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LilyLovesIndie (123 KP) rated The Guardians (The MORE Trilogy, #2) in Books
Nov 5, 2018
I have to be honest when I say I abso-freaking-lutely LOVE this author, her style, and her books. SheÕs just absolutely amazing, and I really, really cannot sing her praises highly enough. That said, IÕd best give some justification for my gushiness ;)
Firstly, there is an amazing transition from the first book, with the drama and tension carrying over perfectly and just, well, seamlessly if IÕm honest. I read a lot of series (theyÕre like good shoes, you find a good one and you just keep going with it) and this is most definitely one of the best I have seen for a long while. This is all linked in with an absolutely incredible plot line. The twists and turns are immense, well developed and truly amazing from start to finish. The perspectives of the different characters are always completely crystal clear, showing a very good grasp of the craft.
Characterisation, as with in the first story, is incredibly well written and just, quite frankly amazing. They are all so enigmatic and developed slowly to make sure you really do invest and get to know them. It was great to see more of Tiernan and Emma is such a dark horse! I shanÕt say more so as not to spoil it, but she is most definitely a good addition to the character lists! Caleb and Ava are, as always, a delight to read and are perfect for each other, even if outside events are trying to meddle in that. Throw in the brilliant intrigue and mystery surrounding Ava and you have exceedingly compelling reading.
To conclude, I can do nothing more than repeat my words from my first review Ð EPIC, PHENOMENAL, AMAZING (capitals most necessary!) and I loved it. I devoured this book, reading in every available minute (even lulls in conversation in the staff room) and I cannot recommend it highly enough. I honestly could not wait to read the final installment and I was truly gripped by the book from start to finish.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
Firstly, there is an amazing transition from the first book, with the drama and tension carrying over perfectly and just, well, seamlessly if IÕm honest. I read a lot of series (theyÕre like good shoes, you find a good one and you just keep going with it) and this is most definitely one of the best I have seen for a long while. This is all linked in with an absolutely incredible plot line. The twists and turns are immense, well developed and truly amazing from start to finish. The perspectives of the different characters are always completely crystal clear, showing a very good grasp of the craft.
Characterisation, as with in the first story, is incredibly well written and just, quite frankly amazing. They are all so enigmatic and developed slowly to make sure you really do invest and get to know them. It was great to see more of Tiernan and Emma is such a dark horse! I shanÕt say more so as not to spoil it, but she is most definitely a good addition to the character lists! Caleb and Ava are, as always, a delight to read and are perfect for each other, even if outside events are trying to meddle in that. Throw in the brilliant intrigue and mystery surrounding Ava and you have exceedingly compelling reading.
To conclude, I can do nothing more than repeat my words from my first review Ð EPIC, PHENOMENAL, AMAZING (capitals most necessary!) and I loved it. I devoured this book, reading in every available minute (even lulls in conversation in the staff room) and I cannot recommend it highly enough. I honestly could not wait to read the final installment and I was truly gripped by the book from start to finish.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
MelanieTheresa (997 KP) rated Horror Stories: A Memoir by Liz Phair in Books
Feb 27, 2020
I wanted so badly to like this book, I really did. I've loved Liz Phair's music since the 90s, and I was pretty excited when I heard she'd written a memoir. But this.....this is not great.
It's a memoir, I KNOW it's a memoir, but there's no cohesive narrative and it kind of drives me nuts. It reads more like a collection of essays detailing specific pieces of her life, and it jumps all over the place. More disappointing, however, is that she comes across as kind of an asshole. I could forgive that, because hey, listen, we were all kind of assholes in our youth, no? But she seems so completely self-centered, self-involved, and spoiled that it rendered some of this very hard to get through, especially as I'd been fangirling about this book for a long time. I wanted to read about a bad ass indie rock queen, not a jerk who cheats on her husband for no discernible reason, thinks that throwing money at a cultural misunderstanding (that she caused) will make it go away, and whines about how the cute stock boy she's flirting with at Trader Joe's is actually engaged.
That being said, one of the final stories in the book very much got to me: she's at a lecture with her aging parents, and she's noticing how many of the attendees have trouble getting around due to their age and mobility issues. One of the older gentlemen attempts to get up to go outside, and he ends up falling in front of everyone, repeating over and over (with tears in his eyes) how embarrassed he is. She sees this, and once the gentlemen is seated next to her, she goes out of her way to bolster him (tells him he "fell like an athlete," then asks if he ever was an athlete), and holds a conversation with him throughout the remainder of the lecture to get his mind off of the entire incident. This act struck me as so kind that it almost redeems her for everything else in the book. And that is how Liz Phair was nearly able to bring me to tears at the tail end of a fairly lackluster memoir.
It's a memoir, I KNOW it's a memoir, but there's no cohesive narrative and it kind of drives me nuts. It reads more like a collection of essays detailing specific pieces of her life, and it jumps all over the place. More disappointing, however, is that she comes across as kind of an asshole. I could forgive that, because hey, listen, we were all kind of assholes in our youth, no? But she seems so completely self-centered, self-involved, and spoiled that it rendered some of this very hard to get through, especially as I'd been fangirling about this book for a long time. I wanted to read about a bad ass indie rock queen, not a jerk who cheats on her husband for no discernible reason, thinks that throwing money at a cultural misunderstanding (that she caused) will make it go away, and whines about how the cute stock boy she's flirting with at Trader Joe's is actually engaged.
That being said, one of the final stories in the book very much got to me: she's at a lecture with her aging parents, and she's noticing how many of the attendees have trouble getting around due to their age and mobility issues. One of the older gentlemen attempts to get up to go outside, and he ends up falling in front of everyone, repeating over and over (with tears in his eyes) how embarrassed he is. She sees this, and once the gentlemen is seated next to her, she goes out of her way to bolster him (tells him he "fell like an athlete," then asks if he ever was an athlete), and holds a conversation with him throughout the remainder of the lecture to get his mind off of the entire incident. This act struck me as so kind that it almost redeems her for everything else in the book. And that is how Liz Phair was nearly able to bring me to tears at the tail end of a fairly lackluster memoir.
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Bob Mann (459 KP) rated Colossal (2016) in Movies
Sep 29, 2021
A Marvel-ous Indie Movie
Well!! I’ve been really surprised (in a good way) by two films this year, and both have involved monsters (the first being “A Monster Calls” back in January).
It’s really difficult to categorise “Colossal” – imdb classes it as a “Comedy, Action, Drama”. Comedy? Yes, but it’s a very dark comedy indeed. Action? Hmm, not really… if you go to this expecting ‘Godzilla 2’ or some polished Marvel-style film (not that I was!) you will be sorely disappointed. Drama? This is probably the nearest match, since at its heart this is a clever study on the people and relationships at the heart of a bizarre Sci-Fi event.
Anne Hathaway (“Les Miserables”) stars as Gloria, a borderline alcoholic-waster sponging off the good-natured but controlling Tim (Dan Stevens, “Beauty and the Beast”) in his New York apartment. When Tim’s patience finally runs out, Gloria returns to her hometown to an empty house and the attentions of a former school friend, bar owner Oscar (Jason Sudeikis), who clearly holds an unhealthy fascination with her. Borrowing an idea from “A Monster Calls”, at a specific time in the US morning a huge monster appears from thin air in Seoul, South Korea, killing people and smashing buildings in a seemingly uncoordinated and random way. Bizarrely, this only happens when Gloria is standing at a particular spot in a particular kid’s playground. Could the two events possibly be related?
I always like to categorize films in my head as being “like” others, but this one’s really difficult to pin down. It borrows its main premise from a famous scene in “E.T.” (indeed one also involving alcohol) but the film’s fantasy elements and dark undertones have more similarities in style to “Jumanji”. Then again, there are elements of the Kaufman about it in that it is as weird in some places as “Being John Malkovich”.
The film stays on ‘Whimsical Street’ for the first half of the film, but then takes a sharp left turn into ‘Dark Avenue’ (and for “dark” read “extremely black and sinister”). It then becomes a far more uncomfortable watch for the viewer. The metaphor of the monster for Gloria’s growing addiction is clear, but emerging themes of control, jealousy, violent bullying and small-town social entrapment also emerge.
Here the acting talents of Hathaway and Sudeikis really come to the fore: heavyweight Hollywood talent adding some significant ‘oomph’ to what is a fairly modest indie project. Hathaway is in kooky mode here, gurning to great comic effect, and this adds warmth to a not particularly likeable character. And Sudeikis (more commonly seen in lighter and frothier comedies like “We’re the Millers” and “Horrible Bosses”) is a surprise in the role delivering some real acting grit.
The writer and director is Spaniard Nacho Vigalondo. No, me neither. But he seems to have come from nowhere to deliver this high profile cinema release, and it would not be a surprise for me to see this nominated as an original screenplay come the awards season. His quirky style is refreshing. (Hell, delivering ANY novel new summer movie that is not part of a franchise or TV re-boot is refreshing!)
The film’s not perfect, and its disjointed style can be unsettling. While the lead characters are quite well defined, others are less so. Joel in particular, played by Austin Stowell (“Whiplash“, “Bridge of Spies“), is such an irritating doormat of a character that you just want to thump him yelling “Do Something you wimp” to his face!
I am normally the first to pick scientific holes in a story, but here the story is so “out there” that the details become irrelevant, and – like “Guardians of the Galaxy Vol 2” – the film revels in its absurdity. (There is however a jumbo jet sized hole in the plot if you think about it!) But some of the moments of revelation (particularly one set in a wood) are brilliantly done and you are never quite sure where the film is going to go next. I was concerned that the ending would not live up to the promise of the film, but I was not disappointed.
Like “A Monster Calls” the film will probably suffer at the box office by its marketing confusing the audience. People will assume it’s possibly a “monster movie” or maybe a piece of comedy fluff (particularly with Sudeikis in the cast), but in reality it’s neither of these. It won’t be to everyone’s tastes for sure, but in the bland desert of mainstream movie releases, here is an oasis of something interesting and novel and in my book definitely worthy of your movie dollar. Recommended.
It’s really difficult to categorise “Colossal” – imdb classes it as a “Comedy, Action, Drama”. Comedy? Yes, but it’s a very dark comedy indeed. Action? Hmm, not really… if you go to this expecting ‘Godzilla 2’ or some polished Marvel-style film (not that I was!) you will be sorely disappointed. Drama? This is probably the nearest match, since at its heart this is a clever study on the people and relationships at the heart of a bizarre Sci-Fi event.
Anne Hathaway (“Les Miserables”) stars as Gloria, a borderline alcoholic-waster sponging off the good-natured but controlling Tim (Dan Stevens, “Beauty and the Beast”) in his New York apartment. When Tim’s patience finally runs out, Gloria returns to her hometown to an empty house and the attentions of a former school friend, bar owner Oscar (Jason Sudeikis), who clearly holds an unhealthy fascination with her. Borrowing an idea from “A Monster Calls”, at a specific time in the US morning a huge monster appears from thin air in Seoul, South Korea, killing people and smashing buildings in a seemingly uncoordinated and random way. Bizarrely, this only happens when Gloria is standing at a particular spot in a particular kid’s playground. Could the two events possibly be related?
I always like to categorize films in my head as being “like” others, but this one’s really difficult to pin down. It borrows its main premise from a famous scene in “E.T.” (indeed one also involving alcohol) but the film’s fantasy elements and dark undertones have more similarities in style to “Jumanji”. Then again, there are elements of the Kaufman about it in that it is as weird in some places as “Being John Malkovich”.
The film stays on ‘Whimsical Street’ for the first half of the film, but then takes a sharp left turn into ‘Dark Avenue’ (and for “dark” read “extremely black and sinister”). It then becomes a far more uncomfortable watch for the viewer. The metaphor of the monster for Gloria’s growing addiction is clear, but emerging themes of control, jealousy, violent bullying and small-town social entrapment also emerge.
Here the acting talents of Hathaway and Sudeikis really come to the fore: heavyweight Hollywood talent adding some significant ‘oomph’ to what is a fairly modest indie project. Hathaway is in kooky mode here, gurning to great comic effect, and this adds warmth to a not particularly likeable character. And Sudeikis (more commonly seen in lighter and frothier comedies like “We’re the Millers” and “Horrible Bosses”) is a surprise in the role delivering some real acting grit.
The writer and director is Spaniard Nacho Vigalondo. No, me neither. But he seems to have come from nowhere to deliver this high profile cinema release, and it would not be a surprise for me to see this nominated as an original screenplay come the awards season. His quirky style is refreshing. (Hell, delivering ANY novel new summer movie that is not part of a franchise or TV re-boot is refreshing!)
The film’s not perfect, and its disjointed style can be unsettling. While the lead characters are quite well defined, others are less so. Joel in particular, played by Austin Stowell (“Whiplash“, “Bridge of Spies“), is such an irritating doormat of a character that you just want to thump him yelling “Do Something you wimp” to his face!
I am normally the first to pick scientific holes in a story, but here the story is so “out there” that the details become irrelevant, and – like “Guardians of the Galaxy Vol 2” – the film revels in its absurdity. (There is however a jumbo jet sized hole in the plot if you think about it!) But some of the moments of revelation (particularly one set in a wood) are brilliantly done and you are never quite sure where the film is going to go next. I was concerned that the ending would not live up to the promise of the film, but I was not disappointed.
Like “A Monster Calls” the film will probably suffer at the box office by its marketing confusing the audience. People will assume it’s possibly a “monster movie” or maybe a piece of comedy fluff (particularly with Sudeikis in the cast), but in reality it’s neither of these. It won’t be to everyone’s tastes for sure, but in the bland desert of mainstream movie releases, here is an oasis of something interesting and novel and in my book definitely worthy of your movie dollar. Recommended.
RəX Regent (349 KP) rated Night of the Living Dead (1968) in Movies
Feb 19, 2019
Iconic, influential and ground-breaking. All words to describe George A. Romero’s inaugural zombie horror, but what sets this apart from its contemporaries and the endless variations in the genre in which this Indie movie helped spawn?
Well to begin with, this is far from a simple zombie thriller. The real villains here are the collection of damaged human characters who all find themselves trapped together in an old farmhouse, barricaded within its fragile wooden walls, fighting not only the onslaught of zombie without, but the angst and fear from within.
At times they work together but unlike most films like this, the group rarely work at all, with conflicted views on how to survive, blinding them to the fact that if they only worked together they may just do so.
Instead, they all end up dead, with our leading man, a strong, smart black character, which at the time was a bold choice, being murdered by the redneck police posse, who mistake him for a zombie. But the metaphor, though hard to ignore, of a black man being gunned down without the white men bothering to ensure that he was zombie, may just be a coincidence, but the irony that he, Ben (Duane Jones) manages to survive until the end only be to gunned down in the final moments, is a tragedy that sums up this film’s tone.
With a killer child, a nude female zombie, a dysfunctional couple and the first named victim displaying a complacent contempt for God and the church, this group are real, though the acting standards are variable, the writing and direction are constantly very good, with a sense or gritty realism permeating throughout. Maintained by good pacing and gruesome cannibalistic action, this raised the bar of the genre, both now and then.
Even the zombies get a reasonable, yet none definitive explanation, as told through the radio and TV news. Radiation bringing the dead back to life, well, it may be the trope of 1960’s sci fi but it was well explained and the news reports were well composed, feeling more realistic than most movie news broadcasts.
Romero may have gone on to milk this franchise for all it is worth in the decades since but this opening low budget gem is a real piece of work; A complex moral drama set on one chaotic night in which the dead become living again.
Well to begin with, this is far from a simple zombie thriller. The real villains here are the collection of damaged human characters who all find themselves trapped together in an old farmhouse, barricaded within its fragile wooden walls, fighting not only the onslaught of zombie without, but the angst and fear from within.
At times they work together but unlike most films like this, the group rarely work at all, with conflicted views on how to survive, blinding them to the fact that if they only worked together they may just do so.
Instead, they all end up dead, with our leading man, a strong, smart black character, which at the time was a bold choice, being murdered by the redneck police posse, who mistake him for a zombie. But the metaphor, though hard to ignore, of a black man being gunned down without the white men bothering to ensure that he was zombie, may just be a coincidence, but the irony that he, Ben (Duane Jones) manages to survive until the end only be to gunned down in the final moments, is a tragedy that sums up this film’s tone.
With a killer child, a nude female zombie, a dysfunctional couple and the first named victim displaying a complacent contempt for God and the church, this group are real, though the acting standards are variable, the writing and direction are constantly very good, with a sense or gritty realism permeating throughout. Maintained by good pacing and gruesome cannibalistic action, this raised the bar of the genre, both now and then.
Even the zombies get a reasonable, yet none definitive explanation, as told through the radio and TV news. Radiation bringing the dead back to life, well, it may be the trope of 1960’s sci fi but it was well explained and the news reports were well composed, feeling more realistic than most movie news broadcasts.
Romero may have gone on to milk this franchise for all it is worth in the decades since but this opening low budget gem is a real piece of work; A complex moral drama set on one chaotic night in which the dead become living again.