20 x 25 min.
Very American, but short and charming enough to ignore that most of the time. Jules is the dollface who realises when her relationship ends (without her agreement) that she’s been neglecting all of her female friends. Her way back to them is a large part of the show. The rest of it is about life as a twenty-something, finding your way, feminism, sexuality, goals — a friendlier and less brazen Sex and the City.
What was cute in the first season – Jules has a fairy godmother in the shape of a snarky cat lady (literally a woman with a cat head), sees visions of all the ways in which she is a bad female friend – sometimes goes on for too long in the second season. In the second season her friends get a bit more room for development, and it definitely shows that Jules ..doesn’t have much of that.
Maybe the third season, which I’m sure will happen because Americans can just never leave a (good) thing alone.
When I was a kid, my mom constantly invented games.The Inheritance Games, Jennifer Lynn Barnes, Little Brown and Company 2020
Two things YA novels could easily do without: the first person POV and the endless need to add (implied) heterosexual romantic relationships to it.
The Inheritance Games is the first book of a trilogy (possibly, who knows how long Barnes will make this last?) which uses the Knives Out story and gives it to a teen. Avery inherits a lot of money from an unknown billionaire, but why?? And why are there so many male grandchildren??
Anyway, except for some plot holes due to sloppy writing, and the aforementioned unnecessary heterosexual activities, it’s all quite entertaining. When I know how many books she’ll get out of this idea, I’ll read the last one for the clue so I can satisfy the smidge of curiosity that obvious cliffhanger left me with.
It’s not the killing, that’s not the thing.The Anomaly, Hervé le Tellier, Other Press 2021
I was promised an intelligent thriller, but hm-meh. This was definitely a very basic science-fiction story that tried to elevate it through some (faux) philosophy. Which is allowed, but don’t blow it up like this.
The thing is: a plane lands in March after experience extreme weather. The exact same plane, with the exact same people on it experiencing the exact same thing lands in June. With the flyers thinking it’s still March. Where were they? And how come there’s now two of them?
It’s surprising how quickly and effectively the American government decide on what’s going on and act upon it. It also takes away from the story: the flyers get some room to react to the situation, but there’s a lack of urgency that makes this story horror or social commentary. What do we need to take away from this; look at your surroundings, do you trust them? Never to late to start over?
Maybe I just don’t understand all the layers, but for now I’m sticking to ‘meh’.
Ever since my mom died, I cry in H Mart.Crying in H Mart, Michelle Zauner, Borza 2021
Another memoir, and I didn’t even consciously make that decision. This title buzzed around online accompanied by sentiments like “so good. Cried so hard.” and who wouldn’t view that as a recommendation?
In Crying in H Mart, Michelle’s mother dies. Her mother being Korean, Michelle being Korean-American and their time together having been.. all over the emotional wheel add layers to that ordinary story.
Not to sound glib, of course. We all die. But Chongmi does so at a too young age and suffering terribly. How can you give yourself room to say goodbye when you’re just taking care(/attempting to) full time?
Yes, there’s crying. Zauner doesn’t have things dawn on her; they crash on her. Hope, delusion and fight: none work. As the reader you take every hit to prove you’re wrong: there is no escaping that first sentence.
But this book is more than a memorial. It’s the memoir of an American family with Korean roots, a love for Korean food (those descriptions, get me those meals!), and a very honest look at what family does to and for you.
All that, and more than 50% shorter than the previous memoir read.
“Sana, chotto… hanashi ga arun-ya-kedo.”It’s Not Like It’s a Secret, Misa Sugiura, Harper Collins 2017
It warms y heart to see YA that 1. doesn’t involve inappropriate relationships; 2. doesn’t have damaging ideas about body, romance and society; and 3. has queer protagonists. And it seems to happen more often!
Sana isn’t sure about her sexuality yet, and her life gives her plenty of reason to be distracted: a state-swapping move, her father possibly having an affair and her Japanese mother rejecting everything that would make both of their lives easier.
Her problems are not necessarily teen-related: it’s to Misa Sugiura’s merit that she doesn’t make them bigger or smaller because of the protagonist’s age. And yes, there are oh-my-god-teenagers moments, but the author sells those well as well. Honestly, this is a YA novel that deserves the blurbs and attention.
Well, the sun was shining.Leave the World Behind, Rumaan Alam, Bloomsbury 2020
I don’t scare easily, but am still a little bit rattled because of this one. While the blurb about this being on the level of Ishiguro’s Never Let Me Go made me not expect to: I’m not fond of or impressed by the man’s writing.
But Rumaan Alam, okay. Idyllic family holiday in the middle of nowhere that gets disturbed by two strangers and only gets much stranger to completely unwind from that point on. In the falling apart way, not the relaxing way.
With all that delicious build-up, surely it can only disappoint? Reader, not this time.
That also makes for a short post: I don’t want to tell you more and risk the pleasure of that unheimlich feeling of disaster happening. If you love that feeling: Leave the World Behind is right there for you.
The Boston Convention Center has good security, but it doesn’t have missile launchers, which means it would have a pretty tough time defending itself against Evie Odom. Be Dazzled, Ryan la Sala, Source Books 2021
I know a story – and definitely a YA one – needs a clear villain, but Be Dazzled picking the protagonist’s mother without ever even mentioning his father somehow didn’t sat right with me.
It’s the one bother in this cute story about a neurotic, talented cosplayer that has to take his ex on in a cosplaying con competition. Of course the adorable, in the closet cool guy ended things terribly and our protagonist will never love (him) again. It’s YA, after all.
With such a title anything but an overload of glitter and loving descriptions of outfits and designs would fall short, but La Sala delivers. It outbalances the negative and circling thoughts of Raffy about himself and everything he does.
If I enjoyed it, the target audience might really run with this. I hope they do.
I didn’t know this was based on a novel. Anyway, I feel like this is viewed as a bit of a Classic and I finally watched it for the first time. Everyone is still such a baby, which is always fun to experience — although Dustin Hoffman looks quite a bit older than Meryl Streep, but maybe that’s part of the story.
Yes, it’s not very neatly done – how Streep’s character disappears and leaves behind husband and son because she can’t handle it anymore. But I’m sure that it was received with a much better shock because of a woman leaving WHAT SHE WAS PUT ON EARTH FOR than because of a woman leaving because she had to pick herself to survive.
But – to me – it’s mostly about how every relationship falls apart in different ways. These two aren’t a good fit; not anymore. How to keep things together for their child, though?
In Hope Gap it’s the child that doesn’t necessary needs his parents to stay together; he just wants the break to be clean. He’s a grown up with his own life but is used as a communicator and manipulator between his leaving father and stunned mother. The three actors clearly have room to act their pants off, but that’s all this film is: a demonstration of acting (and Acting, sometimes). Of course, with every film you can wonder if it was necessary to be made, but with Hope Gap it’s a loud wondering. With it being based on a play, that somehow makes it feel even less essential.
And the winner of overacting this Film-a-Month-Project goes to… this Netflix gem! I know, I know, easy pickings to go for the Netflix romcom, like I should expect award-worthy material but dear reader: the overacting was A Lot. For a majority of the time. I don’t give out these prizes easily.
Anyway, all this acting excellence happens because the main character – played by Christina Milian – becomes a resort singer and discovers that her next assignment at the resort is to sing at the wedding of the ex that ghosted her. While being engaged. You’d throw around your arms and your volume for lesser things.
And it’s not just her that’s doing it. Honestly, except for the love-interest, everyone seems to be in on the fun and good for them. I would rather have more of that than another excuse to get Milian to sing another song to show she can.
Talking about lost potential.. here’s a prime example. We have snappy, chrome/neon looks, youths that can be considered attractive and vampires – a genre that never needs much to still deliver.
So to not do that could be called impressive. Almost everything that can go wrong, goes wrong. Bad acting? Could be saved with okay plot. Corny, cringe-worthy dialogue? Could be accepted with some smooth (action) scenes. But in the story of a cab-driver driving around vampires on a rampage it’s error on error. Bad decisions are made without any back up to make it slightly believable. Plot motivations are thin. Acting is bored or over-done. It’s vampires! Any kind of nonsense lore would have sold this film!
But no. It seems like they went for a music video with a bit of blood and fangs and forgot about the rest – ending with a whole lot of nothing.