Can you call a story clichéd if it’s based on a true story? Because Fighting With My Family goes through several well-used tropes (unlikely hero, successful comeback after a lowest moment), but uh – guess it all really happened, so do you judge a story on it?
The family mentioned is a boxing family from Greenwich. All four are in the ring (the fifth is in jail), but the children aim for the gold: becoming a part of WWE. The family expects the son to get it (at least), but it’s the daughter. This causes a rift.
One that will be mended through True Familial Love, after some solo hardships and end with a successful comeback. It’s marketed as a comedy, but I’d say “slice of life”/”coming of age” with both siblings learning what they want and can expect from life. With some laughs, that’s true.
The carriage drew closer to Booksellers’ Row, and Beatrice Clayborn drew in a hopeful breath before she cast her spell.The Midnight Bargain, C.L. Polk, Erewhon Books 2020
Sometimes when you work hard to get a book, and when it disappoints it hits even harder. Like a book (or film) has to deliver for the sole reason of me having invested in attaining it. I even e-mailed the library about this novel (gasp!).
Luckily The Midnight Bargain didn’t disappoint: far from it. I hoped for a Victorian romance with a hint of magic; I got a historical fantasy with a hint of romance.
Beatrice lives in a world where her path leads into only one direction: marriage and motherhood. Even though she’s got magic, women can’t use it and carry children as well – society made the choice for her that she will deny magic. It’s also necessary for financial reasons: her father made bad investments and a connection to a rich family is essential to prevent them from poverty.
But of course: Beatrice doesn’t want this. She wants to hold on to magic and help her family, not be sold like cattle.
Spirits, wonderful, kind heartthrobs and dastardly competition get involved – it’s all too much fun to spell it out. Well done, cute little romance/coming-of-age: you absolutely delighted me.
Aardige superheldenfilm die eens niet aan Marvel of DC Comics is gebonden. Echter niet helemaal origineel – gebaseerd op een roman.
Er is mooi (gemaakt) spektakel met een leuk plotje over superkrachten als drugs en een Eenzame Detective die hier natuurlijk Iets mee te maken heeft.
Daarbovenop is er net genoeg verdieping om niet verveeld te raken maar ook niet in de lach te schieten door alle kronkels, maar vooral fijn: niet eindelijk veel vechtscènes die alleen maar tijd vreten en de kijker duizelig maken.
Dus voor hen die wel graag een beetje super wilt zien, maar op de droge, Franse manier waarop zij science fiction behandelen: dit is een heel aardig filmpje.
Dean hurries past the Phoenix Theatre, dodges a blind man in dark glasses, steps onto Charing Cross road to overtake a slow-moving woman and pram, leaps a grimy puddle and swerves into Denmark Street where he skids on a sheet of black ice.Utopia Avenue, David Mitchell, Sceptre 2020
I really think that David Mitchell is my favourite male author. While Utopia Avenue wasn’t my favourite (“yes, you did your homework when it comes to how music is created, I don’t really care”), it was still a book I spent my nights on opposed to the usual screen time.
It felt like it was a character study. Of people (in the music business) during a certain era in history, but also of the era itself. The USA and England can be compared to Cinderella and one of her siblings: young, fresh and exciting versus jealous drudgery.
Jasper de Zoet (as far as I know the first time Mitchell refers to characters from other novels) delivers the eerie, magical realistic touch to the story. Is he mentally unwell – and if so, in what way? – or is there more between hell and earth? I felt like it both lifted up and brought down the story. Any more would provide spoilers, and of course Mitchell manages to interweave it thusly that anything else wouldn’t have worked.
It’s a book like an opera: if those come with drug abuse, celebrity house parties and detailed descriptions of jam sessions. After having written this, I feel like reading it for a second time. Make of that what you will.
One of those films you miss the theater-run of, slightly forget about until they pop up somewhere and trigger the “Didn’t I want to see this?”-thought. Maybe I should start a To Be Watched list.
The shoplifters don’t just shoplift goods. This is a mild spoiler that won’t make sense until the end of the film. In the beginning of it, it’s just a poor family adopting a neglected toddler. Like in 10 Minutes it is shown that you can create your own family – this one is just built on much less sturdy foundations.
The funny thing is that for a long time little seems wrong with those foundations. Yes, some dodgy things happen and what are the exact relationships between everyone but by golly: at least they try t stay upright in a society that doesn’t even notice that it keeps kicking them down.
I’m also impressed by the acting and the thin balance between sharing and silence – it never gets annoying that we don’t know everything (yet). Except for that one story line; I must have missed the clues here. Or it was simply shoplifted from the story: everything and -one can clearly be.
In the first minute following her death, Tequila Leila’s consciousness began to ebb, slowly and steadily, like a tide receding from the shore. 10 Minutes 38 Seconds in This Strange World, Elif Shafak, Penguin Random House UK 2019
Wow. Meestal schrijf ik Engels-gelezen verhalen ook in het Engels op, maar deze keer (en mogelijk het tijdstip – laat opgebleven om het uit te lezen) voelt de taal ontoereikend. Wat een mooi boek, wat een mooi verhaal terwijl er zoveel lelijke gebeurtenissen zijn. Wat een hoeveeheid liefde: voor de hoofdpersoon, haar zelfgekozen familie en ook de stad Istanbul. Wat een plaatjes, ook van de gruwelijke dingen en nare situaties. Wat een alles.
Tequila Leila is dood. Vermoord. Behalve haar laatste tien minuten mogen we ook haar leven en haar beide families – bloed en liefde – ontmoeten. Een meisje dat opgroeit halverwege de twintigste eeuw in een klein dorpje, bijna in de knop gedingest voor ze kan bloeien, en dan nog Istanbul in. Waar ze leeft, overleeft, geeft. Het zou zonde zijn om meer te vertellen, alleen erover vertellen geeft mij al de neiging om het boek opnieuw te beginnen.
Het is een fragiel sprookje, een mozaïek van een levende stad (ook iets waar ik zo van houd, de stad als personage), een ode aan eigenheid. Bovenal zo mooi, zo goed, zo sprankelend prachtig.
Kinda started this out of boredom, decided to stick with it because it told me a lot about Hollywood (history) I didn’t know yet. And showed a lot of cool stunts (which are usually also very dangerous, shouldn’t be reenacted and there should probably be a conversation about how it’s time to CGI stunts before anything else).
It’s the untold story, but at the same time and all too familiar one: women aren’t as appreciated in their job as men (in the same function).
Starting out, it was more women than men doing stunts. Then it turned out that money was to be made, and men came in in droves. Women have to be a carbon copy of the actress they replace: men are done after putting on a wig. Men are hired for every job (background victims, for example) with little experience, women didn’t because they “didn’t fit the bill completely” or “I don’t like to see women shot” – director’s quote.
Yet they – as in any other job – persevere(d). Sometimes by doing the too dangerous job (an interviewed stuntwoman broke her back twice), but they have so much passion for what they do that it’s hard to stay away.
Inspirational and motivational – both about standing your ground in the work place and I really want to pick up all kinds of martial arts, boxing and trampoline jumping right now.
I lie in bed listening for the shuffle of my father’s slippers.Parachutes, Kelly Yang, Katherine Tegen Books 2020
Just to showcase that the element of immigration and immigrant characters can create very different stories (of course). Because this time there’s more Filipino characters (but they’re not the immigrants), but the real immigrants (although temporarily) are the so called parachutes: Asian teenagers that are dropped at prestigious American high schools so they can get an international diploma.
That was a lot of brackets used.
This is a good YA novel. It’s clearly written for a teen audience, (yet) manages to discuss subjects teenagers may experience yet know little about – sexual assault and rape, in this case. There’s even a warning about it in the front of the book, which caused me to kind-of-nervously count down to when things would happen.
That doesn’t mean that Parachutes is an after-school-special disguised as a novel: it’s the troubles of high school life, worrying about fitting in, crushes and clamouring to be older/out of there. Besides that there’s a class difference: Dani is a daughter of a single mum, working alongside her and on a scholarship, while Claire is a parachute who gets an unlimited credit card in her luggage to make sure that “she’s safe in the USA”. You read along with both of their stories.
All written super smoothly, making Parachutes a novel to stay up late for, wonder how the characters will develop further and gush about it online.
And then there’s the last rose (although I could go looking for what other flowery shows and films Netflix has to offer, of course).
Another protagonist who wants more (music-related things) from life as well. This time she isn’t tried down by kids, but by an immigrant mother. We’re still doing country as a soundtrack, though.
Real life throws an ugly wrench in those dreams, underlining that dreaming big is harder in unwelcome surroundings (think about aliens and borders).
This rose is a bit sleeker than the previous one (maybe an UK/US difference?) but still shows that American films can be contained and without any sentimental circus to pull at your heart strings. There’s enough drama without, after all.
Poor Rosario just wants to sing and make music, and the way Eva Noblezada plays it you wish her the world. A lovely conclusion to my rose-trilogy.
10 x 50 min.
I’ve talked before about how I like (some parts of) French cinema, but I’ve got little experience with French television. But I’ve yet to find something Omar Sy does that I don’t care about so yes, sure – I’ll watch a show based on a French gentleman thief.
The series aren’t about Arsène Lupin (the gentleman thief), they’re about Assane Diop who uses his stories as inspiration and motivation to set a wrong from the past right. But as we’re in the twenty-first century now, things go a little bit differently.
And Lupin didn’t have an ex and a child – as far as I know, or the series tell us.
It’s a fun, smooth, charming caper that sometimes even gets some comments on society in: because why is the black man in a suit more suspect than the black man in a cleaner’s overall?
It also made me want to visit all kind of spots all over France; not something that’s usually on my mind. A third part is already in the making and even though Diop can’t take on the entirety of French corruption, I’ll watch him try for at least two more parts.