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Back to the Boy
Book
'The thought behind this book is not just me wanting to tell my story in the standard...
MS
Managing Stage Fright: A Guide for Musicians and Music Teachers
Book
Why is it that well-prepared, talented, hardworking, and intelligent performers find their...
Social and Political Theatre in 21st-Century Britain: Staging Crisis
Enoch Brater, Vicky Angelaki and Mark Taylor-Batty
Book
In a context of financial crisis that has often produced a feeling of identity crisis for the...
Gorilla and the Bird
Book
The story of a young man fighting to recover from a devastating psychotic break and the mother who...
Social Work Practice with Lesbian, Gay, Bisexual, and Transgender People
Book
Although the vast majority of LGBT persons are healthy, resilient, and hardy individuals who do not...
Straight Jacket
Book
Written by Matthew Todd, editor of Attitude, the UK's best-selling gay magazine, Straight Jacket is...
The Autoimmune Solution: Prevent and Reverse the Full Spectrum of Inflammatory Symptoms and Diseases
M.D. Amy myers and Amy M D Myers
Book
A leader in the paleo and functional medicine worlds introduces an accessible, easy-to-follow, and...
The Push is a dark, twisted and thoroughly disturbing look at motherhood - and I couldn’t put it down.
Blythe wants to be everything her own mother was not when she was a child, and we do see some of the ways her mother treated her in flashbacks. This is three generations of women (grandmother, mother and daughter)who have clearly not been ideal mothers or treated well as daughters. Blythe desperately wants to break the cycle, and goes in to motherhood with the best of intentions. Except her newborn is not an easy baby for her. She cries continuously, and Blythe really struggles. I did wonder throughout the book if a lot of Blythe’s problems derived from postnatal depression. Except when she goes to see a male doctor about it, he thinks she’s fine (insert the eye roll here! I really didn’t agree with him!). The same could possibly be said of Blythe’s mother and grandmother: if not PND, then some other mental health issue was surely at play here?
This is a brutal look at motherhood. It shows it for what it is for many women: a hard slog. I couldn’t help but empathise with Blythe. I felt that her needs and feelings were pushed aside by her husband and the doctor. In a time where motherhood is all about creating a perfect family, with perfect babies, children and husbands, Blythe doesn’t seem to stand a chance. It made for an intensely uncomfortable reading experience in places.
This is a book that’s going to stay with me for a long while - especially after THAT ending (see, you’ll have to read it now!). I’d highly recommend this - it’s already in my books of the year.
Many thanks to Penguin Michael Joseph for an e-copy of this book to read through NetGalley.
Blythe wants to be everything her own mother was not when she was a child, and we do see some of the ways her mother treated her in flashbacks. This is three generations of women (grandmother, mother and daughter)who have clearly not been ideal mothers or treated well as daughters. Blythe desperately wants to break the cycle, and goes in to motherhood with the best of intentions. Except her newborn is not an easy baby for her. She cries continuously, and Blythe really struggles. I did wonder throughout the book if a lot of Blythe’s problems derived from postnatal depression. Except when she goes to see a male doctor about it, he thinks she’s fine (insert the eye roll here! I really didn’t agree with him!). The same could possibly be said of Blythe’s mother and grandmother: if not PND, then some other mental health issue was surely at play here?
This is a brutal look at motherhood. It shows it for what it is for many women: a hard slog. I couldn’t help but empathise with Blythe. I felt that her needs and feelings were pushed aside by her husband and the doctor. In a time where motherhood is all about creating a perfect family, with perfect babies, children and husbands, Blythe doesn’t seem to stand a chance. It made for an intensely uncomfortable reading experience in places.
This is a book that’s going to stay with me for a long while - especially after THAT ending (see, you’ll have to read it now!). I’d highly recommend this - it’s already in my books of the year.
Many thanks to Penguin Michael Joseph for an e-copy of this book to read through NetGalley.
LeftSideCut (3776 KP) rated Saint Maud (2020) in Movies
May 28, 2021
God damn, am I a sucker for horrors that are equally beautiful and unsettling. Saint Maud hit all the right notes for me.
A big chunk of the runtime is dedicated to the extremly authentic-feeling relationship between the titular Maud (Morfydd Clark), a live-in nurse and her patient Amanda (Jennifer Ehle), a retired dancer who is terminally ill with cancer. The sweet connection between the two of them is subtle but well realised, making it all the more uncomfortable when things take a sinister turn.
The religious premise is nothing new in this genre, and there is a bit of a Rosemary's Baby vibe going on, but it's execution is pretty much flawless. Maud's devotion to God is occasionlly terrifying, but her human doubt and her occasional shake in faith stops the narrative from going full blown religious fanatic, and instead touches upon mental health issues. For all of her preaching at Amanda, Maud is the one who is portrayed as lost and lonely, trying to suppress past trauma. Her character is certainly a sympathetic one.
95% of its runtime is a slow burn, one that is complimented by wonderful cinematography and a haunting music score. However, I'm struggling to think of a film in recent memory that escalates so severely in such a short space of time, when the other 5% finally hits. To say anymore would be stepping into spoiler territory, but I will say that it's beautifully horrifying to watch unfold, with a final shot that will be seared into my brain for a while.
Rose Glass has created a true horror masterpiece with Saint Maud. Her presence withing the horror genre is a welcome one, and I'm excited to see what she does next.
A big chunk of the runtime is dedicated to the extremly authentic-feeling relationship between the titular Maud (Morfydd Clark), a live-in nurse and her patient Amanda (Jennifer Ehle), a retired dancer who is terminally ill with cancer. The sweet connection between the two of them is subtle but well realised, making it all the more uncomfortable when things take a sinister turn.
The religious premise is nothing new in this genre, and there is a bit of a Rosemary's Baby vibe going on, but it's execution is pretty much flawless. Maud's devotion to God is occasionlly terrifying, but her human doubt and her occasional shake in faith stops the narrative from going full blown religious fanatic, and instead touches upon mental health issues. For all of her preaching at Amanda, Maud is the one who is portrayed as lost and lonely, trying to suppress past trauma. Her character is certainly a sympathetic one.
95% of its runtime is a slow burn, one that is complimented by wonderful cinematography and a haunting music score. However, I'm struggling to think of a film in recent memory that escalates so severely in such a short space of time, when the other 5% finally hits. To say anymore would be stepping into spoiler territory, but I will say that it's beautifully horrifying to watch unfold, with a final shot that will be seared into my brain for a while.
Rose Glass has created a true horror masterpiece with Saint Maud. Her presence withing the horror genre is a welcome one, and I'm excited to see what she does next.
Jordan Binkerd (567 KP) rated Ad Astra (2019) in Movies
Sep 27, 2019
The cast (3 more)
The score
Realistic science
Beautiful VFX
Anticlimactic/possibly unreliable ending (3 more)
Awkward voiceover
Pacing? Some would disagree....
Action scenes are kind of shoehorned in
Beautiful and haunting
First off, you've got to see this in the theater if you're going to see it. The sparse lunar and Martian vistas, not to mention the star-strewn expanses of space, will be so much less impressive on your living room television. The cast is amazing, though there's not nearly enough Tommy Lee Jones or Donald Sutherland. The tone is haunting and uncomfortable, aided by a subdued score that at times seems to pay tribute to the soundless vacuum in which parts of the film are set. The science is up to date, in that it accurately reflects the fact that after getting sidetracked for a decade or four, we're back to using rockets to explore the solar system. The plot is at heart an exploration of humanity, our needs, drives, relationships and obsessive stubbornness, and dips somewhat into questions of sanity and mental health, again sometimes uncomfortably, though the slow-burn pacing is not for everyone. There are occasional action sequences, but they often feel disconnected and shoehorned in. The ending was a little anti-climactic, and I'm not entirely sure it actually happened - it's barely a spoiler to suggest that the protagonist is in danger as the ending nears, and everything that follows his return to Earth could easily be a dream or dying hallucination (and in fact if argue that this would be a stronger ending). The voiceover was a bit awkward, and would have benefitted from an in-story justification such as the character journalling or leaving a sealed log of some sort. Basically, I think it was worth seeing, but it's not going to be for everyone.