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TacoDave (3904 KP) rated Avengers: Endgame (2019) in Movies
Apr 26, 2019
Cast (3 more)
Humor
Story
Epic Scale
Almost a perfect movie
Contains spoilers, click to show
I just got out of Avengers: Endgame. This will have minor spoilers, but nothing related to the plot.
If you read my review of Captain Marvel, you'll see that I was underwhelmed because they didn't really explain her powers or weaknesses. Avengers: Endgame is exciting, funny, rich, and fantastic, full of great callbacks to earlier MCU movies and references to things we hadn't heard about it a while.
And yet... Here comes Captain Marvel. Again, her powers aren't explained. She doesn't help much until the last 20 minutes, and in those minutes she is seemingly invincible. Because we don't know what can hurt her, the stakes are minimal. It's an invincible woman punching an invincible man and there isn't really an expectation of anything.
But then she gets hit. And someone says "She has backup" or "She has friends" or something similar, and then we see almost every female character from the MCU come behind her to help.
I literally don't care if a superhero is male or female. It doesn't matter. But by forcing scene into the film, it is a reminder that Captain Marvel = Girl Power!!! and it pulled me right out of the film. It was an unnecessary political statement in the midst of a galatic battle. And I hated it.
I'm pro-woman. I'm pro-man. I think both sexes have unique attributes and abilities and features. But trying to say "The women have her back!" was, again, like I felt the directors sitting next to me in the theater, poking me in the ribs, saying "Look at the woke subtext!!!"
It isn't necessary. It is dumb. Let the heroes - all of them - have moments of strength and weakness. Imagine if there was a hero who suddenly called on the name of God and a big cross appeared behind them and the hand of God came down and helped them. That's the kind of heavy-handedness (pun intended) it felt like.
Go see the movie. It's great. But that one bit really soured the end of the movie for me, reminding me that it was a fictional story set in modern times. Why?
If you read my review of Captain Marvel, you'll see that I was underwhelmed because they didn't really explain her powers or weaknesses. Avengers: Endgame is exciting, funny, rich, and fantastic, full of great callbacks to earlier MCU movies and references to things we hadn't heard about it a while.
And yet... Here comes Captain Marvel. Again, her powers aren't explained. She doesn't help much until the last 20 minutes, and in those minutes she is seemingly invincible. Because we don't know what can hurt her, the stakes are minimal. It's an invincible woman punching an invincible man and there isn't really an expectation of anything.
But then she gets hit. And someone says "She has backup" or "She has friends" or something similar, and then we see almost every female character from the MCU come behind her to help.
I literally don't care if a superhero is male or female. It doesn't matter. But by forcing scene into the film, it is a reminder that Captain Marvel = Girl Power!!! and it pulled me right out of the film. It was an unnecessary political statement in the midst of a galatic battle. And I hated it.
I'm pro-woman. I'm pro-man. I think both sexes have unique attributes and abilities and features. But trying to say "The women have her back!" was, again, like I felt the directors sitting next to me in the theater, poking me in the ribs, saying "Look at the woke subtext!!!"
It isn't necessary. It is dumb. Let the heroes - all of them - have moments of strength and weakness. Imagine if there was a hero who suddenly called on the name of God and a big cross appeared behind them and the hand of God came down and helped them. That's the kind of heavy-handedness (pun intended) it felt like.
Go see the movie. It's great. But that one bit really soured the end of the movie for me, reminding me that it was a fictional story set in modern times. Why?
Kristy H (1252 KP) rated Good Girls Lie in Books
Mar 19, 2020
The Goode School is an elite prep school in Marchburg, Virginia. Each class contains only fifty girls, hand-picked by Dean Westhaven herself. The school has been in the Dean's family for generations. The girls all go on to college--mostly the Ivies--and are the daughters of the rich and elite. Goode is filled with traditions, rumors, haunted tunnels and arboretums, and secret societies. Coming to Goode from England this year is Ash Carr, now Ash Carlisle. Ash's wealthy parents are dead and Goode gives her a chance to start over without the notoriety that follows in her home country. But soon, a student is dead at Goode. She apparently had a secret--and she isn't the only one.
I am a total sucker for a good boarding school mystery. Add in the fact that this one is set basically in my backyard, the Blue Ridge mountains of Virginia, and it's written by one of my favorite authors, J.T. Ellison: I'm all in. GOOD GIRLS LIE didn't disappoint. This was a captivating thriller that kept me frantically flipping the pages of my Kindle. I didn't know who to believe, what to believe, or what on earth was going on. And I loved it.
The book opens up with a death--a body is found hanging on the school's gates. From there, the story backs up, and you are left guessing, wondering if Ash is a reliable narrator or not. For a story that features teenage girls, it's surprisingly adult and dark.
"Of course, there are a few people who know exactly who is hanging from the school's gates. Know who, and know why. But they will never tell."
This is a mystery filled with juicy backstories and gossip. The town of Marchburg has a storied past, and I found myself caught up in all of it. The Dean and her mother--twisted past. An old incident at the school--twisted past. Ash and her family--twisted past. Do you see a pattern emerging? Around every corner, a new dramatic turn emerges. If you like your thrillers with lots of drama and surprises, you'll enjoy this book. It's different, dark and twisty, and quite good. 4.5 stars.
I am a total sucker for a good boarding school mystery. Add in the fact that this one is set basically in my backyard, the Blue Ridge mountains of Virginia, and it's written by one of my favorite authors, J.T. Ellison: I'm all in. GOOD GIRLS LIE didn't disappoint. This was a captivating thriller that kept me frantically flipping the pages of my Kindle. I didn't know who to believe, what to believe, or what on earth was going on. And I loved it.
The book opens up with a death--a body is found hanging on the school's gates. From there, the story backs up, and you are left guessing, wondering if Ash is a reliable narrator or not. For a story that features teenage girls, it's surprisingly adult and dark.
"Of course, there are a few people who know exactly who is hanging from the school's gates. Know who, and know why. But they will never tell."
This is a mystery filled with juicy backstories and gossip. The town of Marchburg has a storied past, and I found myself caught up in all of it. The Dean and her mother--twisted past. An old incident at the school--twisted past. Ash and her family--twisted past. Do you see a pattern emerging? Around every corner, a new dramatic turn emerges. If you like your thrillers with lots of drama and surprises, you'll enjoy this book. It's different, dark and twisty, and quite good. 4.5 stars.
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Melanie Caldicott (6 KP) rated The Beauty of Your Face in Books
Apr 29, 2021
You can also read my review at my blog - roamingthroughbooks@wordpress.com" rel="nofollow noopener" target="_blank">https://roamingthroughbooks@wordpress.com
The Beauty of Your Face by Sahar Mustafah is a poignantly written story of a Muslim Palestinian family living in America which challenges stereotypes and prejudice through rich characterisation and a moving plotline.
The novel follows the life of Afaf Rahman, beginning at the nail-biting attack of a white extremist at the Muslim high-school of which Afaf is principal. The story then begins to intersperse these dramatic present day events with flashbacks of Afaf’s past, telling us of how an equally devastating event has destructive repercussions upon her family affecting profoundly the woman Afaf has become.
When Afaf was a girl her sister disappears. Each member of the family is impacted by this differently and we see how the different emotions they experience sadly divides the home, leading each of the characters to become more and more isolated in their private, emotional turmoil, unable to share this pain with anyone else.
The emotional level of this book is deep and Mustafah skillfully draws the reader to understand the emotions of each member of the Rahman family, and we become empathetic observers of their descent to a fragmented family torn apart by their grief.
Yet the present day Afaf we meet at the beginning of the book is a strong woman of faith, who appears to be far removed from the young girl of her past. As we journey alongside her we see how her tragic life experiences are not merely deeply painful, but formative and how her Muslim faith becomes the pillar to which she is able to cling and withstand the most horrific of circumstances.
The Beauty of Your Face explores what it means to be a Muslim living in a Western country developing a narrative pursuing themes of assimilation, xenophobia, racism, identity and forgiveness. It is harrowing and shocking at times and does not balk from describing the ugliness of prejudice and racial hatred. Yet, Mustafah ultimately tells a tale of redemption and hope, showing that we can transcend these attitudes and grow instead peace, forgiveness and love.
The Beauty of Your Face by Sahar Mustafah is a poignantly written story of a Muslim Palestinian family living in America which challenges stereotypes and prejudice through rich characterisation and a moving plotline.
The novel follows the life of Afaf Rahman, beginning at the nail-biting attack of a white extremist at the Muslim high-school of which Afaf is principal. The story then begins to intersperse these dramatic present day events with flashbacks of Afaf’s past, telling us of how an equally devastating event has destructive repercussions upon her family affecting profoundly the woman Afaf has become.
When Afaf was a girl her sister disappears. Each member of the family is impacted by this differently and we see how the different emotions they experience sadly divides the home, leading each of the characters to become more and more isolated in their private, emotional turmoil, unable to share this pain with anyone else.
The emotional level of this book is deep and Mustafah skillfully draws the reader to understand the emotions of each member of the Rahman family, and we become empathetic observers of their descent to a fragmented family torn apart by their grief.
Yet the present day Afaf we meet at the beginning of the book is a strong woman of faith, who appears to be far removed from the young girl of her past. As we journey alongside her we see how her tragic life experiences are not merely deeply painful, but formative and how her Muslim faith becomes the pillar to which she is able to cling and withstand the most horrific of circumstances.
The Beauty of Your Face explores what it means to be a Muslim living in a Western country developing a narrative pursuing themes of assimilation, xenophobia, racism, identity and forgiveness. It is harrowing and shocking at times and does not balk from describing the ugliness of prejudice and racial hatred. Yet, Mustafah ultimately tells a tale of redemption and hope, showing that we can transcend these attitudes and grow instead peace, forgiveness and love.
Gareth von Kallenbach (980 KP) rated Coco (2017) in Movies
Jul 11, 2019
PIXAR movies have a formula that expertly combines an adorable hero/heroine with a story that tugs at the heartstrings. There is always a moment or two where you have to reach for tissue or surreptitiously dash a few tears away with your sleeve. With writers and directors from Finding Nemo, the Good Dinosaur, Toy Story 3 and Monsters University, Coco is no exception.
Coco is the colorful tale of a young boy named Miguel who dreams of becoming an accomplished musician like his idol, the late Ernesto de la Cruz, despite his family’s ban on music that has spanned multiple generations
When an opportunity arises for him to prove his talent, Miguel finds himself in desperate need of a guitar. So desperate, that the plan he devises ends up taking him to the colorful Land of the Dead.
In the Land of the Dead, Miguel teams up with Hector, a trickster voiced by Gael Garcia Bernal, who promises to help him meet the great Ernesto de la Cruz, voiced by Benjamin Bratt, and get back to the Land of the Living.
Anthony Gonzalez infuses Miguel with charm and earnest determination which, of course, you can’t help but root for. Bratt brings a perfect blend of suave and smarm to Ernesto while Bernal brings a good dose of mischief to warm-hearted Hector.
Rich with cultural lessons, stunning animation and beautiful music, Coco is simply a delight. I learned a lot about Dia de Los Muertos, the Day of the Dead, which is very similar to my own culture’s observance of All Souls Day and All Saints Day in the Philippines.
Coco’s winsome depiction of what honoring our departed loved ones means is incredibly heartwarming, and honestly if the Land of the Dead is truly how PIXAR imagines it, I hope they are right.
Much like Moana, so much of the family in Coco reminded me of my own that I left the theater emotionally compromised at the end. You will, too, especially if you’re easily touched by sweet songs and tender moments between parents and their children. Coco is a moving lesson about the love of family and believing in yourself and how one can strengthen the other in turns.
Coco is the colorful tale of a young boy named Miguel who dreams of becoming an accomplished musician like his idol, the late Ernesto de la Cruz, despite his family’s ban on music that has spanned multiple generations
When an opportunity arises for him to prove his talent, Miguel finds himself in desperate need of a guitar. So desperate, that the plan he devises ends up taking him to the colorful Land of the Dead.
In the Land of the Dead, Miguel teams up with Hector, a trickster voiced by Gael Garcia Bernal, who promises to help him meet the great Ernesto de la Cruz, voiced by Benjamin Bratt, and get back to the Land of the Living.
Anthony Gonzalez infuses Miguel with charm and earnest determination which, of course, you can’t help but root for. Bratt brings a perfect blend of suave and smarm to Ernesto while Bernal brings a good dose of mischief to warm-hearted Hector.
Rich with cultural lessons, stunning animation and beautiful music, Coco is simply a delight. I learned a lot about Dia de Los Muertos, the Day of the Dead, which is very similar to my own culture’s observance of All Souls Day and All Saints Day in the Philippines.
Coco’s winsome depiction of what honoring our departed loved ones means is incredibly heartwarming, and honestly if the Land of the Dead is truly how PIXAR imagines it, I hope they are right.
Much like Moana, so much of the family in Coco reminded me of my own that I left the theater emotionally compromised at the end. You will, too, especially if you’re easily touched by sweet songs and tender moments between parents and their children. Coco is a moving lesson about the love of family and believing in yourself and how one can strengthen the other in turns.