Plot: Earth is quickly nearing the point of no return in the energy crisis. Aboard the Cloverfield Space Station, Hamilton (Gugu Mbatha-Raw) is working with her colleagues on a particle accelerator, hoping that they can make it work which would mean a near-endless energy supply. But so far, they have not been successful and they are running out of possibilities to try. But when thing finally seem to go right, the consequeces of their experiments are definitely not what they expected.
The Cloverfield Paradox is a decent space station thriller/horror film. It wouldn’t have necessarily needed the connection to the other two Cloverfield films, but that it can be watched independently is one of its strength, I’d say. As is the awesome cast.
Plot: Ronit (Rachel Weisz) left the Orthodox Jewish community where she grew up behind. But when her father (Anton Lesser) dies, she returns for the funeral. Reconnecting with her best friends Dovid (Alessandro Nivola), her father’s closest student, and Esti (Rachel McAdams), she learns that the two got married. This further complicates her return – because she left all those years ago because she and Esti were in love. And maybe they still are.
Disobedience is a film that finds its strength in the quiet moments and in the lead performances. But it’s also a film that left me with a sense of unease regarding its protrayal of both queerness and of the Orthodox Jewish community.
Plot: Damian (Ben Kingsley) has led a hugely successful life, regretting only that he is estranged from his daughter Claire (Michelle Dockery). Now he is old, rich and dying. But he doesn’t feel ready to die just yet, so he is happy when he discovers Albright (Matthew Goode), a scientist who promises that he can have a new, freshly grown body and start all over again. Damian agrees to the procedure. When he wakes up, his body (Ryan Reynolds) lives up to all of his dreams. As he gets used to it, though, he also keeps getting haunted by dreams and nightmares that appear to him more real than they have any right to be.
Self/less is a decent film. Nothing here says greatness, but it isn’t bad either. It is like a case study for solid entertainment of a kind that has gotten rarer in recent years as budgets have grown and shrunk, leaving few players in the middle of the field.
The Sword and Shield is the debut novel by Emma Khoury. Finished on: 11.5.2020 [I won this book in a LibraryThing Early Reviewer giveaway.]
Plot: Ezra is a mercenary – either hired as an assassin or as a bodyguard. And he is damned good at it. After finishing yet another successful job, he comes home to his cats – and to a welcome committee who bring him to his next employer in secrecy: Crown Prince Christophe would like his help. He is afraid that his own family is trying to kill him and needs somebody to have his back. Despite his desperate need for sleep, Ezra accepts the job and moves to the castle within a week. It soon becomes crystal clear that Christophe’s fears weren’t unfounded.
The Sword and Shield is a very good read, especially considering that it’s a debut novel. Plus, I loved that we got a chronically ill, asexual protagonist. More of (things like) this, please!
Plot: CJ (Eden Duncan-Smith) and Sebastian (Danté Crichlow) are working hard for a science fair where they hope to present nothing less than time travel to secure a scholarship for the universities of their choice. But when yet another police shooting hits close to home, CJ is less interested in scholarship than in changing the past and preventing tragedy. But changes can have unforeseen outcomes and getting things right really isn’t easy.
See You Yesterday combines the fun antics of time travel movies (including a Michael J. Fox cameo) with the seriousness of racism, police violence and the Black Lives Matter movement. It’s a combination that could have gone very wrong – and doesn’t at all. The ending was a bit difficult for me, but I absolutely loved the rest.
Content Note: reference to/critical treatment of homomisia and racism
Plot: Ellie (Leah Lewis) is an excellent student who has a profitable side business in writing papers for her classmates. When Paul (Daniel Diemer) approaches her to ask whether she would write a love letter to Aster (Alexxis Lemire) for him, Ellie declines at first. Not only because she finds it unethical per se, but also because she is in love with Aster herself. But she finally agrees anyway because she and her father (Collin Chou) really need the money. As Paul and Ellie work on the letter together, they develop a real friendship – and Ellie falls ever more for Aster.
The Half of It is a supercute film that sagely mentions at the beginning that it doesn’t tell a love story. Because all signs point to romance here and the film just doesn’t deliver that. That is definitely disappointing, but at least we have been warned. While I did hope for more romance, I enjoyed the film I got.
Plot: Hazel and her grandmother Klara are in a re-education facility on Landfall where they are in relative safety, as long as nobody realizes who they really are. Meanwhile Marko and Alana are still frantically looking for Hazel – and they’re closing in on her trail. With the death of The Brand, journalist couple Upsher and Doff are free to take up their investigation into the case again – and do so immediately, only to run into The Will who is looking for revenge against Prince Robot IV.
I’m really enjoying saga as a whole and Volume Six brings some plots to a close (while opening up others, of course) that I have been waiting for. There were a couple of moments here where I wasn’t completely happy, but overall, I’m very excited about the continuation.
When We Speak of Nothing is a novel by Olumide Popoola. Finished on: 2.5.2020
Content Note: not outright transmisia, but some problematic elements in trans representation
Plot: Karl and Abu are 17, best friends and grow up in London together. Out of nowhere for Karl, Karl’s uncle Tunde – the brother of his to him unknown father – shows up and brings news that Karl’s father lives in Nigeria, only just learned that Karl exists and would like to meet him. Karl goes to Nigeria without his mother’s knowledge but the trip ends up very different from what he expected. Meanwhile Abu falls in with a difficult crowd and gets mixed up in the riots surrounding Mark Duggan‘s death. Both boys will have to figure out how to deal with new situations and without each other close-by.
When We Speak of Nothing is an interesting book with very great language, but that has some problems in how it goes about dealing with the fact that Karl is trans – starting with the fact that this piece of information has to be considered a spoiler already. But overall it was a really good read.
I’m not sure how much Mwachiro was an editor and how much he actually wrote himself, but the stories, letters and poems collected here are all (auto)biographical accounts of queer people living in Kenya. They are queer in different ways and come from all walks of life, opening a kaleidoscope of queer experiences in Kenya – where until recently it has been publically debated whether such a thing as queerness actually exists at all. Reading it as a queer, white European, it is striking how many things are the same for all of us, even if the book is very much aimed at a Kenyan public.
Plot: Scott (Ryan Phillippe) is the family screw-up and he hasn’t shown his face at home in a while. But after he has a vision of his dead mother (Tess Harper) telling him to make amends with his brother William (Luke Wilson), his sister-in-law and first love Katherine (Anna Paquin) and his father (Powers Boothe), Scott just shows up at Katherine’s home while William is on a business trip. As he waits for William to return, Scott causes an uproar for Katherine and her kids (Riley Thomas Stewart, Ursula Parker) who take a shine to their newly discovered uncle. Scott himself is uneasy with his own plan, drunk all the time and really not all that well.
Straight A’s is so firmly rooting for Scott without really acknowledging his many flaws or interested in him making up for past (and current) transgressions, that it is just annoying. I didn’t care for redeeming Scott, I wanted to strangle him instead. The film can’t work that way.
On a sidenote: in a film that is obviously trying to be smart and deep and that is so firmly rooted in its own privilege, that incorrect apostrophe in the title is annoying as fuck.