Movies Books

If you don't know, Mike Seate is a writer and editor for some of the worlds top motorcycle magazines. I bought this book on his credentials alone. He's a good story teller and I enjoyed the book, but it is not the definitive guide to biker movies. I collect bikesploitation films, and Mr. Seat doesn't mention half of them. He doesn't give much historical perspective for the films, except to say that they all fed into the biker paranoia of the 60's, and then made a conversion to biker as hero in the 80's (sort of art-imitates-life-imitates-art). If you want a thumbnail of the genre, this will provide that, but he doesn't stray much from the mainstream.

Definitely a voyeuristic pleasure, this book will appeal to any fan of 'list books', and anyone who wants to know which movie stars showed their naughty bits in which movies. It goes beyond that, of course, to reveal info on just about every 'dirty pleasure' to be offered by the movies: serial killers, masturbation scenes, and any number of other naughty kinks. My only quibble is the fact that the edition hasn't been updated since 1994.

WE GOTTA HAVE IT by Esther Iverem examines African-Americans' contributions to film over the past twenty years -- the good, the bad, and the ugly. Iverem is unapologetic as she takes African American directors, actors, producers, and writers to task over their works which she feels did not help to enhance society's view of African-Americans. However, her complaints are not one sided and she also calls out white society for the role they have played in the film industry as well.

From the point of view of a culture critic, she writes about popular films such as Menace to Society, Jungle Fever, Diary of a Mad Black Woman and even recent movie's like 2006's Pursuit of Happyness and Dreamgirls. She also covers movies that include black cast members even though the stories do not center around their lives (i.e. Star Wars, Gladiator, Déjà Vu). But, this is more than just a collection of movies. Iverem also writes about the history of films, includes interviews with various stars and commentaries on events such as the Oscars and smaller, lesser known film festivals.

Overall, WE GOTTA HAVE IT is a great resource for anyone interested in film, especially African American film. The reader will find write ups on well known films and lesser known films and documentaries as well. However, the reader must be sure to go into this book with an open mind because you may not always agree with her view. Also there is an inconsistency with which she writes about the different films. For example, some movies can contain a whole review while others only get a one or two line synopsis. Still, WE GOTTA HAVE IT, is a candid look at African-American cinema that will make you think.

Reviewed by Criss
for The RAWSISTAZ Reviewers

This is a must for the western movie fan. Information is very consise, but a good first step before getting out your other resources.

Although drag is loaded with anthropological implications, any examination that opens with a dedication to Pal, who impersonated Lassie, tells you what to expect. The introduction defines drag here as an impersonation of the opposite sex. Already the notion that one's gender is defined by clothes and not one's body is a given, and that certain clothes are easily identifiable for each sex. The practice began in primitive societies where witch-doctors wore female garb for certain pagan rites. Julius Caesar and Nero dressed as women. Boys played the female roles in Shakespeare's productions, since the Catholic Church had pronounced it immoral for women to appear on stage. The term drag is said to have started from the way the actor came on stage, with his gown behind him. The Japanese Kabuki theatre also employed men to play women. It was in the late 19th century that women began to appear in the theatre as men, the most famous being Sarah Bernhardt playing Rostand's L'Aiglon, Napoleon's doomed heir. In 1892 Brandon Thomas' farce Charley's Aunt debuted to become one of the most performed comedies of all time. Contemporary audiences began to add dimensions to the appreciation of drag, with role-reversal evolving into camp, where the disguise was obvious, or more realistic interpretations where the disguise was unnoticeable. The gay community initially embraced drag as a liberating force of expression until some began to see the stereotyping of women as divas was oppressive, and mysogynistic. A celebration turned into a perceived mockery. This reaction led to the "cloning" of men as cowboys, policeman and blue-collar types, which became known as another form of drag. The lesbian community also reacted against the gay drag phenomena, creating similar butch and femme types, as a reflection of heterosexual coupling (though when a woman donned the female drag things became perhaps a little too confusing). So what began as entertainment took on a political flavour when drag, cross-dressing and roleplay confronted ideas of empowerment and identity. Impersonation may reveal more latent sexuality in the impersonator, but one has to consider the partriarchal fears of western society that tells us that men dressed as women is funny - but not funny, and women dressed as men is never funny. The book presents stills with little commentary so one is free to project one's feelings over the images. Of course, one begins the pretence with the knowledge of the true gender of the pretender. Most of these impersonations are done for comic effect, to create deliberate deceipt, so naturally the man cannot be truely convincing as a woman, and vice versa. At best, they are perceived as being socially unattractive, and thereby less powerful in the battle of the sexes. (Of course it is when they are perceived as attractive that we start getting into trouble, and the idea of a woman in male drag becomes more palatable). The comedy is also reliant upon those who must be deceived being somewhat dim in not realising the deceipt. They exist therefore to be duped and somehow deserve to be manipulated. Some male forms of drag allow for the wearers to continue to express their sexuality, but without the restrictions that a woman would traditionally impose eg the embracing in Charley's Aunt. Some Like it Hot in particular gives the men access to women's private feelings about men. Hot is a troublesome film since the representation of Marilyn Monroe borders on female drag. Since her behaviour caused interminable delays in the making of the film, one wonders whether this is a form of revenge on director Billy Wilder's part. And the famous ending of "nobody's perfect" sits uncomfortably as a gay tag in a time when homosexuality was still closeted. In fact, the extreme (some would say arrested) femininity of the 1950's created great hostility towards gays. In Hollywood Revue of 1929 Marion Davies is seen dressed as a bellboy, however a trick photography still has her as a Lilliputian figure standing under the crotches of a male chorus, with raised eyes. Maybe because Tony Randall's impersonation in The Seven Faces of Dr Lao was of Medusa, from Greek mythology, and not a contemporary, is the reason his androgyny is so successful. But then Randall's heterosexuality was always in question, which makes the cross-over perhaps easier to accept. Certain female stars in male drag appeared as very handsome boys - Louise Brooks in Beggars of Life, Veronica Lake in Sullivan's Travels, and Katharine Hepburn in Sylvia Scarlett. Brian Deacon's impersonation, under the guise of being an army deserter in Triple Echo, is so weak that it confirms how stupid Oliver Reed as his/her admirer is, and sets up the exposure and savage retribution. Garbo's Queen Christina is memorable for the discovery of her gender by John Gilbert, but without any retribution. Who can forget how unbelievable John Hansen looks as Christine Jorgensen in female drag, even when his/her drag is everyday attire. I haven't seen Anne Heywood in I Want What I Want, but it's always interesting when an actress plays a man wanting to be a woman. Vanessa Redgrave in Second Serve is another example of this. Jamie Farr's Klinger drag on TV's M*A*S*H* is contextualised within the lunacy of war, but Farr should be applauded for such a risky impersonation. And the still of actors in drag for a charity benefit, striking typically male poses eg legs apart, smoking cigars, is amusing in it's statement that appearance does not always alter inherent behaviour, or at least the behaviour the actors wanted to project and us to believe as genuine.

At first when i bought this book (my teacher forced me to), i thought that it would be one of those books which you read about half way through and fall alseep. However, i used to have a 3.7 gpa becuase of my bad english grade everything else was an A. With the help of this book, my english research paper grade went high again. Of course tons of students in my class have this book too (it is mandatory for english). I'd just never think of it as useful

I thought this book was helpful to students of any age who are interested in writing a "scary" story. How many children have made up scary stories? How did Stephen King get started? He probably wish he had had a book like this to rely on when he got started as an author.

I think kids need all of the help they can get to create a story. This book helps.

This is definitely one of the best books I've ever read. Any praise I give it will probably not do it justice. Read this book if you need to laugh at yourself and the rest of humanity.

Running with Scissors evokes emotions: humor and disgust. However, the disgust overshadows everything else. I found myself flipping through pages to get to something interesting. Indeed, portions intrigue with moments that speak genius.

But the book fails on two levels. First, certain chapters ponder pointlessness. If one agrees, given the premise, it still equals boredom.

The second issue the protagonist addresses, "No one would believe it." It's a clever trick to divert attention, but a trick nonetheless. Does the memoir speak facts without fluffing? Maybe. But again, my disbelief stayed throughout the entire work.

One item remained with me after finishing: Bookman. I'll not spoil the one plotline that did make me wonder afterwards.

Running with Scissors fascinates on a 'cannot look away from a train wreck' level. If you want a visceral reaction, this memoir can do it. Yet, I cannot recommend.

Wolfe

Having read Augusten Burrough's 'Dry' this past week, and wanting more of the same acerbic wit and pathos from the same author, I worked my way through 'Running With Scissors' just a few days after.

While I must admit that I completed the movie before the book (in fact, on the same day) I am grateful that I saw the film before indulging in the bulk of the story. The film leaves out some of the best, and most horrific, parts of the story that the author tells of his troubled childhood with his alcoholic father, mentally unbalanced mother, and eventually living with the psychiatrist's family that adopts him as their own.

Burroughs begins his account with childhood memories of being his mother's constant companion, cutting school, polishing his allowance, and wrapping the family dog in aluminum foil (because he liked shiny things). From early on, Burroughs believes he is destined for 'greatness' (like his poetry writing mother) and sets a course to own and market a 'hair empire' from early on - imagining himself bigger than Vidal Sassoon eventually.

But Burroughs' life takes an unexpected turn when his mother begins to suffer psychotic 'breaks', and no longer feels she can care for him. While the course of events after this are both entertaining and sad, in reading the description of the episodes with his mother, I found myself wondering what would have been worse for him? Being simply (as I saw it) a 'filler' for her life when it seemed to be lacking fulfillment (between a husband, a therapist, and other assorted lovers, as well as her poetry), or living with the strange and eccentric 'Finch' family, headed by Dierdre's therapist, and finding out that he wasn't quite so 'abnormal' after all, living amongst those that he did growing up.

Wildly entertaining, though not as caustic in tone as 'Dry', Running With Scissors is an indulgent look at a 'life less ordinary' which might make readers appreciate 'normal' a bit more in comparison.

This was my first Augusten Burrough novel, so I really had no idea what to expect as I began reading. Burrough quickly moves through back story to main plot line and begins shocking the reader. If you are like me, there will be points where you will cringe and want more than anything to put the book down, but somehow you won't be able to. As you continue, the mastery of the text becomes more apparent.

I read this as part of a book group and it was interesting to see the variety of opinions, feelings and reactions brought up by this book. I truly think everyone will take away something unique from their read. There are so many emotions and situations that I think most everyone will be able to find something to relate to. Most interestingly, the novel makes you question things in entirely new ways.

The technical style of the book is unique. I cannot remember any time I've read a memoir that read so closely to fiction as Running with Scissors. It leaves me with the impression that while the main themes might be true, Burroughs has taken artistic privilege in embellishing and elaborating on the details. Then again, perhaps not.

I think Running with Scissors was enjoyable, but it certainly wasn't the best book I've ever read. If you choose this novel, be ready for the unexpected and don't bring too many preconceived notions. Of course, that is probably part of the message of the whole book.

Very funny and yet sad, too. Burroughs paints a clear picture of his youth, during a period when his mother sent him away to live with her disturbed analyst and his strange family. You'll feel for him and a few of the other characters. I highly recommend this great story. FYI - Don't waste anytime with the DVD; it simply doesn't give enough details.

The names are the same, but I don't recognize the characters. The writing of this "between the numbers" book is very different from the numbered books. The writing is immature. The characters are flat. The story is stupid. It lacks the flow and humor of the numbered books. Strike two.

Stephanie, the lovable and at times confused bounty hunter, is back in this "between the numbers novel" about finding "love" for 5 very lovable, yet finding it hard to find love, people. Diesel (a Ranger/Morelli combo with the same amount of arrogance and attitude) has come to Stephanie for help. It would seem that the same "FTA" (accused of Armed Robbery and Assault) that Stephanie is looking for is being protected by Diesel, and he is willing to scratch her back (give her Annie), if she scratches his (find "Valentine's Day" loves for Annie's clients. The plot, although at times convoluted, was peppered with humor. The scenes of Stephanie, with her sister (Valerie) and her fiancé' (who suddenly not only suffers from gas, but who gets violently ill when the very idea of a wedding comes up) make the story priceless. Not to mention the conversations between Stephanie and Lula (who is still knocking boots with Ranger's best friend and dieting) are a hoot. The only thing missing from the story was sweet Morelli and equally sexy Ranger. Stephanie is still just as confused as ever about who she loves, and Diesel isn't helping the situation, especially since he is indicating that he might want to throw his hat into the fight for her affection.

I am defintately a die hard fan of Evanovich - I simply adore her characters and really look forward to spending time in their world.Considering this I was terribly disappointed in this book - it's about the size of a postage stamp - which is annoying and yes I should have looked at the word count before I bought it but, gee, maybe these tiny book-ettes should be flagged as puny and then we wouldn't be surprised, disappointed and cross when they appear. It felt like a draft idea that never warranted fleshing out...one suspects a publisher just wanted something quick to send to the marketplace and insisted on this folly. Such a pity - despite this, I remain a devotee of Evanovich.

Plum Lovin' by Janet Evanovich is what she calls a "Between-the-Numbers" novel. I assume this means that although Stephanie Plum is back, she gets sidetracked from her regular bounty hunter duties as well as some of the more regular plotlines (Ranger vs. Morelli, etc.). I almost didn't purchase Plum Lovin' because it was so short, but waited until it came out in paperback.

Stephanie Plum is Trenton, NJ's favorite bounty hunter. February is a lean month for bond enforcement. The only skip trace on Plum's list is Annie Hart, a relationship expert. "It's always slow this time of year. All the serious crackheads killed themselves over Christmas, and it's too cold for the hookers and pushers to stand on the street corners. The only good crime we've got going is gang shooting, and those idiots get held without bond." Diesel, from Visions of Sugar Plums, appears on the scene with a deal for Stephanie. He had to "hide" Annie Hart from a maniac, but he'll eventually turn Hart over if Stephanie will take Hart's five "clients," who are looking to solve romantic problems by Valentine's Day. So Stephanie, Diesel, Lula, Grandma and the crew are kept busy trying to become matchmakers. Actually, the plot is very stupid but was salvaged only by the number of good belly laughs to be had.

Evanovich isn't the best mystery writer, but she's definitely one of the funniest. And despite the shortcomings of Plum Lovin', it was a good diversion after some more serious reading.

As a faithful reader and fan of Janet Evanovich's Stephanie Plum novels I was very disappointed with Plum Lovin'. I always look forward to the next adventure of Stephanie Plum and her LOL antics. This 'Between the Numbers' novel was less than half as much fun as her previous 'Whole Numbers' novels. From now on I'll be waiting for the real thing.

This book was entirely too predicatble. You could read the first 50 pages and the last 50 pages and not have missed anything but confusing sex and a dragged on plot line. Subtle hints the kidnappers left were supposed to leave you on the edge of your seat, but all they did was make you sick of them because they were repeated over and over to the point where you just skip over it. This book was a big let down froma good author.

VERY INTERESTING BOOK. HAVE JUST FINISHED GUILTY as SIN WHICH CONTINUES WERE NIGHT SINS STOPPED. ENJOYED THEM BOTH. WILL CONTINUE WITH MORE BOOKS BY TAMI HOAG THROUGH AMAZON.

As far as romantic suspense novels go, I liked this story. I liked the characters, plot & tidbits of info. about MN.

However, I didn't care for the "romance." The whole thing about Megan sleeping w/ her boss, after just meeting him, when she has so much to lose, all while there is this big case going on, just seemed unbelievable. I mean she's this detective that has worked so hard to establish herself & be taken seriously & has this rule never to date cops, but then she sleeps w/ her co-worker a couple days after meeting him - Please! If she is gonna sleep w/ him fine, but describing her as a no-nonsense/professional woman who can count the # of relationships she has had on 1 hand, didn't work for me.

My BIG gripe - the ending.... D NOT read this bk. if you want loose ends tied up & your ?'s answered/explained. Do NOT read/buy this bk. unless you don't mind buying/reading Guilty as Sin. Yes, you will need to read Guilty as Sin to find out what happens & why. Well, at least I hope Guilty as Sin answers all my ?'s from this bk.!

Even though I had some complaints about this bk., I still enjoyed it.

It seems that I start every review of a Tami Hoag novel the same way: I love Tami Hoag and would read just about anything by her. This was a pretty good story which was left open for a sequel which I am about to order. The story was good, the crime was good and I liked the characters. What I did not like was that the two main characters, Mitch and Megan were so eager to make love and fight with each other in no particular order. Some of the passion scenes were absolutely laughable. These two were so hot for each other it was silly right from the first meeting. Also, the clue that brought the whole thing together and put the game in motion was completely overlooked by the investigation team, although I figured it out by page 15. I also correctly guessed the bad guy (well, one of them anyway). I guess the other is ready for the sequel. Anyway, this book is 540 pages long. Skip the love scenes. They are silly. Also, I hope Mitch gets over his guilt and poor me complex. Maybe Megan can develop a relationship outside of her desire to carry a badge. Not a bad book. Not the best by Tami Hoag, but as I say in many reviews: An average book by Tami Hoag is generally an above average book.

I recently took a break from reading the awesome romance novels and jumped into Tami Hoag's novel "Night Sins". This is an awesome horror story about a small town and a little boy of 8 being kidnapped. Tami had a lot of twist and turns in her novel that kept you guessing about who did the kidnapping. It's also a great story about letting go of the past horrific events and being able to move on. Tami did a wonderful job in writing this great suspensful novel.


Thanks Tami!