Archives for category: Movie

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We watch movies mostly once a month—sometimes Movie Night happens twice, but rarely. I’m frantically busy writing new stories and novels. I’ve got at least six books to write before I die, finishing up incomplete series, and I’ve still got to input PANGAEA I and II (originally published by Bantam), long and complicated books with illustrations. That inputting project will take me months, plus PANGAEA III still needs to be written.
Then there are several new books, some with new series, that need to be written.
In the meantime, eighteen months after the violent criminal Attack on me, I’m working on the physical therapy, but it’s been hard. I walked two miles yesterday, and my knee, thigh, and hip hurt so much that, when we got home, I had to lie down for three hours. I can’t possibly walk to my old publishing job.
So. Your support, my heroic patrons on my Patreon page, is very much appreciated.
On April Movie Night, first we saw “Motherless Brooklyn”, an independent passion project of nineteen years by screenwriter-director-actor Edward Norton. The film is based loosely on the award-winning novel by Jonathan Lethem, whom I met several times when he was living in the San Francisco Bay area.
The film immediately sank out of sight at the box office, bears scant resemblance to the novel, and, as an independent film, has those annoying uneven sound-quality issues. At times I could barely hear the dialogue. At times the overly loud background music drowned out the dialogue. Can’t they fix that?
Like the novel, the film follows Lionel Essrog, a Brooklyn-based detective who has Tourette’s syndrome, an incurable brain disorder marked by involuntary tics and vocal outbursts. Frankly I found Lethem’s novel unreadable because of his depiction of the afflicted character—despite the acclaim and Lethem’s intent to mix up the noir detective genre. I liked Lethem’s first novel, “Gun With Occasional Music,” also an attempt to mix up the noir detective genre with science fiction, and his first stories published in genre magazines like Asimov’s and The Magazine of Fantasy and Science Fiction. As Lethem stretched his literary wings, though, I’ve enjoyed his work less and less.
So there you have it.
Edward Norton, to his great credit, rewrites the novel’s profanity to be more palatable vocal outbursts. Norton, also to his great credit, displays Essrog’s affliction in a credible, but somewhat subdued, way so the viewer isn’t totally put off by the character. Still, it will be difficult for some viewers to watch this.
The story falls into the genre of deeply flawed heroes—unlike the dapper, quick-talking Humphrey Bogart—but like Tom Hanks’ autistic character in ”Forrest Gump” or Dustin Hoffman’s diminutive character in “Little Big Man”, who nevertheless succeed in the world. Solve the case. And get the girl.
Norton also sets the story in the 1950s, a huge change from Lethem’s 1990s story, and mines true-life midcentury history about New York City. Ruthless developers are evicting renters—blacks and Latinos but also poor whites—from their old neighborhoods to build new highways, more expensive real estate developments, and major bridges.
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From the author of CHROME (five-stars) an ebook
on Barnes and Noble, Smashwords, Apple, Kobo. And on US Kindle, UK Kindle, Canada Kindle, Australia Kindle, India Kindle, Germany Kindle, France Kindle, Spain Kindle, Italy Kindle, Netherlands Kindle, Japan Kindle, Brazil Kindle, and Mexico Kindle. IN PRINT at U.S. print as a beautiful trade paperback. Also in U.K. print, in German print, in French print, in Spanish print, in Italian print, and in Japanese print.
Summer of Love (a Philip K. Dick Award Finalist and San Francisco Chronicle Recommended Book). On BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Smashwords, Apple, and Kobo. On Kindle worldwide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. BACK IN PRINT! Find the beautiful trade paperback at https://www.amazon.com/Summer-Love-Travel-Lisa-Mason/dp/1548106119/ or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/summer-of-love-a-time-travel-lisa-mason/1104160569.
The Gilded Age (a New York Times Notable Book and New York Public Library Recommended Book). On BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. On Kindle worldwide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. BACK IN PRINT! Find the beautiful trade paperback at https://www.amazon.com/Gilded-Age-Time-Travel/dp/1975853172/ or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/the-gilded-age-a-time-travel-lisa-mason/1106038566.
The Garden of Abracadabra (“Fun and enjoyable urban fantasy . . . I want to read more!) On BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. On Kindle worldwide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. NOW IN PRINT! Find the beautiful trade paperback at https://www.amazon.com/dp/1978148291/ or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/the-garden-of-abracadabra-lisa-mason/1108093507
Arachne (a Locus Hardover Bestseller) is an ebook on US Kindle, UK Kindle, Canada Kindle, Australia Kindle, Barnes and Noble, Apple, Kobo, and Smashwords. On Kindle worldwide in France Kindle, Germany Kindle, Italy Kindle, Netherlands Kindle, Spain Kindle, Mexico Kindle, Brazil Kindle, India Kindle, and Japan Kindle. Back in Print! Find the beautiful trade paperback at https://www.amazon.com/dp/198435602X or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/arachne-lisa-mason/1000035633.
Cyberweb (sequel to Arachne) is on US Kindle, BarnesandNoble, Apple, Kobo, and Smashwords. Also Kindle worldwide on UK Kindle, Canada Kindle, Australia Kindle, Brazil Kindle, France Kindle, Germany Kindle, India Kindle, Italy Kindle, Japan Kindle, Mexico Kindle, Netherlands Kindle, and Spain Kindle. Back in Print at https://www.amazon.com/dp/1984356941 or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/cyberweb-lisa-mason/1001932064
Strange Ladies: 7 Stories (“A must-read collection—The San Francisco Review of Books). On Nook, US Kindle, Canada Kindle, UK Kindle, Smashwords, Apple, and Kobo. On Kindle world wide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. NOW IN PRINT at https://www.amazon.com/Strange-Ladies-Stories-Lisa-Mason/dp/1981104380/ or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/strange-ladies-lisa-mason/1115861322.
One Day in the Life of Alexa (“Five stars! An appealing narrator and subtly powerful emotional rhythms”). On BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Smashwords, Apple, and Kobo. On Kindle worldwide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. Order the beautiful trade paperback NOW IN PRINT at https://www.amazon.com/One-Life-Alexa-Lisa-Mason/dp/1546783091 or IN PRINT at Barnes and Noble at https://www.barnesandnoble.com/w/one-day-in-the-life-of-alexa-lisa-mason/1126431598.
Celestial Girl, The Omnibus Edition, A Lily Modjeska Mystery (Five stars) On Nook, US Kindle, Canada Kindle, UK Kindle, Smashwords, Apple, and Kobo. On Kindle worldwide in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands. SOON IN PRINT!
Shaken (in Asimov’s Science Fiction Magazine) on BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands.
Hummers (in Fifth Annual Year’s Best Fantasy and Horror) On BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, Mexico, Netherlands, and India.
Daughter of the Tao (in Peter S. Beagle’s Immortal Unicorn) on US Kindle, Canada Kindle, UK Kindle, BarnesandNoble, Apple, Kobo, and Smashwords. Also on Kindle in AustraliaFrance, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands.
Every Mystery Unexplained (in David Copperfield’s Tales of the Impossible) on BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, Mexico, Netherlands, and India.
Tomorrow’s Child (In Active Development at Universal Pictures) on BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, India, Mexico, and Netherlands.
The Sixty-third Anniversary of Hysteria (in Full Spectrum 5) on BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, Mexico, Netherlands, and India.
U F uh-O (Five Stars!) on BarnesandNoble, US Kindle, Canada Kindle, UK Kindle, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, Mexico, Netherlands, and India.
Tesla, A Screenplay on US Kindle, Canada Kindle, UK Kindle, BarnesandNoble, Apple, Kobo, and Smashwords. Also on Kindle in Australia, France, Germany, Italy, Spain, Brazil, Japan, Mexico, Netherlands, and India.
My Charlotte: Patty’s Story on Barnes and Noble, US Kindle, UK Kindle, Canada Kindle, Australia Kindle, Smashwords, Apple, and Kobo. On Kindle in France, Germany, Italy, Spain, Brazil, Japan, Netherlands, and Mexico.
“Illyria, My Love” is on US Kindle, Barnes and Noble, Apple, Kobo, and Smashwords. Also on UK Kindle, Canada Kindle, Australia Kindle, Germany Kindle, France Kindle, Spain Kindle, Italy Kindle, Netherlands Kindle, Japan Kindle, Brazil Kindle, Mexico Kindle, and India Kindle.
Please visit me at Lisa Mason’s Official Website for all my books, ebooks, stories, and screenplays, reviews, interviews, and blogs, adorable cat pictures, forthcoming works, fine art and bespoke jewelry by my husband Tom Robinson, worldwide links, and more!
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Summary: From the extinguished HomeWorld, the Settlers traveled across the stars to NewWorld with hopes of starting over again. In the war-torn nation of Illyria, Maya just wants to grow vegetables and live in peace. But she has a dark secret she can never reveal, especially to her beloved Yuri.
Introduction: For my novella, “One Day in the Life of Alexa,” I studied the horrific 1990s wars in the Balkans, as well as the history leading up to those conflicts. I was struck by the adage, “The more things change, the more they remain the same,” and the tragic effects on the lives of ordinary people.
The story’s title, “Illyria, My Love” was inspired by Hiroshima, Mon Amour, an hallucinogenic 1959 film directed by Alain Resnais that flips through (and mixes up) two characters’ pasts, presents, and futures. Interesting, though at times very slow-going.
Regarding print fiction, “Illyria, My Love” is in the vein of Martin Amis’s Time’s Arrow and the classic story by Fritz Leiber, “The Man Who Never Grew Young”. Both of those stories are told from the viewpoint of a man.
I wanted a woman’s viewpoint, so this is one woman’s tragedy, told through the ironic lens of backwards-in-time.
Please join my Patreon page at https://www.patreon.com/bePatron?u=23011206. Friends, readers, and fans, help me after the Attack. I’ve posted delightful new stories and previously published stories, writing tips, book excerpts, movie reviews, original healthy recipes and health tips, and more exclusively for my heroic patrons! I’m also offering a critique of your writing sample per submission.
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Once a month, Tom and I have a movie marathon and take-out food (or an extra-special dinner, if I’m in the mood to cook). I’m just getting caught up on my movie reviews.
I’ll only do shrinky-dink reviews of the other movies we’ve seen, borrowed from our wonderful little local library: “The Adventures of Robin Hood” with Errol Flynn in Technicolor, is entertaining but the library disk had a problem after which it quit (that’s an occasional problem with DVDs borrowed from the library, sigh, but they’re free). So we didn’t see two-thirds of the movie. Which was made to be Saturday matinee fare mostly for children and which we’d seen before.
Live By Night”, a fairly recent gangster film written, directed, and acted in by Ben Affleck, from a novel by his fellow Bostonian Dennis Lehane, tries to be poetic among all the gangster violence and thus is very slow-paced. But my biggest problem with this semi-indie film was the sound quality was lousy. We had the sound on the entertainment center turned up all the way, and we still had strain to hear the dialogue. Between the slow pace and sound quality, I can’t recommend this film unless you’re a Ben Affleck fan.
The Glass Key”, based a novel by Dashiell Hammet, a black-and-film filled with glittery costumes, is a reasonably good forties noir detective story (except for the overly long beating scene). But unless you’re into B&W (or Veronica Lake, who is so petite, she looked like a child to me), you may want to skip this.
So that’s it for the shrinky-dink reviews. Now then:
Gemini Man”, with Will Smith, was a box-office flop. A long-time movie critic at The New Yorker, with whom I agree about seventy-percent of the time, really trashed this movie, complaining that Smith wasn’t up to his usual high energy and sassiness. Plus, the producers of “Gemini Man” did a big publicity push for the use of CGI technology to show Will’s character thirty years younger. (So did Scorcese for “The Irishman”, which we haven’t seen yet.)
I suspect the downbeat performance of Will Smith is due to story, which tells of a highly successful hit man who wants to retire. And has profound regrets about his life’s work. But the agency he works for doesn’t want him to retire. And another agency is working on his replacement. How can I say this without a major plot spoiler? I can’t. His replacement is a clone of himself (hence the anti-aging CGI).
The retiree has serious talks with his clone about what it means to be him—a collection of habitual behaviors, a set of attitudes, or more? I thought the issues raised were thought-provoking.
If you’re looking for a reasonably satisfying science fiction thriller with colorful locations, you could do worse than “Gemini Man.”
Inferno”, based on the novel by Dan Brown, stars Tom Hanks as Professor Langdon, the symbols and history expert. I read the book a few years ago and, though I generally like Brown’s writing, this book was terrible. It was as if someone ghost-wrote it for him, or he took six months to crank it out when he usually takes two years writing. I, for example, liked “The Da Vince Code” very much. Quite a few readers on Amazon complained about the poor quality of Inferno, so it wasn’t my imagination. The book reads like a tourist guide to Florence, Italy, Venice, Italy, and Istanbul, Turkey. Plus, the outlandish plot did not end well.
When the movie was released, I didn’t want to see it. But Tom (my Tom) picked it up at our library, so I agreed to watch.
The production was high, since this is an Imagine picture, and Hanks was reasonably good, but the character of the doctor who treats him, played by Felicity Jones, winds up being totally unbelievable. The plot twist that sends her character off in a different direction wasn’t foreshadowed in any way, which makes her new plot arc seem false and far-fetched. Plus, the filmmakers didn’t want the movie to be too much of a downer, so they changed the ending from apocalyptic to feel-good happy.
If you want two hours of puzzle-solving thriller in the Dan Brown style, you may want to watch it. But I can’t whole-heartedly recommend it.
For reviews of “Bumblebee” and “Eye in the Sky”, please join my Patreon page at https://www.patreon.com/bePatron?u=23011206 and help me after the Attack. I’ve posted delightful new stories and previously published stories, writing tips, book excerpts, movie reviews, original healthy recipes and health tips, and more exclusively for my heroic patrons! I’m even offering a critique of your writing sample at Tier Five.
Visit me at www.lisamason.com for all my books, ebooks, stories, and screenplays, reviews, interviews, blogs, roundtables, adorable cat pictures, forthcoming works, fine art and bespoke jewelry by my husband Tom Robinson, worldwide links, and more!

We’re mildly disappointed in “Avengers: Endgame.” At over three hours, the film is a mishmash of numerous superhero Marvel universes. The producers have actually taken out a full-page ad in The Hollywood Reporter tauting the film’s “seamless weaving of several storylines.) And I *like* complex films (and books and stories) with several storylines interwoven.
But A:E presupposes fluency in the *all* the characters and universes brought into play. That’s not us. We’ve seen a number of Marvel movies, but by no means all. And even with fluency, the over-all story is slow, full of unexpected sadness, and laborious, culminating in a violent blow-out battle typical of all Marvel films. Only combining all those characters and universes like a stew made of leftovers.
The result is dissatisfyingly unfocused and diffuse. And they take a full hour to get around to their (plot spoiler alert) time machine! Sheesh. I nail down my time machine on the first page of Chapter 2 of Summer of Love and on the first page of Chapter 1 of The Gilded Age, both of those chapters told from the point-of-view of the respective time travelers.
Mostly for diehard Marvel fans, though reasonably entertaining.
CHROME is in U.S. print as a beautiful trade paperback. Also in U.K. print, in German print, in French print, in Spanish print, in Italian print, and in Japanese print.
The ebook is on US Kindle, Barnes and Noble, Smashwords, Apple, Kobo, and on UK Kindle, Canada Kindle, Australia Kindle, India Kindle, Germany Kindle, France Kindle, Spain Kindle, Italy Kindle, Netherlands Kindle, Japan Kindle, Brazil Kindle, and Mexico Kindle.

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Visit me at www.lisamason.com for all my books, ebooks, stories, and screenplays, reviews, interviews, blogs, roundtables, adorable cat pictures, forthcoming works, fine art and bespoke jewelry by my husband Tom Robinson, worldwide links, and more!

Call me a fan girl and an SF geek, but I loved the Marvel Studios film, “Captain Marvel” (CM). This delightful film is the most woman-centric comics piece I’ve seen since “Wonder Woman” with the wonderful Gal Godot, who was born for the part. I truly hope she isn’t typecast for the rest of her career but that’s a risk actors take when they sign up to be a superhero.
While WW has more of an ethereal superhero plot, CM has the most personal storyline I’ve seen in quite a while in a comics film (caveat: I haven’t seen them all, but quite a few), exploring, as its central themes, the empowerment of women, friendship between women, and warm relations between black and white folks. My favorite themes in fiction and my own fiction (especially my novel, Summer of Love). The main character’s personal journey of discovering her true self, discovering her personal empowerment dovetails well with the greater plot.
Brie Larson is terrific as the lead, Carol Danvers. She captures the unruly emotions of her character, is funny, tender, and kick-ass deadly when she needs to be. Samuel Jackson, as Shield Agent Fury, is adorable (if digitally “anti-aged”), and there’s an even more adorable ginger tabby cat (a nod to “Alien”).
The story was created by a woman and a man, the screenplay written by the same woman, the same man, and an additional woman, and the film was directed by the woman story-screenplay writer and the man. No wonder it’s so good. Woman power is bred in its bones.
The screenplay is practically a perfect textbook example of what you should accomplish in your screenplay. (Note: you want to sell your screenplay, not a shooting script, which is a much different entity.) After the first screening, to acquaint me with the content, I sat through a second screening with a stopwatch and a notepad and pencil to take notes. I’m presently working on a screenplay adapting my print story that I sold to a major studio and needed some guidance and inspiration.
The rules about three-act structure aren’t arbitrary; they work to present the viewer (or reader) with a dynamic creation that carries you from start to finish. I’ve observed many effective books and stories that consciously (or unconsciously) follow the three-act structure. When I analyze my own work, stories and books, I see that I’ve consciously (or unconsciously) written often according to that structure.
A bonus: after the usual montage of Marvel Comics heroes, we see a 60-second montage of the cameos of Stan Lee in films, followed by a black page with red lettering THANK YOU STAN, and one final shot of his joyfully smiling face. As a young man, Lee started writing and drawing comic books around World War II. The comics industry had its ups and downs, publishers went out of business, but Lee persisted to create the powerhouse that is today Marvel Studios. His hilarious cameos in the films were always something to anticipate (like spotting Alfred Hitchcock in his movies). Lee died at age 95 last year. Sure enough, Stan makes a cameo in CM but I don’t know if it’s digital or was filmed before he died.
Now then: in Act One we open with Carol, known only as “Vers”, is beset by scattered disturbing dreams that seem to indicate an unknown life she had. This is always a tricky proposition to portray. The viewer has to pay attention, but attention is rewarded throughout the film, as we revisit the dreams—her fragmentary memories of a mysteriously lost life—in Act Two and Act Three and by the end make total sense of them.
Vers finds herself on HALA, the high-tech home planet of the Kree (a nod to “Forbidden Planet” and the high-tech Krell). The high-tech city, with dynamic images scrolling across the sides of buildings, is reminiscent of the futuristic Los Angeles in “Bladerunner.”
She is in training to “become the best she can be,” according to her mentor (played by Jude Law) as soldier in an on-going war fought by the Kree. She reports in to the Supreme Intelligence—an A.I. who rules the Kree and who appears as a woman. Vers’s problem is that she’s too emotional, too ready to laugh.
The Supreme Intelligence tells her “to serve well and with strength,” which is reminiscent of the oath in “Gladiator”, “Strength and honor,” and sure enough in the next scene, the African hunter from “Gladiator” appears as a member of a Kree military team.
She’s sent on a mission with the Kree team, there’s fighting (the writer-director is wise enough not to let any of the fight scenes go on too long—a problem for me in many comics films) with an alien race, the Skroll, whose appearance strongly resembles certain beloved aliens in “Star Trek”.
The Skroll capture Vers and probe her mind—more of those fragmentary memories emerge, including a woman who was once her mentor (the Supreme Intelligence takes the mentor’s appearance) and her best friend, a young black woman training to be a fighter jet pilot with Vers.
Then, at twenty minutes almost to the second, there’s a huge plot point that marks the end of Act One and spins the story around in a totally different direction.
Vers finds herself on C 53, Earth, Los Angeles in 1995. She crashes through the roof of a Blockbuster Video, curiously picks up a video of “The Right Stuff,” blasts off the head of a cardboard Arnold Schwarzenegger display, and searches for communication equipment from a nearby Radio Shack so she can contact her mentor back in the Kree universe. This is a humorous nod to “2001: A Space Odyssey,” with Pan Am as the brand on the space shuttle taking people from Earth to the Moon. The screenwriters of “2001” didn’t know the brand not only wouldn’t last until what was then the far future, Pan Am didn’t last past the 1970s. Blockbuster and Radio Shack, which seemed like indestructible brands in 1995, similarly didn’t last past the 2000s. So we viewers got a laugh out of that.
Enter Shield Agent Fury, Sam Jackson, in a scene reminiscent of “Men in Black”. Complications ensue. Certain personal details about Fury and Vers are skillfully revealed and then pay off a little later in plot points. I love it when writers pay off a setup and I become very annoyed when a setup doesn’t go anywhere.
CM also pokes fun at what appears to us now as clunky computer tech in 1995 (Carol awkwardly pecks with two fingers at a keyboard). There’s a fight between Vers and an alien enemy (the Skroll can shapeshift, taking on the appearance of whomever they see) atop a subway train reminiscent of “Indiana Jones.”
Act Two continues for fifty-five minutes with more complications circling around the storyline. There’s a midpoint at twenty minutes into Act Two. The script doctor, Linda Seger, is a big believer in the midpoint of a screenplay as a restatement of the overall themes. In CM, the two lead characters, seeking Carol’s long-lost best friend, travel in a futuristic jet plane from Los Angeles (L.A.) to Louisiana, (La.) where the friend lives. (“L.A.” to “La”—that’s a nice touch.) Vers is “going home” to her friend who has an appealing and intelligent young daughter, so we get some mother-daughter development. The personal relationships and Carol’s story of personal discovery, her personal empowerment are ramped up.
Then at fifty-five minutes, a HUGE mind-boggling plot point spins the story into a totally different direction, signaling the end of Act Two. I am NOT going to spoil the plot at this point, but my fedora is tipped at the screenwriters for a superb, memorable plot twist.
Act Three then lasts forty minutes, which is a bit long. But because of the HUGE plot twist, the writers have to re-establish certain back-stories and the forward momentum of the overall plot. Be assured the pace never flags. There are more fight scenes with multiple characters (as in all the comics films) and plenty of video-gamish space jets chasing and shooting at each other like in Star Wars. Because of the length, the writers cleverly slip in a hilarious midpoint twenty minutes into Act Three. (Okay, plot spoiler alert: the adorable cat isn’t really a cat.)
The conclusion for Carol, reinforcing her friendship with her best friend and her daughter, and for Agent Fury are fully satisfying (and the cat makes one last adorable cameo) and yet open the door to more of Captain Marvel. Indeed, a coda notes she will continue in “Avengers: Endgame”. We look forward to the film and intend to see it for Tom’s birthday in December, if the film is out on DVD.
With Captain Marvel by itself, though, a great time was had by all. If you don’t catch the film allusions (I probably missed many more), that’s okay. The film stands firmly by itself. Recommended.
Join my Patreon page at https://www.patreon.com/bePatron?u=23011206 and support me while I recover from the Attack. My first story “Arachne”, my first story published in OMNI magazine, appears exclusively there, plus a forthcoming account of how I published my first story in the premiere story venue at the time and the research I did. This review plus other movie reviews, and a couple of recipes with more forthcoming. Give back!
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Visit me at www.lisamason.com for all my books, ebooks, stories, and screenplays, worldwide links, covers, reviews, interviews, blogs, round-tables, adorable cat pictures, forthcoming works, fine art and bespoke jewelry by my husband Tom Robinson, and more!

All Is True” has a glacierly slow beginning but a painterly cinematography of Stratford-on-Avon, an idyllic village far from London. This was William Shakespeare’s home town and where he married, raised a family, and built a substantial brick-and-stone house on a lovely plot of land. He was also seldom at home, having gone off to London, written a body of work—plays and sonnets—praised in his own time as the greatest poetry ever written, earned good money from his genius, and managed the complex business of the Globe Theater where his plays were performed.
When a stage prop malfunctioned and burned the Globe Theater to the ground, Shakespeare, now middle-aged verging on old, returned to Stratford-on-Avon, to his family and house, and never wrote again.
(Plot spoiler: EVERYone back home is pissed off at WS when he went off to London and became a famous playwright.)
This film tells of that time and is a sad revelation of Shakespeare’s last years, of the tragedies and scandals which befell his family and his confrontation of them.
There are points of wit, as you would expect of a film about Shakespeare. A fan, a young man, approaches WS as he is laboriously digging a garden, and asks him about writing. WS snaps, “You become a writer by writing.” But the fan insists, where do your ideas come from? WS replies from his imagination. When the fan persists, WS says, “Cherrio. Cherrio.” And in a conversation with a friend, WS says, “I never let the truth get in the way of a good story.”
There’s even a ghost story, as appropriate for Shakespeare.
If you enjoy an intimate character study, with tear-jerkers along the way, and an ultimately redemptive ending, “All Is True” is for you.
A bonus feature of getting the DVD: This is a Sony Classic Picture, and half a dozen interesting small films are pitched in the preview: “Stan and Ollie”, which husband Tom wanted to see and I didn’t so much (I’ve never cared for old-timey black-and-white slapstick), but the preview made me laugh, so that’s a Go. Films about the first all-women crew to sail a sailboat around the world in a competition, a film about Oscar Wilde, a film about underground artists in Nazi Germany, and more. I wrote the titles down for future reference.
Join my Patreon page at https://www.patreon.com/bePatron?u=23011206  and help support me after the Attack. I’ve just posted “Arachne”, my FIRST story published in OMNI magazine, the premiere fiction venue at the time. Upcoming in a few days, a blog about how I got my first story published in OMNI, inspiration, influences, and research, plus the October Writing Tip, how to expand a novelette into a novel.
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Movie Night Extravaganza, reviewed in reverse order of when we viewed them. Why? Because I will have more to say about the first film we viewed than the others following.
Masterpiece Theater’s “The Virgin Queen: Elizabeth I” was good for three hours. There were no radical deviations from the history, unlike BBC’s TV series “The Tudors” about Henry VIII and Hilary Mantel’s Booker Prize winning Wolf Hall, which each wildly differ on many points of history and characterizations.
“EI”, the series starts at Elizabeth’s imprisonment in the Tower by her half-sister, Queen Mary, and goes all the way to her death. “Elizabeth” with Cate Blanchett covers that same starting point but only up to her historic announcement about her marriage. (“I am married to England.”)
I didn’t need to know more than that, really, and Blanchett is easier to look at than Anne-Marie Duff. In fact, Blanchett looks remarkably more like the historic person from what I can see on EI’s Wikipedia page. Duff had a huge role, though, and was up to it.
So my history about Elizabeth I is substantially complete.
Minor quibble: throughout the series Duff’s voice sounds like a young woman. Oh, she shouts and rouses the rabble but when she speaks privately she sounds young even when she’s depicted as middle-aged and as very old. Duff, I’m sure, would have been up to the task of modulating her voice to sound old. I suppose that was the director’s decision. Or maybe EI’s voice sounded youthful and melodic even when she was old.
And now I’m giving sixteenth century British history a rest for a while. A long, long while.
Next up: “All Is True” and “Captain Marvel”.
Join my Patreon page at https://www.patreon.com/bePatron?u=23011206  and help support me after the Attack. I’ve just posted “Arachne”, my FIRST story published in OMNI magazine, the premiere fiction venue at the time. Upcoming in a few days, a blog about how I got my first story published in OMNI, inspiration, influences, and research, plus the October Writing Tip, how to expand a novelette into a novel.
Visit me at www.lisamason.com for all my books, ebooks, stories, and screenplays, worldwide links, covers, reviews, interviews, blogs, round-tables, adorable cat pictures, forthcoming works, fine art and bespoke jewelry by my husband Tom Robinson, and more!