Sneha Jaiswal's Blog, page 64
November 26, 2024
Merry Gentlemen Review: A Flat ‘X-Mas Romance Meets Magic Mike’
Sneha Jaiswal (Twitter | Instagram)
The 2024 film The Merry Gentlemen starts with what is supposed to be a Christmas-themed dance show called Jingle Belles on Broadway, but the choreography makes it look like a school function number performed by primary kids—the kind only the relatives or parents of participants would enjoy watching. Perhaps the creators were aiming for something like the Jingle Bell Rock number from Mean Girls, but it’s nowhere near as entertaining or funny.
Britt Robertson plays Ashley, a lead Broadway dancer who is fired and replaced by a much younger talent just days before Christmas. Already struggling financially, Ashley heads home after years and learns that her parents’ business—a performance venue—is in trouble. To save it from shutting down, she organizes an all-male revue to raise funds. Ashley persuades local hunk Luke (Chad Michael Murray) to team up with her, a ‘nice young sing man’ who usually helps her parents with their plumbing issues. What unfolds next is a formulaic Hallmark Christmas romance meets Magic Mike. Sort of.
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Here’s the problem: in trying to cater to two major genres—a festive Christmas romance and theatrical dances featuring shirtless men—The Merry Gentlemen ends up delivering neither a compelling love story nor the kind of expertly choreographed dance routines that would leave you thrilled. Remember The “Step Up” movies? They may have lacked strong plots, but at least they made up for it with spectacularly choreographed dances. To be fair, some of the dance scenes are fun to watch, but the exaggerated media attention they receive in the story feels far too unrealistic.
Brit Roberston and Chad Michael Murray make a good-looking onscreen couple, however, that barely makes “The Merry Gentlemen” entertaining. I don’t mind the familiar story of a big-city girl returning to her small town, helping her parents’ struggling business, and falling in love; however, the script needed a lot more punch! The climactic twists are far too predictable, making this a title worth exploring only if you’re in the mood for a generic Christmas romance or some eye candy with shirtless men dancing.
Rating: 4 on 10. The movie is on Netflix.
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Ron Kamonohashi’s Forbidden Deductions Episode 21 Review
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How are Ron and Toto not living together already? Or maybe they are, we just don’t know it yet, because the show’s focus is almost always on the murder cases they are solving. For instance, Episode 21 of Ron Kamonohashi’s Forbidden Deductions starts with a scene of Ron playing with a toy (yes, seriously), while Toto just walks into his place in what’s definitely casual home clothes, with no real agenda.
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“When you said you’d go crazy from boredom without a case, did you really mean it?!”
Toto freaks out and asks Ron if he is losing his sanity after catching our genius detective sitting on the floor and playing with a toy like a toddler. But nope, Ron Kamonohashi is only trying to piece together some missing memories of his childhood. Meanwhile, yes, he is dying to get his hands on another murder case!
Titled “The Case of the Psychological Research Lab Murder”, Episode 21 of Ron Kamonohashi’s Forbidden Deductions takes Ron and Toto to the Maruyama Laboratory in Tokyo University. The two basically tag along with crime reporter Chikori Monki, hoping she might lead them to an interesting new case. And, of course, as with every moment in the anime series, they stumble upon a rather shocking new murder to unravel. In a slight departure from most of their earlier cases, this time around the characters feel a little more personally connected to the victim, leaving Toto slightly shaken by the crime.
The first half of this episode is fun and comedic in tone, with most of the humor stemming from Chikori’s fangirl-level admiration for Toto’s “deduction skills.” However, things take a tense turn in the last few minutes when a premeditated explosion brutally kills someone, and multiple suspects emerge. Unlike the “Hummingbird – Talent Kidnapper” case, where the suspect was fairly obvious, this time there’s plenty of suspense over who the killer in the lab murder could be. We’ll have to wait until the next episode to find out!
Stream the series (Kamonohashi Ron no Kindan Suiri) on Netflix or CrunchyRoll.
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Spellbound Review: Enchanting But The Songs Lack Magic
Director: Vicky Jenson
Writers: Vicky Jenson, Lauren Hynek, Elizabeth Martin
Review by: Sneha Jaiswal (Twitter | Instagram)
Ah, it’s such a joy to see movies where the creators aren’t afraid of colors! And if ‘too colorful’ sounds like a nightmare to you, steer clear of the 2024 animated movie “Spellbound”.
Actor Rachel Zegler (Westside Story/Shazam! Fury of the Gods) voices Princess Ellian, who is about to turn fifteen and has already been dealing with more than a teen can handle – running an entire kingdom, because her parents are monsters. Quite literally. King Solon (Javier Bardem) and Queen Ellsmere (Nicole Kidman) are cursed during a forest trip, turning into giant, destructive, bickering (but cute-looking) beasts. Princess Ellian must find a way to turn them back into humans, or they will remain monsters forever!
The first half of “Spellbound” is super cute and a lot of fun, with Princess Ellian pouring all her time and energy into managing her chaotic, monster-ified parents. Thankfully, she’s got her trusty ministers, Nazara (Jenifer Lewis) and Bolinar (John Lithgow), to help out. Eventually, Ellian seeks guidance from the Oracles of the Moon and Sun—Luno (Tituss Burgess) and Sunny (Nathan)—who suggest taking her parents to a magical lake. The catch? The journey involves trekking through a dark, danger-filled forest. And with the King and Queen constantly bickering in their hybrid animal forms, it’s anything but smooth sailing.
The animation by Skydance Animation, just like their previous work “Luck”, is very bright, vibrant, with adorable fantasy creatures. “Spellbound” kicks off with Ellian riding an adorable magical creature—a fluffy mix of tiger, cat, and owl, complete with wings. And one thing I loved about Princess Ellian is how, unlike most Disney princesses, she rocks pants and riding boots instead of impractical gowns. In one scene, she even wears something that looks like it’s inspired by Indian dhoti pants (seriously, look it up!).
One of the weakest aspects of Spellbound is its music. Aside from the opening track, which is entertaining thanks to Ellian’s quirky take on her “monster parents,” the rest of the songs feel repetitive and uninspired. For a musical, this is a glaring shortfall—the creators should have put more effort into crafting memorable tracks. Unlike Encanto, Frozen, and other popular animated films, Spellbound lacks a single standout song to leave a lasting impression.
The second-half of “Spellbound” is quite dragged out, with an unnecessary sequence of Princess Ellian saving a helpless creature in the dark forest, to establish her brave spirit. Seriously, she’s been running an entire kingdom for a year and caring for her cursed parents like a devoted pet parent. We didn’t need extra scenes to know she has a heart of gold. Ellian’s charm is obvious from the very first few frames of the film!
When Ellian finally reaches the lake, Spellbound dives into some emotionally heavy themes—but it doesn’t quite explain them in a way that kids would fully grasp. For older viewers, though, it works as a clever metaphor: bickering parents can seem monstrous to their children, unintentionally forcing them into adult responsibilities. Teen Ellian is completely drained from trying to ‘fix’ her parents when she should be focusing on herself and enjoying life as a teenager. While Spellbound has its heart in the right place, the overly stretched second half makes the ending a bit of a slog to get through.
Rating: 6 on 10. Watch ‘Spellbound’ on Netflix.
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November 25, 2024
Yakuza Fiancé: Raise wa Tanin ga Ii Episode 8 Review
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Remember that almost-romantic moment between Kirishima and Yoshino at the aquarium in Yakuza Fiancé: Raise wa Tanin ga Ii Episode 7? It felt like they might actually kiss—until, of course, the classic “kiss-blocker” trope (I need to patent this phrase!) strikes with a ringing phone, ending the moment. LOL. Well, for everyone who was left disappointed, you’ll be happy to know that Kirishima randomly brings up the aquarium visit in this episode and tells Yoshino what he was planning to say back then. Yay to that!
Episode 8, titled “To Be Honest, I Want to Marry You,” pretty much gives away its core moment in the title. But don’t worry —this chapter is jam-packed with events that have little to do with the lead pair’s romance. Remember how the spoiled rich brat Ozu manipulates model Nao Shiota to lure both Kirishima and Yoshino to a particular location? Well, our protagonists stay ahead of the game, plotting their own moves to outwit Ozu and his crew. And in a surprisingly little twist, Kirishima even ropes poor Shoma into the chaos.
For Plot Overview Read: Yakuza Fiancé: Raise wa Tanin ga Ii Episode 1 Review
Yoshino is her feisty best in this episode, with voice-over artist Hitomi Ueda entertainingly adding an intimidating flair to her character, and the animation teams comically frames her expressions. Since the action unfolds in Osaka—Somei family turf—Yoshino exudes extra confidence in this chapter, knowing she’s on home ground. She tries to boss Kirishima into handling Ozu her way, but of course, Kirishima being Kirishima, listens to no one. Their hilarious phone argument in the second half of the episode is a highlight.
And yes, as the title promises, the love-struck Kirishima finally declares his intention to marry Yoshino—but in the most bizarrely timed way possible. Her reaction? “You are so insane that it’s almost impressive.” The episode wraps up with the two making a very intriguing bet, setting the stage for what promises to be a super fun next episode. Can’t wait to see what happens next in Yakuza Fiancé: Raise wa Tanin ga Ii!
You can watch the series on Crunchyroll.
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Cold Case: Who Killed JonBenét Ramsey Review
“In Colorado, it has all the makings of a classic murder mystery. A ransom note, a dead body, strange twists and turns. But what makes this murder mystery so chilling is the victim, a beautiful little girl.”
JonBenét Ramsey was just six years old when she was reported missing by her mother in December 1996, from their home in Boulder, Colorado. The child’s murdered body was soon discovered in the basement of the Ramseys’ home. Her parents – John Bennett Ramsey and Patsy Ramsey- quickly became the primary suspects in a case that, to this day, remains unsolved. The title of Netflix’s 2024 documentary, Cold Case: Who Killed JonBenét Ramsey, makes it clear from the outset—the killer was never brought to justice.
This three-part documentary delves into chilling and deeply unsettling details surrounding JonBenét’s murder. It examines how the Boulder police’s relentless focus on her parents as the culprits may have undermined the investigation, potentially costing any real chance of identifying the true perpetrator—assuming her mother or father were indeed innocent of the crime. The first episode delves into the initial police theories and the intense public and media backlash against the Ramseys. In contrast, episode two takes a closer look at evidence suggesting the involvement of an intruder. Senior detective Lou Smit, brought in to review the case, uncovered new clues that will prompt viewers to reexamine the case with fresh eyes.
The documentary features interviews with investigators and members of JonBenét Ramsey’s family, interwoven with a substantial amount of archival crime scene footage and clips from the extensive TV coverage the case received at the time. John Bennett Ramsey and Patsy Ramsey, even appeared live on Larry King’s iconic talk show to discuss their ordeal and respond to allegations that they had abused and murdered their daughter. A small chunk of that interview also makes it to “Cold Case: Who Killed JonBenét Ramsey”. The abundance of photos and videos of the victim, stemming from her participation in child pageants, made the murder story ideal fodder for both tabloids and TV news.
For foreign viewers like me, who know little to nothing about the JonBenét murder case, the documentary series plays out like a gripping true-crime thriller. The creators methodically unravel crucial aspects, clues, and narratives that emerged over the course of the investigation. Clashing police theories, misleading news stories, and even fake suspects who falsely confessed to the little girl’s murder in a bid for attention—all of it, as some journalists who covered the case point out, turned this tragic event into a sensational story that attracted overwhelming public and media scrutiny.
The approach taken by some investigators in handling the JonBenét murder case can make the documentary an incredibly frustrating watch, particularly for ordinary citizens who rely on institutions like the police to deliver justice. The Boulder police were, quite rightly, accused of mishandling the investigation and contaminating the crime scene from the very beginning.
Except for some unsettling audio recordings featured in the third episode of “Cold Case: Who Killed JonBenét Ramsey”, which unnecessarily give a platform to a particularly disturbing individual, this documentary series is a compelling watch for true-crime fans. Although, since this remains an unsolved case, it leaves viewers with too many lingering questions, and can be a disappointing watch for some. But perhaps this renewed attention to the case will finally put pressure on the system to find answers. Who knows?
Watch the documentary on Netflix.
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November 24, 2024
Harold and the Purple Crayon Review: Drawing Magic & Mayhem
Sneha Jaiswal (Twitter | Instagram)
“He did what anyone would do with a magic crayon. He made some pies, and then he made some friends.”
Harold and the Purple Crayon starts with a super cute 2D animated baby in a blue onesie drawing different things that immediately come to life. For older viewers, the animation might hold strong nostalgic value, as it’s reminiscent of 2D drawing styles from early cartoon days—shows like Doctor Dolittle, Schoolhouse Rock!, or even later ones like The Flintstones or Dexter’s Laboratory.
Based on the illustrated children’s book of the same name by Crockett Johnson, first published in 1955, the live-action adaptation of “Harold and the Purple Crayon” (2024) stars Zachary Levi as the older Harold, who inhabits a magical world filled with creations he made with his purple crayon, including his best friends Moose (Lil Rel Howery) and Porcupine (Tanya Reynolds). One fine day, the “old man” who created Harold stops talking to him, so Harold draws a door to the “real world” to find his creator. Thus begins the adventure of a lifetime!
Zooey Deschanel plays exhausted, single mother Terry, while Benjamin Bottani portrays her imaginative little son, Mel. When the mother and son accidentally hit Harold and Moose, Mel instantly takes a liking to the cheerful duo and promises to help them find their “old man.” His mother however isn’t thriller with the idea of helping two grown adult men, but grudgingly agrees to go along with Mel for a bit. Terry, of course, represents the cynical, jaded adult who has lost all faith in magic, while her sweet son, Mel, is symbolic of childhood innocence, hope, and promise.
Harold and the Purple Crayon is the kind of movie I would’ve absolutely loved as a nine-year-old. And even as an older viewer, there were plenty of scenes that had me smiling like a kid. It’s just a level below classic fantasy entertainer like ‘Jumanji’ in my eyes. Tanya Reynolds, as a porcupine-turned-punk-rock-princess with purple hair in the real world, is low-key hilarious, especially in her mannerisms as a feisty wild animal turned human. Zachary Levi’s portrayal of Harold feels like he’s in yet another Shazam movie, but in his defense, Harold is the same kind of character—a kid in a man’s body, but with superpowers.
Levi and Lil Rel Howery as best friends make a fun Dumb & Dumber-style pair, bumbling through the real world with their magic crayon and creating quite a lot of trouble for Mel’s mom. Jemaine Clement plays the antagonist Gary, a librarian and aspiring fantasy author whose expansive book has no takers. When he sees Harold’s magic crayon, he instantly sets his sights on acquiring it, by hook or crook. Ultimately, “Harold and the Purple Crayon” celebrates the power of imagination, friendship, and kindness.
The special effects don’t stand out impressively in the film, and in a few scenes, it’s quite evident that the characters are interacting with a green screen. However, given the extensive CGI usage throughout the runtime, the effects are engaging enough. The climax features a magical face-off between Harold and Gary, with both frantically and comically drawing things to fight each other. This face-off could’ve been a lot crazier and funnier, but the writers don’t push the boundaries of their imagination. Regardless, the ending is satisfying, and there’s a comedic post-credit scene, so don’t forget to watch that.
Overall, Harold and the Purple Crayon is a fun pick for movie night, especially for kids.
Rating: 7 on 10. Watch the movie on Netflix/Zee5 or rent it on Prime Video.
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There’s Someone At Your Door: Short Horror Film Review
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An AI system alerts a homeowner who’s all set to hand out Halloween candy. But when the treats run out, an invisible intruder arrives, violently knocking at her door…
Written and directed by Jacob Ewing, the short horror film There’s Someone At Your Door stars Elicia Devorah as Sarah, a young woman living alone who becomes the target of a malevolent entity. Devorah delivers a solid performance, capturing Sarah’s growing unease and fear as the night spirals out of control.
At just around ten minutes long, the film begins with an ominous tone as Sarah opens the door only to find no one there. What follows is a bizarrely awkward encounter with a neighbor—someone as unsettling as any ghostly figure. While this initial exchange borders on cringe-worthy and briefly disrupts the tension, the film quickly shifts gears. The Halloween-themed setup transitions into an unexpected finale, delivering a surprising surge of intensity, suspense, and blood-soaked terror.
The cinematography is largely warm & spooky in tone, effectively juxtaposing Sarah’s seemingly ordinary, modern home against the creeping supernatural threat. The atmospheric visuals and sound design work together to evoke an unsettling mood, making the climactic twists land a punch.
Although the first half may feel uneven, There’s Someone At Your Door redeems itself with its gripping finale. Jacob Ewing crafts a short scare, which ends on a pretty ironic note.
Catch There’s Someone At Your Door now on YouTube.
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November 23, 2024
Transformers One Review: True Friends, Truer Enemies
Ashley Suvarna (Instagram | Twitter)
Before Transformers became a big screen phenomenon, before it even turned into a household name, there was a cartoon I used to watch named Transformers Armada. The characters in it were not as sophisticated as Michael Bay’s incredibly detailed models with thousands of moving parts. More like a bunch of coloured blocks piled on top of each other. But unlike the Bay movies, they had very well-written arcs, and somehow I grew to love that bulky, blocky art style.
That’s one of three reasons why I decided to give Transformers One a go. It stays faithful to the trademark design style, but at the same time makes good use of our current animation tech to get rid of the clunkiness that comes along with it. What you have in the end are fluid, almost beautiful transformations that might tempt you to hit the replay button a few times.
The second reason is the characters. I think most of the fanbase has already had enough of Optimus as the fearless, stoic leader, and Megatron as the villain with a constipated expression. This movie serves as a prequel to the Autobot-Decepticon feud, to a time when Optimus and Megatron were not yet Optimus and Megatron, but two working class rookies. Two friends who always looked out for each other and would even risk their lives to that end.
Most of the movie takes place in Iacon, a thriving underground city under the leadership of Sentinel Prime. The city is divided into two groups, the powerful, larger Transformers who hold positions of power, and Miners, lower class beings who were born without a Conversion Cog (the device within a Transformer that gives him the ability to transform). The Miners have one job – to constantly mine Energon from the deep so that everyone in the city can be fed. Orion Pax is a mischievous Miner bot with a rebellious streak and dreams of a higher purpose. While his friend D-16 is the reserved one, who believes in playing by the rules and acts as the counterweight keeping Orion in check. They both want to be useful to their kind in their own way, which is both the driving force behind their friendship and the reason why they eventually turned against each other. It was refreshing to see them exhibit a completely different persona to the one we are used to.
The third reason is because the trailer promised something the Transformers franchise seriously lacks – a sense of humour. In Transformers One, it takes the form of B-127 (who would later be known as Bumblebee), another Miner bot and a much welcome addition to the story. B-127 acts as the comic relief and elevates almost every scene he is in. The humour is mostly slapstick, but never forced, and never too much.
Iacon is beautiful, complete with shiny, brightly lit spires, Hot Wheels style driving tracks, and healthy doses of neon everywhere. Watching the city, the characters, the entire visual storytelling, reminded me of the War for Cybertron duology, two horribly underrated video games that chronicle the final era of the Autobot-Decepticon war and the ultimate tragedy of planet Cybertron. In fact, you could probably play those games right after watching this movie and it would almost seem like a straight continuation.
It’s not a perfect 10/10 story though. There are a couple of things I found that seemed a bit off. We’re going into spoiler territory now, so if you haven’t watched Transformers One yet, perhaps you should skip this paragraph. The first is D-16’s descent into madness. It felt jarring, a bit too abrupt. Until the point where he gets a Conversion Cog, D-16 exhibited zero personality issues or cues that would foreshadow his later change. Even if you consider the fact that he felt hurt and betrayed by Sentinel, plus got tortured a bit, there is still no way he goes from a chill, lighthearted, and grounded fellow to a murderous loon ready to forsake his only friend in such a short time. Almost as if he was being slowly corrupted by the Cog itself. The other strange thing I noticed was that at the end, Optimus Prime goes, “This message is a warning to all Quintessons. If you dare return to Cybertron, the Autobots will be waiting”. When did the Quintessons leave? They had retaken Iacon from Sentinel, but the Quintessons still controlled the world on the surface, right? Unless we’re supposed to believe that the Energon flow somehow made the Quintessons leave (which in itself is a ludicrous assumption), I don’t see how that dialogue makes any sense at all. Perhaps it’ll be explained in a later movie? I don’t know.
What I do know, is that getting Brian Tyler to compose the score was a fantastic idea. Tyler has already created music for other Transformers properties, like Predacon Rising and Transformers: Prime, and even been nominated for some. His score breathes life into the story, particularly the chases and action sequences, which, in my honest opinion, are some of the most fluid, thrilling examples of action choreography found in any Transformers film. And for God’s sake, please give the guy who did the camerawork a medal already.
To say that the movie satisfied all my expectations would be an understatement. It may be a simple, straightforward story of discovery, betrayal, and conflicting ideals, but the execution is nothing short of excellent. It does not necessarily follow the plot of the live action films, or the animated shows before them. I mean, Transformers has a dozen different TV shows and movies already, and every new one retcons some of the story elements established in the previous one. It’s quite a common practice in the TF universe. What’s important is that in a time when many beloved franchises are being ruined by poorly thought-out content, when making personal statements often seems to be a bigger priority than being loyal to the universe, Transformers One stays true to the essence of what it means to be a Transformers story. Not only does it serve up a platter of colourful, enjoyable characters, it complements it with breathtaking cinematography and action. And of course, a story that has heart. I’m honestly surprised that a film with so much going for it isn’t being talked about enough. At this point, all I can do is regret the fact that I had the chance to watch it on a larger screen, but didn’t.
Rating: 4 on 5 stars. You can rent Transformers One on Prime Video.
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Joy Review: Understated Tribute to IVF Pioneers
Director: Ben Taylor
Writers: Jack Thorne, Rachel Mason, Emma Gordon
“You’re aware they’ll throw the book at us? The church, the state, the world. We will unite them all against us.”
“But we’ll have the mothers. The mothers will back us.”
In the early 2000s, when my brother and I were still school kids, we heard about a couple in the family whose daughter was a “test tube baby.” It sounded ‘cool’ to us — science helping out a couple after years of failures. Not long after, a close aunt of ours also welcomed her first child, a beautiful boy, through in-vitro fertilization (IVF). So, growing up, I saw IVF as a viable option for couples (who could afford it) struggling to conceive. But the world was very different in the 1960s! The 2024 film Joy follows the tumultuous journey of the IVF pioneers, who face numerous challenges in conducting experiments and trials to make their vision a reality. Being labeled ‘monsters’, and ‘satanists’, are least of their problems. (Because fertilizing a human egg in a petri dish is ‘unnatural’ and against God’s design)
James Norton portrays Dr. Robert Edwards, a pioneering British physiologist working to achieve the fertilization of human eggs in a laboratory. He joins forces with nurse Jean Purdy (Thomasin McKenzie) and Dr. Patrick Steptoe (Bill Nighy), a trailblazing gynecological surgeon from Oldham, to bring hope to infertile couples seeking to conceive. However, Edwards is swiftly labeled a “Frankenstein” by the media, and the team faces scathing criticism from all sides—except from aspiring mothers, who view them as their beacon of hope for achieving motherhood.
Told largely through the eyes of Jean Purdy, a rather devout Christian nurse, who is practically excommunicated by her church for helping out Edwards & Steptoe in their medical trials. But that doesn’t stop Jean from rebelling against those closest to her, if it means bringing new hope to millions of moms in the future. Jean’s personal struggles and her brief interactions with the participants in the trials, who begin to call themselves the “Ovum Club”, help lend just the right amount of sentimentality to the script, that makes “Joy” a humane watch, and not a dull, dry, scientific documentary about IVF.
The friendship and working camaraderie between James Norton and Thomasin McKenzie as Dr. Robert Edwards and Jean Purdy in Joy are a delight to watch, untainted by any romantic complications. Bill Nighy is effortless as Dr. Patrick Steptoe, the older, pragmatic, and ambitious medical practitioner who also forms a close bond with the duo. Tanya Moodie is memorable in her small part as the stern hospital matron Muriel, particularly in a pivotal scene where she delivers a sharp reality check to the devout Jean. When Jean, taking a moral stance against abortions, says, “I thought we are here to make babies,” Muriel pointedly replies, “We are here to give women choice.”
For a two-hour film, Joy is perfectly paced and engagingly understated in its storytelling. The cinematography vividly captures 1960s England, though much of the action unfolds within the confines of hospitals and labs. There are a few uncomfortable scenes depicting invasive medical procedures on women, which are, of course, unavoidable in a story like this. However, the filmmakers handle these moments delicately, avoiding any sense of gratuitousness while effectively conveying the physical and emotional toll reproductive medical trials take on women.
Some viewers might feel slightly emotionally detached due to the limited screen time given to the women who participated in the trials. However, this is ultimately the story of the medical team, not their subjects. True to its title, Joy concludes on an emotional high, celebrating the culmination of years of medical research, trial, and error with the birth of the world’s first “test-tube baby”—a breakthrough that would pave the way for millions more. For those, like me, who know little about the pioneers behind IVF, this is a great one-time watch! I highly recommend it.
Rating: 8.5 on 10. Stream “Joy” on Netflix.
P.S. You can find me on Twitter | Instagram
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Persephone: Hades’ Torment Review
Sneha Jaiswal (Twitter | Instagram)
Well, this was a cute, quick reimagining of the relationship between Greek gods Hades and Persephone—a lot more romantic, fast-paced, and playfully adult. I have to admit, I was surprised by the amount of nudity in the book, especially since the art style is kind of Disney-esque—the colorful, adorable type you’d expect in children’s comics. But hey, gods and nymphs don’t care about modesty! Persephone: Hades’ Torment by Allison Shaw is clearly aimed at a mature audience and makes for a fun pick if you love Greek mythology and graphic novels. However, it ends too abruptly!
Naturally, this graphic novel reminded me of Lore Olympus by Rachel Smythe, which also reimagines Hades and Persephone’s love story as a 21st-century young-adult fantasy rom-com. However, Persephone: Hades’ Torment was first published in January 2017, long before Rachel Smythe started posting Lore Olympus online. For those curious, one of the biggest differences between the two is the power dynamic between the leads. In Lore Olympus, Persephone works under Hades in the Underworld, and their romance develops slowly within a boss-intern dynamic. In contrast, Allison Shaw’s version presents them as two equals (well, kind-og) who fall for each other at lightning speed.
Allison Shaw draws Hades as a brooding, handsome hunk, while Persephone is a fiery redhead who’s fed up with being smothered by her overprotective mother, Demeter. As if Demeter wasn’t bad enough, Persephone also has to deal with Apollo’s constant harassment. So, when Hades steps in and deals with the troublesome Sun God, Persephone is instantly drawn to the dark, intimidating figure. Throw in some meddling from Eros, the God of Love and Sex, and what follows is a steamy, whirlwind romance between the Spring Queen and the King of the Underworld.
I needed this to be at least 100 pages longer, because Allison Shaw includes several Greek figures, and simply assumes readers know all about them. And despite someone like me being the target audience of the book – essentially readers familiar with their Greek legends and lore – I couldn’t help but feel the storytelling was jarring and too rushed. So readers who haven’t brushed up on their mythology, will end up feeling on the deeper side of the sea. But thanks to the cutesy art and breezy romance, Persephone: Hades’ Torment is an enjoyable one time read.
Rating: 3 on 5.
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