Depending on when you read this: just in time for Mother’s Day. It’s very loosely tied around that day: mothers feel neglected by their sons because of a lack of Mother’s Day attention and therefore decide to go find them. The so-called hijinks follow.
With one of the mothers mentioned being played by Angela Bassett the game is immediately upped: when’s the last time her presence pulled a project down? So okay, Patricia Arquette is here to play a young Frankie-rip off and Felicity Huffman still thought she could buy universities, but they’ve got Angela Bassett.
With such a title and these actresses involved it of course isn’t about the sons in this story, but they do manage to keep up.
New York city gets to be the city where it all happens and everyone has room for personal development – including the small-town-mums who I guess stayed at home for so long that they need a city to remember that they’re individuals whom had been young once.
You could just watch this for the make-over Angela Bassett gets, but it might leave you with some appreciation for both your mother and your personal space as well.
Otherhood, Netflix 2019
When you first critique lands about ten minutes in, it’s hard to not view a film without bias. Why is everyone involved white, even the people in the ‘old-timey’ videos the main character views?
Then there’s the non-nuanced use of the soundtrack. A good soundtrack builds upon the scene, sharpens the emotions you are already feeling. In this case we got THINGS ARE SCARY pressed upon you while things weren’t all that scary. Or emotional. And lights flickering with no reason don’t mean that we’re worried either, just that we want an explanation about wiring suddenly being faulty when we’re looking for someone.
Is there anything nice to be said about this film? Not really – maybe that with small tweaks it could at least be a commentary on sovereign AI and its relationship with humanity, but that’s been done before – and better – as well. Even the explanation of the things happening is extremely unclear – did I nod off somewhere along the almost two hour ride?
So all in all, it’s just not much of anything. If someone’s mid-parting is the thing I’m irked about most, it doesn’t say any good about the plot. You can’t replace it with music bits either, nor flickering lights.
Good thing about all this is that at least it’s an utterly disbelieving dystopia: more sensible humans would have given up before any AI could get involved.
I Am Mother, Netflix 2019
We have no photographs of our early days, Danny and I.
Right up my alley, this one. Family secrets, a tinge of the supernatural and people using lipstick to write on mirrors.
After a death in the family, Seraphine discovers a photograph that makes her doubt her family history. She’s always felt different (isn’t that how it always starts?), and now feels like she can finally turn that feeling into something solid.
Good thing she still lives in her family home and plenty of hints are quite easily found. Is it witches, fairies, or just the cute little villagers that had always enjoyed a good gossip about the weirdos in Summerbourne house?
We are strung along just a tad too long, but the decorations along the way are fun enough to not be very disgruntled about it. In less than 300 pages Emma Rous sets up an entertaining tent with solid poles keeping up a well-set story. If there would have been more room for the supernatural, I would have given it an extra star.
The Au Pair, Emma Rous, Penguin Random House 2018
People wishing to time travel go to Houston Intercontinental Airport.
Is dystopia less scary to me when it happens in the past? For someone that doesn’t like dystopian stories, this is the second one I read in two months.
This time it’s an epidemic and time travel that gets us where we end up; although – we end up in the past. The protagonist is sent into the future from the eighties, and ends up in 1998. Oof, isn’t that an awful long time ago?
Of course, because that’s how it goes, things go quite awry, and Polly has to adjust not just to a new time, but to new surroundings and societal rules. This being a dystopian story – things didn’t improve.
The twist of this story – it masquerading as a love and time travel story, while it really isn’t – is also the most appealing feature of it. Besides that it’s too muted, lamenting and passive to feel anything but a tinge of relief of having finished this.
An Ocean of Minutes, Thea Lim, Penguin Random House 2018
Toby Fleishman awoke one morning inside the city he’d lived in all his adult life and which was suddenly somehow now crawling with women who wanted him.
Good gravy, there is a lot going on here. One of those stories that pulls the rug under your feet and even while it happens, you are a bit disbelieving of the fact. I don’t even know if I liked this.
I am still thinking about it, though. About the people involved, and how important it is to have the right angle on any subject.
Which Fleishman is in trouble? Toby Fleishman is the main character – at least for a very long time. He’s divorcing his wife Rachel, and the narrator follows him in every part of his life (neatly compartmentalised): at work, as a father, as a(n almost) single man. It’s that last part that could well get on your nerves quite fast: Toby describes in detail how he feels like a kid in the candy store; the candy here being women of every shape, size and age.
But is this a story about a man’s middle life crisis, or a lament for the softer kind of man that chose children over endless riches and career promotions, and who managed to end up with a woman that did the complete opposite?
You can’t say too much about Fleishman is in Trouble without showing too much of the story, nor do I exactly know how to put its appeal into words. Maybe it’s disaster-tourism: maybe the unpleasant surprise of bad judgement.
Fleishman is in Trouble, Taffy Brodesser-Akner, Penguin Random House 2019
Tapton School, Sheffield, 2007
‘You loved me – then what right had you to leave me?
Ah, delicious by-the-numbers contemporary romance with just a few reminders of real life to not make it saccharine sweet. My kind of romance.
Boy meets girl, they fall in love, it’s the end of high school – fade out. Man meets woman, claims he absolutely can not remember her, even though she recognises him straight away. What’s going on? What happened during the fade out? And why is her mother less-than-supportive about pretty much everything she does?
Don’t You Forget About Me hits all the spots in chronological order, has the fun friends/side kicks (pleasantly fleshed out, that doesn’t always happen), and a few laugh-out-loud laughs.
Main Georgina sells it, though. Her frustrations, fears and self-doubt never get navelgazy or woe-is-me, but are (too) recognisable. She’s for the single women in their thirties, with the shitty job and the feeling of being without direction but unable to find the compass either.
I read McFarlane’s Who’s That Girl? before, and think I can conclude that for fun, romantic, quick-to-read time this author is a good fit.
Don’t You Forget About Me, Mhairi McFarlane, HarperCollins 2019
Night fell as death rode into the Great Library of Summershall.
I’m sure Margaret Rogerson hadn’t planned on setting such a dramatic scene with just the first sentence. It’d have been Death or DEATH otherwise, of course. Anyway, let’s not go off on a tangent.
I wanted some easy, accessible fantasy and Sorcery of Thorns didn’t disappoint. It even looks to be a stand-alone! And even though it’s YA pretty by the book (unlikely hero who’s Different, a dark and mysterious love interest, a funny sidekick), it doesn’t become a bother. The story doesn’t take itself too seriously, the tempo is high and there’s plenty of twists and turns to keep you entertained.
Elisabeth Scrivener (I know) was left as a baby at one of the Great Libraries and grew up in one. Books are magical creatures, but those that manage those powers are kind of feared and frowned upon. So of course, she ends up with a sorcerer after an accident, and magic becomes a large part of her life.
The clear love of books gets Sorcery of Thorns an extra star: if it wouldn’t have been so dangerous, I would have loved to have a look around in its libraries.
Sorcery of Thorns, Margaret Rogerson, Margaret K. McElderry Books 2019
It was the first day of my humiliation.
I’ve read some Zadie Smith before and I think I can repeat a previously used sentiment: Zadie Smith doesn’t write plots, she creates characters. Although this time, in Swing Time there definitely might be some plot-like features to be found.
There’s the growing up of a mixed girl in eighties England on the (edge of the) estate, her sort-of friendship with an equal in skin colour but very different in background and surroundings and their shared passion of dancing.
There’s the woman who’s an assistant of a world-famous pop-star who gets entangled in the lives of West-African villagers (maybe Gambian) in an attempt of charity work.
And then there’s the woman who can’t seem to do right by the dreams and ambitions of her mother, who in turn decides to pursue them herself.
It’s all the same woman, so you might get what I mean. It’s a slice of life but life is firmly on the background, even when the protagonist (unnamed) interacts with it and the people part of it. It’s all very much in her head, even when, or maybe especially when you would appreciate a bird’s eye view.
But the title is ever so fitting, the story providing a certain kind of rhythm that makes the book easy to pick up and stick to.
Swing Time, Zadie Smith, Hamish Hamilton 2016
Red flowers were blooming in the front yard, but Nanase had no idea what they were: the names of the flowers did not interest her.
Well, the summary of this novel is going to be short and clear. Young Japanese woman is telepathic and listens in on the households in which she does maid-work. Any questions?
Nanase doesn’t really manage to hold on to a job for long, which could be quite understandable when you can hear everyone’s thoughts. It turns the novel into a collection of short stories: ever so often a new household. It also makes it quite repetitive: everyone only seems to think about status, money and sex.
So, yes, maybe that’s all what people think about when they think no-one else can hear them, but couldn’t there have been some kind of addition to prevent feeling like you’ve read this already the previous chapter? Sadly not. There’s no descriptions of surroundings and Nanase herself doesn’t seem to spend too much thought on herself and her future. It sadly turns The Maid into a creative writing exercise that went on for too long.
The Maid, Yasutaka Tsutsui, Alma Books 2010
In no way does this film show that the origin is a (comic) book, at least not the kind you might expect from DC (Batman and his ilk). This is ‘just’ a movie about the Irish mob in New York’s Hell Kitchen at the end of the seventies.
Three wives-of-mobsters are left hanging high and dry when their husbands are caught and imprisoned. The family doesn’t take as much care of them as expected either, so they decide to take matters in their own hands. And matters in this case are making money in less legal ways.
Not so surprisingly, this goes well, even better than the men that had started it. Other people, of course, are less than pleased by this, and some thing close to a hunt happens. So do dead bodies, but somehow The Kitchen never manages to add a sense of worry or urgency to all this. It all floats along; well-looking surroundings, okay soundtrack, okay dialogue. Any excitement? Not really. Why do I need to keep watching this movie, no matter how hard Melissa McCarthy is trying? Unsure, really. It’s all just there.
The Kitchen, DC Vertigo 2019