Ivy Lin was a thief but you would never knew it to look at her.White Ivy, Susie Yang, Simon & Schuster 2020
White Ivy is all over the place. As the summary and blurbs say it’s coming of age, a (second generation) migrant story, but Ivy manages to elevate (and worsen) all of it.
Because Ivy doesn’t fit into any mold. Maybe she doesn’t even have one. It’s maddening how she sabotages and destroys, but looking at her experiences and upbringing… maybe not that strange. Because how do you handle being left in a country only to meet your parents again after several years? Being the only Asian-Canadian in white surroundings? Having a violent tiger-mother and (mentally-)absent father? Lesser people would have gotten some trauma from that.
Again, sometimes you’re talking to Ivy to just unclench for once, give herself something, let go of all she’s carrying. Please, to give the reader some air to breathe as well.
I won’t share if she does, but it’s been a while since I’ve so rooted for and so disliked one and the same fictional character.
Can I still call it contemporary when the film is fourteen years old – anyway it’s “story is based in the same time it’s been filmed”. Not changing the tag, that’s way too long.
They don’t make films like these anymore: wholesome without looking and feeling plastic. Yes, you can see everything coming from a mile away, but it still seems genuine (and all quite brown-ish, but that might just have been the 2010s). It’s also super easily-written sequel material, but I guess there’s no interest for book-focused romances in the 2020s (2030s?).
Female friends at different stages of their (romantic) lives come together for a book club. Solely for Jane Austen books, yes indeed. Time is divided pretty evenly between the four main characters, and none of the story lines are horrible and/or boring.
It all leads to an end with a dopey smile: look at books making things better. Honestly Netflix; I’ll write the sequel for you if the original author doesn’t want to.
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.
Minding the Gap is a 93 minute documentary
Betty is a two season TV-show, 12 episodes of 30 minutes
And both of them involve skating, why I combined the two. Minding the Gap is a sober documentary about life in a small town with an even smaller amount of possibilities to get out of the rut your ancestors created for you. The documentary maker returns after a time and goes looking for all his (skater) friends. Not all of them got out – mentally and physically.
This might all sound terribly depressing and it’s definitely not a fun, cool watch, but director Bing Liu manages to make you feel for these strangers like it’s your own set of friends.
Betty keeps things (most of the time) a lot more lighthearted. It’s based in reality with the skateboarders having been plucked from the street and allowed input to stories (according to the credits), but HBO puts a very cool, glamorous, quick-living sheen over it. It’s a group of diverse female teens in New York that skate. There are a few (teen-related) problems, but mostly it’s just cruising: little goes permanently wrong.
That also turns it into brightly coloured wallpaper pretty quickly. Or maybe I’m just too old and not cool enough.
Either way, I still want to get a skateboard and try my hardest to master it now.
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.