life films do.
Since it's a slice-of-life film, much of the story just basically happens. You'll remember a scene here or there that happened, even if it was ultimately insignificant. In one scene for instance, Cleo goes to confront the baby daddy, who’s at a huge martial arts class. She spectates and proves to be the only one able to perform a certain yoga pose. Which is important because it helped add another few minutes to the film.
Cleo goes into labor not long after this confrontation, but her daughter ends up being stillborn. This all happens in the midst of the Corpus Christi Massacre. What the heck was the Corpus Christi Massacre, you may ask? According to this film, it was a brutal inconvenience on Cleo’s way to the hospital after her water breaks. This actual historical event simply happens and is never addressed for one second more. You know, just like in Titanic where the shipwreck just makes things inconvenient for Rose and Jack.
The last major scene in the film comes when Sofía invites Cleo to come with her family on a trip to the beach, not as staff but to help Cleo cope with the tragedy of losing her child. While they’re there, Sofía leaves the children in Cleo’s care for two freaking minutes, and two of the kids nearly drown. Cleo, though, can’t swim, and so she stands out in the water as the kids rescue each other. And that's about as close as Roma gets to a cohesive plot. Cleo only came with them to help her grieving, which meant she could be there to be powerless while her employer’s kids save each other’s lives. Bad things happen to us, the film teaches, so that good things can coincidentally happen in our proximity.
In fact, coincidence seems to be the running theme, here. Remember the Corpus Christi Massacre? No? What if I call it “the scene where Cleo goes into labor”? Maybe that helps? Fermín briefly held Cleo at gunpoint in the middle of it. Again, mere coincidence. Just like it’s a mere coincidence that she goes into labor the same day as a massacre that killed 120 people. As coincidences do.
Roma isn’t an aggressively bad film. There are a rare few moments within Roma’s 2-hour runtime where you think, “I can see that clip showing up during a Facebook video binge,” but again: These are moments more rare than our current president ordering a rare steak. That rarity has everything to do with the fact that the movie has so few moments, at all. The rest is shots that linger too long from angles that repeat themselves all too often. It’s like Cuarón asked someone, “What does a movie like Juno need to be better?” They responded, “Nothing.” So Cuarón packed Roma with nothing.
Which brings up one of my biggest criticisms of Roma: The cinematography is bland. Cuarón shot practically the entire film on one camera, set a specific distance from the subject, and kept takes running as longer than they should have, padding out a short-film’s worth of content to feature length. It’s bland cinematography that somehow earned an Oscar for Best Cinematography.
Gravity showed us what Cuarón was capable of. Beyond bringing a seemingly authentic view of space to the big screen, Gravity offered variety. Yes, the huge collision scene in Gravity takes on the feel of a one-take scene, but even then, the camera moves with the action. And if your attention moves away from the foreground the shot, you’re able to see other important things going on. With Roma, though, your foreground is your film. Period. And to be sure, you'll be kept at arm's length from that foreground at all times, both metaphorically and cinematically.
There's a number of reasons why Roma wasn't the Best Picture, this year. Gravity proved that Roma is not Cuarón’s best film. Bo Burnham–yes, that Bo Burnham–wrote and directed a better slice-of-life film with Eighth Grade. And Roma might not even be the past year’s best black-and-white film; I dare suggest that Cold War may have been better.
To give it the credit it’s due, Roma’s cast rightly earned nominations for their performances. Yalitza Aparicio and Marina de Tavira earned Best Actress nominations for their roles, and for their part, their performances were authentic as can be. It's the least the Academy could do for having them endure Cuarón's lengthy takes.
But now that I've given it credit, I demand my time back for the scene of Fermín going Star Wars Kid meets Full Monty.
Hadley (567 KP) rated On Fire: a Teen Wolf Novel in Books
Feb 3, 2020
Favorite TV show (1 more)
Great side story
Nancy Holder is known in the literary world for her novel adaptations of TV shows, such as Buffy the Vampire Slayer and Smallville, which has made her the go-to author for popular teen shows. With her ability to mesh together a story with what is going on within the TV show, I'm not surprised that she was picked to adapt MTV's 'Teen Wolf' into a novel. Having only read this book by her, On Fire: a Teen Wolf Novel, is definitely a successful must-read for fans of the show.
Do you need to have watched the show to understand what is going on in the novel? Yes, because the book does backtrack, but unless you've watched at least season one, you will have no idea what is going on. But if you have watched the first season, On Fire will fill in the small gaps that was left out of the TV show's story without losing the characteristics of our favorite cast members.
This is a 'young adult' book, so you can expect the usual tropes like teen drama and romance - - - if you can get past that, the story can be enjoyable. The main characters are different enough to keep interest going, there are werewolves, and some men with guns. But I do have to say that I felt Allison's character was flat and boring in 'On Fire.'
The story gets underway when the main character, Scott, finds out that his girlfriend's best friend's boyfriend, Jackson, has gone missing. Scott and his girlfriend, Allison, decide to go look for him at the last place his phone's GPS blinked at, but Scott is using this just as an excuse to hang out with his girlfriend because Jackson is a sworn enemy of his. As I have said, if you haven't at least watched season one of MTV's Teen Wolf, you'll be pretty lost in the beginning of the story because there are no introductions to these characters, since it seems Holder was writing this specifically for fans of the TV show (I am a huge fan of the series, and highly recommend it to people who love mythical creatures, such as werewolves and banshees).
On the other side of the story, viewers of the show get to see Derek Hale and Kate Argent's backstory, which Derek is a werewolf and Kate is a werewolf hunter, the two had a quick romance, but it turned out to be a lie on Kate's side. This side of the story will make fans of the show happy because the series only gave hints towards the fake romance between the two characters, while Holder shows us exactly what happened. From Derek meeting Kate when he is only 17-years-old, and she older, to her burning the Hale household to the ground with most of Derek's family inside of it--- because she hunts werewolves, of course.
Meanwhile, both Derek and Scott have been having nightmares about an Alpha wolf, that seems to either want both of them dead or to join his pack. Worse of all, Scott and Derek both end up at the forest preserve that the dreams took place in, which both feel another wolf presence while being there. Since they both sense this, they start to wonder if Jackson's disappearance is a trap set by the Alpha.
During all of this, Jackson's girlfriend, Lydia, and his best friend Danny, are also searching for Jackson or any clue as to why he suddenly disappeared, which this has nothing to do with what actually happens to Jackson in the TV series. I think the best parts of this book are the scenes without Scott and Allison, who spend the majority of the time trying to make-out while doing a half-ass job searching for the lost friend. As I said before, if you can get past the teen romance, the story is actually really good. Especially my favorite character, Stiles, who had the best description in the entire book: "Life in his[Stiles] head was accompanied by the soundtrack of a small, eternal, dull ache, but word was that would go away after a few decades."
If you have watched the show, you'll be glad to know that this book isn't just an adaptation of season two--- this one has a different story in it that wasn't in the show. Without giving too much away, we get a different glimpse of Jackson's personality and problems he has dealt with much of his life. The book isn't a necessary read for fans, but it gives us a little bit more of the Teen Wolf world to read about, such as introductions of new characters (like a high school girl named Cassie), who never made it to the TV series. While reading this book, it can tempt readers to go back or even start watching the MTV series. I warn you, though, once you start watching, you won't be able to stop. Binge fest anyone?
There were a few inconsistencies, and a whole lot of typos--- whoever the editor was, was apparently not paying attention, but the story is good and the characters are unique. I recommend this to people who have watched the series, and to those who love mythical creatures. But I do wholeheartedly recommend you watch season one before attempting to read this novel, otherwise, you will be lost!
For more paranormal and fantasy book reviews, check out my blog at GoreAndTea.com
Do you need to have watched the show to understand what is going on in the novel? Yes, because the book does backtrack, but unless you've watched at least season one, you will have no idea what is going on. But if you have watched the first season, On Fire will fill in the small gaps that was left out of the TV show's story without losing the characteristics of our favorite cast members.
This is a 'young adult' book, so you can expect the usual tropes like teen drama and romance - - - if you can get past that, the story can be enjoyable. The main characters are different enough to keep interest going, there are werewolves, and some men with guns. But I do have to say that I felt Allison's character was flat and boring in 'On Fire.'
The story gets underway when the main character, Scott, finds out that his girlfriend's best friend's boyfriend, Jackson, has gone missing. Scott and his girlfriend, Allison, decide to go look for him at the last place his phone's GPS blinked at, but Scott is using this just as an excuse to hang out with his girlfriend because Jackson is a sworn enemy of his. As I have said, if you haven't at least watched season one of MTV's Teen Wolf, you'll be pretty lost in the beginning of the story because there are no introductions to these characters, since it seems Holder was writing this specifically for fans of the TV show (I am a huge fan of the series, and highly recommend it to people who love mythical creatures, such as werewolves and banshees).
On the other side of the story, viewers of the show get to see Derek Hale and Kate Argent's backstory, which Derek is a werewolf and Kate is a werewolf hunter, the two had a quick romance, but it turned out to be a lie on Kate's side. This side of the story will make fans of the show happy because the series only gave hints towards the fake romance between the two characters, while Holder shows us exactly what happened. From Derek meeting Kate when he is only 17-years-old, and she older, to her burning the Hale household to the ground with most of Derek's family inside of it--- because she hunts werewolves, of course.
Meanwhile, both Derek and Scott have been having nightmares about an Alpha wolf, that seems to either want both of them dead or to join his pack. Worse of all, Scott and Derek both end up at the forest preserve that the dreams took place in, which both feel another wolf presence while being there. Since they both sense this, they start to wonder if Jackson's disappearance is a trap set by the Alpha.
During all of this, Jackson's girlfriend, Lydia, and his best friend Danny, are also searching for Jackson or any clue as to why he suddenly disappeared, which this has nothing to do with what actually happens to Jackson in the TV series. I think the best parts of this book are the scenes without Scott and Allison, who spend the majority of the time trying to make-out while doing a half-ass job searching for the lost friend. As I said before, if you can get past the teen romance, the story is actually really good. Especially my favorite character, Stiles, who had the best description in the entire book: "Life in his[Stiles] head was accompanied by the soundtrack of a small, eternal, dull ache, but word was that would go away after a few decades."
If you have watched the show, you'll be glad to know that this book isn't just an adaptation of season two--- this one has a different story in it that wasn't in the show. Without giving too much away, we get a different glimpse of Jackson's personality and problems he has dealt with much of his life. The book isn't a necessary read for fans, but it gives us a little bit more of the Teen Wolf world to read about, such as introductions of new characters (like a high school girl named Cassie), who never made it to the TV series. While reading this book, it can tempt readers to go back or even start watching the MTV series. I warn you, though, once you start watching, you won't be able to stop. Binge fest anyone?
There were a few inconsistencies, and a whole lot of typos--- whoever the editor was, was apparently not paying attention, but the story is good and the characters are unique. I recommend this to people who have watched the series, and to those who love mythical creatures. But I do wholeheartedly recommend you watch season one before attempting to read this novel, otherwise, you will be lost!
For more paranormal and fantasy book reviews, check out my blog at GoreAndTea.com
Lee (2222 KP) rated Bombshell (2019) in Movies
Jan 8, 2020 (Updated Jan 8, 2020)
With media currently showing us scenes of disgraced Hollywood mogul Harvey Weinstein as he shuffles into court, expecting sympathy while his victims continue to try and rebuild their lives, along comes the timely release of Bombshell. Based on a high profile #MeToo scandal, Bombshell gives us a look deep inside the heart of Fox News, and tells the explosive story of the women who fought back against the powerful man who created it.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
Megyn Kelly (Charlize Theron) begins by giving us a whistle-stop tour of the Fox News building - the floor layout, who is located where, how various news teams operate, who some of the news anchors are. We learn about the second floor, where the man at the centre of the scandal to come, Roger Ailes (John Lithgow), has his office and where Rupert Murdoch and his sons all fit in. It's a lot to take in right off the bat, so don't turn up late for the movie and make sure you're paying attention!
It's 2016, and the presidential campaign is in full swing. Megyn is preparing for the Republican debate hosted by Fox News, where she is planning to fire off a controversial question at Donald Trump regarding his treatment of women. There's a bit of an upset (literally) earlier in the day though, when Megyn develops a nasty stomach bug, presumably from someone tampering with the coffee bought for her on the way to work, and she very nearly doesn't make it to the debate, which we assume was the desired result. She manages to get out her question though, resulting in the kind of rage tweeting from Trump that we've now become so accustomed to, backlash from Trump supporters and paparazzi turning up at the holiday home where Megyn is taking a short break with her family.
Meanwhile, Gretchen Carlson (Nicole Kidman) is meeting with lawyers regarding the sexist comments that she regularly receives both on air from her male co-anchors, and off air from people like Roger Ailes. She also feels that her demotion to a less popular daytime show is the result of her reluctance to 'play ball' with Ailes. We see the uncomfortable story of Rudi Bakhitar, fired for politely declining the sexual advances of her employer, and the lawyers advise that Gretchen will need to gain further evidence from other women before they can file a harassment suit against Ailes.
The harassment and treatment of women and what they have to endure at Fox News, just to try and come close to the same level as their male counterparts, becomes increasingly apparent as the movie progresses. Short dresses, wide angle shots and transparent news desks in order to see their legs and hold viewer attention - it's the kind of thing you might only casually notice while watching a show, but eye opening and shocking when you see the orders being given in the control room to switch to a certain camera, and the women being told off screen how they should look and dress. Even though you know it's only a matter of time before Carlson gets the support she needs in order to get justice, there's obviously a lot of tension and drama that needs to play out before we get there.
In order to highlight and demonstrate the treatment off camera, particularly from Roger Ailes, we are introduced to up-and-coming journalist and new employee Kayla Pospisil (Margot Robbie), who is a fictional character. Kayla beings by working for Gretchen Carlson, but is keen to progress to bigger things and, despite warnings from Gretchen that she should stay close to her, takes a job on Fox's number one program, The O'Reilly Factor. Along the way, Kayla forms a relationship with her co-worker Jess Carr (Kate McKinnon) and manages to find her way into the office of Ailes, where we get to see him at work in a very creepy and uncomfortable scene. As news of Gretchen's lawsuit breaks, a slow trickle of former victims begins to come forward, while Megyn remains noticeably tight-lipped about an encounter she had with Ailes 10 years ago. It's clear that somebody like Megyn has enough power to make the lawsuit a lot more viable.
For me, Bombshell is all about the performances. Charlize Theron wears simple prosthetics, and underwent voice coaching in order to play the role of Megyn Kelly convincingly, and she is outstanding, as is Nicole Kidman. We get to live the trauma and the ups and downs of Margot Robbie's character along with her in the movie, earning her a supporting actress BAFTA nomination this week (against herself, for Once Upon A Time In Hollywood!). John Lithgow, who I found to be brilliant as Winston Churchill in The Crown, has once again bulked up in order to portray Roger Ailes, and succeeds in making him seem human, and at times humorous, while still portraying his darker, weaker and more creepier side.
Outside of the performances, I found Bombshell to be a fairly average movie. What happened in the space of just a few days in real life, seems to occur over weeks in the movie and I felt the trailer covered off the majority of the story in a pretty tight and more intense few minutes, with the movie just a more stretched out version of that. Still, Bombshell is definitely a good movie and, as I mentioned right at the start, more important and relevant now than ever before, so it deserves to be seen by all.
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.
Kristy H (1252 KP) rated Truly Madly Guilty in Books
Feb 13, 2018
Erika has the whole event planned: an afternoon tea with her friend, Clementine, Clementine's husband, Sam, and the couple's two young daughters, Holly and Ruby. She even has a glittery art table set up for the youngsters. But the day is derailed when Erika runs into her next-door neighbor, Vid, who invites both couples over for a last minute barbecue. Erika and her husband, Oliver, aren't the last minute types; besides, they had something they needed to talk about with Clementine and Sam. But, Erika feels like obligated to say yes. Clementine and Sam are secretly relieved, as Vid and his beautiful wife Tiffany are far more personable than Erika and Oliver. The afternoon starts off well enough; Tiffany and Vid's daughter, Dakota, is even happy enough to hang out with Holly and Ruby. But by the time the night is over, lives will be changed, and all the adults--Sam and Clementine in particular--will find themselves wishing they never attended this impromptu event.
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
So we all know the drill by now. Liane Moriarty is a well-known master of dramatic suspense, especially at capturing the tension that hides behind ordinary lives. I went through a period where I read all of Moriarty's books; [b:What Alice Forgot|6469165|What Alice Forgot|Liane Moriarty|https://d.gr-assets.com/books/1377159022s/6469165.jpg|6659752] and her last novel, [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886], rank as two of my particular favorites. Anyway, Moriarty has become rather famous in the book world, with [b:Big Little Lies|19486412|Big Little Lies|Liane Moriarty|https://d.gr-assets.com/books/1399582436s/19486412.jpg|27570886] being made into a 7-episode HBO TV series, starring Reese Witherspoon and Nicole Kidman.
Of course, with such fame comes great responsibility. And pressure. Can a new work live up to the hype and excitement of the previous? This one will divide readers. It certainly has all the hallmarks of a typical Moriarty novel: a cast of women (and men) living ordinary lives on the surface, with a hidden veneer beneath. There's a secret layer to all of Moriarty's characters, though the drama associated with those in [b:Truly Madly Guilty|26247008|Truly Madly Guilty|Liane Moriarty|https://d.gr-assets.com/books/1467061262s/26247008.jpg|49997474] may not live up to some of her other novels.
First of all, this book will frustrate you. The beginning is incredibly maddening, as Moriarty starts leading up to the events that happened at the barbecue... in slow, excruciating detail. As she does so, we alternate chapters with the present, with the point-of-view told from our various characters. We have Erika, a slightly repressed accountant whose life has been formed around her stressful childhood as the only daughter of her hoarder mother, and Erika's husband, Oliver, her equally steady mate, who grew up with alcoholic parents and longs for the same order in life as Erika. Clementine and Erika have been friends since childhood, when Clementine basically felt Erika's friendship was forced upon her by Clementine's social worker mother, who felt bad for Erika and her flea-infested home. Clementine is a cellist and a bit of a free spirit, but she's balanced by her more grounded husband Sam, who works in business at an energy drink company. They are parents to five-year-old Holly and two-year-old, Ruby. And then, finally, we have Erika and Oliver's neighbors, Vid and Tiffany. Swarthy, wealthy Vid is a joyous, open man who loves sharing his home (and his food) with friends and family. His gorgeous wife Tiffany is his pride and joy. Their quiet 10-year-old daughter, Dakota, just loves to read.
See how I just distracted you from the events of the barbecue by a description of the characters? Imagine that, for pages and pages! It's a great technique, don't get me wrong, but there was one point where I truly wanted to fling the book across the room. "JUST TELL ME WHAT HAPPENS!" I actually shouted in my (thankfully empty) bedroom. I've read some reviews that state that the big reveal, when it happens, isn't shocking enough, but I disagree: I think that event would certainly change my life and haunt my dreams (no more than that; a spoiler will truly ruin this book).
So while this novel can be a bit frustrating, it really is a Liane Moriarty book. It's compulsively readable. At first, I thought it was a very detailed look at three self-involved couples, but over time, I realized I had really fallen for Erika and Oliver and eventually, Tiffany and Vid, too (and Dakota, I loved Dakota!). Moriarty has a way of humanizing her characters and differentiating each from another: they all stand as individuals. Even Sam and Clementine, who were my least favorites, were their own people. It's the tiny details and pieces about each that she sticks in that really build your picture of each character in your mind. Much of the book takes place in the rain, and I could truly visualize each character and every event, unspooling, in this torrential Sydney downpour.
Overall, this book connected with me less on a dramatic, "oh my gosh" level (though that exists) but more on an emotional one. It speaks to the guilt we can all feel about life events--adults and kids alike--and potentially carry with us all of our days. Not a lot may happen in the book, per se, yet it's really a strong story of friendship, marriage, life, and loss. When I framed it in that perspective, versus looking purely for moments of dramatic tension, I realized I'd really enjoyed it. A strong 3.5 stars and definitely worth picking up. Just keep an open mind.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>;
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."
Hadley (567 KP) rated A Deadly Education: Lesson One of the Scholomance in Books
Dec 19, 2020
A darker version of Harry Potter (1 more)
Witchcraft/occult
Main character was unlikable (1 more)
Too much internal dialogue
It's nice knowing that books about witches aren't dead. The main idea of Naomi Novik's new novel, A Deadly Education - - - a new series with the second book already slated to release in 2021 - - - is about a school of magic that is focused on survival. Of course, this may bring about similarities of J.K. Rowling's Harry Potter series, but this story is no way the same, A Deadly Education is a much darker witch school story with young murderers and also monsters that eat the students alive.
Yet this dark and morbid story is about a young girl who has been foreseen to possess powers that could destroy millions of people as our main character, and she can be quite off-putting at times. Her personality - - - a need to be liked, but refuses to allow anyone to like her, her need to show that she is always the smartest person in the room, and her blatant rudeness to a young man that saves her life more than once - - - makes it hard, as a reader, to root for this character. She does have moments of dark humor that made me laugh, moments of sarcasm that were pretty good, but she quickly assumes that everyone hates her and wants her to die before making it to senior graduation.
Galadriel is her name, but she prefers to go by El, and both of her parents were students at this Scholomance. She begins by talking about different kinds of witches there are at the school, including ones that use malia. Malia is a form of magic that takes it's mana from living things, including people. One such student she knows that uses malia is Yi Liu. El describes how malia of this sort slowly kills the one using it by telling the reader that Liu's eyes are turning all white, and her nails have gone completely black (and it's not polish).
Early on, readers are told about enclaves at the school, usually rich kids whose families have had more survivors from graduating classes than others. Students who are not part of these cliques know that it is very important to try to get an invitation to join one before senior year because your chances of survival are higher with a group than by yourself. El spends most of her time debating whether she wants to be part of one or not; her shifts in decisions are quite annoying. After she is saved by a student named Orion Lake, who is an enclaver from New York, she quickly decides to use him to obtain a seat in his enclave: " I couldn't blame her, really. It wasn't stupid to want to be pals with Orion if that looked like a real possibility. Aadhya's family lives in New Jersey: if she got into the New York enclave, she could probably pull them all inside. And I couldn't afford to alienate one of the vanishing few people who are willing to deal with me. "
Throughout the story, El becomes angrier and angrier every time that Lake saves her from being killed (which ends up almost being ten times), but one such time that he isn't able to, readers finally get to see what her powers have taught her, and this is practically the only time that we do: while an attack is happening in the library, El decides to go after Lake and help him save other students, but you can easily get lost in the library due to the shelves constantly moving, or you can be eaten because of the dark areas the shelves create; this is when a giant creature appears called a maw-mouth: "My whole body was clenched and waiting for it, and in the next flare of deep-red light I met half a dozen human eyes watching me, scattered over the thick rolling folds of the translucent, glossy mass that was just bulging its way out of the vent, many mouths open and working for air. " El tells us that the only way to stop a maw-mouth is to give it indigestion. "I stopped, and I used the best of the nineteen spells I know for killing an entire roomful of people, the shortest one; it's just three words in French, a la mort, but it must be cast carelessly, with a flick of the hand that most people get wrong, and if you get it even a little wrong, it kills you instead. " She does it correctly and the maw-mouth is defeated.
El believes that she saved a majority of the students from being killed by defeating the maw-mouth, but when she goes to breakfast the next morning, she finds out that a student had been 'poached' by a senior student. Every student's dorm room has a wall or spot that is nothing but a black abyss, where if anything that enters it will disappear forever. 'Poaching' is an act that has happened at the school before, and it's when a student pushes another student into the void, usually to take over their dorm room because the former's is unsafe. Oddly, this isn't surprising that it happened, when life at the school is life or death, people, especially teenagers, will make rash decisions without adults being present - - - yes, there are no teachers at this school, and everything seems to appear out of thin air.
The novel finally picks up pace when the wall leading to the graduation hall, which contains two maw-mouths for the senior class, is starting to break away, threatening to release any and all creatures into the school: "If a hole opened up to the graduation hall before the senior dorms were closed off, the seniors went from being the whole buffet to the toughest and most stale entrees on the menu. "
When the students decide to work together to patch up the hole, they soon find out that the senior students don't want it patched up: " 'But we also don't want to let you buy your lives with ours. That's what I hear seniors saying. Not, let's rip open the school, but why don't we make you, your class, graduate with us. Your class are the ones Orion has saved the most.' Chloe flinched visibly, and a lot of the other kids at our table tensed. 'So? Are you all willing to do that, graduate early, to save the poor little freshmen? If not, you can stop ' - - - she waved a hand in a spiraling circle, making a gesture of drama - - -'about how evil we are because we don't want to die...' "
The atmosphere in the story makes the threat of death in the school very real, but Novik's main character isn't well-written; there are side characters that I found much more interesting than El, and were better written. Lake is even a better character - - - especially when readers find out why he has a need to save people - - - I honestly believe it would have been a better story from Lake's point-of-view. Also, the amount of explaining that Novik does in the novel really breaks up the flow of the story, sometimes stopping right in the middle of an important scene just to explain something about the school.
I will be reading the sequel when it comes out because I do want to know what happens to a lot of the side characters and their senior graduation, but I can only recommend this book to people who love stories about witches and the occult. As for horror fans, I don't think you would get your fix from this novel.
Yet this dark and morbid story is about a young girl who has been foreseen to possess powers that could destroy millions of people as our main character, and she can be quite off-putting at times. Her personality - - - a need to be liked, but refuses to allow anyone to like her, her need to show that she is always the smartest person in the room, and her blatant rudeness to a young man that saves her life more than once - - - makes it hard, as a reader, to root for this character. She does have moments of dark humor that made me laugh, moments of sarcasm that were pretty good, but she quickly assumes that everyone hates her and wants her to die before making it to senior graduation.
Galadriel is her name, but she prefers to go by El, and both of her parents were students at this Scholomance. She begins by talking about different kinds of witches there are at the school, including ones that use malia. Malia is a form of magic that takes it's mana from living things, including people. One such student she knows that uses malia is Yi Liu. El describes how malia of this sort slowly kills the one using it by telling the reader that Liu's eyes are turning all white, and her nails have gone completely black (and it's not polish).
Early on, readers are told about enclaves at the school, usually rich kids whose families have had more survivors from graduating classes than others. Students who are not part of these cliques know that it is very important to try to get an invitation to join one before senior year because your chances of survival are higher with a group than by yourself. El spends most of her time debating whether she wants to be part of one or not; her shifts in decisions are quite annoying. After she is saved by a student named Orion Lake, who is an enclaver from New York, she quickly decides to use him to obtain a seat in his enclave: " I couldn't blame her, really. It wasn't stupid to want to be pals with Orion if that looked like a real possibility. Aadhya's family lives in New Jersey: if she got into the New York enclave, she could probably pull them all inside. And I couldn't afford to alienate one of the vanishing few people who are willing to deal with me. "
Throughout the story, El becomes angrier and angrier every time that Lake saves her from being killed (which ends up almost being ten times), but one such time that he isn't able to, readers finally get to see what her powers have taught her, and this is practically the only time that we do: while an attack is happening in the library, El decides to go after Lake and help him save other students, but you can easily get lost in the library due to the shelves constantly moving, or you can be eaten because of the dark areas the shelves create; this is when a giant creature appears called a maw-mouth: "My whole body was clenched and waiting for it, and in the next flare of deep-red light I met half a dozen human eyes watching me, scattered over the thick rolling folds of the translucent, glossy mass that was just bulging its way out of the vent, many mouths open and working for air. " El tells us that the only way to stop a maw-mouth is to give it indigestion. "I stopped, and I used the best of the nineteen spells I know for killing an entire roomful of people, the shortest one; it's just three words in French, a la mort, but it must be cast carelessly, with a flick of the hand that most people get wrong, and if you get it even a little wrong, it kills you instead. " She does it correctly and the maw-mouth is defeated.
El believes that she saved a majority of the students from being killed by defeating the maw-mouth, but when she goes to breakfast the next morning, she finds out that a student had been 'poached' by a senior student. Every student's dorm room has a wall or spot that is nothing but a black abyss, where if anything that enters it will disappear forever. 'Poaching' is an act that has happened at the school before, and it's when a student pushes another student into the void, usually to take over their dorm room because the former's is unsafe. Oddly, this isn't surprising that it happened, when life at the school is life or death, people, especially teenagers, will make rash decisions without adults being present - - - yes, there are no teachers at this school, and everything seems to appear out of thin air.
The novel finally picks up pace when the wall leading to the graduation hall, which contains two maw-mouths for the senior class, is starting to break away, threatening to release any and all creatures into the school: "If a hole opened up to the graduation hall before the senior dorms were closed off, the seniors went from being the whole buffet to the toughest and most stale entrees on the menu. "
When the students decide to work together to patch up the hole, they soon find out that the senior students don't want it patched up: " 'But we also don't want to let you buy your lives with ours. That's what I hear seniors saying. Not, let's rip open the school, but why don't we make you, your class, graduate with us. Your class are the ones Orion has saved the most.' Chloe flinched visibly, and a lot of the other kids at our table tensed. 'So? Are you all willing to do that, graduate early, to save the poor little freshmen? If not, you can stop ' - - - she waved a hand in a spiraling circle, making a gesture of drama - - -'about how evil we are because we don't want to die...' "
The atmosphere in the story makes the threat of death in the school very real, but Novik's main character isn't well-written; there are side characters that I found much more interesting than El, and were better written. Lake is even a better character - - - especially when readers find out why he has a need to save people - - - I honestly believe it would have been a better story from Lake's point-of-view. Also, the amount of explaining that Novik does in the novel really breaks up the flow of the story, sometimes stopping right in the middle of an important scene just to explain something about the school.
I will be reading the sequel when it comes out because I do want to know what happens to a lot of the side characters and their senior graduation, but I can only recommend this book to people who love stories about witches and the occult. As for horror fans, I don't think you would get your fix from this novel.
Nicholaus Prescott (131 KP) Jul 6, 2019