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BankofMarquis (1832 KP) rated Reminiscence (2021) in Movies
Aug 24, 2021
Needed a better Director - like one of the Nolan boys
Christopher Nolan is one of the greatest Directors of our time usually making films that have an attribute of time in them. His brother, Jonathan Nolan, has had a hand in most of his brother’s terrific works as well as the creative force behind such “trippy” TV series as PERSON OF INTEREST and the recent revival of WESTWORLD. In both of these TV Series, Jonathan Nolan was assisted by his wife, Lisa Joy.
Lisa Joy has written and directed her own “trippy, play with time” film, REMINISCENCE that has quite a few of the hallmarks of a Christopher (or Jonathan) Nolan film - but it also has one very unsettling aspect to it - it plays like a twice over copy of something else.
REMINISCENCE is a classic neo-noir with our hero being smitten by the femme fatale which draws him into her world, where murder, criminal activities and low-lifes run rampant all with a downbeat tone.
This sounds like a terrific premise for a Christopher Nolan film, unfortunately, in the hands of Lisa Joy, it is like watching a local community theater production of a Broadway musical.
The first 1/3 of this film is one long, laborious setup for the tragedy that will unfold and it is told at an uninteresting snail’s pace. Reminiscence picks up a bit in the middle with a pretty good action scene - and plot twist - before squandering this momentum with mediocrity at the end.
Joy’s script - which was on Hollywood’s infamous “blacklist’ of scripts for many, many years (a list of screenplays that are generally praised, but for some reason or another have not been produced), is at the core of the problem. The dialogue is not very interesting and dripping with heavy film noire clichés. She does not follow the Hollywood doctrine of “show, don’t tell”. She TELLS the audience much, much more than is needed and never really gives the audience any credit for figuring things out for themselves.
For example, there is a “dirty cop” that is central to the plot (there always is in this type of film). So, how do the other characters in the film address him? “You’re the dirty cop…”
I’d laugh if I wasn’t so bored.
What DOES work in this film is the acting of Hugh Jackman (as our hero), Rebecca Ferguson (as the femme fatale) and - especially - Thandie Newton as the “Gal Friday” of Jackman’s. Someone needs to give this talented actress a true showcase of her talents.
Someone also needs to give good ol’ Cliff Curtis a vehicle for his talents - he is one of the most misused good performers in Hollywood and he is misused in this film as well.
And…don’t get me started on the special effects. If you are going to make a trippy, sci-fi, futuristic neo-noire thriller, you probably shouldn’t cut the corner on the special effects, but this film does that, amazingly.
But…with a good Director at the helm there is enough “good enough” here (especially in the acting) that you should be able to pull something decent out of it.
But…Joy is making her theatrical film directing debut - exactly the type of director that this film does not need. What this film needed wasn’t a rookie director like Joy, it needed a Nolan - either Jonathan or (preferably) Christopher to make this work. But, one will have to be contented with a copy of a copy.
And that’s just not good enough.
Letter Grade: C+ (the performances of the leads almost salvage things.
5 stars (out of 10) - and you can take that to the Bank(ofMarquis)
Lisa Joy has written and directed her own “trippy, play with time” film, REMINISCENCE that has quite a few of the hallmarks of a Christopher (or Jonathan) Nolan film - but it also has one very unsettling aspect to it - it plays like a twice over copy of something else.
REMINISCENCE is a classic neo-noir with our hero being smitten by the femme fatale which draws him into her world, where murder, criminal activities and low-lifes run rampant all with a downbeat tone.
This sounds like a terrific premise for a Christopher Nolan film, unfortunately, in the hands of Lisa Joy, it is like watching a local community theater production of a Broadway musical.
The first 1/3 of this film is one long, laborious setup for the tragedy that will unfold and it is told at an uninteresting snail’s pace. Reminiscence picks up a bit in the middle with a pretty good action scene - and plot twist - before squandering this momentum with mediocrity at the end.
Joy’s script - which was on Hollywood’s infamous “blacklist’ of scripts for many, many years (a list of screenplays that are generally praised, but for some reason or another have not been produced), is at the core of the problem. The dialogue is not very interesting and dripping with heavy film noire clichés. She does not follow the Hollywood doctrine of “show, don’t tell”. She TELLS the audience much, much more than is needed and never really gives the audience any credit for figuring things out for themselves.
For example, there is a “dirty cop” that is central to the plot (there always is in this type of film). So, how do the other characters in the film address him? “You’re the dirty cop…”
I’d laugh if I wasn’t so bored.
What DOES work in this film is the acting of Hugh Jackman (as our hero), Rebecca Ferguson (as the femme fatale) and - especially - Thandie Newton as the “Gal Friday” of Jackman’s. Someone needs to give this talented actress a true showcase of her talents.
Someone also needs to give good ol’ Cliff Curtis a vehicle for his talents - he is one of the most misused good performers in Hollywood and he is misused in this film as well.
And…don’t get me started on the special effects. If you are going to make a trippy, sci-fi, futuristic neo-noire thriller, you probably shouldn’t cut the corner on the special effects, but this film does that, amazingly.
But…with a good Director at the helm there is enough “good enough” here (especially in the acting) that you should be able to pull something decent out of it.
But…Joy is making her theatrical film directing debut - exactly the type of director that this film does not need. What this film needed wasn’t a rookie director like Joy, it needed a Nolan - either Jonathan or (preferably) Christopher to make this work. But, one will have to be contented with a copy of a copy.
And that’s just not good enough.
Letter Grade: C+ (the performances of the leads almost salvage things.
5 stars (out of 10) - and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Shang-Chi and the Legend of the Ten Rings (2021) in Movies
Sep 16, 2021
Relationship between Shaun and Katy (1 more)
Great Shakespearean level of story
Ten rings to rule them all
Positives:
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
- This is Marvel at its best. A script (with Shakespearean undertones) that melds action with good character development and laugh-out-loud feel-good dialogue. The great thing is that you don't need to be a Marvel nerd to enjoy this one. Yes, there are some fabulous Easter Eggs for Marvel fans (and a wonderful return of a character from one of the early films). But it's almost a standalone feature in its own right.
- The action sequences are top-notch, particularly an early fight on a careering San Francisco "bendy-bus". Some great martial-arts reminiscent of "Crouching Tiger, Hidden Dragon", made more exciting by the fact that the impressive Simu Liu did all his own stunts.
- The relationship built between Shaun and Katy is wonderful, and the actors deliver on it brilliantly: no wonder when you have the exceptional Awkwafina on the other end of it. Similarly, the relationship built between Shang-Chi and his father is powerful, thanks to some wonderful acting from Tony Chiu-Wai Leung. So good in the gripping (and erotic) 'Lust, Caution', I believe this is his first English-speaking film.
- With the odd exception (see below), the special effects are top-notch.
Negatives:
- I thought this was 5* all the way until the final reel, when we descended into a CGI-driven "Godzilla vs Kong" finale. I hate CGI that's just a blur of action across the screen where you're struggling to understand what's going on. Less would be more here for me.
- The movie makes extensive use of 'flashbacks' and, for me, there was a bit too much heavy-handedness in their use. I muttered "enough already" to a few of them, since they were taking us out of the movie's current narrative.
- There were a couple of effects that looked like the intern at the special effects company had put them together during a coffee break. An early plunge of a jeep into a forest and some rather obvious green-screen stuff in the finale. Surprised that these weren't caught and redone.
Timeline?: So, it took more of a Marvel nerd than I am (my wonderful daughter-in-law Bronwyn) to point out that although this film is set (largely) in the "Present Day", the events of "Avengers: Endgame" actually happen in 2023. So in the Marvel timeline, this is set in between Thanos's "blip" and "the return". This is the reason why Wong is present but not Doctor Strange, for example.
Summary Thoughts: Marvel goes East! This is a really entertaining addition to the franchise, mixing Marvel action with Eastern mysticism and martial arts. It's an impressive job by director and co-writer Destin Daniel Cretton, in only his second feature (he did "Just Mercy" in 2019).
As a Marvel film, there are of course end-credit scenes ("monkeys" in onemannsmovies speak). A mid-title one is the best, bringing some additional Marvel characters into the mix. And there's a post-credits one which sets up for further sequels but which I found rather irritating.
It's ironic that a Marvel movie so right for the Chinese market - the first to be headlined by an Asian actor and with substantial Mandarin dialogue - might not get a release in China. According to this report, this appears to be for two reasons: firstly that the actor Simu Liu made some derogatory remarks about China in the past, and secondly that in the comics Shang Chi's father is Fu Manchu - a Western-derived character with racial overtones.
This doesn't seem to have hurt it so far. After less than two weeks of opening, it has made $262 million on a budget estimated to be $150-200 million.
(For the full graphical review and video check out #onemannsmovies on the web, Facebook and Tiktok. Thanks).
Bob Mann (459 KP) rated Mission: Impossible - Fallout (2018) in Movies
Sep 28, 2021
Hunt on the edge… again.
2015’s “MI: Rogue Nation” was one of my favourite films of that year, so of all the summer blockbusters this was the one I was most looking forward to. Was I delighted? It’s a slightly qualified “YES!”.
The film neatly follows on from Rogue Nation with arch terrorist-in-need-of-a-razor Solomon Lane (Sean Harris) being extraordinarily renditioned (probably not a valid phrase!) between multiple countries who want to torture/punish him. But his followers – “The Apostles” – are still active and on the trail of plutonium that could devestate key sites, with religious centres being the top of the target list. Since Ethan Hunt (Tom Cruise) originally caught Lane, IMF Director Hunley (Alec Baldwin) despatches Hunt to intercept the plutonium.
But CIA director Erica Sloan (Angela Bassett) has no faith in the IMF, or trust that the organisation has not been infiltrated, and she insists that her ‘heavy’ August Walker (Henry Cavill) goes along for the ride. But they are not the only parties in play, for Isla Faust (Rebecca Ferguson) is also involved. But who is she working for?
What makes these films a cut above your average action adventure is the stunt work, with the knowledge that Cruise is at the centre of the action. In “Skyscraper” you KNOW Dwayne Johnson is standing on the ‘edge’ in front of a big green screen. Similarly here you KNOW Cruise is standing on the edge of the Tate Modern tower – probably without a safety line – as the camera goes 360 degrees around him. This makes all the difference to the adrenalin count.
There are some outstanding set pieces in the film, with extraordinarily spectacular shots from a ‘halo jump’ and a dramatic helicopter finale. But it is some of the smaller stuff that really impresses: a dramatic edge-of-the-seat car and motorbike chase through central Paris is one of the most impressive and terrifying things I’ve seen on film for many years; and Cruise’s literally bone-crunching run through London is also extremely exciting, with Simon Pegg adding good humour in his regular role of Benji. By the way, series regulars Ving Rhames, as Luther, and Michelle Monaghan, as Hunt’s ex-wife Julia, also make welcome returns but Jeremy Renner is missing this time.
Tom Cruise at 56 (he’s just 15 months younger than I am, damn it!) will eventually meet a Roger Moore-like Bond cliff when his Hunt role is no longer credible. But he’s not there yet! Rebecca Ferguson is again outstanding as Faust and as a newcomer in a similar role Vanessa Kirby (memorable as Princess Margaret in “The Crown”) impresses as the “White Widow” – someone with a familial link to a villain from the past!
Unusually, for a film series which has traditionally been kept fresh by changing directors and composers at each turn, Christopher McQuarrie (“Edge of Tomorrow“, “The Mummy“) returns following “Rogue Nation“, and he also writes the screenplay. The composing baton is handed over this time though to Lorne Balfe (“Churchill“, “Terminator: Genisys“) and for me this was a bit of a step down from the “Rogue Nation” soundtrack by Joe Kraemer which I really enjoyed.
Is it sufficiently fresh though? Let’s be clear here, I was enormously entertained throughout, and this should be near the top of your summer watch list. But it did ultimately feel at times a little like a light retread of “Rogue Nation“. Some of the stunts – notably the Paris and London scenes as above – were a step up for me, but there are some annoyances in McQuarrie’s script (see the spoiler section below the trailer), so for me the rating plateaus at the same as “Rogue Nation“.
The film neatly follows on from Rogue Nation with arch terrorist-in-need-of-a-razor Solomon Lane (Sean Harris) being extraordinarily renditioned (probably not a valid phrase!) between multiple countries who want to torture/punish him. But his followers – “The Apostles” – are still active and on the trail of plutonium that could devestate key sites, with religious centres being the top of the target list. Since Ethan Hunt (Tom Cruise) originally caught Lane, IMF Director Hunley (Alec Baldwin) despatches Hunt to intercept the plutonium.
But CIA director Erica Sloan (Angela Bassett) has no faith in the IMF, or trust that the organisation has not been infiltrated, and she insists that her ‘heavy’ August Walker (Henry Cavill) goes along for the ride. But they are not the only parties in play, for Isla Faust (Rebecca Ferguson) is also involved. But who is she working for?
What makes these films a cut above your average action adventure is the stunt work, with the knowledge that Cruise is at the centre of the action. In “Skyscraper” you KNOW Dwayne Johnson is standing on the ‘edge’ in front of a big green screen. Similarly here you KNOW Cruise is standing on the edge of the Tate Modern tower – probably without a safety line – as the camera goes 360 degrees around him. This makes all the difference to the adrenalin count.
There are some outstanding set pieces in the film, with extraordinarily spectacular shots from a ‘halo jump’ and a dramatic helicopter finale. But it is some of the smaller stuff that really impresses: a dramatic edge-of-the-seat car and motorbike chase through central Paris is one of the most impressive and terrifying things I’ve seen on film for many years; and Cruise’s literally bone-crunching run through London is also extremely exciting, with Simon Pegg adding good humour in his regular role of Benji. By the way, series regulars Ving Rhames, as Luther, and Michelle Monaghan, as Hunt’s ex-wife Julia, also make welcome returns but Jeremy Renner is missing this time.
Tom Cruise at 56 (he’s just 15 months younger than I am, damn it!) will eventually meet a Roger Moore-like Bond cliff when his Hunt role is no longer credible. But he’s not there yet! Rebecca Ferguson is again outstanding as Faust and as a newcomer in a similar role Vanessa Kirby (memorable as Princess Margaret in “The Crown”) impresses as the “White Widow” – someone with a familial link to a villain from the past!
Unusually, for a film series which has traditionally been kept fresh by changing directors and composers at each turn, Christopher McQuarrie (“Edge of Tomorrow“, “The Mummy“) returns following “Rogue Nation“, and he also writes the screenplay. The composing baton is handed over this time though to Lorne Balfe (“Churchill“, “Terminator: Genisys“) and for me this was a bit of a step down from the “Rogue Nation” soundtrack by Joe Kraemer which I really enjoyed.
Is it sufficiently fresh though? Let’s be clear here, I was enormously entertained throughout, and this should be near the top of your summer watch list. But it did ultimately feel at times a little like a light retread of “Rogue Nation“. Some of the stunts – notably the Paris and London scenes as above – were a step up for me, but there are some annoyances in McQuarrie’s script (see the spoiler section below the trailer), so for me the rating plateaus at the same as “Rogue Nation“.
Bob Mann (459 KP) rated Split (2016) in Movies
Sep 29, 2021
“We are what we believe we are”.
M. Night Shyamalan fizzed into movie consciousness in 1999 with “The Sixth Sense” which – having rewatched it again recently – still has the power to unnerve and impress even after knowing the famous ‘twist’. Since that film and his next, “Unbreakable” in 2000, Shyamalan has ‘done a bit of an Orson Welles’ by never really living up to that early promise. Here with “Split” he returns to better form with a psychological thriller that is heavy on the psycho.
James McAvoy plays Kevin… and Dennis, and Patricia, and Hedwig, and Barry, and Orwell, and Jade, and… if the running time permitted… another 17 characters. But this is no “Kind Hearts and Coronets”: McAvoy plays all these varied personalities in the same body. For Kevin suffers from Multiple Personality Disorder, a rare condition where his different schisms not only affect his speech and attitude but also his whole physique. One personality for example is diabetic and needs insulin: all his others are fine.
Under the care of MPD specialist Dr Karen Fletcher (Betty Buckley, “Carrie”), Kevin seems to be making good progress. But all is not as it seems. Dennis, one of the more evil of Kevin’s personalities, has kidnapped three teens – Claire (Haley Lu Richardson), Marcia (Jessica Sula) and Casey (Anya Taylor-Joy) – and is holding them captive in his home.
It’s all going so well. Kevin (James McAvoy) getting much needed treatment from Dr Fletcher (Betty Buckley).
While Claire and Marcia are good friends, Casey is the wild-card in the pack: a moody and aloof teen that doesn’t fit in with the crowd. We see the abduction unfold largely through her intelligent and analytical eyes, with her experiences causing flashbacks to hunting trips in the woods as a five-year-old child with her father and uncle.
This is McAvoy’s film, with his different personalities being very well observed and the scenes where he switches from one to the other being particularly impressive as piece of acting. Of the youngsters, Anya Taylor-Joy is the most impressive, with the denouement of her particular sub-plot being my favourite part of the film.
Shyamalan, who also wrote the script, is treading a well worn cinematic path here (since often the MPD element is the surprise twist, to list any films here inevitably risks major spoilers – – but there is a decent list here). But this is a film that seems to have generated a lot of interest, particularly with a younger audience (I have seldom been quizzed more with the “Ooh, have you seen this yet” question). As a result this may be a modest sleeper hit.
Girl pray or Girl prey? Casey deep in the psycho’s lair.
Where I think the movie missteps is in its casting of the three cute and scantily dressed teens as the abductees. From the plot of the film that emerges this appears to be unnecessary and exploitative, especially since they are made to progressively dis-robe as the film progresses. The film would actually have been made more interesting if a family unit, or at least a mixed variety of individuals, had been taken.
Marcia (Jessica Sula) doesn’t necessarily appreciate the floral gift.
Unfortunately Shyamalan also over-gilds the lily for the finale by going from medical improbability into outright science fiction: and dilutes what was up to that point a stylish thriller. As a result it’s a decent popcorn film, and worth seeing for McAvoy’s clever performance, but its not going to go down in my book as a classic.
Watch out by the way for a nice final cameo scene: a clever reference to past glories.
James McAvoy plays Kevin… and Dennis, and Patricia, and Hedwig, and Barry, and Orwell, and Jade, and… if the running time permitted… another 17 characters. But this is no “Kind Hearts and Coronets”: McAvoy plays all these varied personalities in the same body. For Kevin suffers from Multiple Personality Disorder, a rare condition where his different schisms not only affect his speech and attitude but also his whole physique. One personality for example is diabetic and needs insulin: all his others are fine.
Under the care of MPD specialist Dr Karen Fletcher (Betty Buckley, “Carrie”), Kevin seems to be making good progress. But all is not as it seems. Dennis, one of the more evil of Kevin’s personalities, has kidnapped three teens – Claire (Haley Lu Richardson), Marcia (Jessica Sula) and Casey (Anya Taylor-Joy) – and is holding them captive in his home.
It’s all going so well. Kevin (James McAvoy) getting much needed treatment from Dr Fletcher (Betty Buckley).
While Claire and Marcia are good friends, Casey is the wild-card in the pack: a moody and aloof teen that doesn’t fit in with the crowd. We see the abduction unfold largely through her intelligent and analytical eyes, with her experiences causing flashbacks to hunting trips in the woods as a five-year-old child with her father and uncle.
This is McAvoy’s film, with his different personalities being very well observed and the scenes where he switches from one to the other being particularly impressive as piece of acting. Of the youngsters, Anya Taylor-Joy is the most impressive, with the denouement of her particular sub-plot being my favourite part of the film.
Shyamalan, who also wrote the script, is treading a well worn cinematic path here (since often the MPD element is the surprise twist, to list any films here inevitably risks major spoilers – – but there is a decent list here). But this is a film that seems to have generated a lot of interest, particularly with a younger audience (I have seldom been quizzed more with the “Ooh, have you seen this yet” question). As a result this may be a modest sleeper hit.
Girl pray or Girl prey? Casey deep in the psycho’s lair.
Where I think the movie missteps is in its casting of the three cute and scantily dressed teens as the abductees. From the plot of the film that emerges this appears to be unnecessary and exploitative, especially since they are made to progressively dis-robe as the film progresses. The film would actually have been made more interesting if a family unit, or at least a mixed variety of individuals, had been taken.
Marcia (Jessica Sula) doesn’t necessarily appreciate the floral gift.
Unfortunately Shyamalan also over-gilds the lily for the finale by going from medical improbability into outright science fiction: and dilutes what was up to that point a stylish thriller. As a result it’s a decent popcorn film, and worth seeing for McAvoy’s clever performance, but its not going to go down in my book as a classic.
Watch out by the way for a nice final cameo scene: a clever reference to past glories.
BankofMarquis (1832 KP) rated The Lost Daughter (2021) in Movies
Feb 17, 2022
Strong Acting and Direction
The nice thing about being fanatical about catching all of the Oscar Nominated films in the “Major” categories is that it forces me to watch films that, normally, my interests would not gravitate towards - and, most of the time, I am rewarded and my mind and emotions are expanded because of this.
Such is the case with THE LOST DAUGHTER, Maggie Gyllenhaal’s film Directing debut (she is also Oscar nominated for Adapted Screenplay) that follows the emotional journey of a College Professor (the great Olivia Colman) on Holiday in Greece who is forced to confront her past decisions amidst the emotional toil that these decisions have created.
Normally, these introspective, “Art House” films are not my cup of tea and during the first half of this film, I did find myself wandering a bit. This is because Colman’s character of Leda arrives on-screen at the onset of this film heavy with emotional (almost crippling so) baggage and it is almost too much to bear…which is the point. The movie, then, peels the layers back slowly to reveal why.
It is, yet again, a tour-de-force performance by Colman - who just might win ANOTHER Oscar for this work - it is that strong without being show-offey (if that is a word). Colman becomes Leda and delves strongly into the introspection, guilt, hurt and confusion that this character has. She allows the character to breathe (sometimes in gulps of crying). It is the type of character (and performance) that film today rarely allows time for on screen.
Credit for this has to go to Directer/ScreenWriter Maggie Gyllenhaal who adapted Elana Ferrante’s novel into a quiet, retrospective film. The adaptation works well for someone who has no prior knowledge of the novel and the direction and camerawork of this film is unwavering in it’s look into a character that is flawed and at times unlikeable. It is a strong Directorial and Screenwriting debut for Gyllenhaal.
Jessie Buckley is also Oscar nominated (for Best Supporting Actress) for her role as the younger Leda - a character who’s actions strongly affect the older Leda. While this character is not as nuanced as Colman’s version of Leda, she still is strong and Buckley’s performance is just as confident, self-centered, and fierce showing the roots of the person that would become Colman’s character. This is only the 3rd time in Oscars history that 2 actresses have been nominated for Academy Awards for playing younger and older versions of the same person (Kate Winslet/Gloria Stewart playing Rose in TITANIC and Kate Winslet/Judi Dench playing Iris in IRIS).
Ed Harris shows up as the proprietor of the space that Leda is renting in Greece and is a welcome presence (as always). The surprises to me in this film were the performances of Dakota Johnson and Jack Farthing. Johnson is proving that she is more than just the “50 SHADES” girl and spars with Colman quite well, more than holding her own. Farthing, who played the cold and distant Prince Charles in SPENCER is the husband of the younger Leda and he is the polar opposite of Prince Charles - open, loving and emotional. It is fun to see 2 clearly differing performances by the same actor. Farthing is someone to keep an eye on.
As is Gyllenhaal, Colman and THE LOST DAUGHTER. It is a strong piece of film-making and not an easy watch. But, if you can click into the emotion of this flawed character - and stick with this film through the ugliness and mistakes that Leda selfishly makes, you will be rewarded with a character study, the likes of which is rare in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Such is the case with THE LOST DAUGHTER, Maggie Gyllenhaal’s film Directing debut (she is also Oscar nominated for Adapted Screenplay) that follows the emotional journey of a College Professor (the great Olivia Colman) on Holiday in Greece who is forced to confront her past decisions amidst the emotional toil that these decisions have created.
Normally, these introspective, “Art House” films are not my cup of tea and during the first half of this film, I did find myself wandering a bit. This is because Colman’s character of Leda arrives on-screen at the onset of this film heavy with emotional (almost crippling so) baggage and it is almost too much to bear…which is the point. The movie, then, peels the layers back slowly to reveal why.
It is, yet again, a tour-de-force performance by Colman - who just might win ANOTHER Oscar for this work - it is that strong without being show-offey (if that is a word). Colman becomes Leda and delves strongly into the introspection, guilt, hurt and confusion that this character has. She allows the character to breathe (sometimes in gulps of crying). It is the type of character (and performance) that film today rarely allows time for on screen.
Credit for this has to go to Directer/ScreenWriter Maggie Gyllenhaal who adapted Elana Ferrante’s novel into a quiet, retrospective film. The adaptation works well for someone who has no prior knowledge of the novel and the direction and camerawork of this film is unwavering in it’s look into a character that is flawed and at times unlikeable. It is a strong Directorial and Screenwriting debut for Gyllenhaal.
Jessie Buckley is also Oscar nominated (for Best Supporting Actress) for her role as the younger Leda - a character who’s actions strongly affect the older Leda. While this character is not as nuanced as Colman’s version of Leda, she still is strong and Buckley’s performance is just as confident, self-centered, and fierce showing the roots of the person that would become Colman’s character. This is only the 3rd time in Oscars history that 2 actresses have been nominated for Academy Awards for playing younger and older versions of the same person (Kate Winslet/Gloria Stewart playing Rose in TITANIC and Kate Winslet/Judi Dench playing Iris in IRIS).
Ed Harris shows up as the proprietor of the space that Leda is renting in Greece and is a welcome presence (as always). The surprises to me in this film were the performances of Dakota Johnson and Jack Farthing. Johnson is proving that she is more than just the “50 SHADES” girl and spars with Colman quite well, more than holding her own. Farthing, who played the cold and distant Prince Charles in SPENCER is the husband of the younger Leda and he is the polar opposite of Prince Charles - open, loving and emotional. It is fun to see 2 clearly differing performances by the same actor. Farthing is someone to keep an eye on.
As is Gyllenhaal, Colman and THE LOST DAUGHTER. It is a strong piece of film-making and not an easy watch. But, if you can click into the emotion of this flawed character - and stick with this film through the ugliness and mistakes that Leda selfishly makes, you will be rewarded with a character study, the likes of which is rare in film today.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Heather Cranmer (2721 KP) rated The Girl Who Could Breathe Under Water in Books
Jan 2, 2022
I will admit that I've been in a reading slump for awhile. However, when I read the synopsis for The Girl Who Could Breathe Under Water by Erin Bartels, it sounded just like the book I need to get me out of my slump. Luckily I was right!
I thoroughly enjoyed the plot of The Girl Who Could Breathe Under Water by Erin Bartels. It was definitely interesting to see how and why writers put a little bit of truth in their books. I was very interested in trying to find out what was truth and what was fiction in Kendra's life. I wanted to know if the bad thing was really as Kendra remembered it or if it was just something she had stretched the truth about. This book does have a few plot twists, and while I did predict one, I found myself guessing incorrectly at the other twists. The author does a fantastic job at typing up any and all loose ends by the end of the book. I must say that I also very much enjoyed the writing and language Erin Bartels used. Her descriptive prose put me right into the heart of the story. I was drawn in with every word, and once I started reading, it was hard for me to stop. Even though this book does deal with some heavy subjects, Bartels did an excellent job at writing about them with much care and sensitivity. (Be sure to read the author's note at the end of the book for a bit more insight into the novel. You won't regret it.)
The characters in The Girl Who Could Breathe Under Water were written very well. I found myself really loving the character of Kendra. She seemed like the type of girl I could relate to and that I'd love to be friends with. I enjoyed getting to see a glimpse into her memories (even the horrible ones). Her back story was interesting with what she had been through. I wish we could have read more about Andreas' back story. He was a strong character, don't get me wrong, but I felt like I didn't really know him all too well. He was always shrouded in a bit of mystery. Tyler's back story was the most interesting (and a little heartbreaking). Even though I never really cared for Tyler as a person, he was still a very well written character. I wish he would have gotten in trouble for what he did, but just as in real life, not everything happens as it should. I also loved the character of Cami. Although she seems a bit selfish, what she had been through makes it a bit easier to see why she was the way she was. I'm not excusing her actions by no means, but I can see the reasoning behind it. I also loved Robert as Kendra's mentor. He was such a laid back and loving character.
Trigger warnings for The Girl Who Could Breathe Under Water include some slight bullying, sexual harassment, molestation, rape (though not graphic), child prostitution, alcohol, mentions of drug use, death, and suicide.
All in all, The Girl Who Could Breathe Under Water is a beautifully written book showing that even in the fact of tragedy and trauma, we can still rise above our circumstances. I would definitely recommend The Girl Who Could Breath Under Water by Erin Bartels to those ages 16+ who are after a book with great emotional depth.
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(A special thank you to Revell for providing me with a paperback of The Girl Who Could Breathe Under Water by Erin Bartels in exchange for a fair and honest review.)
I thoroughly enjoyed the plot of The Girl Who Could Breathe Under Water by Erin Bartels. It was definitely interesting to see how and why writers put a little bit of truth in their books. I was very interested in trying to find out what was truth and what was fiction in Kendra's life. I wanted to know if the bad thing was really as Kendra remembered it or if it was just something she had stretched the truth about. This book does have a few plot twists, and while I did predict one, I found myself guessing incorrectly at the other twists. The author does a fantastic job at typing up any and all loose ends by the end of the book. I must say that I also very much enjoyed the writing and language Erin Bartels used. Her descriptive prose put me right into the heart of the story. I was drawn in with every word, and once I started reading, it was hard for me to stop. Even though this book does deal with some heavy subjects, Bartels did an excellent job at writing about them with much care and sensitivity. (Be sure to read the author's note at the end of the book for a bit more insight into the novel. You won't regret it.)
The characters in The Girl Who Could Breathe Under Water were written very well. I found myself really loving the character of Kendra. She seemed like the type of girl I could relate to and that I'd love to be friends with. I enjoyed getting to see a glimpse into her memories (even the horrible ones). Her back story was interesting with what she had been through. I wish we could have read more about Andreas' back story. He was a strong character, don't get me wrong, but I felt like I didn't really know him all too well. He was always shrouded in a bit of mystery. Tyler's back story was the most interesting (and a little heartbreaking). Even though I never really cared for Tyler as a person, he was still a very well written character. I wish he would have gotten in trouble for what he did, but just as in real life, not everything happens as it should. I also loved the character of Cami. Although she seems a bit selfish, what she had been through makes it a bit easier to see why she was the way she was. I'm not excusing her actions by no means, but I can see the reasoning behind it. I also loved Robert as Kendra's mentor. He was such a laid back and loving character.
Trigger warnings for The Girl Who Could Breathe Under Water include some slight bullying, sexual harassment, molestation, rape (though not graphic), child prostitution, alcohol, mentions of drug use, death, and suicide.
All in all, The Girl Who Could Breathe Under Water is a beautifully written book showing that even in the fact of tragedy and trauma, we can still rise above our circumstances. I would definitely recommend The Girl Who Could Breath Under Water by Erin Bartels to those ages 16+ who are after a book with great emotional depth.
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(A special thank you to Revell for providing me with a paperback of The Girl Who Could Breathe Under Water by Erin Bartels in exchange for a fair and honest review.)
DiscoStu (6 KP) rated Bright (2017) in Movies
Jan 8, 2018 (Updated Jan 8, 2018)
“A competent buddy cop movie that offers solid pacing and character portrayals at the expense of building up the films (admittedly) interesting universe”.
Contains spoilers, click to show
Netflix’s ‘Bright’, directed by David Ayer (Suicide Squad) and starring Will Smith and Joel Edgerton, brings the big budget box office trappings of a fully fledged cinema release to their home streaming subscription service and arguably the end result is a fun and enjoyable, if slightly flawed, buddy-cop-movie-with-a-twist that sets up a universe you’ll likely want to see more of.
Smith plays Daryl Ward, a weary veteran L.A. cop reluctantly partnered with orc partner Nick, the first and only orc to make the force in this alternate earth story. The film opens with Ward taking a round of buckshot from an orc thug whilst Nick looks on waiting for a burrito from a street vendor. The incident leaves a distrust between Ward and Nick, with Ward unsure whether his partner really has his back after Nick not only failed to step up and prevent the shooting but also failed to apprehend the orc perpetrator during the ensuing foot chase. Ward also finds himself at odds with other members of the force who don’t share the police’s ‘progressive’ attitudes of allowing orcs into the force.
The film briefly touches on a two thousand year old conflict between the nine armies and the Dark Lord who was defeated when various races allied to defeat him. In the established lore the orcs allied with the Dark Lord and have been subjugated ever since. The film attempts to portray the orcs through a social commentary that reflects the black community today and how heavy handed the film tackles the subject will probably depend on the viewer. For me it was handled sensitively enough without being too in your face.
The film sees the two protagonists dispatched to a disturbance that quickly escalates to a situation that goes from bad to worse. Finding themselves on the run with a Bright, the film’s titular white haired magic wielders, and a coveted magic wand Ward and Nick have to navigate hostile L.A. gang land environments whilst pursued by Inferni (the magic version of the Illuminati), the police and human and orc gangsters, all who have their own plans for the wand.
The film is shot well, with plenty of scenery that builds up the shared world of humans, orcs, elves , centaurs and the other races that we don’t get to spend any time with. A montage at the start of the film shows various L.A. scenery graffiti tagged with striking imagery depicting the struggle of orcs in an oppressed landscape. Evidently, orc lives matter. The film also doesn’t struggle for pacing. The two hour runtime services the story well enough, even if some of the world building and character exploration suffers as a result. I would have liked to have spent more time exploring the shared history of the various races and understanding the motivations of the stories’ villains but sadly these elements are undersold in favour of a shorter runtime that hurries the narrative along. To the credit of the writers and the director this world bares revisiting and at the time of writing it sounds like Netflix know this too with a sequel already greenlit.
Bright is a fun jaunt in a world I’d like to get to know better. Smith and Edgerton are strong leads who share a strong chemistry and make you care about their characters. The bad guys don’t fare as well here, especially disappointing given that Noomi Rapace is the lead antagonist but hopefully a sequel will correct some of these missteps. Bright feels like a £20 cinema ticket movie and gives enough to the viewer that you’ll want to discuss it with friends afterwards. As a film bundled with your Netflix subscription it’s hard to be too critical.
Smith plays Daryl Ward, a weary veteran L.A. cop reluctantly partnered with orc partner Nick, the first and only orc to make the force in this alternate earth story. The film opens with Ward taking a round of buckshot from an orc thug whilst Nick looks on waiting for a burrito from a street vendor. The incident leaves a distrust between Ward and Nick, with Ward unsure whether his partner really has his back after Nick not only failed to step up and prevent the shooting but also failed to apprehend the orc perpetrator during the ensuing foot chase. Ward also finds himself at odds with other members of the force who don’t share the police’s ‘progressive’ attitudes of allowing orcs into the force.
The film briefly touches on a two thousand year old conflict between the nine armies and the Dark Lord who was defeated when various races allied to defeat him. In the established lore the orcs allied with the Dark Lord and have been subjugated ever since. The film attempts to portray the orcs through a social commentary that reflects the black community today and how heavy handed the film tackles the subject will probably depend on the viewer. For me it was handled sensitively enough without being too in your face.
The film sees the two protagonists dispatched to a disturbance that quickly escalates to a situation that goes from bad to worse. Finding themselves on the run with a Bright, the film’s titular white haired magic wielders, and a coveted magic wand Ward and Nick have to navigate hostile L.A. gang land environments whilst pursued by Inferni (the magic version of the Illuminati), the police and human and orc gangsters, all who have their own plans for the wand.
The film is shot well, with plenty of scenery that builds up the shared world of humans, orcs, elves , centaurs and the other races that we don’t get to spend any time with. A montage at the start of the film shows various L.A. scenery graffiti tagged with striking imagery depicting the struggle of orcs in an oppressed landscape. Evidently, orc lives matter. The film also doesn’t struggle for pacing. The two hour runtime services the story well enough, even if some of the world building and character exploration suffers as a result. I would have liked to have spent more time exploring the shared history of the various races and understanding the motivations of the stories’ villains but sadly these elements are undersold in favour of a shorter runtime that hurries the narrative along. To the credit of the writers and the director this world bares revisiting and at the time of writing it sounds like Netflix know this too with a sequel already greenlit.
Bright is a fun jaunt in a world I’d like to get to know better. Smith and Edgerton are strong leads who share a strong chemistry and make you care about their characters. The bad guys don’t fare as well here, especially disappointing given that Noomi Rapace is the lead antagonist but hopefully a sequel will correct some of these missteps. Bright feels like a £20 cinema ticket movie and gives enough to the viewer that you’ll want to discuss it with friends afterwards. As a film bundled with your Netflix subscription it’s hard to be too critical.
Rachael Moyes (404 KP) rated The Gospel of Loki in Books
Jul 8, 2017
Fantastic take on the character of Loki
‘The Gospel of Loki’ by Joanne M. Harris is the story of the Norse Gods from the point of view of Loki, the Trickster. I’ve always found Norse Mythology very interesting and Loki is by far my favourite of the Gods. I first heard about this book about a year ago and I finally managed to grab a copy from my local library earlier this week, then proceeded to read the whole book in two days. It was just that good!
Odin rules the nine worlds from his fortress of Asgard. When this book starts his people, the Aesir, have finally made peace with the Vanir and members of both groups make up the Gods of Asgard. The world is split into Order and Chaos, with Odin and the Gods trying to maintain Order over the nine realms. Loki was born from Chaos and is essentially a demon with no physical form (or Aspect) living in the realm of Pandaemoniem under the evil Lord Surt. But Loki was curious about the worlds where Order and Chaos co-existed so he left Chaos and traveled to the worlds above where he gained a physical Aspect, met Odin and was invited back to Asgard where he became the 25th God.
He did not receive a warm welcome from the other Gods, however, and soon lived up to his names of Wildfire and the Trickster. This book, which I would imagine takes place over a number of years, tells the story of many of Loki’s exploits in the nine realms including when he tricked a builder into fortifying Asgard’s walls without paying him, cut off Sif’s golden hair (to Thor’s outrage), got Thor to dress up as a bride to infiltrate the Ice Folk and kill their enemies, met the giants of Utgard and their own Trickster Utgard-Loki, all the way up to Ragnarok and the final battle between Order and Chaos.
Okay, I’ve just tried to describe the plot fairly simply above and I don’t know how much sense it will have made if you’re not familiar with the Norse Gods, but hopefully it wasn’t too bad!
I’ve always found Norse Mythology very interesting, mainly, I think, because of the diverse characters and fanciful stories. We get to meet all those characters in this book; Odin, Thor, Frey, Freyja, Balder, Frigg, Sigyn, Skadi, Gullvieg-Heid & many more. And as this book is written in first person from Loki, we see them all from his point of view. I also loved Loki’s illegitimate children, particularly Hel, the ruler of the Underworld and Fenris the werewolf.
I know a fair bit about Loki from things I’ve read online and books about mythology so I was a bit wary going in about how historically accurate Joanne had written her character, but I have to say that I found her version of Loki spot on! She voiced him perfectly and I also found the other characters to be very close to what I’ve read about them.
I really enjoyed the author’s writing style and the story flowed so well that I found it really difficult to put down. Loki’s storytelling was both informative and engaging and each of his stories flowed into each other very well.
This book is very heavy on the Norse Mythology (obviously) and I think it’s probably best to go into it with a little bit of knowledge beforehand. I think that if I knew nothing of the subject before, I might have found it a bit overwhelming mainly due to the amount of characters and worlds. But saying that, it is so well written and well explained that I think anyone could read it, I just think you’d get more enjoyment out of it if you knew a bit about some of the characters first. There is a very useful character list at the beginning that you can go back to.
I would definitely recommend this book to anyone who loves Norse Mythology, especially Loki and Odin but I think anyone who likes a good fantasy novel would enjoy it :)
Odin rules the nine worlds from his fortress of Asgard. When this book starts his people, the Aesir, have finally made peace with the Vanir and members of both groups make up the Gods of Asgard. The world is split into Order and Chaos, with Odin and the Gods trying to maintain Order over the nine realms. Loki was born from Chaos and is essentially a demon with no physical form (or Aspect) living in the realm of Pandaemoniem under the evil Lord Surt. But Loki was curious about the worlds where Order and Chaos co-existed so he left Chaos and traveled to the worlds above where he gained a physical Aspect, met Odin and was invited back to Asgard where he became the 25th God.
He did not receive a warm welcome from the other Gods, however, and soon lived up to his names of Wildfire and the Trickster. This book, which I would imagine takes place over a number of years, tells the story of many of Loki’s exploits in the nine realms including when he tricked a builder into fortifying Asgard’s walls without paying him, cut off Sif’s golden hair (to Thor’s outrage), got Thor to dress up as a bride to infiltrate the Ice Folk and kill their enemies, met the giants of Utgard and their own Trickster Utgard-Loki, all the way up to Ragnarok and the final battle between Order and Chaos.
Okay, I’ve just tried to describe the plot fairly simply above and I don’t know how much sense it will have made if you’re not familiar with the Norse Gods, but hopefully it wasn’t too bad!
I’ve always found Norse Mythology very interesting, mainly, I think, because of the diverse characters and fanciful stories. We get to meet all those characters in this book; Odin, Thor, Frey, Freyja, Balder, Frigg, Sigyn, Skadi, Gullvieg-Heid & many more. And as this book is written in first person from Loki, we see them all from his point of view. I also loved Loki’s illegitimate children, particularly Hel, the ruler of the Underworld and Fenris the werewolf.
I know a fair bit about Loki from things I’ve read online and books about mythology so I was a bit wary going in about how historically accurate Joanne had written her character, but I have to say that I found her version of Loki spot on! She voiced him perfectly and I also found the other characters to be very close to what I’ve read about them.
I really enjoyed the author’s writing style and the story flowed so well that I found it really difficult to put down. Loki’s storytelling was both informative and engaging and each of his stories flowed into each other very well.
This book is very heavy on the Norse Mythology (obviously) and I think it’s probably best to go into it with a little bit of knowledge beforehand. I think that if I knew nothing of the subject before, I might have found it a bit overwhelming mainly due to the amount of characters and worlds. But saying that, it is so well written and well explained that I think anyone could read it, I just think you’d get more enjoyment out of it if you knew a bit about some of the characters first. There is a very useful character list at the beginning that you can go back to.
I would definitely recommend this book to anyone who loves Norse Mythology, especially Loki and Odin but I think anyone who likes a good fantasy novel would enjoy it :)
Haley Mathiot (9 KP) rated Bleeding Violet in Books
Apr 27, 2018
Bleeding Violet by Dia Reeves
Genre: YA, Romance, Paranormal
Rating: 4/5
My Summary: Hanna is a freak. Diagnosed with Anxiety, Depression, Insomnia, Hyperactivity, Insanity, and nearly shut away as a maniac-depressive, she runs away from home in search of the mother she never knew. On arriving in her mother’s strange town called Portero, she makes a deal with her mom—if she can fit in with the people in this town within two weeks, she can stay. Her mother scoffs at the idea of Hanna being able to fit into the town—but Hanna soon learns that this has nothing to do with her, and everything to do with the town. Portero is like nothing she’s ever seen or heard of or imagined before. Strange creatures, invisible doors, a police-like force with a strange sense of right and wrong, a boy who she’s not sure if she likes or hates (but knows for sure that he’s hot), and a mayor who thinks she’s a god, Hanna starts her two-week challenge trying to fit in—and ends it trying to save the lives of everyone she loves.
Review:
Bleeding Violet was freakishly amazing, morbidly exciting, and realistically romantic.
I love it when the romance between the characters is real—not two perfect people who never fight who get along perfect. No, the romance between Hanna and Wyatt was not perfect, but it was there and it was special, and it was funny.
This whole book was funny. Though parts of it were strange and morbid, a lot of it was moderately confusing in an understandable way (Does that make any sense? probably not. Remember that Hanna is insane. She hallucinates… and makes some pretty interesting things happen near the end. It is confusing because it’s impossible, but understandable because she’s crazy.). I laughed almost the whole way through. It’s light and heavy, witty and serious, all mixed with the color purple.
The characters were my favorite. All the characters were very distinct and different. Sometimes when reading a story, some of the minor characters kind of blend together and seem similar, not defined enough, because they don’t really matter. But in Bleeding Violet, all the characters are distinct. I’m not sure if telling everyone that I identify with Hanna would be a wise idea because it might scare you… but to a certain extent, I did (and do) relate to her. Not just because of my own insanity (mwa-ha-ha!) but because her character was written in a very clear personal way. The story is told from first person inside Hanna’s head, so I knew exactly what Hanna was thinking all the time. Wyatt wasn’t perfect either. He had his flaws and that made him a real person. The change in Rosalie (the mother) was… both interesting and wonderful to see (Trying to keep this spoiler-free… but those of you who’ve read it already know what I mean by “change”).
The plot was engaging and fast paced, but not rushed. The details enhanced the story, rather than slowing it down just for the sake of telling you what something looked or felt like.
Bleeding Violet has a good mix of reality and paranormal. It’s mixed well enough that you can relate to it and it feels like our present day, age, and atmosphere, but the paranormal aspects are still strong and don’t feel out of place.
The low points of the book were the writing, and the ending. The writing was nothing special, but for the most part it was acceptable. The ending wasn’t a let down, but it could have been better. It was cute and sweet, but it didn’t fix all the problems, didn’t answer all the questions, and didn’t have quite enough closure for me.
Content: There was some sex, but no explicit details. There were some sexual references, moderate language, and some morbid details. Not for the easily offended or the weak of stomach.
Recommendation: Ages 16+ to anyone who doesn’t mind being a little freaked out or surprised by crazy people.
Will I buy this book and read it again? Yes, probably. (I read the e-book copy for review.) It will (hopefully soon) have a permanent spot on my bookshelf.
~Haleyknitz
Genre: YA, Romance, Paranormal
Rating: 4/5
My Summary: Hanna is a freak. Diagnosed with Anxiety, Depression, Insomnia, Hyperactivity, Insanity, and nearly shut away as a maniac-depressive, she runs away from home in search of the mother she never knew. On arriving in her mother’s strange town called Portero, she makes a deal with her mom—if she can fit in with the people in this town within two weeks, she can stay. Her mother scoffs at the idea of Hanna being able to fit into the town—but Hanna soon learns that this has nothing to do with her, and everything to do with the town. Portero is like nothing she’s ever seen or heard of or imagined before. Strange creatures, invisible doors, a police-like force with a strange sense of right and wrong, a boy who she’s not sure if she likes or hates (but knows for sure that he’s hot), and a mayor who thinks she’s a god, Hanna starts her two-week challenge trying to fit in—and ends it trying to save the lives of everyone she loves.
Review:
Bleeding Violet was freakishly amazing, morbidly exciting, and realistically romantic.
I love it when the romance between the characters is real—not two perfect people who never fight who get along perfect. No, the romance between Hanna and Wyatt was not perfect, but it was there and it was special, and it was funny.
This whole book was funny. Though parts of it were strange and morbid, a lot of it was moderately confusing in an understandable way (Does that make any sense? probably not. Remember that Hanna is insane. She hallucinates… and makes some pretty interesting things happen near the end. It is confusing because it’s impossible, but understandable because she’s crazy.). I laughed almost the whole way through. It’s light and heavy, witty and serious, all mixed with the color purple.
The characters were my favorite. All the characters were very distinct and different. Sometimes when reading a story, some of the minor characters kind of blend together and seem similar, not defined enough, because they don’t really matter. But in Bleeding Violet, all the characters are distinct. I’m not sure if telling everyone that I identify with Hanna would be a wise idea because it might scare you… but to a certain extent, I did (and do) relate to her. Not just because of my own insanity (mwa-ha-ha!) but because her character was written in a very clear personal way. The story is told from first person inside Hanna’s head, so I knew exactly what Hanna was thinking all the time. Wyatt wasn’t perfect either. He had his flaws and that made him a real person. The change in Rosalie (the mother) was… both interesting and wonderful to see (Trying to keep this spoiler-free… but those of you who’ve read it already know what I mean by “change”).
The plot was engaging and fast paced, but not rushed. The details enhanced the story, rather than slowing it down just for the sake of telling you what something looked or felt like.
Bleeding Violet has a good mix of reality and paranormal. It’s mixed well enough that you can relate to it and it feels like our present day, age, and atmosphere, but the paranormal aspects are still strong and don’t feel out of place.
The low points of the book were the writing, and the ending. The writing was nothing special, but for the most part it was acceptable. The ending wasn’t a let down, but it could have been better. It was cute and sweet, but it didn’t fix all the problems, didn’t answer all the questions, and didn’t have quite enough closure for me.
Content: There was some sex, but no explicit details. There were some sexual references, moderate language, and some morbid details. Not for the easily offended or the weak of stomach.
Recommendation: Ages 16+ to anyone who doesn’t mind being a little freaked out or surprised by crazy people.
Will I buy this book and read it again? Yes, probably. (I read the e-book copy for review.) It will (hopefully soon) have a permanent spot on my bookshelf.
~Haleyknitz