Archives for posts with tag: Lisa Mason Movie Critic

I wrote a brief review on Facebook immediately after Tom and I viewed the movie. This was in December, 2019. I kind of enjoyed the movie, but didn’t want to see it again, and sent it back to Netflix. I gave it a passing grade—not the “loved it” best movie of the year, as so many viewers have.
Now, as of late January 2020, this movie gotten a glowing review by a long-time movie critic at The New Yorker, won the Golden Globe Award (in various categories), the SAG awards in various categories, and is slated to win Oscars (again, in various categories). The “various categories” include really important ones like “Best Picture,” “Best Actor,” “Best Supporting Actor,” and “Best Screenplay.”
But I’ve since read other critics’ thoughts, read the reactions of people I respect on Facebook, thought more about what I viewed (as I said above, we only saw the film once, not multiple times, as at least one laudatory critic has recommended), and I have more to say.
Ir’s bunk.
To see why I object so strenuously to this movie, 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 offering a critique of your writing sample per submission.
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!

Last week, the city informed us that a construction crew would be working on the street outside our home to install a new sewer device to the existing pipes. (It’s an old street.) The crew would start banging and jack-hammering early in the morning.
That night, before I went to bed, I inserted my ear plugs. I have these soft foam ear plugs. You kind of squish them in your fingers, shove the narrowed point into your ear canal, and allow the foam to expand. Tom uses hard plastic ear plugs (very effective), which I can’t bring myself to insert in my ear.
I hate anything inserted in my ear, especially something hard like a hard plastic ear plug or, maybe some day, a hearing aid.
I’m of the age (over forty) when vendors of products that are supposed to appeal to, or be required by people who are getting on in years send all kinds of advertisements by snail mail or email. One of those products is hearing aids. I also see ads in Via, the magazine published by the AAA Auto Club, which I belong to, and Popular Science, which Tom gets at our library, and even Scientific American, which our neighbor gives us when he’s done reading. Do print magazines assume that their readership is comprised mostly of people who are getting on in years and might consider hearing aids? It would seem so.
Before Christmas of last year, I received one snail mail, a large fancy embossed envelope, which offered me a free Christmas ham if I would come into the conference room of a local hotel, get a free hearing test, and listen to a pitch for their hearing aids.
Aside from the fact that I don’t eat ham, I was not enticed by the prospect of a free hearing test. A test is an ordeal designed to prove you’re inadequate. When I was a child, I always hated hearing tests. You listened to a soft tone and told the tester whether you could hear it. Or not.
Today, my hearing isn’t worse than two or three decades ago. My hearing is just as bad as it always was.
When I was a child, I suffered recurring severe earaches. I have a vivid memory of lying in bed and reaching my forefinger in my ear, finding the canal crusty with the medicinal drops my mother was administering to me. The memory makes me shudder.
When I was a child, I also hated—HATED—milk, butter, cheese, anything dairy. The conventional wisdom was—and it still probably is—that children need to drink milk to build strong bones and teeth. That was the health gospel.
My mother strived mightily to get me to drink milk, flavoring the loathsome greasy liquid with chocolate powder or strawberry powder, pouring it in my cereal, cooking with it. As soon as I was old enough to sneak downstairs to the kitchen before my parents woke up, I rinsed my cereal bowl in milk, deposited a few flakes of cereal in there, and placed the bowl in the sink. Same for my milk glass. My mother was annoyed that I didn’t wash my breakfast dishes, but it was a ploy on my part. A fake-out.
Decades later, I discovered from a book called Mad Cowboy about the cattle-raising industry, that earaches (among other ailments) in young children are a symptom of dairy intolerance.
Today we know that various vegetables, beans, fish, whole grains, and calcium-fortified juices provide more than enough calcium to build strong bones in children and adults without dairy.
When I became a vegetarian in college, I developed a taste for cheese and yogurt. That was before there were the wonderful vegetarian meat- substitutes, like Morningstar Farms products, that we have today. Before I learned to cook vegetables and vegetarian dishes. Cheese, yogurt, and soybeans were all we vegetarians had for protein and calcium. But I never drank milk, not even fat-free milk.
And my hearing? From my twenties on, I’ve always found it difficult to sit across the table from a companion in a café or restaurant and hear what he or she is saying, especially when there’s background noise. In rooms with high ceilings, like cafés and restaurants, grocery stores, and offices, I have to ask, “Say that again?” I have trouble understanding people with heavy accents, any kind of accent. It’s embarrassing. I know I get a blank look on my face and the speaker thinks I’m dense.
Sometimes I have to listen carefully to the dialog in movies, especially when the movie has too-loud background music or noise. But in the quiet of our living room, I have no trouble hearing my husband when we have a conversation. And I have no trouble hearing Athena when she meows, asking me for something to eat.
So if you meet me in a restaurant, café, convention, or party, don’t be shy. Lean close and shout in my ear.
The noise in the street last week from the city construction crew wasn’t bad at all. Or maybe my foam ear plugs worked better than I’d hoped. The crew did a great job of installing a high-tech grate that they can remove for maintenance. Hooray for the city.
So how about you? Do you have a hearing impediment? Do you wear hearing aids? How do you like (or dislike) them?
Friends, readers, and fans, 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 per each submission.
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!

CHROME.MED.295.KB

Here’s Steve Fahnestalk (with 19,000 subscribers):
“Next month, January 2020, will be my seventh consecutive year of writing for Amazing Stories® online! I hope you’ve enjoyed my writing as much as I have enjoyed being a part of Steve Davidson’s reboot of this famous magazine, and I hope to be able to do this for a long time to come. For my last column of the 2010s (and 2019 in particular), I’ve chosen to review two very good genre works, one an excellent magazine, and the other an excellent semi-noir full-on SF work by a terrific author I’ve reviewed before, and (as the cover above says, a New York Times notable author). I’m talking about Lisa Mason’s new novel Chrome, first.
I hesitate to characterize it, because it’s so much more than a short description can convey, but in my mind it stands out as a science-fiction homage, in part, to the noir books and movies of the forties and fifties, only brought forth into a future time a quarter-millennium from now. There’s no world-weary Robert Mitchum-type ‘tec as a protagonist; rather, our hero is a beautiful half-human, half puma thief named Luna Lightfoot, who makes her main living as what we might call a video star. Millions of people back on Earth pay for the privilege of watching her at home while she eats, sleeps, and carries out her home life for their voyeuristic pleasure. She also hangs out with the rich and famous.
Luna lives on an artificial planetoid, called Chrome, at one of Earth’s LaGrange points, put there 250 years ago by one of Earth’s wealthiest and greediest corporations, the Emirk group. (If you want to know where Emirk came from, the name refers to a tributary of one of Earth’s big rivers, according to the author. When you get to that part, you’ll understand.) Back in our time (and this is true), a Chinese scientist claims to have gene-edited a couple of children using the CRISPR method, which is sort of like gene cut-and-pasting. Scientists around the world—and, finally, this own government—decried the use of CRISPR on humans. However, in this book, Emirk started experimenting (at first, openly, but then, thanks to public and governmental outcries, covertly) with “improving” the human genome by adding genes from practically every oxygen-breathing species of animal on the planet. Spending billions to build Chrome, Emirk’s experiments were moved there and continued. Human subjects were given or sold by outlaw governments and factions to Emirk’s scientists; and now there exists a whole society of human/animal interbreeds, called “blends,” on Chrome. Humans can not live there anymore, thanks to a plague that killed off (and continues to kill off) any unmodified humans, yet Emirk still owns Chrome, and figures it owns all the inhabitants too.
Luna attends a party given by Bunny Hedgway, one of Chrome’s glitterati in order to steal an artifact from Bunny’s treasure room, but while she was engaged in this theft, witnessed the murder of Chrome’s prima ballerina, an ostrich Blend named Zena Kinski, by an unidentified Blend who was wearing a wolf costume, but who may not have been a wolf. Because she was witnessed on the roof of Bunny’s place at the time of the murder, Luna needs to clear herself and find out who the Blend is who actually killed Zena. In the process, Luna finds herself becoming familiar with Chrome’s criminal underworld, and gains enemies as well as new friends and allies. One of those is the tortoise Blend Terralina Rustabrin, who is about to be bond-mated to a Prince of tortoise Blends. (Blends are not legally humans; therefore, cannot marry, according to Emirk Corporation. So “bond-mating” is their substitute.) Although Terralina’s eyesight is poor, she happens to be close to several significant happenings related to the murder, and actually saw Luna come down off Bunny’s roof.
In this book, Lisa has created a world and a society that mirrors our own in many respects; although we have no (to the best of my knowledge) actual Blends on Earth, corporations and governments on this planet are actively trying to (and in some cases have succeeded) treat humans as if they were Blends, or property. And you can just bet that these kinds of experiments will happen somewhere on Earth if they aren’t already happening. Like what happens to most enslaved people everywhere, many Blends are rich or getting rich by actively helping Emirk subjugate their fellow blends. There are Blend geniuses, one of whom created the “Tatts,” a type of tattoo that acts as a communications device, archival device, amanuensis (a blend of Alexa and Google in some ways) and other things. It’s a fully-realized society that takes some of the attributes of the animal parts of Blends and applies what those traits might mean to humans who have them.
And as for the noir mystery part; whether Luna solves her own problem (of being a suspect and a fugitive from the killer(s)), you’ll just have to read the book to find out. I really appreciate the fact that the ending is not a “pat ending. I suspect Lisa may someday turn out a sequel to Chrome. Anyway, I liked this book and recommend it; it’s available in Kindle format in most countries.”
Here’s the Amazing Stories link so you can see the beauteous photo of me holding an issue of The Magazine of Science Fiction and Fantasy in which I’d published a story a little while ago. Not the F&SF issue in the Amazing Stories review, though Steve Fahnestalk compared a theme in one of the stories in the November-December issue to my theme in CHROME. https://www.amazingstories.com/2019/12/my-last-column-lisa-masons-chrome-and-fsf-nov-dec-2019/
The CHROME cover, by San Francisco artist Tom Robinson, is comprised of a dozen different elements which Tom carefully researched. We think the imagery looks kind of mid-century. I love the color scheme.
And yes! A Brand-new Reader Review of Chrome, You’ll find it on Amazon:
So Walter Mosley reread Animal Farm and The Island of Dr Moreau and says to himself, “Oh, yes indeed, I’ve got a terrific idea for my next best seller.” But! Lisa says, “Hold on, hot stuff. You’re too late. Chrome is already on the streets. Haha!”
Wow! I just tore through Chrome. So much fun. Oh, I guess I should take a time-out to say that it was very well-written too, but I was enjoying the characters and the story so much that the superb writing simply did its job and I had to consciously reflect to notice the excellent and clever construction and reveals. Uh, isn’t that the definition of good writing?
I’m not usually a fan of sequels, but could we please have at least one more romp with Ms Lightfoot and her sidekick Terralina?”

Yes, I’m working next on a second CHROME book and a third book to round out a trilogy, plus a prequel novella. LIBERATION DAY, which will explore the mysteries of the events leading up to freeing of the Blends from their cages.
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.

Join my Patreon page at https://www.patreon.com/bePatron?u=23011206 and help me while I recover from the Attack. I need your support! I’ve got lots of goodies for you—delightful new and previously published stories, writing tips, book excerpts, movie reviews, recipes, book, and more.
Donate a tip from your PayPal account to lisasmason@aol.com.
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!

Reviews of movies we viewed for Mom’s birthday party on this past Monday: “Stan and Ollie”. You DO have to be passingly familiar with Laurel and Hardy movies from the 1930s to fully appreciate the film, which I’m not and Tom is. There are moments of humor—they’re really like their slapstick movies in real life—but ultimately it’s a sad story. In their heyday, when they were the most popular comedians in the movies, they didn’t get paid well by their producer, didn’t get paid at all for reruns, and therefore were perpetually financially strapped. As we meet Stan and Ollie in the present story, it’s 1953 and they’re desperately doing a tour of England to raise interest in a prospective new movie, which a producer is attempting to finance. For viewers interested in the subject matter. Not a bad movie, but not particularly uplifting, either.
Downsizing” starts with a high-concept SFnal premise: technology has been perfected to shrink people to six inches tall. Why would they do this? Being six inches tall stretches your dollar a thousand times so that the $150,000 equity the protagonist (played by Matt Damon) has in his over-mortgaged house becomes worth $12 million in the community of “small people” where he plans to relocate. The story should have stayed focused on all the complications becoming irreversibly ”small” would entail. Instead the story veers off in odd directions and strays from the premise so much that this viewer had trouble remembering the benefits and limitations of becoming small and how the Big World interacted with them. Sadly, only for the curious. I was disappointed.
Yesterday”, on the other hand, is a delightful high fantasy concept that stays true to its premise until the very end. A talented but failing young musician is hit by a bus (literally) when the entire Earth goes dark for two seconds. (I don’t mind a good deus ex machina; I’ve even used a few DEMs in my books and stories.) He awakens in a world subtly changed. The first change he discovers is that no one knows who the Beatles are, knows their music, and only he can remember the melodies and the lyrics. When the realization dawns on him, he does what any sensible person would do. He runs home to his computer and googles “The Beatles,” only to keep getting pages listing insects.
The premise raises in this viewer the question of social context: how would Beatles’ songs fare in a world without Beatles? There a scene near the beginning in which our musician sits down at a piano (he also plays guitar) in his parents’ living room. The parents, deeply skeptical of his creative aspirations, listen as he expertly starts the opening chords and begins to sing “Let It Be.” Before he’s gotten through the first line, the doorbell rings, an equally skeptical neighbor comes in and sits down, the musician starts again, the neighbor’s cell phone chimes. And so on and on. He never does get past the first line. The scene is meant to be humorous, a send-up of how distracted we are these days and also that context thing—will anyone ever listen to the musician even though he’s singing “Let It Be”?—but I wanted to reach through the screen and smash everyone’s freaking phone.
In sum, “Yesterday” is a very enjoyable film and recommended for light entertainment. I wanted to see the copyright permissions on the Beatles’ songs (got it—who holds the rights now—I have my own reasons for finding out) and so kept the film on through the screen credits at the end. Huge bonus—over the end credits, they play Paul McCartney singing “Hey Jude.” Well worth the wait even if you’re uninterested in the copyright permissions.
Please join my Patreon page at https://www.patreon.com/bePatron?u=23011206 and support me while I recover from the Attack. I’ve got lots of goodies for you—five delightful stories, movie reviews, recipes, book excerpts, and more.
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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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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.
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!

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!