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Lee (2222 KP) rated Instant Family (2019) in Movies
Jan 24, 2019 (Updated Jan 24, 2019)
A very funny, heartwarming drama about adoption
On paper, you'd be forgiven for thinking that Instant Family is going to be just like so many other movies you've seen over the years. A couple without children of their own decides to adopt and end up with three troubled siblings of varying ages. And when you read that it's from director/co-writer Sean Anders, along with Mark Wahlberg, who worked together on both of the 'Daddy's Home' movies, you'll think you've got a pretty good idea of the tone and direction this movie is going to follow. Luckily though, while there are some genuinely very funny moments in this movie, it also manages to successfully blend it with some serious human drama and emotion and a fantastic set of characters.
Instant Family is based on the real life experience of the director Sean Anders and the adoption process he went through with his wife. In the movie, the couple are called Pete and Ellie (Mark Wahlberg and Rose Byrne), who earn their living by flipping houses (buy, renovate, sell). After Ellie has an argument with her sister regarding kids, they begin thinking about having children of their own. Worried about their age, they begin looking into fostering, with a view to eventually adopting an older child.
They visit an adoption agency, where they are joined by a number of other couples and single parents all looking to find out more and begin their journey to becoming parents. Octavia Spencer and Tig Notaro are social workers, there to guide them all through the process. A very funny double act, providing a lot of the movies hilariously well timed lines. In fact, all of the other potential adopters are well written and funny, continuing to crop up throughout the movie as we revisit how everyone is getting on with their fostered children. None of this is zany, particularly goofy or over the top though - it's made very clear that many of the children in the foster system have had a pretty awful life so far, and this honest piece of reality is never downplayed.
At a meet-and-greet with potential adoptive children, organised as an outdoor event in a park, Pete and Ellie are drawn to Lizzie (Isabela Moner), a fiery teenage girl who is hanging out with the other older kids - separated from the main gathering, having resigned themselves to the notion that they're never going to get chosen by the prospective parents. When the couple mark her down as a potential for fostering, they learn that she actually comes as part of a package, having a younger brother Juan and even younger sister Lita. Pete and Ellie decide to go for it and foster all three, convinced they can make a difference in these kids lives.
There follows a period of new parents being thrown in at the deep end - the stressful night time routine, the problems with getting kids to eat and dress properly, problems at school etc. But again, it's not over the top - rooted in reality and successfully managing to walk the line between comedy and drama without resorting to exaggerated comedy set pieces. The problems experienced are made all the more challenging as the couple trying to care for and raise children who haven't had a great start in life, and have been used to a very particular way of living. Made even more difficult when the children's birth mother appears on the scene later in the movie.
I wasn't expecting to enjoy this movie as much as I did. There are more laugh out loud moments than any movie I've seen in recent years that bills itself as a comedy, but at the same time it's also a really heartwarming feel-good drama. So many enjoyable characters too, and with a sharp script that brings out the best in them all. Hugely enjoyable.
Instant Family is based on the real life experience of the director Sean Anders and the adoption process he went through with his wife. In the movie, the couple are called Pete and Ellie (Mark Wahlberg and Rose Byrne), who earn their living by flipping houses (buy, renovate, sell). After Ellie has an argument with her sister regarding kids, they begin thinking about having children of their own. Worried about their age, they begin looking into fostering, with a view to eventually adopting an older child.
They visit an adoption agency, where they are joined by a number of other couples and single parents all looking to find out more and begin their journey to becoming parents. Octavia Spencer and Tig Notaro are social workers, there to guide them all through the process. A very funny double act, providing a lot of the movies hilariously well timed lines. In fact, all of the other potential adopters are well written and funny, continuing to crop up throughout the movie as we revisit how everyone is getting on with their fostered children. None of this is zany, particularly goofy or over the top though - it's made very clear that many of the children in the foster system have had a pretty awful life so far, and this honest piece of reality is never downplayed.
At a meet-and-greet with potential adoptive children, organised as an outdoor event in a park, Pete and Ellie are drawn to Lizzie (Isabela Moner), a fiery teenage girl who is hanging out with the other older kids - separated from the main gathering, having resigned themselves to the notion that they're never going to get chosen by the prospective parents. When the couple mark her down as a potential for fostering, they learn that she actually comes as part of a package, having a younger brother Juan and even younger sister Lita. Pete and Ellie decide to go for it and foster all three, convinced they can make a difference in these kids lives.
There follows a period of new parents being thrown in at the deep end - the stressful night time routine, the problems with getting kids to eat and dress properly, problems at school etc. But again, it's not over the top - rooted in reality and successfully managing to walk the line between comedy and drama without resorting to exaggerated comedy set pieces. The problems experienced are made all the more challenging as the couple trying to care for and raise children who haven't had a great start in life, and have been used to a very particular way of living. Made even more difficult when the children's birth mother appears on the scene later in the movie.
I wasn't expecting to enjoy this movie as much as I did. There are more laugh out loud moments than any movie I've seen in recent years that bills itself as a comedy, but at the same time it's also a really heartwarming feel-good drama. So many enjoyable characters too, and with a sharp script that brings out the best in them all. Hugely enjoyable.
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Lottie disney bookworm (1056 KP) rated Six Crimson Cranes in Books
Jun 17, 2021
Wow!
Where do I start?
Wow!
In a kingdom which has banned magic and banished all demons to the Holy Mountains, Princess Shiori must hide her magical blood from those around her, in particular her six brothers, her mysterious stepmother and her father, the Emperor.
However, when a combination of magic and stubbornness derails Shiori’s betrothal ceremony the princess discovers that she is not the only family member hiding their gift. After spying on her stepmother, Shiori is convinced that her father’s wife is a demon and turns to her brothers…with disastrous consequences.
With her six brothers transformed into cranes, Shiori is alone, cast far away from the palace and forced to remain mute: for every word she utters, one brother will die! She is also unrecognisable, her magic is locked and she cannot reveal her past to anyone. Powerless, abandoned and mute- can Shiori save her six older brothers and return home to defeat her stepmother?
Shiori herself is an amazing protagonist. She is young, impulsive, stubborn but also has the biggest heart. Her love for her brothers (and food) is integral to her personality and the comfort she takes in the memories of her mother is beautiful.
Initially, Shiori’s life may appear to be a fairytale with extravagant robes and magnificent palaces. Maybe that is why Lim creates a fairytale-worthy curse? With a lost voice, a lost pink slipper and a city put to sleep, Elizabeth Lim certainly showcases some of the magic we saw in her Disney Twisted Tale novels.
Shiori’s journey to save her brothers is one of tremendous bravery and courage and it is along this path that the princess truly discovers her inner strength. She also matures immensely (it’s probably inevitable when your stepmother curses you) but Shiori experiences the hardships of the world around her, learns who to trust and realises that sometimes poison (or a curse) can be a “medicine in disguise”.
The supporting cast within Six Crimson Cranes are also incredible. Seryu the dragon prince with his ruby eyes and green hair clearly cares for Shiori. Will he try to sway her affections in book two? He will have to compete with Takkan, the loyal, picture-perfect prince who protected Shiori when no-one else did, long before he knew her true identity.
Shiori’s stepmother, Raikama, was possibly the most complex character. Despite only being present at the beginning and end of the novel, she spends 90% of the book as a villain – and the reader is fully on board with this! However, Lim’s ingenious use of Shiori’s faint memories help her piece together an unfathomable puzzle: why would Raikama curse the siblings instead of killing them? Is this linked to her stepmother’s magic and her mysterious past?
The world building in Six Crimson Cranes is magical. Without breaking the flow of the novel Lim perfectly creates the kingdom of Kiata in our minds, from the manicured grounds of the palace during the Summer Festival, with kites bobbing against azure skies, to the bleak but beautiful Iro, overlooked by Rabbit mountain, glittering in the light of the silver moon. Elizabeth Lim truly transports her readers to these beautiful but dangerous landscapes.
Six Crimson Cranes is a book which surpassed all my expectations. The world building is as magical as its fairy-tale undertones and the characters already feel like old friends. I don’t think I can wait another year for the sequel!
Thank you so so much to Netgalley for providing this amazing opportunity! I received a free digital copy of this book in exchange for an honest review…and now I’m off to pre-order the real thing!
Where do I start?
Wow!
In a kingdom which has banned magic and banished all demons to the Holy Mountains, Princess Shiori must hide her magical blood from those around her, in particular her six brothers, her mysterious stepmother and her father, the Emperor.
However, when a combination of magic and stubbornness derails Shiori’s betrothal ceremony the princess discovers that she is not the only family member hiding their gift. After spying on her stepmother, Shiori is convinced that her father’s wife is a demon and turns to her brothers…with disastrous consequences.
With her six brothers transformed into cranes, Shiori is alone, cast far away from the palace and forced to remain mute: for every word she utters, one brother will die! She is also unrecognisable, her magic is locked and she cannot reveal her past to anyone. Powerless, abandoned and mute- can Shiori save her six older brothers and return home to defeat her stepmother?
Shiori herself is an amazing protagonist. She is young, impulsive, stubborn but also has the biggest heart. Her love for her brothers (and food) is integral to her personality and the comfort she takes in the memories of her mother is beautiful.
Initially, Shiori’s life may appear to be a fairytale with extravagant robes and magnificent palaces. Maybe that is why Lim creates a fairytale-worthy curse? With a lost voice, a lost pink slipper and a city put to sleep, Elizabeth Lim certainly showcases some of the magic we saw in her Disney Twisted Tale novels.
Shiori’s journey to save her brothers is one of tremendous bravery and courage and it is along this path that the princess truly discovers her inner strength. She also matures immensely (it’s probably inevitable when your stepmother curses you) but Shiori experiences the hardships of the world around her, learns who to trust and realises that sometimes poison (or a curse) can be a “medicine in disguise”.
The supporting cast within Six Crimson Cranes are also incredible. Seryu the dragon prince with his ruby eyes and green hair clearly cares for Shiori. Will he try to sway her affections in book two? He will have to compete with Takkan, the loyal, picture-perfect prince who protected Shiori when no-one else did, long before he knew her true identity.
Shiori’s stepmother, Raikama, was possibly the most complex character. Despite only being present at the beginning and end of the novel, she spends 90% of the book as a villain – and the reader is fully on board with this! However, Lim’s ingenious use of Shiori’s faint memories help her piece together an unfathomable puzzle: why would Raikama curse the siblings instead of killing them? Is this linked to her stepmother’s magic and her mysterious past?
The world building in Six Crimson Cranes is magical. Without breaking the flow of the novel Lim perfectly creates the kingdom of Kiata in our minds, from the manicured grounds of the palace during the Summer Festival, with kites bobbing against azure skies, to the bleak but beautiful Iro, overlooked by Rabbit mountain, glittering in the light of the silver moon. Elizabeth Lim truly transports her readers to these beautiful but dangerous landscapes.
Six Crimson Cranes is a book which surpassed all my expectations. The world building is as magical as its fairy-tale undertones and the characters already feel like old friends. I don’t think I can wait another year for the sequel!
Thank you so so much to Netgalley for providing this amazing opportunity! I received a free digital copy of this book in exchange for an honest review…and now I’m off to pre-order the real thing!
Ivana A. | Diary of Difference (1171 KP) rated The Half Sister in Books
Oct 5, 2020
I am so happy to have the opportunity to be part of the blog tour for The Half Sister by Sandie Jones. Thank you to the team at Pan Macmillan, for sending me a copy in exchange for an honest review.
About The Author:
I have heard a lot about Sandie Jones, but I haven’t read any books by her prior to The Half Sister. Sandie Jones has worked as a freelance journalist for over twenty years, and has written for publications including the Sunday Times, Woman’s Weekly and the Daily Mail. She lives in London with her husband and three children. The Other Woman is her debut novel.
Synopsis:
I need to mention that the original synopsis of the book may be a bit misleading. Lauren and Kate are two sisters, but they don’t get along too well and their relationship is complicated.
Kate is a reporter, married to lovely Mark, and going through many rounds of IVF treatment, hoping to start a family. Kate had a very close relationship with her father until the day he died, but was never too close to her sister Lauren and their mother, Rose.
Lauren, on the other hand, is a full time mom of three, with a demanding and overprotective husband. She is very close to her mum, and had a complicated relationship with her father, never forgiving him for understanding her in the past.
One day, while Kate, Lauren and their mum are having their usual Sunday roast, a woman knocks on their door and drops a bombshell. Jess claims to be their half-sister.
This allegation is met with denial - how could she be a secret daughter of their father. Their mother is devastated, Lauren is not surprised, and Kate doesn’t believe Jess at all. But as more secrets start to unravel, no one can know who to trust anymore…
My Thoughts:
I loved the idea of this book, even though I am not too big of a fan of domestic mysteries and drama. My impressions were that this would’ve been more psychological thriller, but I was in the wrong. However, despite this, the book is really surprisingly well-written and kept me on my toes until the very end.
The lives of Lauren and Kate in particular were very well written. I can imagine people being able to easily relate to their struggles. The difference between the two sisters is like night and day. I loved the fact that this book was not sugar coating this, and it didn’t end it with a “happily ever after”. Instead, it ended with “we know we are different, and we are working to fix our relationship in its natural course”.
The story about how Jess comes into their lives, and the whole DNA situation was extremely not believable. As well as the fact that doing another DNA test at the beginning of the novel would have solved all assumptions, rather than people believing hearsay and creating more drama. However, I am also aware that drama was needed to keep the story going, so I can’t hold a grudge.
The ending was predictable half-way through the book. Some scenes are completely unnecessary and make the story more complicated. There are many triggering moments in this book. Cheating, domestic violence and abuse, both physical and emotional and abortion. This book may also trigger people that have had difficult relationships with their parents and/or siblings.<br/><br/>Even though not a favorite thriller, I enjoyed this book and recommend it to everyone that loves domestic thrillers. It is a fast-paced read, and the plot twists are juicy.
About The Author:
I have heard a lot about Sandie Jones, but I haven’t read any books by her prior to The Half Sister. Sandie Jones has worked as a freelance journalist for over twenty years, and has written for publications including the Sunday Times, Woman’s Weekly and the Daily Mail. She lives in London with her husband and three children. The Other Woman is her debut novel.
Synopsis:
I need to mention that the original synopsis of the book may be a bit misleading. Lauren and Kate are two sisters, but they don’t get along too well and their relationship is complicated.
Kate is a reporter, married to lovely Mark, and going through many rounds of IVF treatment, hoping to start a family. Kate had a very close relationship with her father until the day he died, but was never too close to her sister Lauren and their mother, Rose.
Lauren, on the other hand, is a full time mom of three, with a demanding and overprotective husband. She is very close to her mum, and had a complicated relationship with her father, never forgiving him for understanding her in the past.
One day, while Kate, Lauren and their mum are having their usual Sunday roast, a woman knocks on their door and drops a bombshell. Jess claims to be their half-sister.
This allegation is met with denial - how could she be a secret daughter of their father. Their mother is devastated, Lauren is not surprised, and Kate doesn’t believe Jess at all. But as more secrets start to unravel, no one can know who to trust anymore…
My Thoughts:
I loved the idea of this book, even though I am not too big of a fan of domestic mysteries and drama. My impressions were that this would’ve been more psychological thriller, but I was in the wrong. However, despite this, the book is really surprisingly well-written and kept me on my toes until the very end.
The lives of Lauren and Kate in particular were very well written. I can imagine people being able to easily relate to their struggles. The difference between the two sisters is like night and day. I loved the fact that this book was not sugar coating this, and it didn’t end it with a “happily ever after”. Instead, it ended with “we know we are different, and we are working to fix our relationship in its natural course”.
The story about how Jess comes into their lives, and the whole DNA situation was extremely not believable. As well as the fact that doing another DNA test at the beginning of the novel would have solved all assumptions, rather than people believing hearsay and creating more drama. However, I am also aware that drama was needed to keep the story going, so I can’t hold a grudge.
The ending was predictable half-way through the book. Some scenes are completely unnecessary and make the story more complicated. There are many triggering moments in this book. Cheating, domestic violence and abuse, both physical and emotional and abortion. This book may also trigger people that have had difficult relationships with their parents and/or siblings.<br/><br/>Even though not a favorite thriller, I enjoyed this book and recommend it to everyone that loves domestic thrillers. It is a fast-paced read, and the plot twists are juicy.
Lee (2222 KP) rated Ready or Not (2019) in Movies
Sep 27, 2019
Ready or Not opens with a gleefully intense and shocking scene. It serves to give us a taste of the kind of twisted games that usually play out within the confines of huge gothic mansion owned by the eccentric Le Domas family, who made their fortune in the board game business. If you've seen the trailer, then you'll know that Ready or Not is basically just Hide and Seek, but with deathly consequences. However, this short, sharp introduction leaves you in no doubt as to just how far the Le Domas family will go in order to win the game.
Cut to a more happier time as Grace (Samara Weaving, niece of Hugo Weaving) is preparing to marry into the Le Domas dynasty. Her husband to be is Alex (Mark O'Brien), estranged son who has now returned to the family home where the ceremony will be taking place. As a foster child, Grace yearns to become part of a more permanent family and is concerned that she won't be accepted by the Le Domas clan, not helped by the cold scowl she gets from a seriously creepy looking Aunt Helene.
We rejoin Grace and Alex later that evening, now married. But Grace discovers that rather than retire to bed with her new husband, they must join the family downstairs and partake in a wedding night tradition which will see her officially becoming a Le Domas - she has to play a game. Wanting nothing more than to fit in with her new in-laws, Grace goes along with it all as patriarch Tony (Henry Czerny) explains how the tradition will play out. The game they must play is selected at random from a box that has been passed down through the generations after it was originally given to the family by mysterious benefactor, Mr. Le Bail. The wife of eldest son Daniel got Chess, the husband of daughter Emilie got Old Maid, so it really is anyone's guess what the mystery game will be! All of the siblings and their spouse's are in attendance for the game and watch on as Grace draws... Hide and Seek, the one game which results in death!
Not realising the seriousness of her choice, Tony explains to Grace that in order to win the game she must remain hidden until dawn, and she laughs it off. An old vinyl hide and seek record begins playing, giving Grace the time to go find a suitable hiding place, and she winds up climbing into a dumb waiter to hide. But, she soon gets bored and decides to go wandering around the huge house. It's not long though until she discovers that the family members have equipped themselves with shotguns, axes and crossbows... and they're not afraid to use them! Turns out, the family believe that if they don’t kill Grace by dawn, a terrible fate will befall them all.
What follows is an intense game of cat and mouse, with a good dose of gore and dark humour thrown in. One minute we're holding our breath as Grace tries to quietly avoid a member of the family, the next we're cutting to the other family members, who are mostly completely incompetent - bickering between themselves or watching a YouTube crash course on how to use a crossbow! Ready or Not manages to juggle the different tones effortlessly, and brilliantly, as Grace goes from terrified scream queen in a pristine white wedding dress, to blood-soaked badass wearing a pair of old converse and brandishing a shotgun. She's the latest in a long line of great female survivors, played to perfection by Samara Weaving. If you liked 2011 movie 'You're Next', then Ready or Not reminded me of that in many ways.
The gothic setting and the suitably wonderful score by Brian Tyler (usually found providing music for MCU movies) all adds to what is a wonderfully short (95 minute), but perfectly paced, completely bonkers thrill ride.
Cut to a more happier time as Grace (Samara Weaving, niece of Hugo Weaving) is preparing to marry into the Le Domas dynasty. Her husband to be is Alex (Mark O'Brien), estranged son who has now returned to the family home where the ceremony will be taking place. As a foster child, Grace yearns to become part of a more permanent family and is concerned that she won't be accepted by the Le Domas clan, not helped by the cold scowl she gets from a seriously creepy looking Aunt Helene.
We rejoin Grace and Alex later that evening, now married. But Grace discovers that rather than retire to bed with her new husband, they must join the family downstairs and partake in a wedding night tradition which will see her officially becoming a Le Domas - she has to play a game. Wanting nothing more than to fit in with her new in-laws, Grace goes along with it all as patriarch Tony (Henry Czerny) explains how the tradition will play out. The game they must play is selected at random from a box that has been passed down through the generations after it was originally given to the family by mysterious benefactor, Mr. Le Bail. The wife of eldest son Daniel got Chess, the husband of daughter Emilie got Old Maid, so it really is anyone's guess what the mystery game will be! All of the siblings and their spouse's are in attendance for the game and watch on as Grace draws... Hide and Seek, the one game which results in death!
Not realising the seriousness of her choice, Tony explains to Grace that in order to win the game she must remain hidden until dawn, and she laughs it off. An old vinyl hide and seek record begins playing, giving Grace the time to go find a suitable hiding place, and she winds up climbing into a dumb waiter to hide. But, she soon gets bored and decides to go wandering around the huge house. It's not long though until she discovers that the family members have equipped themselves with shotguns, axes and crossbows... and they're not afraid to use them! Turns out, the family believe that if they don’t kill Grace by dawn, a terrible fate will befall them all.
What follows is an intense game of cat and mouse, with a good dose of gore and dark humour thrown in. One minute we're holding our breath as Grace tries to quietly avoid a member of the family, the next we're cutting to the other family members, who are mostly completely incompetent - bickering between themselves or watching a YouTube crash course on how to use a crossbow! Ready or Not manages to juggle the different tones effortlessly, and brilliantly, as Grace goes from terrified scream queen in a pristine white wedding dress, to blood-soaked badass wearing a pair of old converse and brandishing a shotgun. She's the latest in a long line of great female survivors, played to perfection by Samara Weaving. If you liked 2011 movie 'You're Next', then Ready or Not reminded me of that in many ways.
The gothic setting and the suitably wonderful score by Brian Tyler (usually found providing music for MCU movies) all adds to what is a wonderfully short (95 minute), but perfectly paced, completely bonkers thrill ride.
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Kirk Bage (1775 KP) rated The Umbrella Academy in TV
Sep 19, 2020 (Updated Jan 22, 2021)
I came to this gloriously colourful, energetic and super smart comic book adaptation in August (when Netflix advertised season 2), at a time of lockdown where I really needed something cheerful and fun to keep me going. It worked so well I watched both full seasons twice over, back to back, and key episodes 3 times! A rare thing indeed for me and a TV show.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Since then the rigours of isolation have set me back with a really long backlog for The Wasteland – currently I have a list of over 40 cultural artifacts I want to talk about and share with you- but, I am very glad to be talking about this one today, as even though it wasn’t that long ago, it evokes such fond happy memories of becoming just a little bit obsessed by something. A phenomenon that only seems to happen when you go into something with low to medium expectations and come out feeling like you have found a diamond in the rough.
The concept of 7 children with mysterious powers being adopted and raised by a shady and strict, umbrella wielding, father has been around a few years in the form of several graphic novels, penned by My Chemical Romance frontman Gerard Way. You can feel the vibe of something slightly emo and arty coming through – just cool enough but also self conscious; melancholy and dark in places but also lots of sardonic fun. But, unlike the books, which often look stark and minimal, the world created by show runner and director Steve Blackman is vivid and full to the brim with things to overwhelm the senses.
For the last few years, and especially of late, the Superhero genre has been so oversaturated that it is almost impossible to come up with anything original, but The Umbrella Academy together with Amazon’s The Boys, definitely manage to do that. It has enough mystique to be intriguingly confusing for the first few episodes, as we piece together the Hargreaves’ past that has led to the current situation, and discover the dynamic tension that exists between the adopted siblings. Oh, and there is a talking chimpanzee butler / guardian called Pogo, that feels like CGI gimmickery for a while, before growing into something truly wonderful.
The first thing you notice about this set of misfits, as they reassemble for their father’s funeral after years of bitterness and estrangement, is that they are all a little bit broken and uncomfortable in their own skins – their powers as individuals are all a bit, well frankly underwhelming, and their personalities are not exactly attractive in every case. Season one is all about re-establishing connections and working through identity crises. In many ways it is a coming of age story, as circumstances lead to them needing to grow up fast and join together to achieve true power. It works both on the surface and as a deeper allegory.
As each main character is introduced you inevitably get drawn into ranking them from most to least favourite, and the trick of it is how much those feelings shift as the story progresses. Everyone loves Klaus, the twitchy junkie who can see dead people, his completely non heroic yet hilariously stoned outlook gives him many of the best lines and most fun scenes. I changed allegiance several times with the others, but Klaus, played by the charismatic Irish actor Robert Sheehan, always remained my favourite, because of his hippie rockstar vibe. Although it’s hard not to have a soft spot for Number 5, the time travelling schoolboy that has been missing for years and re-emerges as a middle aged man still trapped in the boys’ body. Aiden Gillen is superb in conveying that he is older whilst always looking like a teenager, and in many ways he is the true pivot and anchor of the story.
I suppose before the show aired it was Ellen Page that was the “star” draw amongst the young and mostly unknown cast of “heroes”. As Vanya, the only Hargreaves child never to demonstrate a power, and held aside by their controlling father, she is the outsider and most insecure of the bunch. You sense her storyline is going to be crucial to the whole shebang, and so it turns out, but her fame as an actress of note never overshadows the show as a whole – it feels instantly like a group effort, and in that sense a true family, the deeper you get into it.
I could go on explaining each character and the details of the intricate plot forever, but I would never do it justice. The only way to see what the fuss is about is to watch it. Anything else would just sound like mad confusion to the uninitiated. All I can say is that it does an incredible job of unfolding its charms and secrets piece by piece. So much so that by the climax of season two I am still not entirely sure we have all the information necessary to know what is going on in a complete sense; there are several questions and mysteries still to be unearthed, and I like that very much.
I have recommended this show to anyone I know who enjoys something entertaining that has substance yet doesn’t take itself too seriously – so that is everyone then! I think it’s allure is that very thing: it manages to hit a zeitgeist of perfect balance between a smart script and plotline with many cliffhangers, and enough disposable moments of fun, to be exactly what the modern Netflix viewer is looking for. Super easy to watch with one eye or with both, depending on what mood you are in.
There is also the style of the thing – a veritable candy box of colours and neat visual tricks, mixed in with some of the best musical montage sequences I have ever seen. I understand from several interviews that Steve Blackman specifically wrote certain scenes around the feel of a piece of music he wanted to include. That is a clever way of building a cult following: find songs that both tell a story and appeal to the cool kids, then use them as mini music video segments that punctuate the heavier elements of storytelling. It’s not a new trick, but the song choices here are so good that it has rarely been done this well before.
It all works especially well as we move into season two and an historical context that brings up a lot of pertinent issues for some of the siblings regarding race, sexuality and other freedoms of identity that can be taken for granted in the modern era. I don’t want to spoil too much of that here, but suffice to say as a hook to pin the themes on it is a genius touch that makes season two a huge leap forward on something that was already pretty decent in season one. All the characters become more rounded and relatable, even the so called bad guys – an increasingly eccentric bunch of creations that leave you in no doubt this is a comic book world not to be confused with reality.
At time of writing, a third season has still not being given the greenlight. Considering the massive cliffhanger we are left with at the end of season two, and how big the cult following seems to be by now, it would be an absolute crime not to allow it to continue. The only reason I can see it wouldn’t is that the stories of the source material are now exhausted, and anywhere they go from here will need to be truly original. However, there is so much scope to do almost anything from here that I don’t see it as any kind of issue.
If you haven’t seen it, I urge you whole-heartedly to give it a go. There really is something in there to please everyone, except perhaps the most serious minded of realists. Even then, they’d be hard pressed not to raise a smile or tap a toe at some of the best musical moments of emo hero mayhem.
Hazel (1853 KP) rated A Notable Woman: The Romantic Journals of Jean Lucey Pratt in Books
May 25, 2017
Looooong
I received this book for free through Goodreads First Reads.
Whilst researching a previous book, Simon Garfield came across the diaries of Jean Lucey Pratt amongst journals collected during the Second World War for Mass Observation. Intrigued by her observations and character, Garfield became determined to learn more about her. After eventually receiving permission from Jean’s niece, he was able to read all forty-five of her diaries, edit them, and produce this huge manuscript for publication: A Notable Woman.
Jean began writing her journals in the April of 1925 at the young age of fifteen. Although she did not write everyday, she continued putting down her thoughts and experiences up until her death in 1986. Jean Lucey Pratt was not a celebrity, although she did write an, unfortunately, unsuccessful book; nor did she achieve anything spectacular during her lifetime. What makes her diaries worth publishing is the fact that she was “ordinary,” a woman who wrote not to impress other people, but to honestly express her emotions and opinions.
For the majority of her life Jean lived on her own in Burnham Beeches, Buckinghamshire, where she yearned for a husband. Her dreams of finding the perfect man yet only attracting a handful of lovers is both amusing and saddening. The most interesting part of her written records, however, has got to be the experiences of war. Unlike other diarist such as Anne Frank, who feared for their lives, or those that experienced the fighting up front, Jean provides the perspective of the average British citizen. She comments on the rationing, the blackout curtains as well as the political propaganda, providing her own opinions, which often changed as the war progressed. Jean amuses the reader by revealing she often slept through an air raid, only waking up at the sound of the All Clear.
The war ends midway through the book, thus delivering accounts of the latter half of her life, from career to ill health, incorporating in family events and, of course, her enormous horde of cats. Although a rather introverted, lonely individual, Jean’s relationship and love for her brother is often heartwarming. Separated by oceans and only seeing him every so many years, it is clear that the siblings are strongly supportive of each other. Jean often refers to her brother as Pooh (as in Winnie the Pooh), to which he responds by calling her Piglet.
Initially Jean did not intend to let anyone read her diaries but later began to imagine how other people would react to what she had written. She toyed with the idea of posthumous publication, but presumed only family and friends would read them – how wrong she was! Regardless of whether her diaries were to be viewed by outsiders or not, Jean usually referred to people by their initials. Whether she did this for a particular reason or merely to save time when writing remains debatable, however it does cause a bit of confusion when reading. Helpfully the editor, Garfield, has provided a character list that can be referred back to as needed.
Simon Garfield has done a magnificent job of compiling the diary entries together to produce an interesting, moving and occasionally amusing story about life during the 1900s. He has painstakingly sorted through handwritten entries, deciding what bits to omit and conducting further research in order to explain in footnotes the sections or references that would not make sense if left alone. Garfield has made the majority of Jean’s journals flow like a novel, only becoming erratic towards the end of her life when she would only write once every few months.
A Notable Woman gives a fantastic insight into the lives of ordinary people during an era of hardship and change. Readers are more likely to read an accurate description of the war and subsequent years in this book than in any emotionally detached textbook or biased account. Without a doubt this book is worth a read, although do not expect to be able to rush through it as some may do with a work of fiction. Garfield if highly praised for his efforts, and one hopes that Jean would be proud to finally have a writing success.
Whilst researching a previous book, Simon Garfield came across the diaries of Jean Lucey Pratt amongst journals collected during the Second World War for Mass Observation. Intrigued by her observations and character, Garfield became determined to learn more about her. After eventually receiving permission from Jean’s niece, he was able to read all forty-five of her diaries, edit them, and produce this huge manuscript for publication: A Notable Woman.
Jean began writing her journals in the April of 1925 at the young age of fifteen. Although she did not write everyday, she continued putting down her thoughts and experiences up until her death in 1986. Jean Lucey Pratt was not a celebrity, although she did write an, unfortunately, unsuccessful book; nor did she achieve anything spectacular during her lifetime. What makes her diaries worth publishing is the fact that she was “ordinary,” a woman who wrote not to impress other people, but to honestly express her emotions and opinions.
For the majority of her life Jean lived on her own in Burnham Beeches, Buckinghamshire, where she yearned for a husband. Her dreams of finding the perfect man yet only attracting a handful of lovers is both amusing and saddening. The most interesting part of her written records, however, has got to be the experiences of war. Unlike other diarist such as Anne Frank, who feared for their lives, or those that experienced the fighting up front, Jean provides the perspective of the average British citizen. She comments on the rationing, the blackout curtains as well as the political propaganda, providing her own opinions, which often changed as the war progressed. Jean amuses the reader by revealing she often slept through an air raid, only waking up at the sound of the All Clear.
The war ends midway through the book, thus delivering accounts of the latter half of her life, from career to ill health, incorporating in family events and, of course, her enormous horde of cats. Although a rather introverted, lonely individual, Jean’s relationship and love for her brother is often heartwarming. Separated by oceans and only seeing him every so many years, it is clear that the siblings are strongly supportive of each other. Jean often refers to her brother as Pooh (as in Winnie the Pooh), to which he responds by calling her Piglet.
Initially Jean did not intend to let anyone read her diaries but later began to imagine how other people would react to what she had written. She toyed with the idea of posthumous publication, but presumed only family and friends would read them – how wrong she was! Regardless of whether her diaries were to be viewed by outsiders or not, Jean usually referred to people by their initials. Whether she did this for a particular reason or merely to save time when writing remains debatable, however it does cause a bit of confusion when reading. Helpfully the editor, Garfield, has provided a character list that can be referred back to as needed.
Simon Garfield has done a magnificent job of compiling the diary entries together to produce an interesting, moving and occasionally amusing story about life during the 1900s. He has painstakingly sorted through handwritten entries, deciding what bits to omit and conducting further research in order to explain in footnotes the sections or references that would not make sense if left alone. Garfield has made the majority of Jean’s journals flow like a novel, only becoming erratic towards the end of her life when she would only write once every few months.
A Notable Woman gives a fantastic insight into the lives of ordinary people during an era of hardship and change. Readers are more likely to read an accurate description of the war and subsequent years in this book than in any emotionally detached textbook or biased account. Without a doubt this book is worth a read, although do not expect to be able to rush through it as some may do with a work of fiction. Garfield if highly praised for his efforts, and one hopes that Jean would be proud to finally have a writing success.
Heather Cranmer (2721 KP) rated Fallout (Crank, #3) in Books
Jun 6, 2018
(This review can also be found on my blog at <a href="http://www.themisadventuresofatwentysomething.blogspot.com">The (Mis)Adventures of a Twenty Something Year Old Girl</a>).
Fallout by Ellen Hopkins is the final book in the Crank trilogy. I so wanted and expected this book to be just as great as the first two. However, this wasn't the case. It was alright, but no where near as good as Crank and Glass. Perhaps it was just because I wanted more Kristina, and she wasn't mentioned too much in this book.
Fallout follows the lives of three of Kristina's children. Hunter is the oldest at 19. He is extremely angry at his mother and can't understand why his mother abandoned him. Next is Autumn who lives with her aunt and grandfather. When the stability of her home life falls out beneath her, Autumn turns to drinking and becomes a bit of a wild child. Summer doesn't even know she has any biological siblings. She's been living in and out of foster homes her whole life for the most part. When she meets the boy who seems to love her, things start to go wrong. However, each one of them wants Kristina to acknowledge them.
The title of this book makes sense as all of Kristina's children have fallen out with her. I think it does a great job of giving you a hint about what this book will be about.
The cover of this book doesn't really do it for me. I like how the author stuck with the whole druggy looking title. However, I just didn't care for the ugly yellow background and how plain the cover looked. Perhaps that's just a personal thing as all the covers have been plain looking, but as this was told from the point of view from Kristina's children, I thought this cover would just have a different look.
The world building in Fallout is alright, but it's easy to forget which world you're in. Maybe that's just my bad memory, but I always had to remind myself which setting belonged to what character.
The pacing in this book is slower than the first two books, and is just a bit slow overall. It took me a longer time than usual to read this book because most of the time, I just had trouble getting into it. I just found myself not caring really when it came to everything in Fallout.
There's not much dialogue going on between the characters as with the first two books in the series. I thought the internal dialogue which each character was really good, and I felt like the dialogue between each individual character was appropriate for each of their age. There are a few swear words in this book so be warned if that's not your cup of tea.
I found myself not caring about the characters most of the time. I don't know if this was because I wanted more Kristina or because they weren't as well developed as Kristina. I got Autumn and Summer confused a lot of the time whilst reading since they almost seem to have the same personality. The only way I was able to tell them apart (besides it having their name printed at the top of the page when it was time for their point of view) was because of the setting, and even then it was sometimes difficult. With that said, I started off enjoying reading about Hunter as he seemed to just be a more well defined, more interesting character. About halfway through the book, I even stopped caring about him because he just became a little bit boring.
I enjoyed that Fallout was written in verse like the first two books in the series. Hopkins does a fantastic job putting words in verse and putting it into a story. I just wish this book could've been as good as the first two. Instead Fallout falls a little bit flat with the characters and the plot both leaving me feeling uncaring. Don't get me wrong, it's still an okay book, but I just think that this book didn't need to be written as not much is going on.
I'd recommend this book to those aged 15+ who are interested in learning about Kristina's children since you won't be hearing much about Kristina in this book.
Fallout by Ellen Hopkins is the final book in the Crank trilogy. I so wanted and expected this book to be just as great as the first two. However, this wasn't the case. It was alright, but no where near as good as Crank and Glass. Perhaps it was just because I wanted more Kristina, and she wasn't mentioned too much in this book.
Fallout follows the lives of three of Kristina's children. Hunter is the oldest at 19. He is extremely angry at his mother and can't understand why his mother abandoned him. Next is Autumn who lives with her aunt and grandfather. When the stability of her home life falls out beneath her, Autumn turns to drinking and becomes a bit of a wild child. Summer doesn't even know she has any biological siblings. She's been living in and out of foster homes her whole life for the most part. When she meets the boy who seems to love her, things start to go wrong. However, each one of them wants Kristina to acknowledge them.
The title of this book makes sense as all of Kristina's children have fallen out with her. I think it does a great job of giving you a hint about what this book will be about.
The cover of this book doesn't really do it for me. I like how the author stuck with the whole druggy looking title. However, I just didn't care for the ugly yellow background and how plain the cover looked. Perhaps that's just a personal thing as all the covers have been plain looking, but as this was told from the point of view from Kristina's children, I thought this cover would just have a different look.
The world building in Fallout is alright, but it's easy to forget which world you're in. Maybe that's just my bad memory, but I always had to remind myself which setting belonged to what character.
The pacing in this book is slower than the first two books, and is just a bit slow overall. It took me a longer time than usual to read this book because most of the time, I just had trouble getting into it. I just found myself not caring really when it came to everything in Fallout.
There's not much dialogue going on between the characters as with the first two books in the series. I thought the internal dialogue which each character was really good, and I felt like the dialogue between each individual character was appropriate for each of their age. There are a few swear words in this book so be warned if that's not your cup of tea.
I found myself not caring about the characters most of the time. I don't know if this was because I wanted more Kristina or because they weren't as well developed as Kristina. I got Autumn and Summer confused a lot of the time whilst reading since they almost seem to have the same personality. The only way I was able to tell them apart (besides it having their name printed at the top of the page when it was time for their point of view) was because of the setting, and even then it was sometimes difficult. With that said, I started off enjoying reading about Hunter as he seemed to just be a more well defined, more interesting character. About halfway through the book, I even stopped caring about him because he just became a little bit boring.
I enjoyed that Fallout was written in verse like the first two books in the series. Hopkins does a fantastic job putting words in verse and putting it into a story. I just wish this book could've been as good as the first two. Instead Fallout falls a little bit flat with the characters and the plot both leaving me feeling uncaring. Don't get me wrong, it's still an okay book, but I just think that this book didn't need to be written as not much is going on.
I'd recommend this book to those aged 15+ who are interested in learning about Kristina's children since you won't be hearing much about Kristina in this book.