I don’t really know what this movie wanted to be. Is it about Lisbeth and how trauma makes for dysfunctional people? A hacker thriller? Family saga? Complaint about evil authorities? Because it might have been all of that, but the movie as it was, didn’t even manage to dip below the surface of any of it.
This is my first Lisbeth Salander-experience, so I can’t say how it works in comparison with the books or the other movies. I know a bit about the character, but only saw the flaws people have written about. She’s one-dimensional, and even when emotions are finally shown, it’s the soundtrack and close ups that show the importance of it. And why is she half naked so much?
This time a job of hers goes wrong, making her hunted by authorities and hardened criminals and maybe also by someone from her past as well. Lisbeth only seems to work with men, and except for ‘the American’ they’re all white as well. Will her name be cleared and the criminals get what they deserve? Will we care?
If Sony wanted to use this as an introduction, there should have been more introductions. If they want to James Bond this thing (who cares who plays Lisbeth), they should have trusted the character and not add extra fibs to round her out (and fail).
It’s just not all that, and a bit too long as well.
The Girl in the Spider’s Web, Sony 2018
The first time Caesar approached Cora about running north, she said no.
Watching the series Underground, The Knick and than reading this book, gives you a triangle of black American history. If you’re not a complete dunce, you can recognise that these three are slavery-related, because that’s a large part of black American history. And as I often ask myself with books about ugly subjects; why should you read it? Don’t we know already?
This time the underground railroad to the saver surroundings up north is really an underground railroad, but that doesn’t make an escape easier. Main character Cora is followed through different states and escapes, and even when it looks safe, it doesn’t mean it is. Sometimes the violence against black people is written down so detached, it’s easy to believe all the slavery-wasn’t-horrible stories some people still try to taut. Only for this author to proof them wrong, again and again. This book isn’t just about the violence, it’s about the impact on human lives.
The railroad gives it a slightly fantastical shade, but an escape is an escape, whatever way used. Sometimes the author veers off a little in style, rails to a dead end, but Cora’s story needs to be seen through.
And if people know already, even about South Carolina, even about the mass sterilisations, maybe they can just pass this story on for those that don’t.
The Underground Railroad, Colson Whitehead, Doubleday 2016
Wat is het toch met films die niet weten wanneer ze moeten stoppen? Bad Times at The El Royale is heel lang vermakelijk (op een vervreemdende en absurde manier, verwacht geen haha-comedy), maar dan blijven scènes naar het einde toe ineens maar duren en duren. Zet die schaar er toch eens in.
Een hotel in de jaren zestig met wat vreemde trekjes en nog vreemdere gasten. Klinkt als horror en is het ook een klein beetje, maar doordat elke gast zijn/haar moment krijgt, is het te fragmentarisch om echt spanning op te bouwen. En wanneer de slechterik er is, duurt het dus allemaal net iets te lang (zie vorige alinea).
Had de film iets meer verschoven naar de achtergrond van het hotel dan naar de kartonnen slechterik die te weinig verbinding heeft met de andere gasten. Gaat dit over de onschuldigen die hoe dan ook gewond zullen raken? Hoe ziek de wereld is? Of was er helemaal geen les, en alleen de six pack van Chris Hemsworth?
Bad Times at The El Royale, Twentieth Century Fox 2018
When people ask me what I do–taxi drivers, hairdressers–I tell them I work in an office.
Seems like my streak of entertaining and enthralling reads is still going on. Hurray for making the right decisions!
Some people told me that this was a romance, making me frown a bit when getting to know Eleanor Oliphant. First of all, she isn’t in the right state of mind for a romance, secondly, a romance with whom? Do women always need a romantic relationship to show personal growth?
Luckily those people were wrong, Eleanor shows growth because she has to and wants to, and -gasp- is allowed a relationship with a man that isn’t a romantic one. Apologies, that’s a mild spoiler.
As I say so often: if this would have been written by a male author, and the protagonist male, it might have been viewed as Deep and slice-of-life instead of the quick rejection of calling it chicklit because it involves women living life. Eleanor Oliphant showcases character building, motivations and lessons learned without any of it being obnoxious. While being funny from time to time as well.
Eleanor Oliphant is Completely Fine, Gail Honeyman, Viking 2017
Amber Patterson was tired of being invisible.
This was insanely fun, until it got serious, and then luckily got fun again. A story like a roller-coaster, no matter how big a cliche that is. It’s fast, gets a bit scary/ugly at some times, and gives you no break from it.
It starts out with Amber, who’s planning to take a rich woman’s husband and with that, a woman’s life. Take over, there’s no need for murder, although Amber definitely has some murderous thoughts from time to time. She feels grossly neglected by faith and luck and life, so honestly – shouldn’t she grab whatever she can?
Then there’s Daphne Parrish, the delicate rose whom refuses to recognise how good she’s got it, no matter how often she says she does. It’s easy to view Amber as a bit of an angry Robin Hood, but the Constantine sisters (the author exists out of a duo) flip that around, having the reader end up in the ugly part.
And all this with such a tempo that it feels like the story is being poured straight into your brain. I honestly can’t remember downsides to it; it just leaves you with such a ‘FUCK YEAH’ feeling that blemishes are blown away.
The Last Mrs. Parrish, Liv Constantine, Harper Collins 2017