Search
Search results
Phil Leader (619 KP) rated Wanna Get Lucky? (Lucky O'Toole #1) in Books
Nov 28, 2019
Lucky O'Toole is head of Customer Relations at the splendidly over-the-top Babylon Hotel and Casino complex in Las Vegas. That means she spends all of her time dealing with the gamblers, drunks and high maintenance high rollers as well as dealing with any potential bad publicity. When a cocktail waitress falls out of one of their helicopters and is headline news it is a complication Lucky doesn't need, but as she starts to deal with this latest problem it soon becomes clear it may not have been an accident. Determined to get to the bottom of what is going on she plunges into the seedy world of Vegas behind the bright lights. As if this isn't enough her long-neglected love life starts adding complications all of its own. With the adult film awards and a convention for swingers about to hit the hotel she certainly has her hands full.
This book has it all. It is very funny (and yes I did laugh out loud several times and insist on reading passages out to my wife) with Lucky's self-deprecating humour and sharp sarcastic streak balanced off against the odd ball events that happen that could only be considered routine in Las Vegas. Coonts has a terrifically light touch with both dialogue and prose. I particularly liked the way lucky didn't just answer her phone but 'pushes to talk'. That always made me smile.
There is also a good thriller plot around the fall from the helicopter and who might be responsible and for what reason. Lucky has good reason to suspect everyone, even those she feels she ought to trust as the plot goes to the heart of the power play behind the big casino resorts. Although most of the pieces are in place and it's pretty clear what has happened by just over half way through, it's still fun seeing Lucky use all her contacts and knowledge to round everything up to a satisfying conclusion.
Romance is also a big theme, with Lucky being thrown into a quandary over her love life and friendships. She struggles with this between trying to sort out the main plot line and as the book goes on it becomes more important both to her and the reader, but again Coonts deals with this well and at no point does the narrative bog down in any kind of over-romantic slush but manages to keep everything light but believable.
There is also some personal background for Lucky to deal with, and also her complicated relationship with her mother (who runs an out of town brothel) thrown into the mix to keep everything lively. This is certainly not a boring read.
Despite some of the obvious themes - Lucky's romantic incidents, her mother running a brothel, the adult movie stars and the swingers convention - there is nothing salacious or titillating. Lucky has essentially seen it all before and is far to smart to do anything other than make sardonic comments.
The characterisation is superb. Lucky is a brilliant character, very capable and with her acerbic wit very much to the fore. The supporting cast are no less well drawn, any of them could have carried a book of their own. Tall Texan security man Paxton Dane, occasionally baffled by the detail of how Las Vegas works is a good foil for Lucky as is her best friend Teddie, a female impersonator who looks better in her clothes than she does. The inexperienced Detective Romeo is gifted the arrest by Lucky but doesn't ever feel like he is just a stooge. There are too many more to mention here but each one - staff, guests or anyone else that appears - you get the impression that you are only seeing the smallest snapshot of their larger life.
There are some coincidences and luck in getting the plots to work out but after all, this is Vegas. There is too much fun to be had reading this book to worry about every detail.
Overall this is a terrific book and one that would appeal to anyone who likes a sassy, sharp and sexy story set in the seedy and seamy world of the Strip.
This book has it all. It is very funny (and yes I did laugh out loud several times and insist on reading passages out to my wife) with Lucky's self-deprecating humour and sharp sarcastic streak balanced off against the odd ball events that happen that could only be considered routine in Las Vegas. Coonts has a terrifically light touch with both dialogue and prose. I particularly liked the way lucky didn't just answer her phone but 'pushes to talk'. That always made me smile.
There is also a good thriller plot around the fall from the helicopter and who might be responsible and for what reason. Lucky has good reason to suspect everyone, even those she feels she ought to trust as the plot goes to the heart of the power play behind the big casino resorts. Although most of the pieces are in place and it's pretty clear what has happened by just over half way through, it's still fun seeing Lucky use all her contacts and knowledge to round everything up to a satisfying conclusion.
Romance is also a big theme, with Lucky being thrown into a quandary over her love life and friendships. She struggles with this between trying to sort out the main plot line and as the book goes on it becomes more important both to her and the reader, but again Coonts deals with this well and at no point does the narrative bog down in any kind of over-romantic slush but manages to keep everything light but believable.
There is also some personal background for Lucky to deal with, and also her complicated relationship with her mother (who runs an out of town brothel) thrown into the mix to keep everything lively. This is certainly not a boring read.
Despite some of the obvious themes - Lucky's romantic incidents, her mother running a brothel, the adult movie stars and the swingers convention - there is nothing salacious or titillating. Lucky has essentially seen it all before and is far to smart to do anything other than make sardonic comments.
The characterisation is superb. Lucky is a brilliant character, very capable and with her acerbic wit very much to the fore. The supporting cast are no less well drawn, any of them could have carried a book of their own. Tall Texan security man Paxton Dane, occasionally baffled by the detail of how Las Vegas works is a good foil for Lucky as is her best friend Teddie, a female impersonator who looks better in her clothes than she does. The inexperienced Detective Romeo is gifted the arrest by Lucky but doesn't ever feel like he is just a stooge. There are too many more to mention here but each one - staff, guests or anyone else that appears - you get the impression that you are only seeing the smallest snapshot of their larger life.
There are some coincidences and luck in getting the plots to work out but after all, this is Vegas. There is too much fun to be had reading this book to worry about every detail.
Overall this is a terrific book and one that would appeal to anyone who likes a sassy, sharp and sexy story set in the seedy and seamy world of the Strip.
Darren (1599 KP) rated 6 Underground (2019) in Movies
Dec 13, 2019
Verdict: Completely Bonkers Entertainment
Story: 6 Underground starts as we meet the agents, One (Reynolds) the billionaire, Two (Laurent) the Spook, Three (Garcia-Rulfo) a hitman, Four (Hardy) the skywalker, Five (Arjona) the doctor and Six (Franco) the driver, whose latest mission in Italy has gone sour, seeing them use their skills to escape the threat coming their way, only to lose a member of the team, needing to find a new member to become a seven.
Recruiting Seven (Hawkins) we learn about the plans they group have, they look to eliminate dictators that nobody else would touch, placing the rightful person in charge of the country, with the latest mission being to head to Turgistan.
Thoughts on 6 Underground
Characters – One is the leader of the squad, he is a billionaire that faked his own death to build the squad which will fight against the dictators of the world, he recruits the very best, he uses the code name, he wants to use his wealth to solve the problems in the world, in a way being known really works, often given commentary on what is going on. Two is the ex-CIA spook that is the most deadly with a weapon, she is willing to lead any assault the team goes on. Three is a hitman that has been given a new life, he is the most reckless of the crew, he will break the rules, but give him a gun and he will get the job done. Four is known as the skywalker, he parkour skills are unbelievable, he will run through building roof tops, searching for routes for the team, getting involved when required, he is easily the most entertaining character of the squad. Five is the doctor, while she might have the weakest character development of the whole squad. Six is the driver that enjoys the thrills that come from the high speed chases. Seven is the newest member of the team, a former soldier bought in for his own skills, he does question the true identity of One, unlike anybody else.
Performances – Ryan Reynolds, is like he always is, wise cracking, fun to watch and always confident, something he needs to be for this role, thinking Deadpool, without the costume. Melanie Laurent does an excellent job in the spook role, with Manuel Garcia-Rulfo, Adria Arjona, Dave Franco and Corey Hawkins are strong too, though it is Ben Hardy that seems to steal the show.
Story – The story here follows an elite group of soldiers that have come from around the world to work together to stop dictators from maintaining their reigns of terror over their nations. While this story is hugely ambition and original, it shows how wealthy people could use their money for the right reasons, to help the world instead of just watching it get destroyed. Outside of just dealing with the problems in the world, the story is very simple, go from one mission to the next, with plenty of banter between the squad, usually revolving around film references, which if you understand add humour to scenes through the film.
Action – The action in this film is massive, it is almost relentless for large parts of the film, we see so much happening, from car chases, the gun battles, parkour on rooftops and that boat sequences, well wow.
Settings – The film does take us all over the world, with the main country being fictional, it is implied which country we are seeing wanting to have a change. The film does make the most of the locations, with the environment playing a big part in how each scene can be won.
Scene of the Movie – The Parkour rooftop.
That Moment That Annoyed Me – Sometimes it does feel like it is just Deadpool commenting on an action film.
Final Thoughts – This is a truly bonkers action film that you can switch off and just let everything unfold to the crazy levels it is meant to reach.
Overall: Wildly Over the Top.
Story: 6 Underground starts as we meet the agents, One (Reynolds) the billionaire, Two (Laurent) the Spook, Three (Garcia-Rulfo) a hitman, Four (Hardy) the skywalker, Five (Arjona) the doctor and Six (Franco) the driver, whose latest mission in Italy has gone sour, seeing them use their skills to escape the threat coming their way, only to lose a member of the team, needing to find a new member to become a seven.
Recruiting Seven (Hawkins) we learn about the plans they group have, they look to eliminate dictators that nobody else would touch, placing the rightful person in charge of the country, with the latest mission being to head to Turgistan.
Thoughts on 6 Underground
Characters – One is the leader of the squad, he is a billionaire that faked his own death to build the squad which will fight against the dictators of the world, he recruits the very best, he uses the code name, he wants to use his wealth to solve the problems in the world, in a way being known really works, often given commentary on what is going on. Two is the ex-CIA spook that is the most deadly with a weapon, she is willing to lead any assault the team goes on. Three is a hitman that has been given a new life, he is the most reckless of the crew, he will break the rules, but give him a gun and he will get the job done. Four is known as the skywalker, he parkour skills are unbelievable, he will run through building roof tops, searching for routes for the team, getting involved when required, he is easily the most entertaining character of the squad. Five is the doctor, while she might have the weakest character development of the whole squad. Six is the driver that enjoys the thrills that come from the high speed chases. Seven is the newest member of the team, a former soldier bought in for his own skills, he does question the true identity of One, unlike anybody else.
Performances – Ryan Reynolds, is like he always is, wise cracking, fun to watch and always confident, something he needs to be for this role, thinking Deadpool, without the costume. Melanie Laurent does an excellent job in the spook role, with Manuel Garcia-Rulfo, Adria Arjona, Dave Franco and Corey Hawkins are strong too, though it is Ben Hardy that seems to steal the show.
Story – The story here follows an elite group of soldiers that have come from around the world to work together to stop dictators from maintaining their reigns of terror over their nations. While this story is hugely ambition and original, it shows how wealthy people could use their money for the right reasons, to help the world instead of just watching it get destroyed. Outside of just dealing with the problems in the world, the story is very simple, go from one mission to the next, with plenty of banter between the squad, usually revolving around film references, which if you understand add humour to scenes through the film.
Action – The action in this film is massive, it is almost relentless for large parts of the film, we see so much happening, from car chases, the gun battles, parkour on rooftops and that boat sequences, well wow.
Settings – The film does take us all over the world, with the main country being fictional, it is implied which country we are seeing wanting to have a change. The film does make the most of the locations, with the environment playing a big part in how each scene can be won.
Scene of the Movie – The Parkour rooftop.
That Moment That Annoyed Me – Sometimes it does feel like it is just Deadpool commenting on an action film.
Final Thoughts – This is a truly bonkers action film that you can switch off and just let everything unfold to the crazy levels it is meant to reach.
Overall: Wildly Over the Top.
Emma @ The Movies (1786 KP) rated Dolittle (2020) in Movies
Mar 5, 2020
More CGI animals in another adaptation of a franchise that has been around since the 1920s. I do so love Eddie Murphy's comedy portrayal, am I ready for a period appropriate version?
Tommy Stubbins isn't like his uncle, he doesn't want to hunt the animals in the wood. When he shoots wide in an attempt to miss his target he accidentally hits a squirrel, but his reaction makes his uncle and cousin leave him there with the injured animal. Clutching the squirrel and not knowing what to do Tommy finds himself being beckoned by a parrot. She leads him through a gap in a high stone wall to an expanse filled with (not so) wild animals.
Doctor Dolittle has been hidden behind closed doors ever since his wife disappeared. With just the animals for company he's forgotten some of his human manners, he must remember them quickly as he's summoned by the Queen who is gravely ill.
Welsh. That accent that you couldn't quite put your finger on, that was Welsh... yeah, it wouldn't have been my first guess either but let's just accept it and move on shall we?
Seeing the CGI on this in the trailer didn't annoy me, and looking back now I'm not sure how that was the case when Call Of The Wild basically the same thing and I was livid. Just like Call Of The Wild, Dolittle benefits from the comedy you can get from the CGI and it really needed that.
RDJ is a big ticket name, but I'm not entirely sure he was suited to the role of John Dolittle. Perhaps that's partly to do with the fact that so much of his recent history is dominated by him as Tony Stark, perhaps it's because the slightly crazy and vulnerable Dolittle in this film has little impact. The truth for me is probably somewhere in the middle.
Considering the live action section of the films features a lot of Tommy Stubbins (played by Harry Collett) his role seems of little consequence after he's taken us to the estate, after all, Lady Rose would still have gone there and I suspect Polly would have steered him right. Stubbins, in the books, narrates the stories after he first appears, but in this adaptation it's given to Polly, voiced by Emma Thompson. I can understand that decision, she's got a very soothing and yet commanding voice that's perfect for that role.
There seems to be a lot of pieces kept from the books, though they've been tweaked for the modern audience. Not only the change of narrator but Polly is no longer a grey African parrot, instead we're given a much brighter macaw which has a better visual payoff.
One day I'll remember to look at the cast list for animated films before I go in, trying to place voices is so difficult on the fly. All in all the animals are fine, the script doesn't feel great but the antics help it out somewhat.
Our villains are quite varied throughout but Michael Sheen takes a main role as Dr. Blair Müdfly, Dolittle's rival. The interactions between him and the animals did amuse me but his over the top nature that built steadily through the film felt much too cliche, sadly not always in an entertaining way.
There are many things to like hidden in the film. It opens with a great animation that gives us back story which allows us not to suffer through clumsy attempts at the same during the film. I also really enjoyed the way we're shown how Dolittle speaks to the animals, though that does raise other questions that make things unravel, so I'll move on. The squirrel's commentary is hilarious and probably makes him my favourite character, though the octopus isn't too far behind.
Dolittle has a lot of nice little touches but it relies heavily on predictable humour and at times doesn't know when to stop (I'm thinking specifically about a scene towards the end of the film here). Even with its many ups and downs the film was enjoyable to watch, just the once. I'm entirely convinced that with a different accent it would have been infinitely better.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/dolittle-movie-review.html
Tommy Stubbins isn't like his uncle, he doesn't want to hunt the animals in the wood. When he shoots wide in an attempt to miss his target he accidentally hits a squirrel, but his reaction makes his uncle and cousin leave him there with the injured animal. Clutching the squirrel and not knowing what to do Tommy finds himself being beckoned by a parrot. She leads him through a gap in a high stone wall to an expanse filled with (not so) wild animals.
Doctor Dolittle has been hidden behind closed doors ever since his wife disappeared. With just the animals for company he's forgotten some of his human manners, he must remember them quickly as he's summoned by the Queen who is gravely ill.
Welsh. That accent that you couldn't quite put your finger on, that was Welsh... yeah, it wouldn't have been my first guess either but let's just accept it and move on shall we?
Seeing the CGI on this in the trailer didn't annoy me, and looking back now I'm not sure how that was the case when Call Of The Wild basically the same thing and I was livid. Just like Call Of The Wild, Dolittle benefits from the comedy you can get from the CGI and it really needed that.
RDJ is a big ticket name, but I'm not entirely sure he was suited to the role of John Dolittle. Perhaps that's partly to do with the fact that so much of his recent history is dominated by him as Tony Stark, perhaps it's because the slightly crazy and vulnerable Dolittle in this film has little impact. The truth for me is probably somewhere in the middle.
Considering the live action section of the films features a lot of Tommy Stubbins (played by Harry Collett) his role seems of little consequence after he's taken us to the estate, after all, Lady Rose would still have gone there and I suspect Polly would have steered him right. Stubbins, in the books, narrates the stories after he first appears, but in this adaptation it's given to Polly, voiced by Emma Thompson. I can understand that decision, she's got a very soothing and yet commanding voice that's perfect for that role.
There seems to be a lot of pieces kept from the books, though they've been tweaked for the modern audience. Not only the change of narrator but Polly is no longer a grey African parrot, instead we're given a much brighter macaw which has a better visual payoff.
One day I'll remember to look at the cast list for animated films before I go in, trying to place voices is so difficult on the fly. All in all the animals are fine, the script doesn't feel great but the antics help it out somewhat.
Our villains are quite varied throughout but Michael Sheen takes a main role as Dr. Blair Müdfly, Dolittle's rival. The interactions between him and the animals did amuse me but his over the top nature that built steadily through the film felt much too cliche, sadly not always in an entertaining way.
There are many things to like hidden in the film. It opens with a great animation that gives us back story which allows us not to suffer through clumsy attempts at the same during the film. I also really enjoyed the way we're shown how Dolittle speaks to the animals, though that does raise other questions that make things unravel, so I'll move on. The squirrel's commentary is hilarious and probably makes him my favourite character, though the octopus isn't too far behind.
Dolittle has a lot of nice little touches but it relies heavily on predictable humour and at times doesn't know when to stop (I'm thinking specifically about a scene towards the end of the film here). Even with its many ups and downs the film was enjoyable to watch, just the once. I'm entirely convinced that with a different accent it would have been infinitely better.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/dolittle-movie-review.html
Emma @ The Movies (1786 KP) rated Onward (2020) in Movies
Mar 15, 2020
I had very mixed feelings about Onward after seeing the trailer, it didn't feel like Pixar and if you'd shown it to me out of context I'd never have guessed it was them.
It's Ian's 16th birthday and things aren't exactly going to plan. To cheer him up his mum gives him and his brother a present left for them by their late father. In a world that has forgotten magic, their father had still believed, and he's leaving them a way that will allow them to see him again. When the only way to complete the spell means finding something long forgotten the brothers must embark on a quest, one that older brother Barley has been preparing for his whole life.
Onward starts with a great potted history of magic in their world and how it's been replaced by modern amenities. It feels like they made a very quick change but I liked it over the sped-up timeline over many years, it actually summed up a more modern way of abandoning things that aren't convenient. It also allows you to have fun little moments of thinking about how things changed when you see flashes of their past during the film.
With Pixar you know that you're going to get that sentiment and deeper meaning that induces bucketloads of tears and in Onward it's a strong message about family and how the past weighs down on what's actually happening in the present. None of that meaning really feels like it's there until very late in the film though, the beginning is more like some generic off-brand fantasy adventure, and though the two ends fit together they don't seem like they belong together.
The mix of characters is fun but we don't get a proper introduction to who, or what, many of them are. It's a shame that with such a varied selection of creatures that most are just relegated to being quirky looking with no real function. There were at least things to appreciate from some of them, Colt counting I thought was a fun touch, and I loved Corey the Manticore, her whole transition through the film was funny and very entertaining.
Chris Pratt as Barley was the only spot on bit of casting for me, his happy-go-lucky demeanour fits the character and we're treated to some of that Starlord adventure. (My favourite Barley scene was definitely the bridge). Everyone else kind of felt a little... meh? I wasn't wowed, I wasn't hooked in trying to work out who the voices were, it all felt a little bland. Partly I think that's because I never felt like I learned anything about them. Sure, some bits were fun, but through most of the film I wasn't really bothered what happened to any of them.
The journey that brothers Ian and Barley go on is full of twists and turns, they're amusing but nothing we haven't really seen before. As I mentioned, the emotional payoff doesn't appear until very late, and it did reduce me to tears, but it could have been so much more. The build-up to it had no real substance, especially when you consider how meaningful it's conclusion is.
In fact, the build-up could have offered up so many different things. For a fantasy story with magic and mythical creatures it holds little to no magical feeling. There's no real spectacle or pizzazz to anything. When I think of magic in other films I get wonder and joy, but in Onward it's done more for jokes. Even at the climax of the film it takes on so much humour that it detracts from the emotions.
Dan Scalon's story is partly based on his own experiences (I'm assuming with less mythical creature though)... and that story is peak Pixar... but the world created around it isn't strong enough for the sentiment it portrays. Taking such a powerful message about family and bundling it up in something that doesn't have the usual Pixar strength and heart feels like a travesty to me.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/onward-movie-review.html
It's Ian's 16th birthday and things aren't exactly going to plan. To cheer him up his mum gives him and his brother a present left for them by their late father. In a world that has forgotten magic, their father had still believed, and he's leaving them a way that will allow them to see him again. When the only way to complete the spell means finding something long forgotten the brothers must embark on a quest, one that older brother Barley has been preparing for his whole life.
Onward starts with a great potted history of magic in their world and how it's been replaced by modern amenities. It feels like they made a very quick change but I liked it over the sped-up timeline over many years, it actually summed up a more modern way of abandoning things that aren't convenient. It also allows you to have fun little moments of thinking about how things changed when you see flashes of their past during the film.
With Pixar you know that you're going to get that sentiment and deeper meaning that induces bucketloads of tears and in Onward it's a strong message about family and how the past weighs down on what's actually happening in the present. None of that meaning really feels like it's there until very late in the film though, the beginning is more like some generic off-brand fantasy adventure, and though the two ends fit together they don't seem like they belong together.
The mix of characters is fun but we don't get a proper introduction to who, or what, many of them are. It's a shame that with such a varied selection of creatures that most are just relegated to being quirky looking with no real function. There were at least things to appreciate from some of them, Colt counting I thought was a fun touch, and I loved Corey the Manticore, her whole transition through the film was funny and very entertaining.
Chris Pratt as Barley was the only spot on bit of casting for me, his happy-go-lucky demeanour fits the character and we're treated to some of that Starlord adventure. (My favourite Barley scene was definitely the bridge). Everyone else kind of felt a little... meh? I wasn't wowed, I wasn't hooked in trying to work out who the voices were, it all felt a little bland. Partly I think that's because I never felt like I learned anything about them. Sure, some bits were fun, but through most of the film I wasn't really bothered what happened to any of them.
The journey that brothers Ian and Barley go on is full of twists and turns, they're amusing but nothing we haven't really seen before. As I mentioned, the emotional payoff doesn't appear until very late, and it did reduce me to tears, but it could have been so much more. The build-up to it had no real substance, especially when you consider how meaningful it's conclusion is.
In fact, the build-up could have offered up so many different things. For a fantasy story with magic and mythical creatures it holds little to no magical feeling. There's no real spectacle or pizzazz to anything. When I think of magic in other films I get wonder and joy, but in Onward it's done more for jokes. Even at the climax of the film it takes on so much humour that it detracts from the emotions.
Dan Scalon's story is partly based on his own experiences (I'm assuming with less mythical creature though)... and that story is peak Pixar... but the world created around it isn't strong enough for the sentiment it portrays. Taking such a powerful message about family and bundling it up in something that doesn't have the usual Pixar strength and heart feels like a travesty to me.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/onward-movie-review.html
Emma @ The Movies (1786 KP) rated Military Wives (2020) in Movies
Feb 17, 2020
Even having just seen the trailer I knew I would cry at this, it's classic tear-fodder.
On-base life can be difficult for the wives and partners of soldiers serving abroad. Lisa has inherited the job of organising the wives while everyone is deployed but it's not an activity she's keen on, she'd rather just make it through to the other side and have her husband back. Luckily [though it seems anything but] for her Kate wants to take on a role in those duties, she's a veteran wide and has a very proper way of looking at how they should conduct themselves. The two women take an instant dislike for the other's attitude making life stressful in the social circle.
This doesn't change once they pick an activity the group are all interested in and they struggle to find a rhythm together. Can the pair separate their differences for the wellbeing of the group and each other?
Military Wives is something that we seem to be able to churn out consistently over here. You want an emotionally uplifting (while devastating) drama? The Brits have got you covered. I cried over Wild Rose, Finding Your Feet, Fisherman's Friends and Juliet, Naked, all have that similar quality to them that makes them a surprisingly comforting watch.
At the centre we focus on Kate and Lisa, both women are looking to forget and just get through it all for different reasons. The two are chalk and cheese and Kristin Scott Thomas and Sharon Horgan thrive in their roles against one another. You can feel the agony they both suffer with and yet it's quite difficult to sympathise with either when for most of the film they are quite dislikable.
Even when we see Lisa interact with the other wives she's still grumpy and brash, it fits with what the character is going through on the inside but challenging to like. The same goes for Kate, her position afforded to her by her husband's position and her take charge attitude reminds me of that one person who always wants it their way, and that feeling instantly overrides everything else that's happening.
That's not to say that you don't feel for them, you definitely do towards the end, but getting there is a struggle.
We have a lot of peripheral characters who come in for both drama and comedy, they're all handled nicely for the most part and the nature of the story means that they can come and go quite easily without many issues. The emotion from Amy James-Kelly as Sarah was great but there's a point where it really feels like a scene is cut n the middle as the tone changes, Laura Checkley as Maz was very funny and Gaby French as Jess comes in with humour and impact in her choir lead. There was just one notable oddity and that was the character of Dawn played by Roxy Faridany. The shy and quiet member of the choir gets brought up a couple of times and yet doesn't feature in any of the foreground scenes properly. This again felt like we were missing scenes where she featured more. Bringing in the soldier contingent we have Jason Flemyng (I love him, he needs to be in more things) who is the base commander (I'm not up on my ranks so I apologise if I got it wrong) and though it's not a large role it's a funny one. The look on his face in the scene under the bridge was a picture. He fits into the cast nicely and it was a good balance of screen time within the story.
Military Wives is a story of personal struggle and friendship at its core, and as expected I spent a significant amount of time with tears streaming down my face. It handles the grieving and coping struggles in a respectful way and the interactions between characters felt very real. The uncertainty, the hatred, the feat and horror, it was all there in the actors' performances. The film takes a long time to get to what you might say is the pay off, but the journey is well thought out and it comes together for a charming and emotional watch.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/military-wives-movie-review.html
On-base life can be difficult for the wives and partners of soldiers serving abroad. Lisa has inherited the job of organising the wives while everyone is deployed but it's not an activity she's keen on, she'd rather just make it through to the other side and have her husband back. Luckily [though it seems anything but] for her Kate wants to take on a role in those duties, she's a veteran wide and has a very proper way of looking at how they should conduct themselves. The two women take an instant dislike for the other's attitude making life stressful in the social circle.
This doesn't change once they pick an activity the group are all interested in and they struggle to find a rhythm together. Can the pair separate their differences for the wellbeing of the group and each other?
Military Wives is something that we seem to be able to churn out consistently over here. You want an emotionally uplifting (while devastating) drama? The Brits have got you covered. I cried over Wild Rose, Finding Your Feet, Fisherman's Friends and Juliet, Naked, all have that similar quality to them that makes them a surprisingly comforting watch.
At the centre we focus on Kate and Lisa, both women are looking to forget and just get through it all for different reasons. The two are chalk and cheese and Kristin Scott Thomas and Sharon Horgan thrive in their roles against one another. You can feel the agony they both suffer with and yet it's quite difficult to sympathise with either when for most of the film they are quite dislikable.
Even when we see Lisa interact with the other wives she's still grumpy and brash, it fits with what the character is going through on the inside but challenging to like. The same goes for Kate, her position afforded to her by her husband's position and her take charge attitude reminds me of that one person who always wants it their way, and that feeling instantly overrides everything else that's happening.
That's not to say that you don't feel for them, you definitely do towards the end, but getting there is a struggle.
We have a lot of peripheral characters who come in for both drama and comedy, they're all handled nicely for the most part and the nature of the story means that they can come and go quite easily without many issues. The emotion from Amy James-Kelly as Sarah was great but there's a point where it really feels like a scene is cut n the middle as the tone changes, Laura Checkley as Maz was very funny and Gaby French as Jess comes in with humour and impact in her choir lead. There was just one notable oddity and that was the character of Dawn played by Roxy Faridany. The shy and quiet member of the choir gets brought up a couple of times and yet doesn't feature in any of the foreground scenes properly. This again felt like we were missing scenes where she featured more. Bringing in the soldier contingent we have Jason Flemyng (I love him, he needs to be in more things) who is the base commander (I'm not up on my ranks so I apologise if I got it wrong) and though it's not a large role it's a funny one. The look on his face in the scene under the bridge was a picture. He fits into the cast nicely and it was a good balance of screen time within the story.
Military Wives is a story of personal struggle and friendship at its core, and as expected I spent a significant amount of time with tears streaming down my face. It handles the grieving and coping struggles in a respectful way and the interactions between characters felt very real. The uncertainty, the hatred, the feat and horror, it was all there in the actors' performances. The film takes a long time to get to what you might say is the pay off, but the journey is well thought out and it comes together for a charming and emotional watch.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/military-wives-movie-review.html
Emma @ The Movies (1786 KP) rated A Guide To Second Date Sex (2020) in Movies
Feb 17, 2020
Talk about burying the lead. Marie Claire offered its readers the chance to see A Guide To Second Date Sex free online for Valentine's Day, after seeing the cute little into from the lead actors I knew I had to give it a try.
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, 😬]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, 😬]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, 😬]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, 😬]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
Sarah (7798 KP) rated The Prestige (2006) in Movies
Jan 9, 2021
Criminally underrated
Film #10 on the 100 Movies Bucket List: The Prestige
The Prestige is one of 3 Christopher Nolan films on this bucket list (the others being Memento and The Dark Knight), and probably the one that has least recognition out of the the three. In fact I’d say it’s criminally underrated. It focuses on two rival magicians in Victorian London, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), as a tragic accident gives rise to a bitter escalating feud. Supporting are Michael Caine as stage magic designer and engineer Cutter, Scarlett Johansson as magician’s assistant Olivia, Rebecca Hall as Borden’s wife Sarah and a brief appearance from Andy Serkis and the great David Bowie as Nikola Tesla and his assistant.
From the very start, The Prestige asks us the age old magician’s phrase “Are you watching closely?” and is very much a hint at events to come, warning us that we should be paying attention. And with this being a Christopher Nolan film, this shouldn’t be a surprise. The Prestige starts at the end, with an intriguing image of dozens of discarded top hats explaining magic tricks and the meaning behind the film’s title, and is followed by the death of one of the main characters and subsequent incarceration of another. It continues in typical Nolan style, jumping between the prison, Angier’s journey to visit Nikola Tesla and telling the story of both magicians and their feud from the very beginning. A tad confusing at times, but it wouldn’t be a Nolan film with a some time travelling story telling.
Magic isn’t probably something that appeals as much now as it did back when this film is set. Victorian London is a perfect setting at a time when magic was very much a fascination and a popular form of entertainment, and the costumes and set design for this period are very well done and in keeping with the dark and dreary setting. Yet strangely despite this, The Prestige never feels like a run of the mill period drama. The cast too are perfect for their roles and also help to make magic a lot more appealing. Christian Bale’s cockney Borden is exactly what you’d expect from him yet couldn’t imagine anyone else playing the role, especially with such an awkward verging on unlikeable character, and it’s refreshing to see Hugh Jackman play a part where he isn’t a completely nice or likeable person. And of course it wouldn’t be a Christopher Nolan film without Michael Caine, who brings some much needed humour and exposition. The only drag is unfortunately Scarlett Johansson, whose dodgy English accent pulls us away from anything she puts into her performance.
The Prestige is a slow burn murder mystery, that almost feels like a gothic horror at times with some sci-fi aspects thrown in. The plot has a vast amount of twists and turns and you really do have to be watching closely to understand it all and the ending itself and the final twist is probably the most polarising of them all. For me, the first time I watched this I never saw this twist coming. It truly shocked me, despite the many nods the film gives to the twist throughout. Watching this back now years later, I have to admit that the twist is actually a little predictable when you really think about it. But the feeling of astonishment I had watching this for the first time was second to none. What is most strange though, is that the most confusing thing in this entire film isn’t the twists and turns, it’s the fact that both Angier and Norden can dress up in ridiculously fake disguises to fool each other and ruin the tricks. This does spoil things a little.
I’ve always loved magic and grew up watching many magic shows on TV when I was younger. For me Nolan has brought back that love and appeal of magic, with a hugely entertaining and captivating story. It may not be perfect and the ending may lose some of it’s shine after the first watch, but it’s still another brilliant film from Christopher Nolan.
The Prestige is one of 3 Christopher Nolan films on this bucket list (the others being Memento and The Dark Knight), and probably the one that has least recognition out of the the three. In fact I’d say it’s criminally underrated. It focuses on two rival magicians in Victorian London, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), as a tragic accident gives rise to a bitter escalating feud. Supporting are Michael Caine as stage magic designer and engineer Cutter, Scarlett Johansson as magician’s assistant Olivia, Rebecca Hall as Borden’s wife Sarah and a brief appearance from Andy Serkis and the great David Bowie as Nikola Tesla and his assistant.
From the very start, The Prestige asks us the age old magician’s phrase “Are you watching closely?” and is very much a hint at events to come, warning us that we should be paying attention. And with this being a Christopher Nolan film, this shouldn’t be a surprise. The Prestige starts at the end, with an intriguing image of dozens of discarded top hats explaining magic tricks and the meaning behind the film’s title, and is followed by the death of one of the main characters and subsequent incarceration of another. It continues in typical Nolan style, jumping between the prison, Angier’s journey to visit Nikola Tesla and telling the story of both magicians and their feud from the very beginning. A tad confusing at times, but it wouldn’t be a Nolan film with a some time travelling story telling.
Magic isn’t probably something that appeals as much now as it did back when this film is set. Victorian London is a perfect setting at a time when magic was very much a fascination and a popular form of entertainment, and the costumes and set design for this period are very well done and in keeping with the dark and dreary setting. Yet strangely despite this, The Prestige never feels like a run of the mill period drama. The cast too are perfect for their roles and also help to make magic a lot more appealing. Christian Bale’s cockney Borden is exactly what you’d expect from him yet couldn’t imagine anyone else playing the role, especially with such an awkward verging on unlikeable character, and it’s refreshing to see Hugh Jackman play a part where he isn’t a completely nice or likeable person. And of course it wouldn’t be a Christopher Nolan film without Michael Caine, who brings some much needed humour and exposition. The only drag is unfortunately Scarlett Johansson, whose dodgy English accent pulls us away from anything she puts into her performance.
The Prestige is a slow burn murder mystery, that almost feels like a gothic horror at times with some sci-fi aspects thrown in. The plot has a vast amount of twists and turns and you really do have to be watching closely to understand it all and the ending itself and the final twist is probably the most polarising of them all. For me, the first time I watched this I never saw this twist coming. It truly shocked me, despite the many nods the film gives to the twist throughout. Watching this back now years later, I have to admit that the twist is actually a little predictable when you really think about it. But the feeling of astonishment I had watching this for the first time was second to none. What is most strange though, is that the most confusing thing in this entire film isn’t the twists and turns, it’s the fact that both Angier and Norden can dress up in ridiculously fake disguises to fool each other and ruin the tricks. This does spoil things a little.
I’ve always loved magic and grew up watching many magic shows on TV when I was younger. For me Nolan has brought back that love and appeal of magic, with a hugely entertaining and captivating story. It may not be perfect and the ending may lose some of it’s shine after the first watch, but it’s still another brilliant film from Christopher Nolan.
Lucy Buglass (45 KP) rated Jojo Rabbit (2019) in Movies
Oct 14, 2019
The premise of Jojo Rabbit is a bold one, and something that could have very easily been executed terribly on-screen.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes ‘Jojo’ Betzler, who lives in Nazi Germany. He’s a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist I’ve seen, because it’s easy to have very mixed feelings about who he is as a person. He’s a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. He’s fuelled by a love of Hitler (even going as far as to describe him as his ‘best friend’).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when he’s looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbit‘s protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. He’s funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojo’s imaginary Hitler, he’s hysterically funny and not at all how you’d imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojo’s delusions of how wonderful he is.
He’s simply someone’s interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what you’d expect from a naive child, who isn’t fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because he’s mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitler’s ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasn’t sure whether my tears were from laughing or because I was genuinely sad at what I’d just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojo’s meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths they’d go to keep themselves safe.
Despite Elsa’s life constantly being in jeopardy, she’s very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, you’ll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit I’m not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archie’s first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, it’s an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
It’s darkly funny with an important overall message of confronting ideologies, and I’d urge you to seek it out ASAP.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes ‘Jojo’ Betzler, who lives in Nazi Germany. He’s a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist I’ve seen, because it’s easy to have very mixed feelings about who he is as a person. He’s a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. He’s fuelled by a love of Hitler (even going as far as to describe him as his ‘best friend’).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when he’s looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbit‘s protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. He’s funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojo’s imaginary Hitler, he’s hysterically funny and not at all how you’d imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojo’s delusions of how wonderful he is.
He’s simply someone’s interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what you’d expect from a naive child, who isn’t fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because he’s mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitler’s ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasn’t sure whether my tears were from laughing or because I was genuinely sad at what I’d just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojo’s meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths they’d go to keep themselves safe.
Despite Elsa’s life constantly being in jeopardy, she’s very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, you’ll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit I’m not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archie’s first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, it’s an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
It’s darkly funny with an important overall message of confronting ideologies, and I’d urge you to seek it out ASAP.
Lottie disney bookworm (1056 KP) rated The Girl In The Clockwork Tower in Books
Aug 30, 2021
Steampunk Rapunzel-inspired tale? Check.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the ‘Enchanted’ so that they can be captured by MOTHER’s agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesn’t take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the ‘Uprising’ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilham’s characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an “asset” for anyone but herself.
Despite Persi’s evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manu’s clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the ‘Duchess’ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captain’s previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the “maiden in the tower” of literature before Grimm’s Rapunzel grew her first curl and when you think that Wilham’s Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories aren’t a million miles apart after all.
That being said, the cute Disney-esque details weren’t really needed, they certainly weren’t what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldn’t need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest “gay dads” to Manu.
I really appreciated how these characters’ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manu’s part! Persi’s adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesn’t need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Bob Mann (459 KP) rated Mamma Mia: Here We Go Again! (2018) in Movies
Sep 29, 2021
I had a dream. A sob. A sing.
You remember in “Aliens” when Ripley (Sigourney Weaver) fought through hell and high water against that “bitch” to protect the youngster Newt (Carrie Henn)? And then how betrayed you felt in that emotional investment at the start of “Alien 3”?
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.
Which brings us spoiler-free to the start of “Mamma Mia! Here We Go Again”, typically shortened by everyone to “Mamma Mia 2”, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now – unbelievably – 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, “The Windsors”, “W1A”), Bill (Josh Dylan, “Allied”) and Sam (Jeremy Irvine, “War Horse”) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a… erm… ‘loose woman’, then this plot point could have been amplified by seeing the “dot, dot, dot” acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. “Beguiling” was the description my better half came up with, and I couldn’t describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Walters‘ character) and Jessica Keenan Wynn (as the young version of Christine Baranski‘s character). The trio’s exuberant performance of “When I Kissed the Teacher” sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who “Loved to Laugh” on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory – in CD terms – of “More Abba Gold” than “Abba Gold”, but Bjorn and Benny’s B-sides are still better than many other’s A-sides. What’s really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, you’re a legend and we forgive you!
It’s also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesn’t move you to tears you are either made of rock or are immune to being shamelessly manipulated! It’s a well-scripted convergence of grief and joy (I feel Richard Curtis‘s hand in the story here) around one of Abba’s most beautifully tear-jerking songs. I will admit to you – don’t tell anyone else – that I was left in a complete mess… another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (you’ll NEVER guess what his first name is!) and Cher (“Moonstruck”) literally rocks up trying hard to steal the show as Sophie’s Vegas superstar grandmother.
Directed and scripted by “Best Exotic Marigold Hotel” director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated “Mamma Mia” then you will hate this one; if you loved “Mamma Mia” you will simply adore this one.