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Gareth von Kallenbach (971 KP) rated Groupers (2019) in Movies
Sep 26, 2019
Greetings & Salutations Fellow Movie Fanatics!
It’s not often I see a film that is so good in my opinion, I actually look forward to writing about it and letting you folks know what’s what. In all honesty though, I wouldn’t be surprised if I’m the last person to see it. Quite frankly, I’m surprised that I have not heard or read anything about this movie already. How they managed to put everything together and create a film like this where the runtime is just a 1 hour and 49 minutes is beyond my comprehension. Yes, I said JUST and 1 and 49 minutes. Now that might seem a tad long on the tooth as far as movies go but once you watch it, I think you’ll understand my perception of it. I don’t think my review will do the movie justice but I want to tell you folks about in the hopes that you’ll immediately seek out a means of watching it.
‘Groupers’ is a dramatic comedy film written/directed by Anderson Cowan and stars Nicole Dambro, Jesse Pudles, Cameron Duckett, Peter Mayer-Klepchick, Max Reed III, Brian Loakimedes, Terrance Wentz, Travis Stanberry, Marqus Bobesich, Edward Jackson, Kaleb Rich-Harris, Mike Carano, Robin S. Roth, Laurence Scott Murphy, and Travis Lee Elder.
Orin (Pudles) is a high school student who is dealing with what has become unfortunately an all too common occurrence in schools and colleges today. He is a young person who faces ridicule and bullying because he is gay. The source of the majority of this harassment are two of his fellow students, best friends Brad (Mayer-Klepchick) and Dylan (Duckett). Fast forward to a night when Brad and Dylan decide roll with their over-inflated egos make the rounds at a bar or two and engage in some underage drinking and attempt to impress a fellow female patron or two. Just as the two jocks are beginning to get plastered they’re approached by Meg (Dambro). It doesn’t take much convincing at this point, Meg invites them to come with her and somehow they manage to follow her out of the back of the bar where they are more or less thrown into the back of a van (they pretty much threw themselves in the van). Already this is turning into something that sound like a ‘scary urban legend kind of movie’ right? Not even fully grasping the situation they’re in, Brad and Dylan get psyched up at the supposed prospect of engaging in unnatural activities when fumes engulf the inside of the van and the two jocks are knocked out cold. Several hours later, Brad and Dylan regain consciousness to find themselves restrained at the bottom of an empty pool. Meg, the girl from the bar, is actually a grad student and explains that the two of them are now part of a social experiment and implies that their lives depend on participating in the experiment regardless of the results. What follows is a downward spiral of lies, revenge, more than one close call with death, and an unforeseen series unforeseen guests that turn the tables on the participants in the experiment but each other as well.
The as the film progresses, it becomes vendetta driven. The seriously comedic aspects don’t start until at least a third of the way in unless you count the idiotic behavior of Brad and Dylan. At that point, the humor is driven by the unforeseen circumstances that Meg could not possibly have anticipated nor would anyone who appeared to prepare for this so thoroughly. The fact is the experiment should have progressed as she planned regardless of the outcome. All in all, this is one of the best films I’ve seen all year. I’d actually go so far as to say it’s in the top 5 and will remain there I can guarantee that. The film is similar to that of movies like ‘Pulp Fiction’ in the sense that it progresses backwards in relation to certain events and then jumps back into the present. It is NOT difficult to follow though. The premise of the film is one of the most original I’ve seen in a while. Note how the cast managed to make such an awesome film considering most of it takes place in a derelict house with an empty pool. Nothing is overshadowed in the film either. You have a movie that manages to encompass serious subject matter one minute and the next minute you can’t help but laugh and again neither overshadows the other. The cast? Absolutely awesome! They should be absolutely proud of this film and what they’ve accomplished with it. They should certainly consider ‘getting the band back together’ for other projects too. I’d go so far as to say the film deserves a theater release for sure. Nicole Dambro ‘Meg’ is most certainly a talent movie viewers should look out for. Her character’s presence commands such attention from the other characters while she herself commands the attention of the audience. The film has drugs and alcohol plus questionable dialogue and language plus some nudity so definitely NOT one for young folks. As I mention earlier, it’s a bit long on the tooth timewise at 1 hour and 49 minutes but it’s SO worth it. Just make sure you get drinks and snacks prior to the movie. I’m going to go ahead and rate this one 5 out of 5 stars. Give some real thought to seeing ‘Groupers’ . Trust me on this one
It’s not often I see a film that is so good in my opinion, I actually look forward to writing about it and letting you folks know what’s what. In all honesty though, I wouldn’t be surprised if I’m the last person to see it. Quite frankly, I’m surprised that I have not heard or read anything about this movie already. How they managed to put everything together and create a film like this where the runtime is just a 1 hour and 49 minutes is beyond my comprehension. Yes, I said JUST and 1 and 49 minutes. Now that might seem a tad long on the tooth as far as movies go but once you watch it, I think you’ll understand my perception of it. I don’t think my review will do the movie justice but I want to tell you folks about in the hopes that you’ll immediately seek out a means of watching it.
‘Groupers’ is a dramatic comedy film written/directed by Anderson Cowan and stars Nicole Dambro, Jesse Pudles, Cameron Duckett, Peter Mayer-Klepchick, Max Reed III, Brian Loakimedes, Terrance Wentz, Travis Stanberry, Marqus Bobesich, Edward Jackson, Kaleb Rich-Harris, Mike Carano, Robin S. Roth, Laurence Scott Murphy, and Travis Lee Elder.
Orin (Pudles) is a high school student who is dealing with what has become unfortunately an all too common occurrence in schools and colleges today. He is a young person who faces ridicule and bullying because he is gay. The source of the majority of this harassment are two of his fellow students, best friends Brad (Mayer-Klepchick) and Dylan (Duckett). Fast forward to a night when Brad and Dylan decide roll with their over-inflated egos make the rounds at a bar or two and engage in some underage drinking and attempt to impress a fellow female patron or two. Just as the two jocks are beginning to get plastered they’re approached by Meg (Dambro). It doesn’t take much convincing at this point, Meg invites them to come with her and somehow they manage to follow her out of the back of the bar where they are more or less thrown into the back of a van (they pretty much threw themselves in the van). Already this is turning into something that sound like a ‘scary urban legend kind of movie’ right? Not even fully grasping the situation they’re in, Brad and Dylan get psyched up at the supposed prospect of engaging in unnatural activities when fumes engulf the inside of the van and the two jocks are knocked out cold. Several hours later, Brad and Dylan regain consciousness to find themselves restrained at the bottom of an empty pool. Meg, the girl from the bar, is actually a grad student and explains that the two of them are now part of a social experiment and implies that their lives depend on participating in the experiment regardless of the results. What follows is a downward spiral of lies, revenge, more than one close call with death, and an unforeseen series unforeseen guests that turn the tables on the participants in the experiment but each other as well.
The as the film progresses, it becomes vendetta driven. The seriously comedic aspects don’t start until at least a third of the way in unless you count the idiotic behavior of Brad and Dylan. At that point, the humor is driven by the unforeseen circumstances that Meg could not possibly have anticipated nor would anyone who appeared to prepare for this so thoroughly. The fact is the experiment should have progressed as she planned regardless of the outcome. All in all, this is one of the best films I’ve seen all year. I’d actually go so far as to say it’s in the top 5 and will remain there I can guarantee that. The film is similar to that of movies like ‘Pulp Fiction’ in the sense that it progresses backwards in relation to certain events and then jumps back into the present. It is NOT difficult to follow though. The premise of the film is one of the most original I’ve seen in a while. Note how the cast managed to make such an awesome film considering most of it takes place in a derelict house with an empty pool. Nothing is overshadowed in the film either. You have a movie that manages to encompass serious subject matter one minute and the next minute you can’t help but laugh and again neither overshadows the other. The cast? Absolutely awesome! They should be absolutely proud of this film and what they’ve accomplished with it. They should certainly consider ‘getting the band back together’ for other projects too. I’d go so far as to say the film deserves a theater release for sure. Nicole Dambro ‘Meg’ is most certainly a talent movie viewers should look out for. Her character’s presence commands such attention from the other characters while she herself commands the attention of the audience. The film has drugs and alcohol plus questionable dialogue and language plus some nudity so definitely NOT one for young folks. As I mention earlier, it’s a bit long on the tooth timewise at 1 hour and 49 minutes but it’s SO worth it. Just make sure you get drinks and snacks prior to the movie. I’m going to go ahead and rate this one 5 out of 5 stars. Give some real thought to seeing ‘Groupers’ . Trust me on this one
BookblogbyCari (345 KP) rated The Naked Future in Books
Aug 5, 2018
Book Review by Cari Mayhew. Rating 7.5/10
This is a book about how the digital footprint we leave behind us can be used to make predictions about our future in all aspects of our lives. But are we seeing the coming to being of a dystopian science fiction, or are we tapping into a new superpower?
Every app on every device we use leaves a digital trail about us, and this has implications in the fields of medicine and the spread of infections, education and learning, and crime prediction, through to movie preference and dating.
The book predominantly examines the value to society in general but also looks at the benefits to the individual. Of course, these benefits come at a cost to our privacy, which the book also briefly addresses. Each chapter is centered on its own topic. I will mention each but in the interests of brevity won’t go into detail on each topic.
Chapter 1 begins by describing how certain apps can be extremely useful warning providers, but by the end of the chapter, we are looking at how your smartphone apps can be used to locate you, even when your GPS is turned off and you’re not geo-tagging posts or tweets. With modern statistical models and enough data points, it’s possible to predict where you will be down to the hour and within a square block one and a half years from now. Turning off your GPS doesn't actually make you less predictable, it just makes your predictability level harder to detect - your future remains naked.
Similarly, in Chapter 2 which examines deliberate self-tracking, Tucker notes that Fitbit users who are confused or ignorant of the device’s privacy settings are inadvertently sharing the data details of their sexual activity.
This seems like frightening stuff, but then the conversation turns to more benevolent uses of such technology. Chapter 3, by way of an imagined story, examines how such technology can be used to predict the spread of dangerous infections, including the identification of new strains of virus as new mutations occur.
Chapter 4 looks at the use of such technology in weather forecasting, and how it’s been used to make way for insurance against the effects of the weather for affected businesses. Chapter 5 explores how movie/book choice and ratings can be used to predict what makes a good movie/book.
We go back to the frightening stuff in Chapter 6. Here Tucker talks about how the smartphone has become the ultimate shopping accessory. Knowing what habitual time an individual wants a coffee, cig, or beer, is ideal for online advertisers, who will be able to send you a voucher/coupon or a mere suggestion right there on the spot. There could also be surveillance systems examining what you pick up and consider buying but don't put into basket /trolley. Tucker goes on to describe how data brokers such as Acxiom have begun selling on to advertisers access to not only your data to also to your future decisions.
Chapter 7 looks at education and learning, and makes the following good points: “What telemetric education offers is the chance for all students to raise their hands and be heard, without fear of confirming some unflattering, broadly held perception about their social group.” And “Imagine for a moment the power of knowing beforehand how well you would perform on a test but how disempowered you would feel if that same future was naked to your competition, or to your future potential employers.”
I like the title of chapter 8 “When Your Phone Says You’re In Love”. Here Tucker tells how online dating sites have become a living social science lab. Again here your personal details can be sold on. In the future, you could be rating your actual get-togethers on the app. Already invented is a “sociometer” which detects unconscious biological signals which show what role you’re taking in a conversation, and can then produce predictions on how the rest of the conversation will go.
Chapters 9 and 10 look at predictions in the where, when and who of acts of crime. He discusses where it has worked so far. But on this Tucker says “Predictive policing in the wrong hands looks less like a boon to public safety and more like a totalitarian hammer.”
The book concludes with Chapter 11, titled “The World That Anticipates Your Every Move”. Here one interviewee said as “Privacy is a blip on the radar of history.” Indeed the chapter ends with an obituary to privacy, where Tucker says “we will feel increasingly powerless against the tide of transparency rendering this planet in a new form as surely as the movement of glaciers carved our canyons and valleys.”
I’ve highlighted here the more worrisome aspects of the topics, but it’s important to note that Tucker does aim to offer a prescription for the situation, though it’s spread out in occasional paragraphs here and there rather than as a useful reference at the end. That said I found the actionable advice was rather brief and unoriginal.
Tucker presents a fair and balanced view of this important and highly relevant topic of our times, and the book is clearly well-researched. Some chapters show a little humor which was fun, but although the book is aimed at the layman, I often felt like I was reading a science textbook. The book is a real eye-opener, especially if it’s something you hadn’t given much thought to. The overall message of the book is clear: our data is already out there, but it’s ours first and foremost, and we can be savvy and use it to our advantage.
This is a book about how the digital footprint we leave behind us can be used to make predictions about our future in all aspects of our lives. But are we seeing the coming to being of a dystopian science fiction, or are we tapping into a new superpower?
Every app on every device we use leaves a digital trail about us, and this has implications in the fields of medicine and the spread of infections, education and learning, and crime prediction, through to movie preference and dating.
The book predominantly examines the value to society in general but also looks at the benefits to the individual. Of course, these benefits come at a cost to our privacy, which the book also briefly addresses. Each chapter is centered on its own topic. I will mention each but in the interests of brevity won’t go into detail on each topic.
Chapter 1 begins by describing how certain apps can be extremely useful warning providers, but by the end of the chapter, we are looking at how your smartphone apps can be used to locate you, even when your GPS is turned off and you’re not geo-tagging posts or tweets. With modern statistical models and enough data points, it’s possible to predict where you will be down to the hour and within a square block one and a half years from now. Turning off your GPS doesn't actually make you less predictable, it just makes your predictability level harder to detect - your future remains naked.
Similarly, in Chapter 2 which examines deliberate self-tracking, Tucker notes that Fitbit users who are confused or ignorant of the device’s privacy settings are inadvertently sharing the data details of their sexual activity.
This seems like frightening stuff, but then the conversation turns to more benevolent uses of such technology. Chapter 3, by way of an imagined story, examines how such technology can be used to predict the spread of dangerous infections, including the identification of new strains of virus as new mutations occur.
Chapter 4 looks at the use of such technology in weather forecasting, and how it’s been used to make way for insurance against the effects of the weather for affected businesses. Chapter 5 explores how movie/book choice and ratings can be used to predict what makes a good movie/book.
We go back to the frightening stuff in Chapter 6. Here Tucker talks about how the smartphone has become the ultimate shopping accessory. Knowing what habitual time an individual wants a coffee, cig, or beer, is ideal for online advertisers, who will be able to send you a voucher/coupon or a mere suggestion right there on the spot. There could also be surveillance systems examining what you pick up and consider buying but don't put into basket /trolley. Tucker goes on to describe how data brokers such as Acxiom have begun selling on to advertisers access to not only your data to also to your future decisions.
Chapter 7 looks at education and learning, and makes the following good points: “What telemetric education offers is the chance for all students to raise their hands and be heard, without fear of confirming some unflattering, broadly held perception about their social group.” And “Imagine for a moment the power of knowing beforehand how well you would perform on a test but how disempowered you would feel if that same future was naked to your competition, or to your future potential employers.”
I like the title of chapter 8 “When Your Phone Says You’re In Love”. Here Tucker tells how online dating sites have become a living social science lab. Again here your personal details can be sold on. In the future, you could be rating your actual get-togethers on the app. Already invented is a “sociometer” which detects unconscious biological signals which show what role you’re taking in a conversation, and can then produce predictions on how the rest of the conversation will go.
Chapters 9 and 10 look at predictions in the where, when and who of acts of crime. He discusses where it has worked so far. But on this Tucker says “Predictive policing in the wrong hands looks less like a boon to public safety and more like a totalitarian hammer.”
The book concludes with Chapter 11, titled “The World That Anticipates Your Every Move”. Here one interviewee said as “Privacy is a blip on the radar of history.” Indeed the chapter ends with an obituary to privacy, where Tucker says “we will feel increasingly powerless against the tide of transparency rendering this planet in a new form as surely as the movement of glaciers carved our canyons and valleys.”
I’ve highlighted here the more worrisome aspects of the topics, but it’s important to note that Tucker does aim to offer a prescription for the situation, though it’s spread out in occasional paragraphs here and there rather than as a useful reference at the end. That said I found the actionable advice was rather brief and unoriginal.
Tucker presents a fair and balanced view of this important and highly relevant topic of our times, and the book is clearly well-researched. Some chapters show a little humor which was fun, but although the book is aimed at the layman, I often felt like I was reading a science textbook. The book is a real eye-opener, especially if it’s something you hadn’t given much thought to. The overall message of the book is clear: our data is already out there, but it’s ours first and foremost, and we can be savvy and use it to our advantage.
Heather Cranmer (2721 KP) rated Failure to Protect (Dre Thomas & Angela Evans #4) in Books
Nov 12, 2019
I don't normally read legal thrillers, but there was something about Failure to Protect by Pamela Samuels Young that drew me in. I think it's because I was bullied as a child, but mostly because I'm a mom now. My oldest son has high functioning Autism and ADHD. He was bullied one year in school, and his school seemed to not do anything about it. Failure to Protect was a very emotional read, and I'm really glad I decided to give it a try.
The plot for Failure to Protect was solid. Nine-year-old Bailey Lewis is constantly being bullied at her school. When something major happens, Bailey's mother, Erika, decides to sue the elementary school. However, the principal, Darcella, is more concerned with keeping the school's good record intact instead of worrying about bullied students. The principal will do whatever it takes to make sure her school's stellar reputation doesn't get soiled even if it means doing some bullying herself.
Pamela Samuels Young did such a stellar job with the world building. Her knowledge of the court process and justice system is fantastic. Young is an attorney, and it's obvious she knows her stuff. Unfortunately, the subject of bullying in schools is all too real, and sadly, many schools are more worried about their reputation and all the paperwork and time a bullying case would take than actually caring about a bullied student. This fiction novel reads like a true story. There are a few plot twists which make this book even more interesting! Failure to Protect also answered every question I had. There's no speculation in Failure to Protect, and there's also no cliffhangers. This book is part of a series, but it's the first book I've read in the series, and I feel like it works as a standalone.
The pacing in Failure to Protect is done perfectly. Every single paragraph, and every single chapter flowed smoothly into the next. Not once did I want to put this book down. It had my attention throughout! I was also a fan of the short chapters which I felt helped with the pacing.
The best thing about Failure to Protect, besides everything, were the characters. Each character had such a unique personality which really helped them to feel like a real person rather than just a character in a novel. I loved little Bailey, and I just wanted to hug her and let her know that I'd protect her against her bully. It was heartbreaking reading about all she went through in her young life from losing her father not too long ago to being relentlessly bullied in school and online. I also felt horrible for her mother Erika. She also went through two horrible tragedies including one a parent should never have to go through. I was constantly in her corner, and I kept rooting for her throughout the whole bullying ordeal with the school. Erika felt like what happened to Bailey was mostly her fault, and I wanted to tell Erika that sometimes it's not easy to know everything about our children. Dre was my favorite character. I enjoyed his thought process and how passionate he was about everything. It was obvious how much he loved his goddaughter Bailey. I loved how Angela grew as a character when it came to her relationship with Erika. At first, she wasn't big on Erika, but it was obvious how much she did end up caring for her. Angela and Jenny were both fantastic attorneys, and I loved how they were willing to dedicate all their time and knowledge for Bailey's case. Darcella, the principal, was such a horrible person. Young did a fantastic job at creating Darcella to be the antagonist. So many times I was so angry with Darcella. I wanted to just shake her and ask her why she didn't do anything for Bailey. Darcella does explain why she decided to overlook the bullying, but I just wanted to know why she bothered to work in a profession dealing with children if she didn't have any empathy. I was so annoyed with Darcella. I was also annoyed with Ethan Landers, Darcella's attorney. I know he was just doing his job at the end of the day, but it wasn't easy to read about how he could just side with the enemy. Zola, Bailey's teacher, was also an interesting character. She was so conflicted about doing the right thing, and I liked reading about why she chose to do what she did. Apache, Dre's best friend, was a minor character in Failure to Protect, but he gets a mention because I loved his scenes. He was such a character, and I loved how comical he was especially when it came to helping out Dre.
Trigger warnings in Failure to Protect include bullying, racism, sexual situations (although not too graphic), suicide, death, lying, alcohol, mentions of past drug use and selling, profanity, and mentions of violence.
All in all, Failure to Protect is an emotionally well written novel. It would make a fantastic Lifetime movie - at least that's what I kept thinking whilst reading it. The story line is something that unfortunately is so commonplace in a lot of schools. I would definitely recommend Failure to Protect by Pamela Samuels Young to those aged 18+. I think this is a book that everyone should read and can relate to on at least some level. If you do decide to read Failure to Protect (which you should), please know that you'll feel a vast range of emotions!
--
(A special thank you to Pamela Samuels Young for providing me with an eBook of Failure to Protect in exchange for an honest and unbiased review.)
The plot for Failure to Protect was solid. Nine-year-old Bailey Lewis is constantly being bullied at her school. When something major happens, Bailey's mother, Erika, decides to sue the elementary school. However, the principal, Darcella, is more concerned with keeping the school's good record intact instead of worrying about bullied students. The principal will do whatever it takes to make sure her school's stellar reputation doesn't get soiled even if it means doing some bullying herself.
Pamela Samuels Young did such a stellar job with the world building. Her knowledge of the court process and justice system is fantastic. Young is an attorney, and it's obvious she knows her stuff. Unfortunately, the subject of bullying in schools is all too real, and sadly, many schools are more worried about their reputation and all the paperwork and time a bullying case would take than actually caring about a bullied student. This fiction novel reads like a true story. There are a few plot twists which make this book even more interesting! Failure to Protect also answered every question I had. There's no speculation in Failure to Protect, and there's also no cliffhangers. This book is part of a series, but it's the first book I've read in the series, and I feel like it works as a standalone.
The pacing in Failure to Protect is done perfectly. Every single paragraph, and every single chapter flowed smoothly into the next. Not once did I want to put this book down. It had my attention throughout! I was also a fan of the short chapters which I felt helped with the pacing.
The best thing about Failure to Protect, besides everything, were the characters. Each character had such a unique personality which really helped them to feel like a real person rather than just a character in a novel. I loved little Bailey, and I just wanted to hug her and let her know that I'd protect her against her bully. It was heartbreaking reading about all she went through in her young life from losing her father not too long ago to being relentlessly bullied in school and online. I also felt horrible for her mother Erika. She also went through two horrible tragedies including one a parent should never have to go through. I was constantly in her corner, and I kept rooting for her throughout the whole bullying ordeal with the school. Erika felt like what happened to Bailey was mostly her fault, and I wanted to tell Erika that sometimes it's not easy to know everything about our children. Dre was my favorite character. I enjoyed his thought process and how passionate he was about everything. It was obvious how much he loved his goddaughter Bailey. I loved how Angela grew as a character when it came to her relationship with Erika. At first, she wasn't big on Erika, but it was obvious how much she did end up caring for her. Angela and Jenny were both fantastic attorneys, and I loved how they were willing to dedicate all their time and knowledge for Bailey's case. Darcella, the principal, was such a horrible person. Young did a fantastic job at creating Darcella to be the antagonist. So many times I was so angry with Darcella. I wanted to just shake her and ask her why she didn't do anything for Bailey. Darcella does explain why she decided to overlook the bullying, but I just wanted to know why she bothered to work in a profession dealing with children if she didn't have any empathy. I was so annoyed with Darcella. I was also annoyed with Ethan Landers, Darcella's attorney. I know he was just doing his job at the end of the day, but it wasn't easy to read about how he could just side with the enemy. Zola, Bailey's teacher, was also an interesting character. She was so conflicted about doing the right thing, and I liked reading about why she chose to do what she did. Apache, Dre's best friend, was a minor character in Failure to Protect, but he gets a mention because I loved his scenes. He was such a character, and I loved how comical he was especially when it came to helping out Dre.
Trigger warnings in Failure to Protect include bullying, racism, sexual situations (although not too graphic), suicide, death, lying, alcohol, mentions of past drug use and selling, profanity, and mentions of violence.
All in all, Failure to Protect is an emotionally well written novel. It would make a fantastic Lifetime movie - at least that's what I kept thinking whilst reading it. The story line is something that unfortunately is so commonplace in a lot of schools. I would definitely recommend Failure to Protect by Pamela Samuels Young to those aged 18+. I think this is a book that everyone should read and can relate to on at least some level. If you do decide to read Failure to Protect (which you should), please know that you'll feel a vast range of emotions!
--
(A special thank you to Pamela Samuels Young for providing me with an eBook of Failure to Protect in exchange for an honest and unbiased review.)
HerCrazyReviews (247 KP) rated Turtles All The Way Down in Books
Aug 24, 2019
Marketed As A Mystery But It Isn't (2 more)
Unhealthy Friendships
Unsatisfactory Ending
Mental Illness Representation But No Mystery
Contains spoilers, click to show
As a casual fan who has watched a few of John Green’s YouTube videos and read a few books of his, I can honestly say he seems like such a genuinely honest and funny person. Plus, I have read a book or two of his in the past (Example: Paper Towns) and while I did enjoy this book there were quite a few things that made me stray away from a five or even four-star review.
The first thing that I felt was a let down in this novel was the fact that the book was actually not a mystery novel but instead dealt with more of Aza’s own anxiety. While I do love the fact that the book dealt with the topic of anxiety and mental illness in what I felt like was a realistic way I am disappointed that there was not as much mystery. To me, it seemed like the book was marketed around the fact that Aza was trying to solve the mystery of Russell Pickett and where he went. I incorrectly assumed that this novel would be some kind of Scooby-Doo mystery. We did see the characters wonder about Mr. Pickett’s “magical” escape and we did get an ending where everything was wrapped up and solved but it didn’t seem like the characters worked that hard towards it and the book was more about Aza’s own self-realization.
Speaking (or technically typing) about Aza’s struggle with anxiety and mental health I felt like the book did a good job of realistically representing the struggles and many difficulties people experience. I will say that I have personally never had a problem with mental illness and while I do have people I love and care for go through it my experiences are mainly from trying to help them. Therefore, I am not necessarily an accurate source when it comes to the reality of mental illness. I am able to see what my loved ones experience but those are on two different scales.
The simple fact is there is nothing pretty about struggling with mental illness. No matter how hard people try no one is able to always able to stay above the rainbow. Everyone has their bad days and Aza’s experiences, while cringe-worthy in some cases (Ex: digging into her fingernail and swallowing hand sanitizer) is the reality for many people.
While I am pleased by the fact that this book dealt with mental illness and the struggles that come along with it there are a few things that I am disappointed by besides the let down on the mystery front. Overall, the ending was not satisfying. While yes, we were able to see Aza grow and confront the fact that she will always have bad days and good days I felt like certain endings or wrap-ups were not satisfactory. One huge thing I felt strongly about was Aza’s relationships. With Daisy, her best friend, we eventually find out she has been writing about Aza in her fanfiction. But that isn’t the issue. The issue is that Daisy finally exposes her true feelings about her best friend. Turns out Daisy more or less has a lot of bottled up issues resolving Aza and reading Aza’s reaction to this is simply heartbreaking. I also felt that the ending where they simply go back to being friends was not good enough for me. If I found out one of my best friends had been writing hurtful things about me behind my back I would, of course, do what Aza did and confront them but I also do not think I could go back to being friends. Friendships are based on trust and respect for one another and Daisy was not being a true friend.
Now that I have gotten through my thoughts and let downs of the novel there were redeeming qualities. As mentioned above I am a huge fan of representation from several different areas such as mental health as is represented in this novel. This book gave representation to people who on a regular basis may not receive the care they are entitled to or feel like they are alone in the world. This book gives these people ownage and that is a truly beautiful thing. John Green, I believe, wrote this based on his own experiences with anxiety (though obviously, it is not his exact account) and I, therefore, feel like this is a fairly accurate source to read when wondering about the realities of anxiety. Now, I know this book is fiction but I personally feel like it did a great job on that front, which is what I believe John Green was aiming for.
Would I Recommend It?: Maybe. I do enjoy certain aspects of this book such as the amazing representation of mental illness such as OCD (Obsessive-Compulsive Disorder) and anxiety. Not to mention I truly loved the mentions of fanfiction. However, there were a few bits here and there that made my rating decrease down to three-stars. One of the main things was the fact that the book, from my point of view, appeared to be marketed with the mystery factor and while it was solved the solution was a letdown and the book wasn’t truly focused on the mystery. Plus, Aza’s relationships with her friends seemed to be unhealthy and the last chapter or two of the book did not hold a satisfactory ending for me.
The first thing that I felt was a let down in this novel was the fact that the book was actually not a mystery novel but instead dealt with more of Aza’s own anxiety. While I do love the fact that the book dealt with the topic of anxiety and mental illness in what I felt like was a realistic way I am disappointed that there was not as much mystery. To me, it seemed like the book was marketed around the fact that Aza was trying to solve the mystery of Russell Pickett and where he went. I incorrectly assumed that this novel would be some kind of Scooby-Doo mystery. We did see the characters wonder about Mr. Pickett’s “magical” escape and we did get an ending where everything was wrapped up and solved but it didn’t seem like the characters worked that hard towards it and the book was more about Aza’s own self-realization.
Speaking (or technically typing) about Aza’s struggle with anxiety and mental health I felt like the book did a good job of realistically representing the struggles and many difficulties people experience. I will say that I have personally never had a problem with mental illness and while I do have people I love and care for go through it my experiences are mainly from trying to help them. Therefore, I am not necessarily an accurate source when it comes to the reality of mental illness. I am able to see what my loved ones experience but those are on two different scales.
The simple fact is there is nothing pretty about struggling with mental illness. No matter how hard people try no one is able to always able to stay above the rainbow. Everyone has their bad days and Aza’s experiences, while cringe-worthy in some cases (Ex: digging into her fingernail and swallowing hand sanitizer) is the reality for many people.
While I am pleased by the fact that this book dealt with mental illness and the struggles that come along with it there are a few things that I am disappointed by besides the let down on the mystery front. Overall, the ending was not satisfying. While yes, we were able to see Aza grow and confront the fact that she will always have bad days and good days I felt like certain endings or wrap-ups were not satisfactory. One huge thing I felt strongly about was Aza’s relationships. With Daisy, her best friend, we eventually find out she has been writing about Aza in her fanfiction. But that isn’t the issue. The issue is that Daisy finally exposes her true feelings about her best friend. Turns out Daisy more or less has a lot of bottled up issues resolving Aza and reading Aza’s reaction to this is simply heartbreaking. I also felt that the ending where they simply go back to being friends was not good enough for me. If I found out one of my best friends had been writing hurtful things about me behind my back I would, of course, do what Aza did and confront them but I also do not think I could go back to being friends. Friendships are based on trust and respect for one another and Daisy was not being a true friend.
Now that I have gotten through my thoughts and let downs of the novel there were redeeming qualities. As mentioned above I am a huge fan of representation from several different areas such as mental health as is represented in this novel. This book gave representation to people who on a regular basis may not receive the care they are entitled to or feel like they are alone in the world. This book gives these people ownage and that is a truly beautiful thing. John Green, I believe, wrote this based on his own experiences with anxiety (though obviously, it is not his exact account) and I, therefore, feel like this is a fairly accurate source to read when wondering about the realities of anxiety. Now, I know this book is fiction but I personally feel like it did a great job on that front, which is what I believe John Green was aiming for.
Would I Recommend It?: Maybe. I do enjoy certain aspects of this book such as the amazing representation of mental illness such as OCD (Obsessive-Compulsive Disorder) and anxiety. Not to mention I truly loved the mentions of fanfiction. However, there were a few bits here and there that made my rating decrease down to three-stars. One of the main things was the fact that the book, from my point of view, appeared to be marketed with the mystery factor and while it was solved the solution was a letdown and the book wasn’t truly focused on the mystery. Plus, Aza’s relationships with her friends seemed to be unhealthy and the last chapter or two of the book did not hold a satisfactory ending for me.
HerCrazyReviews (247 KP) rated Rent: The Complete Book and Lyrics of the Broadway Musical in Books
Aug 24, 2019
AIDs Representation (1 more)
LGBTQIA+ Representation
Great Representation, Horrible Characters
I have never seen the musical Rent nor have I ever seen the movie (though I heard it is not as good and different from the musical). Therefore, my rating is based solely on this book and because of that, I may not be able to understand or enjoy it as much as I would have if I had watched the movie or musical first.
First off, I loved that the book (or rather, musical) was set during the AIDS crisis and showed LGBTQIA+ representation. I think that is fantastic because (a.) we are lacking in our current day representation of LGBTQIA+ characters (though, we are slowly beginning to have this become the norm.) and (b.) the AIDS crisis was not a good time in history. The American government was not doing much to help with this crisis and seemed to sort of sweep it aside. Now, I was not alive during the beginning of this crisis and therefore have learned from sources and not with my own experiences, but not much was being done and this was mostly because this was originally considered a “gay disease” and, sadly, people in the past have not treated the LGBTQIA+ community with the respect they deserve. Instead, because this was considered a “gay disease” it was considered unimportant and therefore the AIDS epidemic was ignored. Luckily, today we have better people who are trying their best to find a cure.
Second, while I extremely enjoyed the representation and awareness this book (or musical) brought I did not enjoy most of the characters. While I do believe that characters should have flaws (after all no one is perfect and that is part of what make us human) I did not appreciate the way the characters in the book seemed to make excuses. Especially the fact that they used others difficulties to try and better themselves. Not to mention, most of the characters seemed to accentuate their poorness and use it as a way to better themselves. One scene that really got to me was when Mark was starting to film a homeless person. He did save them from the police but even they said “My life’s not for you to make a name for yourself on” and “Hey artist you gotta dollar? I thought not,” (Pg.38). It literally stated that these people who claim themselves to be “artists” use this as an excuse to exploit others.
Another huge part of what I did not appreciate about this book would be the harmful relationship that most of the characters seem to be in. Most of these relationships seemed too toxic and seemed to revolve around awful and sometimes disgusting circumstances.
Maureen (Cheater) + Joanne = 💔
Maureen and Joanne were repeatedly arguing, breaking it off, then getting back together. Now, that alone already seems like it’s not a healthy foundation for any relationship but then we find out that Maureen is a HUGE cheater. Mark himself told Joanne that she used to cheat on him when they were together and even had a bit of evidence that she was doing it again.
Roger (Past Drug Addict) + Mimi (Drug User) = 💔
Now, Roger is one of the many characters in this musical to have AIDS and because he is a past drug user we can infer that he got AIDS from drugs, or from his ex-girlfriend. Anyway, his goal before he dies from AIDS is to write one last song so that his life could mean something. To make sure that his life was worth it (to have glory), and I actually admire him for that. Lots of people would give up and I think it’s amazing that he wants to continue to try to make his life worth living. However, Mimi comes in and started to spark a flame (or light a candle) with Roger. There’s just one problem. Mimi is a drug user. Plus, it seems like she is trying to get Roger to get back on drugs. Definitely not something a healthy and loving relationship would have.
Benny (At least 30yrs.) + Mimi (Younger than 19) = 💔
Now, this has to be the most disgusting relationship in the book. While I don’t mind couples having age differences I am one-hundred percent NOT behind underage people dating men who are at least thirty, if not forty, years old. This was revealed when we got told that Mimi use to date Benny before she met Roger. Mimi was nineteen when she met Roger and if she had a prior relationship with Benny she was most likely eighteen or under.
Finally, I wasn’t very happy with the ending of the book. Mimi’s sort-of “death” scene just wasn’t my thing. It seemed to be that the situation as a whole seemed too excessive. She was dead, then she was back, then she was dead again, and she managed to come back because Angel told her too. While Mimi is a main character and main character deaths are extremely sad this story was supposed to make people more aware of AIDS and it just seemed to be too fanciful for me. This is an extremely deadly disease and just because someone told you that it was not your time to die yet does not mean that you are not going to yet pass. However, this is fiction and this does happen.
Would I Recommend? No. I really enjoyed the representation this showed within the LGBTQIA+ community and the awareness it would bring to people about the AIDS crisis, but I thought the story itself was bad. The characters, in my opinion, were not written well and I especially did not enjoy their actions or choices.
First off, I loved that the book (or rather, musical) was set during the AIDS crisis and showed LGBTQIA+ representation. I think that is fantastic because (a.) we are lacking in our current day representation of LGBTQIA+ characters (though, we are slowly beginning to have this become the norm.) and (b.) the AIDS crisis was not a good time in history. The American government was not doing much to help with this crisis and seemed to sort of sweep it aside. Now, I was not alive during the beginning of this crisis and therefore have learned from sources and not with my own experiences, but not much was being done and this was mostly because this was originally considered a “gay disease” and, sadly, people in the past have not treated the LGBTQIA+ community with the respect they deserve. Instead, because this was considered a “gay disease” it was considered unimportant and therefore the AIDS epidemic was ignored. Luckily, today we have better people who are trying their best to find a cure.
Second, while I extremely enjoyed the representation and awareness this book (or musical) brought I did not enjoy most of the characters. While I do believe that characters should have flaws (after all no one is perfect and that is part of what make us human) I did not appreciate the way the characters in the book seemed to make excuses. Especially the fact that they used others difficulties to try and better themselves. Not to mention, most of the characters seemed to accentuate their poorness and use it as a way to better themselves. One scene that really got to me was when Mark was starting to film a homeless person. He did save them from the police but even they said “My life’s not for you to make a name for yourself on” and “Hey artist you gotta dollar? I thought not,” (Pg.38). It literally stated that these people who claim themselves to be “artists” use this as an excuse to exploit others.
Another huge part of what I did not appreciate about this book would be the harmful relationship that most of the characters seem to be in. Most of these relationships seemed too toxic and seemed to revolve around awful and sometimes disgusting circumstances.
Maureen (Cheater) + Joanne = 💔
Maureen and Joanne were repeatedly arguing, breaking it off, then getting back together. Now, that alone already seems like it’s not a healthy foundation for any relationship but then we find out that Maureen is a HUGE cheater. Mark himself told Joanne that she used to cheat on him when they were together and even had a bit of evidence that she was doing it again.
Roger (Past Drug Addict) + Mimi (Drug User) = 💔
Now, Roger is one of the many characters in this musical to have AIDS and because he is a past drug user we can infer that he got AIDS from drugs, or from his ex-girlfriend. Anyway, his goal before he dies from AIDS is to write one last song so that his life could mean something. To make sure that his life was worth it (to have glory), and I actually admire him for that. Lots of people would give up and I think it’s amazing that he wants to continue to try to make his life worth living. However, Mimi comes in and started to spark a flame (or light a candle) with Roger. There’s just one problem. Mimi is a drug user. Plus, it seems like she is trying to get Roger to get back on drugs. Definitely not something a healthy and loving relationship would have.
Benny (At least 30yrs.) + Mimi (Younger than 19) = 💔
Now, this has to be the most disgusting relationship in the book. While I don’t mind couples having age differences I am one-hundred percent NOT behind underage people dating men who are at least thirty, if not forty, years old. This was revealed when we got told that Mimi use to date Benny before she met Roger. Mimi was nineteen when she met Roger and if she had a prior relationship with Benny she was most likely eighteen or under.
Finally, I wasn’t very happy with the ending of the book. Mimi’s sort-of “death” scene just wasn’t my thing. It seemed to be that the situation as a whole seemed too excessive. She was dead, then she was back, then she was dead again, and she managed to come back because Angel told her too. While Mimi is a main character and main character deaths are extremely sad this story was supposed to make people more aware of AIDS and it just seemed to be too fanciful for me. This is an extremely deadly disease and just because someone told you that it was not your time to die yet does not mean that you are not going to yet pass. However, this is fiction and this does happen.
Would I Recommend? No. I really enjoyed the representation this showed within the LGBTQIA+ community and the awareness it would bring to people about the AIDS crisis, but I thought the story itself was bad. The characters, in my opinion, were not written well and I especially did not enjoy their actions or choices.
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.
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
Hazel (1853 KP) rated Kids of Appetite in Books
Dec 14, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
They lived and they laughed and they saw that it was good.</i>
<i>Mosquitoland </i>was the best book I read last year (2015) and I was excited to discover what David Arnold would write next. I approached<i> Kids of Appetite</i> with mild trepidation; what if it did not live up to my expectations? Need not have worried – it was brilliant. Dubbed a “tragicomedy” <i>Kids of Appetite</i> is a combination of realistic, heartbreaking experiences with intellectual humour.
The book opens mid interview at a local police station where two teenagers, Vic and Mad, are being questioned about a murder their friend has supposedly committed. From there, the story backtracks a week and proceeds to bring the reader up to date. It all begins with Vic running away from home, distancing himself from his mother and her new partner. By chance, a coincidence – a bump, Vic would say – he is found by Mad who introduces him to a small group of homeless friends. Vic may not have packed in preparation for life on the streets – or in a greenhouse as it turns out – however he did grab the urn containing his late father’s ashes before racing out of the house. Along with the urn is a letter containing cryptic clues that lead to various locations that Vic’s father wished for his ashes to be scattered. He, along with his new found friends; make it a mission to put his father to rest.
It is not possible to label the general theme of the book. <i>Kids of Appetite</i> is a story full of stories. Each character has their own past, something that led them to the situation they find themselves in now. The group consists of five members – once Vic has been accepted. Baz, at age twenty-seven, is clearly the leader: responsible, caring, and fatherly – until accused of murder. Seven years younger is Zuz, Baz’s mute brother, and finally Coco, an eleven year old with the mouth of a foul old lady. It is Coco, amongst all her swearing and hilarious misuse of words, that coins the name <i>Kids of Appetite, KOA</i> for short, a play on words: they are not solely in want of food, they hunger for life.
Initially it would appear that the main focus will be on Vic: his father’s death, his mother’s new partner, Moebius (facial paralysis) – a syndrome that results in a lot of bullying and discrimination – and, of course, his flight from home. However the remaining members of <i>KOA </i>equally contribute to the overall narrative. Mad, like Vic, knows what it is like to lose a father. Unfortunately she also knows what it is like to lose a mother. Her life since the fateful car crash that left her and orphan has been full of abuse and uncertainty. Baz and Zuz, on the other hand, have escaped a traumatizing childhood in the midst of the Congo Civil War.
Similarly with <i>Mosquitoland</i>, Arnold’s second book is full of intellectual knowledge and humour complete with references to highbrow material. Vic is obsessed with an operatic song and deeply interested in abstract art, particularly Matisse. He pulls the artist’s work apart in search of meaning and relatable truths of life. Like Vic, Mad has a particular song she draws comfort from. The lyrics help her make sense of the world around her, and produce her own manifesto – Madifesto, rather. She is particularly fascinated by S E Hinton’s <i>The Outsiders</i> – a book I have not read, but am obviously going to now. With in-depth theories purloined from her favourite novel, she encourages and advises those around her.
The murder investigation is evidently another key point of the book. I do not want to say too much on the matter as it would not be fair to give the ending away. Be reassured that<i> Kids of Appetite</i> is not a thriller, crime or horror novel; it is the events and dialogue leading up to the conclusion that make up the greatest parts of the story.
It is essentially the characters that make <i>Kids of Appetite</i> such a fantastic work of fiction. Their background stories are all based on real life experiences of many people throughout the world, but it is their opinion of life, their terminology, and their reckless enthusiasm that really impacts the reader. <i>Kids of Appetite</i> is a book to be read over and over again. So many phrases can be lifted and quoted to explain our own lives and feelings. In fact, the entire novel is one big quote to sum up life itself. Although there are so many themes, stories and ideas, there is one clear message. Let go. Let go of the past. Let go of the things that hold you back. For Vic and Mad it is the death of their parents; for Coco it is abandonment; and Baz and Zuz learn to let go of their violent childhood.
David Arnold is an extremely talented author, seamlessly flowing from one notion to another, whilst sweeping the reader into a sea of pure emotion. He may over use the word “ergo” and have an unconventional penchant for ellipses, but that only adds to the uniqueness of the writing. There may be an excessive amount of expletives, however that is overshadowed by the pure genius of the story itself. <i>Kids of Appetite</i> is a book I want to recommend to all. The blurb likens it to authors Rainbow Rowell and Jennifer Niven – I would like to throw John Green into the mix – and should appeal to many Young Adult readers. I could write forever about this book, but I would rather you go and read it yourself. And whilst you read, remember:
<i>They lived and they laughed and they saw that it was good. </i>
Jordan Binkerd (567 KP) rated The Long Earth in Books
Aug 13, 2019
Note: this review is transposted from my personal review blog, and so was originally written several years ago. I figured if I reposted it here, someone might actually read it….
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/
I’m a huge fan of Terry Pratchett’s work, in case you hadn’t noticed. I’m slowly working my way through his Discworld novels and Good Omens: The Nice and Accurate Predictions of Agnes Nutter, Witch, cowritten with Neil Gaiman, is among my favorite books of all time.* So when I discovered The Long Earth at my local library, I was ecstatic. I’d heard good things about Stephen Baxter, but never actually read any of his material. What I found was one of the best novels I have read in a very long time.
The premise here is that there are infinite worlds parallel to ours, spread out across the vast “contingency tree” of possible Earths, and in all of the Long Earth only one iteration has developed Human life–ours. Throughout our history there have always been a few with the natural ability to “step” between worlds at will, and still others who did so unintentionally and disappeared forever, but the world at large was unaware of this phenomenon until a reclusive scientist posted the blueprint for a “stepper” device on the internet and promptly disappeared from his apartment. Suddenly, the whole of the Long Earth is opened up to humanity. Suddenly, there is no shortage of land or resources. Economies are hard hit, jobs are lost, and once again humanity’s pioneer spirit is stirred to go out into the frontier and try to make their way….
Joshua Valiente is a so-called “natural stepper,” but he is probably unique among humanity. In the stress of childbirth, his mother stepped out of her world and into a parallel forest before slipping back without him. She managed to get back and recover him pretty quickly, but nevertheless young Joshua spent the first ten minutes or so of his life completely alone in his universe. As a result, he is uniquely attuned to the Long Earth. He can step between worlds without nausea, and is keenly sensitive to the number of people around, growing intensely uncomfortable the more crowded things get. Now, fifteen years after the world learned of the Long Earth, he spends most of his time exploring where no man has gone before. Lobsang, on the other hand, is a keenly intelligent AI, who may or may not be the latest reincarnation of a Tibetan motorcycle repairman. In collaboration with the shadowy Black Corporation, Lobsang has conceived a plan to test just how far the Long Earth goes. And he wants Joshua to go with him….the resulting journey is as much an exploration of what may have been as it is a geographical one, with most worlds mirroring our own, but a few display the effects of a cosmic “toss of a coin” going the other way–for example, there’s one where the Earth was completely destroyed by an asteroid strike sometime in the distant past.
Put quite plainly, this was the best thing I’ve read in a very long time. Very original, and to my (admittedly limited) understanding very faithful to the relevant science without losing quality of narrative or character. Pratchett’s humor and sardonic narrative voice shines through quite often in the interpersonal or introspective moments as well as those detailing more plot driven points–those scenes that would, in a film, become some form of montage showing that time is passing and this is what’s happening in the meantime. As I mentioned, I’ve never read Baxter before, so it’s harder to pick out his voice from their collaboration.
Infodumping has become something of a cardinal sin in the science fiction world, but sometimes you just have to throw some information at the reader so that he doesn’t get lost. I felt that The Long Earth handled that very well. We get our first glimpse at the long earth in montage mode, a series of vignettes that don’t make sense on their own, people popping in and out of worlds without understanding themselves what is going on. This is followed by the main story, twenty years after the discovery of the Long Earth, in which the bare bones are presented via a TV interview a character is half-watching while he waits. These bare bones of the conceptual basis of the book are then fleshed out in more detail as Joshua and Lobsang and introduced and get to know each other, discussing the various theories regarding the Long Earth at length in an effort to better understand it themselves. This is interspersed with flashbacks, sometimes Joshua recalling his experiences, sometimes Lobsang telling stories of other people based on his research into early encounters with the Long Earth. In this way Pratchett and Baxter manage to convey how humanity as a whole is dealing, not just Joshua and Lobsang. If I have one complaint with this it is not always clear why or how we are being told this–you don’t discover until the end of the chapter that Lobsang is telling this to Joshua instead of the authors just throwing in a tangential bit with no direct connection. And it is all connected–every revelation, every character you visit and then abandon early in the book will come back and have significance later on.
This is perhaps not the easiest read–you do have to engage it to understand it properly–but neither is it an incomprehensible enigma. As long as you pay attention you should be fine.
CONTENT: Some R-rated language, but not nearly what you could find elsewhere. Some violence, some grisly aftermath of violence. Sexual references, but nothing explicit.
*I’m frankly a little surprised I don’t have a review of that one up here, I must have reread it last just before I started doing this. I’ll have to fix that in the near future….
Original post: https://jordanbinkerd.wordpress.com/2013/09/18/review-the-long-earth-by-terry-pratchett-stephen-baxter/
Hadley (567 KP) rated Stranger Things: Darkness on the Edge of Town in Books
Jul 17, 2019
Jim Hopper (1 more)
Serial killers and cults, oh my!
Too much attention to detail (1 more)
Using the same body language for every character
In 1977, New York City was a disaster; men were trying to return to a normal life after Vietnam ended, gangs were on every street corner, and a serial killer, by the name 'Son of Sam,' was on the loose. But for Detective Jim Hopper, New York was housing another serial killer just for him- - - a killer who is killing Vietnam war veterans, and leaving behind a psychic calling card, known as the Zener cards.
Adam Christopher is the chosen author to tell Stranger Things' fans about the most important homicide case that Jim Hopper ever worked on in the novel 'Darkness on the Edge of Town.' Fans may recall from season 2, when Eleven found a secret hatch in Hopper's cabin, it revealed boxes under the floor - one which was labeled 'New York.' This is that story.
The entire book is Hopper telling Eleven about his greatest homicide story from New York City. Readers get to meet new characters from Hopper's past, but the most memorable may be his partner in the Homicide Unit, Rosario Delgado (1977 was a time where Homicide Units didn't allow female detectives, and Delgado is one of the first of few that is allowed into the unit). Delgado, who is Cuban, but was raised in Queens, New York, has all the right attitude that wins over her partner, Hopper. The reader will realize that they are two-peas-in-a-pod.
Quickly, the story gets into the first case the two have together: the Zener card serial killer; here, we learn that there were two previous victims, both murdered the same way: stabbed five times with the wounds joining together to form a five-pointed star. Throughout the book, the story goes back and forth between 1977 and the present, where Eleven asks questions about the story, and also, Hopper questioning himself as to whether he should continue to tell Eleven the story.
But soon, we meet a very important man named Leroy Washington - a gang member who wants protection in exchange for the information that he holds- this leads Hopper to our villain: a cult leader who goes by the name Saint John. This villain believes that Satan is going to rise and destroy New York City.
Backtracking a little before, Hopper and Delgado are taken off the case of the Zener card murders, introducing readers to Special Agent Gallup. Gallup states that the third victim, Jacob Hoeler, was also a Special Agent, so the case is turned over to Federal Agents. "What you don't know, Detective, is that Jacob Hoeler is one of ours- - - Special Agent Jacob Hoeler. He was working on assignment, and the fact that he was killed in the course of his duties is of primary concern to my department. Therefore, we need to be sure that a most thorough investigation is carried out. In order to ensure that happens, we will be taking the case in-house. " Hopper, along with Delgado, refuse to let the case go, and secretly continue to work on it. But, as they dig deeper into the evidence and crime scenes, the two realize the murder case is a part of something much bigger - - - a cult that is armed with vehicles and weapons, ready to take over New York City for their leader, Saint John.
Readers get to see the story from both Hopper's and Delgado's point of view, which readers may question how Hopper knows Delgado's side of the story, but quickly to react, Eleven asks this very question for us: " 'Fair point,' said Hopper. 'But we - - - I mean, Delgado and me- - - we pieced it all together afterward. We had to interview everyone we could, and we put it all into a big official report. Actually, it took way longer to write that thing up than we spent on the investigation itself. We were even flown down to D.C. to present it to a bunch of anonymous suits in some federal building. They grilled us pretty well, too, although I ever found out who they all were. ' He grinned. ' Kinda sums the whole thing up, really.' " Even so, without Delgado's point of view, the story wouldn't have turned out as well as it did.
Hopper's obsession with cracking this case lands him in the center of it- - - he is recruited, not by choice, to the task force that is trying to top Saint John's big plan to destroy New York City. Leroy Washington, the informant from before, is Hopper's wing man for the mission, because Washington turns out to be a recruiting officer for the cult. Hopper is to pretend that he is a new recruit, and that he is an ex-cop, who just happened to 'murder' two people the night before. Hopper infiltrating the cult is one of the most exciting parts of the book, but the sequence of these scenes are much too short, leaving this reader disappointed.
Unfortunately, by this time, Delgado has become somewhat of a secondary character. She still works the case, being in the-know of Hopper going undercover, but we see little else of Delgado's character being developed. This is a missed opportunity indeed.
Although I enjoyed Christopher bringing Hopper's backstory to light, the writer is so detail oriented in his writing, that it bogged down much of the flow in the story. The reader is told things in almost every scene that come to nothing, and just seem to waste the reader's time. You may also find that the author uses the same words or physical actions to describe emotions for every single character (such as neck rolling to show stress), which gets old very quickly.
With that said, and only a few inconsistencies here and there, the book was very good. The story takes off pretty quickly and doesn't seem to slow down. The scenery descriptions put the reader right there with our favorite Hawkins Police Chief, Jim Hopper, but the best part about this book is that you don't have to be a Stranger Things' fan to enjoy it; anyone who enjoys Crime Fiction would love this story. Highly recommend!
Adam Christopher is the chosen author to tell Stranger Things' fans about the most important homicide case that Jim Hopper ever worked on in the novel 'Darkness on the Edge of Town.' Fans may recall from season 2, when Eleven found a secret hatch in Hopper's cabin, it revealed boxes under the floor - one which was labeled 'New York.' This is that story.
The entire book is Hopper telling Eleven about his greatest homicide story from New York City. Readers get to meet new characters from Hopper's past, but the most memorable may be his partner in the Homicide Unit, Rosario Delgado (1977 was a time where Homicide Units didn't allow female detectives, and Delgado is one of the first of few that is allowed into the unit). Delgado, who is Cuban, but was raised in Queens, New York, has all the right attitude that wins over her partner, Hopper. The reader will realize that they are two-peas-in-a-pod.
Quickly, the story gets into the first case the two have together: the Zener card serial killer; here, we learn that there were two previous victims, both murdered the same way: stabbed five times with the wounds joining together to form a five-pointed star. Throughout the book, the story goes back and forth between 1977 and the present, where Eleven asks questions about the story, and also, Hopper questioning himself as to whether he should continue to tell Eleven the story.
But soon, we meet a very important man named Leroy Washington - a gang member who wants protection in exchange for the information that he holds- this leads Hopper to our villain: a cult leader who goes by the name Saint John. This villain believes that Satan is going to rise and destroy New York City.
Backtracking a little before, Hopper and Delgado are taken off the case of the Zener card murders, introducing readers to Special Agent Gallup. Gallup states that the third victim, Jacob Hoeler, was also a Special Agent, so the case is turned over to Federal Agents. "What you don't know, Detective, is that Jacob Hoeler is one of ours- - - Special Agent Jacob Hoeler. He was working on assignment, and the fact that he was killed in the course of his duties is of primary concern to my department. Therefore, we need to be sure that a most thorough investigation is carried out. In order to ensure that happens, we will be taking the case in-house. " Hopper, along with Delgado, refuse to let the case go, and secretly continue to work on it. But, as they dig deeper into the evidence and crime scenes, the two realize the murder case is a part of something much bigger - - - a cult that is armed with vehicles and weapons, ready to take over New York City for their leader, Saint John.
Readers get to see the story from both Hopper's and Delgado's point of view, which readers may question how Hopper knows Delgado's side of the story, but quickly to react, Eleven asks this very question for us: " 'Fair point,' said Hopper. 'But we - - - I mean, Delgado and me- - - we pieced it all together afterward. We had to interview everyone we could, and we put it all into a big official report. Actually, it took way longer to write that thing up than we spent on the investigation itself. We were even flown down to D.C. to present it to a bunch of anonymous suits in some federal building. They grilled us pretty well, too, although I ever found out who they all were. ' He grinned. ' Kinda sums the whole thing up, really.' " Even so, without Delgado's point of view, the story wouldn't have turned out as well as it did.
Hopper's obsession with cracking this case lands him in the center of it- - - he is recruited, not by choice, to the task force that is trying to top Saint John's big plan to destroy New York City. Leroy Washington, the informant from before, is Hopper's wing man for the mission, because Washington turns out to be a recruiting officer for the cult. Hopper is to pretend that he is a new recruit, and that he is an ex-cop, who just happened to 'murder' two people the night before. Hopper infiltrating the cult is one of the most exciting parts of the book, but the sequence of these scenes are much too short, leaving this reader disappointed.
Unfortunately, by this time, Delgado has become somewhat of a secondary character. She still works the case, being in the-know of Hopper going undercover, but we see little else of Delgado's character being developed. This is a missed opportunity indeed.
Although I enjoyed Christopher bringing Hopper's backstory to light, the writer is so detail oriented in his writing, that it bogged down much of the flow in the story. The reader is told things in almost every scene that come to nothing, and just seem to waste the reader's time. You may also find that the author uses the same words or physical actions to describe emotions for every single character (such as neck rolling to show stress), which gets old very quickly.
With that said, and only a few inconsistencies here and there, the book was very good. The story takes off pretty quickly and doesn't seem to slow down. The scenery descriptions put the reader right there with our favorite Hawkins Police Chief, Jim Hopper, but the best part about this book is that you don't have to be a Stranger Things' fan to enjoy it; anyone who enjoys Crime Fiction would love this story. Highly recommend!