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’.
Girl One, Sarah Flannery Murphy, Farrar, Straus & Giroux 2021
Standard detective with an element that’s supposed to make it cool and original but really doesn’t – instead turning the whole thing into a slog to get through.
Girl One is one of the girls that have been created without any male influence – aka no sperm. This tidbit is mostly mentioned through how society looked at them, not adding any cool scifi-ish bits until the last part of the book. Before that, Girl One (Josephine) is looking for her mum. They don’t have a great relationship, but there’s a deserted looking home and she ~feels~ like she has to.
With the meeting of the other girls created the same way her mother’s disappearance seems to turn into something bigger, but details are fed so slowly and unclear that it’s just.. why should I bother?
The story ends with a Life-Changing disappointment for the protagonist. I mentally signed out long before that.
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.
Angelica was hurrying toward the crowded crosswalk, determined to get back to her elderly client Sayoko-san before the deliveryman arrived, when the view of buildings and business suits in front of her dissolved.
Plum Rains, Andromeda Romano-Lax, Soho Press 2018
Probably already this year’s winner for coolest author name, no matter if it’s her own or a pen name.
I judged this book by its cover, its title and its author name and it — didn’t necessary end badly. I don’t know if I’d recommend this, though.
At first, the story seems original. The blurb says it’s about a Philippine caretaker in Japan in the nearby future, she worries about being replaced by robots and we’re promised different moves through time across the globe.
But the women suffer. Not just regularly day to day suffering, but – without wanting to spoil – in the way women do. There’s a tiny bit of room for creating a world in which we’ll all be replaced by AI, but the rest of it is about suffering.
And I know that those stories need to be shared as well, especially with the Western audience, but I would have loved a science fiction story in which the (Asian) women aren’t just victim, caretaker, responsible and tired.
So, if you want to read it (because Japanese history, insight in life on the Philippines), you might still enjoy it if you focus on that. If you’re looking for science fiction, expect a dystopian one.
Well, this was much more fun and smarter than expected (I feel like I open a lot of posts with that sentence). The summary didn’t particularly help in telling me what to expect – it skipped on the entire science fiction-element – making me think that the main character was going to do the administration for some kind of mob boss.
Nay, she does so for a super villain, and she’s good at it. Because there’s plenty of math and paper work to be done in a world where superheroes don’t mind collateral damage, human or otherwise.
Shenanigans (violent and otherwise) follow while our protagonist has insights about what’s good, what’s evil and how power should come with responsibility but those in power often neglect that tidbit. It’s also just silly fun about life as a henchperson. I was slightly worried about the ending because both possible routes felt unsatisfactorily, but Walschots pulled that off nicely as well. I love it when it story comes together as neatly as this one.
I wrote ‘Hailee Steinfeld surprised me again’ in a review, fully believing that I had already reviewed this film and therefore could connect to it. Reader, I didn’t. Maybe because I was too surprised about liking a Transformers-film? I can hear my brothers sneering that “robots aren’t so dumb after all, eh?”. Anyway, this is a review for the film Bumblebee.
I can still remember the director of this mentioning how this would be an origins-film with heart, similar to The Iron Giant. I can remember because I scoffed at that, loudly. After Michael Bay’s nonsense with endless fight scenes, explosions and jokes about primary and secondary sexual body parts, the bar was below the floor. Try not to have your Transformer sound like a black rapper-cliché first before saying such things, director (they’re two different people, Michael wasn’t involved in this one). Not pestered by nostalgia, I was ready to watch this film with half an eye and still complain the entire way (I’m sure sometimes we pick films/series that can be followed with just half of our interest).
Except for the first couple of minutes, there’s very few robots in this, and because of certain reasons the main one can’t even talk. That’s one point in their favour. Next is – I will absolutely admit it – the fact that Bumblebee is quite adorable and main character Charlie (Steinfeld) really plays well off him. There’s so many charming moments that this could be called a “boy and his dog”-film, instead of it being Actiony Adventure (capitals essential). Bumblebee (not his first name, by the way) is on the run, Charlie is feeling alone and misunderstood, of course they find each other.
Another plus in my book is that there’s room for development of their relationship. Not just a five minute montage to quickly move on to fighting robots and exploding buildings – we get a glimpse at Charlie’s motivations and what’s going on with Bumblebee. Wow.
The run length completes my compliment-trifecta (not going to read back to see if I have three compliments): yes, it’s almost two hours, but you don’t notice because aforementioned room for development. I would have zoned out by number three of six action scenes in a row, but now I didn’t even want to pause for a bathroom break. This film had me.
And yes, just like The Iron Giant, it also made me cry at the end.
Conservation of Shadows, Yoon Ha Lee, Prime Books 2020
Now that’s what I call fantasy. Or scifi. Maybe both. Either way, there is fantasy and there is science (fiction) and it’s mind boggling, eerie and beautiful (not just for linguistic and/or math enthusiasts either). Eat that, tropes.
Conservation of Shadows is a collection of (short) stories previously published by the author. It’s about colonialism, wars, music, writing, reincarnation or maybe only death.
Especially the first five – six stories tickled my imagination, but even when you get used to Lee’s style and subject choice the originality stays with you.
My only complaints are that some stories deserve entire novels and that – for an e-book – it’s almost too much, too dense. Experience this relic from a future time through paper, I’d advice.
Now, what to think and say about this one? Unlike The Body in Question, I’m struggling because I’m thinking too much about this story. It’s bewildering, it’s scary, it’s also kind of soothing with showing you how humans and their ideas about identity, life and death have always been around and probably forever will be (in whatever shape).
This isn’t a retelling of Frankenstein, or maybe partly, or maybe only inspired by it. Mary Shelley gets a plot, so does Ry and Victor Stein. There’s layers and century-deep connections, but never in a Gotcha!-way.
Winterson surprised me with a memoir I liked (which doesn’t happen often, as recently mentioned), but I didn’t know what to expect with a novel of hers. After Frankissstein, I still don’t. I find it hard to believe that she could write something like this again, if it’s even a ‘this’.
I’d recommend this novel to everyone who allows themselves to be taken along for a ride. I’d also recommend it because I still don’t know how to place this story and would love to pick other people’s brains. While still in their heads, of course.
Frankissstein, Jeanette Winterson, Jonathan Cape London 2019
In the late spring of 1995, just a few weeks after I’d turned twenty-eight, I got a letter from my friend Madison Roberts.
I don’t mind unlikable protagonists, but in this case I very much wondered if the dislike was from knowing that a male author was writing a female character, that this female character just was too spineless, or that I just can’t handle aggressive passivity. Maybe all of the above. This, combined with the shortness of this novel, made my final amount of stars (the ones I don’t use) end up much lower than I expected when I read the summary of Nothing to See Here.
What is that summary, you ask? Well – screw up is asked to nanny two children that start burning at random moments. Bodies turning into flames without the kids hurting in any way. She is asked this by an old acquaintance she herself calls a friend and it all has to be on the down-low because the children are a politician’s.
This could have turned into scientific sci-fi, something with (a whiff off) magic realism or have this fire turn into something metaphorical, and make the entire story a commentary on class and the gap between haves and have-nots. Instead, there’s just ..situations. If Kevin Wilson solely wanted to communicate how sabotaging poverty and being directionless is, he succeeded. If he wanted me curious about his characters and the world they move around in – not so much.