Hannah Montana: The Movie: DELUXE EDITION Review

August 14, 2009


There’s something inherently annoying about the whole “best of both worlds” theme of Hannah Montana and Miley Stewart [Miley Cyrus] in the television series Hannah Montana and I expected the same thing in Hannah Montana: The Movie. I was genuinely relieved that the screenplay for the film, while still containing many of the same Hannah themes, digs a bit deeper and isn’t nearly as mind-numbing. While a tabloid reporter is hot on Hannah Montana’s trail, Miley’s father [Billy Ray Cyrus] brings her home to Tennessee because he feels she’s gotten too wrapped up in her music career and needs to get away from her life as Hannah Montana. So now “glam superstar” Hannah and down-to-earth, hick with a heart Miley can finally reconcile and become one identity, as conflicted as she might be.

Poor girl, no one understands either side of her persona and the show never addressed that very well. The film does a much better job but fails to go into as much depth as it could until the very end. As Hannah, people always think that she’s always had it so easy and never had to work hard for anything. As Miley, people say to her that she doesn’t “get” small towns or country life or simple things because she lives in Los Angeles. It is a weird thing. But the film does little to rid the character of these stereotypes. For the most part, Miley has already soaked up much of Hannah’s persona. She is a rather uneducated, uncultured, spoiled girl. She’s been exposed to what money can give her and she’s not that Miley from the South anymore. [What a shame because as a role model to so many girls, Disney could have done so much more with Miley Cyrus and Hannah Montana].

Hannah gets in a silly catfight with Tyra Banks over a pair of shoes. When Miley goes out to get eggs from the barn, she ends up in an absurd, messy situation and covered in feathers. Hannah is all glitter and show. Miley can tend toward gum-chewing and tacky when she tries too hard. Otherwise, she’s a sweet, thoughtful girl [this Miley is not getting on a stripper pole anytime soon]. The jokes in the film are downright juvenile and aimed toward eight-year-olds—all slap sticky, silly sight gags, and useless filler. Miley Cyrus can sing some fun songs and they are the highlight of the movie. Otherwise, I didn’t care if she ended up with the boy or if Miley would be completely true to herself. Though of course it’s Disney so I think we know that she does both. Hannah Montana: The Movie is a predictable 90-minute movie with a heartfelt message and upbeat songs at the end.

DELUXE EDITION INCLUDES: BLU-RAY + DVD + DIGITAL COPY

DVD extras: The Hoedown Throwdown dance; seven music videos; commentary by director Peter Chelsom; the stars show people around their hometowns; bloopers and deleted scenes

Rated G.

GRADE: C+

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Beat: a Book Review

August 13, 2009

author: Amy Boaz
publisher: The Permanent Press

What happens when you’ve been loved grandly, then discarded, is that you combat the urge to bury yourself. To let others bury you. The shame (of loss, of failure) is debilitating, and wears away your fighting spirit—the will to defend yourself. It happened, didn’t it? He loved me, didn’t he? You’re left with a sense of unreality: it was all a dream. You no longer exist.

As Beat opens, an American mother and her 7-year-old daughter explore the Louvre. Days pass and the duo wander the streets of Paris from café to museum to bistro to park. Once it has been established that this is not a vacation for Frances and her daughter Cathy but an escape from the New York suburbs, the reader starts to wonder why this mother moves from one seedy hotel to another with one eye over her shoulder during this excursion. Through flashbacks that piece together a fiery romance, author Amy Boaz methodically reveals the reasons. Her marriage to Cathy’s father Harry had grown stale and during a party, Frances fell for an older Sanskrit poet from the Midwest named Joseph [a bearded outdoorsman—someone different from anyone she would encounter at her job as a magazine editor in Manhattan]. Through this sexual awakening, a spellbound Frances allows Joseph to take control over everything. In doing so, she endangers herself.

Frances is such a flawed character that I found her annoying at times and also sympathetic. Annoying in that she gave up so much of her own life because of this man. But then sometimes you get caught up in a moment of love or lust for a while before you realize that you are giving up more than the other person which is exactly what I think happened to Frances. And that is why I ended up being sympathetic. Frances is so in love with Joseph that she wants to impress him. She wants him to move to New York to be with her but he won’t do it. She takes most of the trips out West. She admits that she’s a terrible mother at times. She has her fallacies. She loves her daughter although one night in Paris, she leaves her alone and asleep in a dingy hotel room to get a drink in a bar across the street. Finally, Frances also comes to terms with what she has given up and that she may or may not have gotten played by this charmer Joseph. She realizes that she gave up too much and must take some of it back and with that, I could empathize.

At what point does longing become its own torture, of waiting, sitting, counting? I wait for my lover’s calls, his exquisite silhouette to appear outside the arrival gate, his leters in my mailbox daily, and his sweetest words to transport me once again to that place of joined oblivion. I wonder if I am ever truly happy knowing him: whether love is a form of willful sabotage.

Through dazzling, smart, dynamic writing, Boaz spins an enigmatic, unique story about dissatisfaction, passionate love, and the value of individual character. Boaz writes vividly and thoughtfully. Each character is painstakingly established through lyrical prose. Whether in Colorado, New Mexico, Paris, or New York, Boaz details the scenery, the smells, the people, the sounds, the colors, and every other detail of the area so that the reader feels transported to that setting. Beautifully written, Beat often read likes poetry (and Boaz turns to Beat poets quite often). As Frances learns to cope with a love affair that has soured, Beat is at turns a tortured love story and a thriller unlike any other.

GRADE: A-


I Love You, Man: DVD Review

August 9, 2009


Peter (Paul Rudd) is about to get married to Zooey (the talented and under-utilized Rashida Jones) and he doesn’t have a best man, yet she has six members of her bridal party.[Jon Favreau and Jaime Pressly steal scenes as a sparring yuppie couple.] He ends up going on man dates to find a Best Man when he realizes he really doesn’t have any male friends. His fiancee is a tad concerned but cool about it. As a realtor, he ends up meeting Sydney (Jason Segel) at an Open House. The two hit it off and we watch them cavort around Venice Beach together in that getting-to-know-you-phase. Then the bromance is ON and at times it is hilarious because Rudd and Segal have fantastic chemistry although it is overshadowed by silly potty humor. I Love You, Man actually has genuine moments and characters you can care about.

rated R
for pervasive language, including crude and sexual references

DVD Extras: commentary by director John Hamburg, actors Paul Rudd and Jason Segel; gag reel; making of the film.

GRADE: B-


Labor Pains: DVD Review

August 9, 2009

Labor Pains

Directed by Lara Shapiro
Written by Lara Shapiro and Stacey Kramer

An unglamorous, more sincere Lindsay Lohan plays Thea Clayhill, a harried publishing assistant who has to put up with sexist, poor treatment. She gets coffee and washes the guy’s dog. He belittles her for being four minutes late to work. Her confidante is the wonderfully versatile Lisa [Cheryl Hines]. Her boss Jerry [Chris Parnell] can’t stand her and to avoid getting fired, Thea fakes being pregnant. Of course this leads to lies, special treatment, and numerous awkward situations. When Jerry leaves the company in his brother Nick’s care, things begin to heat up between Thea and Nick which makes everything all the more challenging for Thea. Despite this fluff of a movie, Lohan is back to Disney sweetness and she endears herself once again.

DVD Extras: Making of featurette with cast and crew interviews

GRADE: B-

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Interview with Rose Byrne: star of Adam

August 8, 2009


Many people know Rose Byrne for her role as Ellen Parsons on Damages for which is nominated for an Emmy award. She currently appears in the heartwarming, quirky film Adam as schoolteacher and children’s book author Beth, a calming influence and love interest for Adam [Hugh Dancy], an engineer with Asperger’s. Beth pulls Adam out of the window (as Jenny McCarthy refers to in her book Louder than Words) but throughout the entire film the pair must decide whether or not the relationship can realistically survive. Adam’s father has recently died and Beth soon becomes his sole support system, something which she ultimately finds too overwhelming. She has a close relationship with her own father (Peter Gallagher) who faces legal issues and Beth must choose between Daddy and her new boyfriend. Dancy creates more than a caricature and does a commendable job as Adam. However debut director (writer) Max Mayer does not push quite far enough in the script and film. The characters could be developed more. Adam is quite intriguing at the beginning and then his quirks and ticks get annoying and he uses his Asperger’s as an excuse at times. The film started to grow too drawn out at times. While Adam strives to prove that those with Asperger’s can function in society with empathy and tolerance, the film left me with more doubts than answers.

Recently, Rose Byrne stopped by the Ritz Carlton in Boston to talk about Adam. Byrne started acting in Australia professionally at 13 and began taking acting classes at eight-years-old. How does she master that American accent? “Growing up watching Alex P. Keaton and Family Ties,” she admitted.


You just came back from India. Did you do any yoga over there?

Byrne: No. I didn’t do any yoga. I desperately tried to find a place to do yoga. You have to be more organized and I wasn’t which was a shame. No, I was just sort of traveling around the country which is incredible if any of you have gone or plan to go. Do go if you get the opportunity. No I wasn’t planning on working. I had just finished working on this show called Damages [as if we hadn’t heard of it or seen it—fan here!] and then the script came and my agents were very encouraging for me to read it and I did and it was really good. This is really a clever, beautiful, moving, heartfelt script with a character that I’ve never been approached to play before. She wasn’t chasing zombies or in a spaceship or running from the end of the world or crying in a tent desperately before she gets attacked. She was a liberated, wonderful, complex woman and she also didn’t take her clothes off in the first five pages. It was really rare to come across something like this. She was a gift, I suppose.

When you take something from the written role to the performance, what did you bring to the role?

Byrne: It’s hard for me to be objective about what I myself bring to something but I guess I was definitely given such a gift with her. It was fun to go to a character who was so different in so many different ways. She has a tolerance about her and patience about her which I loved and of course the comedy in it was really fun. That was something that I’ve been wanting to try to do is something lighter and funnier.

What did Hugh bring to the film that surprised you?

Byrne: It’s a remarkable performance. Knowing someone with Asperger’s, he does a beautiful job. It’s very accurate, sensitive to it and yet compelling. Which is a hard thing to do, because we’re making a film, and you want it to be entertaining and all that stuff. And yet he makes you care about someone who’s kind of difficult to access. He does a really good job of that.

Is it hard being on TV and finding good film roles?

Byrne: Well, just schedule-wise because the show takes up 5-6 months of the year. The role I have on Damages is so good and better than most of the film roles out there that I would be getting access to that for me that it was a bit of a no-brainer for me to sign on once I had got the role. And working with Glenn obviously and it’s a very prestigious show. And I myself for one love series. I watch Mad Men. I think TV right now is having a renaissance especially for women.

What do you like best about this film?

Byrne: For a viewer, I guess I thought it was a very truthful story. I think truth is stranger than fiction. It put a fresh take on a romantic comedy as well which is a genre we’ve seen done so much. It always falls into nostalgic, sanctimonious, cheesy crap and it’s completely unrealistic. I thought this was a refreshing and realistic take on it without being boring. It’s a very accessible film.


Julie and Julia: a film review

August 5, 2009


Nora Ephron wrote and directed an empowering film for women and it is all about food. The story focuses on world-renowned and beloved chef Julia Childs and Julie Powell, an unhappy cubicle-dwelling secretary facing thirty. Both women are at moments of self-discovery in their lives. Julie and Julia is about getting past obstacles, your fears, and reaching your goals. In the hands of veteran filmmaker Ephron, the film follows the two women, separated by a half-century, through challenges and triumphs.

In 1949, we find Julia Childs in Paris where her husband works for the U.S. government. She decides to enroll at the Cordon Bleu where she faces immense sexism and criticism amongst the men. One day, Julia’s husband arrives home and Julia is chopping a massive pile of onions for practice.

“Julia, you’re being a bit over competitive aren’t you?” he says.

In 2002, Julie Powell works as a secretary in Manhattan and lives in Queens. She’s facing thirty and feels that she has not accomplished the goals she had hoped she would be this age. Julie wants to be a writer. She tells her husband: “You’re not a writer unless someone publishes you.” She decides to write a blog about cooking her way through Julia Child’s cookbook in one year.

As Julie remarks: both she and Julia worked as secretaries; both married sweet men; and both women were “saved” by food. One major difference is that it took eight years for Julia Childs to write her first cookbook and Julie wrote her blog and received a book deal after one year. Julie also learns that 90 year-old Julia Childs does not like her blog. Julia’s book editor Judith Jones said: “Flinging around four-letter words when cooking isn’t attractive, to me or Julia. She didn’t want to endorse it. What came through on the blog was somebody who was doing it almost for the sake of a stunt…She didn’t suffer fools, if you know what I mean.”

As Julia, Streep lights up the screen with her mischievous smile, snappy comments and elegant style. Tucci brings a calming presence to the irrepressible Julia. Adams trades perkiness for determination and edge. As anyone who has cooked or baked knows, it is all about trial and error. You get better at anything with practice which is what we see with Julie and Julia. The film is fast-paced and upbeat. Ephron makes Julie and Julia entertaining without being silly, touching without being sappy, and just an overall charming, delightful film.

STEELE SAYS: SEE IT IN THE THEATRE


Paper Heart: interview with Charlyne Yi

August 5, 2009

Paper Heart is a thoughtful, revolutionary and sweet examination of love. At the beginning of the film, 23-year-old Comedienne/ writer Charlyne Yi admits she does not know what love is and feels incapable of being in love. She says that she has never been in love.

“I haven’t been in that many relationships either for the reason of not feeling mutual about the person— them not liking me or me not liking them—or the idea of getting to know someone and not hating them in the end or it just not working out,” Yi elaborates. “Not even hate, it just doesn’t feel right. It takes so much time to realize that. I think when this idea occurred I was 18 and I was new to the world and I was like, “I don’t want to hit on people at bars.” I think it was just me scared of the world and having to dive in and meet strangers and meet them in a way that you are so comfortable that you can be yourself and to learn about them too and for them to be comfortable to a point where you either: A. feel the same way about them or B. have to grow apart and that’s kinda scary.”

Most likely, a lot of people can probably relate, including this critic, who has never been in true love [only unrequited] and is a decade older. This is why Paper Heart will move many people, hit a nerve, and win over audiences with its honesty.

“Do you believe in love?” Jake Johnson asks me during our sit down at Felt in Boston. “Do you believe in the ability to love? If this was an interview during Paper Heart, do you believe that there’s love?”

“Well, I’m pretty cynical about it now because I have this ex-boyfriend who broke up with me after two years and yet we’re still friends,” I explained. “It’s been eight years. We would have been good people to interview. Well, he’s an engineer so he doesn’t talk at all. He mimes things.”

“You’re not still in love with him are you?” Yi asks in a gentle tone.

“Yeah, I still love him,” I say. “It’s just this weird relationship and obviously he really cares about me. We go on dates. We do everything a married couple does except do anything intimate.”

“This is the best interview ever!” Johnson says excitedly while clapping his hands.

Yi takes her quest on the road to find all love-related answers. Her goal is to change the way she thinks. Johnson plays Nick [aka the director], someone whom Yi can confide in and someone who also can nudge her along here and there.

“It was weird because it was going to be a really small part but along the way we realized how essential this character was and we’re so lucky we had him,” Yi admits. “Otherwise, it would be a lot of me going [she uses a funny voice], “Ah, hey camera.” You know you’d never get any information or see the character growing.”

Interspersed in Yi’s pursuit for answers is a tender, evolving pseudo-relationship between Yi and all-around modest good guy Michael Cera, who in the film she meets at a party in Los Angeles. Cera tells Yi he’s seen her do stand-up and then asks someone about her saying she’s “mysterious.” Soon after the party, the two go on a first date. The budding romance is at times awkward but slow and gentle.

“There’s like 300 hours of footage for an hour and a half movie. I think I said the line, “So what’s going on with you and Mike?” probably no joke, 6,000 times in different takes,” Johnson stresses. “Because a lot of times we’d be in a beautiful location and [Nick] would say, “Let’s just do a scene.” And it would start with asking about Mike and where would it be in different points of the relationship so when they were editing it they could use any scene they wanted.”

A charming aspect of Paper Heart comes when Yi asks real people throughout the United States about love in its various modes. In Lubbock, TX, scientists literally explain the science of love: the biology, chemistry, biochemistry, physics, and mechanisms of the heart and brain that make a person feel like she or he is in love. Bikers in Oklahoma City explain their love/hate relationships, while in Las Vegas, Yi questions people at the quickie wedding chapels. At the L.A Zoo, she wants to film animals expressing love. Yi interviews older couples about their first dates.

“I think [Paper Heart] made me more hopeful in that sense,” Yi admits. “Love to me is doing the most boringest thing, like washing clothes with a person, and enjoying their company still and feeling the same way. And knowing all their faults and still accepting them and hopefully vice-versa.”

Yi then heads to Atlanta where in an adorable scene she talks to a group of rambunctious children about [icky] love and boyfriends and girlfriends. During an interview with interview with Sarah Baker, a romance novelist, the author explains the importance of HEA ending—happily ever after and states that one partner has to sacrifice for the other. Yi discusses divorce with a lawyer and judge in a family court and love and marriage with a gay New York couple.

During this entire exploratory trip, Yi has managed to IM Michael quite a bit and has gone on a few dates. At one point Yi says: “Nick I’m starting to really like Michael.” Since everything between Yi and Cera seem to be moving along quite well, Nick wants the documentary to end in Paris, the City of Love. Unfortunately, Cera is growing tired of everything on camera and ends it with Yi before this can happen. “I’m sad that he wants me to love him and I can’t,” Yi laments. They go to Paris anyway where Yi is visibly miserable the entire time. On their return, they head to Toronto because Yi missed Cera. She doesn’t allow the cameras to follow her inside this time.

“The reason we made the film is that love is universal and everyone wants to mean something to someone,” Yi explains. “I’ve met people who’ve seen the film and it’s made them appreciate what they have or if they don’t have that love it inspires them. It might make them less bitter about love. So that’s great.”

“I also think it is love told through the eyes of a 23-year-old girl,” Johnson adds. “So I think that’s a good way of looking at it. Obviously that’s just another perspective of it.”

Paper Heart is a revelatory delight not to be missed.

STEELE SAYS: SEE IT IN THE THEATRE


Interview with Allison Winn Scotch

August 5, 2009


With Henry, I knew ambition. I knew the straight and narrow, and seven years later, it felt choking, claustrophobic almost. so whit time around, I pushed aside those lingering doubts about Jack, which, in days past, would spiral into needling nit-picking, which would escalate into full-blown arguments, which would culminate in one of use sighing in sarcastic relief at the fact that we weren’t in the relationship permanently. And then we’d apologize, and wash, rinse, repeat at least once a week.

Would you like a chance to make a different decision, to change something in the past, to pick a new career, or a new person to date? Do you wish you could take back harmful words or wish that you could go back and say something meaningful to someone that you never had a chance to say? Time of My Life addresses these types of questions when Jillian Westfield finds herself seven years in the past with her ex-boyfriend instead of her investment banker husband and 18-month-old child. This whimsical, unexpected, smart novel by Allison Winn Scotch will keep you constantly guessing what Jillian will do next. Before the time travel, Jillian lives the idyllic life of a perfect Martha Stewart disciple stay-at-home wife and mother. She schedules, outlines, and masterfully executes every aspect of her life which instead of making her life easier only adds more stress. She finds herself often pondering what life may have been like if she had stayed together with aspiring writer Jackson. Bingo. She’s jettisoned back in time as if she never left. How will it turn out this time around? Time of My Life proves to be a treasure trove for anyone who has ever wished for another chance. Winn Scotch creates an unforgettable cast of characters and moments that allow the reader to delve into Jillian’s life as she discovers herself and what she needs most to make herself truly happy. And it is not a man. Time of My Life is witty, well-crafted and charming.

Recently I interviewed author Allison Winn Scotch via email. Time of My Life is currently available in paperback.

Amy Steele [AS]: Smarty pants: UPenn with a BA in History and concentration in Marketing from Wharton. Did you work in business after you graduated and if not, why didn’t you go into business?

Allison Winn Scotch [AWS]: I actually did get a job in public relations after gradating, but I hated every second of it and ended up quitting nine months later. As far as business, I interviewed at the investment banks and consulting firms my senior year – per my parents’ wishes, as my older brother worked for Goldman Sachs at the time – but it was pretty clear that my heart wasn’t in it. In fact, I think one of the Goldman guys reported back to my brother that, “I’d be a great candidate but they could tell I wasn’t interested.” Hee. Very accurate. Fortunately, many years later, everyone involved – from my parents, to me, to probably those Goldman folks – are all very happy with my chosen path. Sometimes you have to try on a few hats to find the one that fits.

AS: Why did you become a writer?

AWS: I was always a writer, in that I enjoyed it so very much and kept diaries and such. In college, I had a bi-monthly Op-Ed column called “Allison Wonderland,” (get it?), and a lot of people told me I should consider getting into writing upon graduation but it just seemed ridiculous. I mean, how on earth does one earn income from writing?? At least, that was my initial reaction. But, as I said above, I tested a few different careers – PR, acting (got my SAG card, did commercials, etc), internet mogul – and the writing thing sort of fell into my lap, in that I was very good at it, and while I was doing the internet start-up thing, co-partners began to ask me to do their copy writing/press releases/web copy for them. From there, I was hired on retainer for a major PR firm in NYC to ghostwrite for celebs, which led to me landing a ghost-writing gig for The Knot for one of their wedding books. And from there, I landed my first national magazine piece in Bride’s. It all sort of snowballed – good timing, good luck, and I guess good writing too.

AS: For eight years you wrote for many women’s magazines as a celebrity and feature writer [and you still freelance]. What have you learned as a feature writer that you can translate to writing novels?

AWS: Well, for one, I am great with deadlines. You train yourself when you’re rotating various freelance jobs to know how long something will take you and how exactly you’re going to schedule your time to make that happen, and the same rule applies for me with fiction: if I’m in writing mode, even if I really, really don’t want to work that day, I do. Period. I also think that magazine work helped me understand the importance of research – particularly with my first book, in which I had to get the details of cancer just right – as well as the importance of really crafting a sparkling phrase. My favorite magazines to write for were those that let my own voice shine through, and I try to still honor that voice when I’m working on my fiction. In fact, I think it’s the most critical element in writing a good book.

AS: Where do you get this fantastic idea for Time of My Life?

AWS: I’d been contemplating doing a time-travel story, but I wasn’t quite sure how to go about it…I didn’t know how to sort it out in my mind. But then one afternoon while the idea was brewing, my best friend called while she was on vacation where her ex-boyfriend lived, and she said, “I’m so weirded out … I can’t stop thinking about what my life might have been like.”
Then we had one of those intimate life conversations that you can only have with your closest friends, about her what-ifs and my what-ifs, and I assured her that this was all very normal, even though people didn’t really talk about how much they wonder about what could have been. We hung up, and I headed out for a run, when I often do my best creative thinking, and BAM … the idea, characters and plotlines just presented themselves very clearly. I came home, wrote what are now the first 14 pages. I think, as so many of us get older and look back on our younger years with nostalgia, it’s very easy to consider what the other possibilities could have been – and I wanted to explore that.

AS: How did you come up with the character of Jillian and the other characters?

AWS: Jillian and Jackson and Henry just came to me immediately during that run. It’s sort of hard to explain but when I’m struck with a book idea, I can very clearly hear the protagonist’s voice…so I sort of knew Jillian before I even started writing her. The rest of the characters fill themselves in as I write: I don’t write with a master plan or an outline, but you know, you just surround the protagonist with people whom you’d have in your own life: friends, family, co-workers. Though, of course, because the key to a good book is conflict which propels the plot forward, these characters need to be embroiled in their own problems and/or create problems for your heroine.

AS: In Time of My Life, Jillian Westfield seemed thrilled to have a second chance in the past. After the initial shock of it, she really just jumped right in. What motivated her?

AWS: The possibility of having her “what if” fantasies be as good as she dreamed them to be. I think we all, every once in a while, envision this perfect other life, and when Jillian is granted that opportunity to possibly find that perfection, well, she opens up her arms and welcomes it.

AS: Why do you think so many women feel that they have to completely give up their careers to raise children as Jillian did?

AWS: Oh, this is such a tough question. I don’t know that women FEEL that they have to give up their careers rather that a lot of women feel as if they don’t have a better option. I have friends who work full-time who really miss their kids during the week, and I have friends who are full-time moms who wish they had some sort of intellectual stimulation. I’m not sure that either party wins. But for the moms who do leave their jobs, they want to enjoy those early years with their kids because, quite obviously, they’ll never get those years back…and their careers likely aren’t the types of jobs that will allow part-time or maybe they’re not the types of careers that provide enough satisfaction for those women to miss out on the time with their kids. Look, I don’t judge. I think that it’s a really tough situation for nearly all women who face this crossroads, and I just feel incredibly fortunate to have a job in which I get to enjoy both: the satisfaction and confidence boost of a thriving career and downtime to hang with my kids. I wish that for every woman if that’s what she wants.

AS: How do you think Jillian’s relationship with her estranged mother enhanced the story?

AWS: When you’re writing a book, you always need to go back and consider the “why” behind your character’s actions. I needed and wanted Jillian to offer readers a tangible, acceptable WHY as to why she’d leave her toddler behind to discover a new life. I also wanted to show in Jillian’s story arc how – without giving too much away – she comes to accept responsibility for herself and her actions, rather than her default of blaming her family history. I said earlier in this interview that I believe that a lot of us are shaped by our parents but I also believe in taking responsibility and owning your actions as an adult. There’s only so much blame to go around, and eventually, you can blame and blame and blame but it doesn’t matter! You’re still in the same place in your life. So I wanted to demonstrate that maybe Jillian had grown in her journey by taking an inward evaluation rather than constantly looking outward.

AS: When you thought of Time of My Life was Jillian always going to have a child? Could the story have worked if she didn’t have a child?

AWS: Yes, always. Part of Jillian’s conundrum – and that of a lot of women I know – is that motherhood is a tangled lot. Wonderful in so, so many ways you’d never imagine, but also boring, draining, occasionally frustrating, and all of these things lead Jillian to yearn for the earlier years when life was simpler or easier…or at least that’s how she remembered it.

AS: Jillian’s ex-boyfriend Jackson and her current husband Henry are opposites. How did you come up with these characters and what was your intention in making them so different/ very black and white? How would it affect Jillian?

AWS: Well, I actually tried NOT to make them as black and white as you read them to be, but that’s okay! Well, maybe not black and white, but I tried to make them each sympathetic in their own way because I’m of the belief that often times, there isn’t a bad guy (or girl) in a break-up, just that two people weren’t meant to spend their lives together. But Jackson represented – to me – more of the guy whom maybe I’d date in my 20s, the ones who I certainly fell in love with but for whatever reason, just weren’t the puzzle pieces to complete me. And Henry represented that more stable, responsible love that hopefully you marry but doesn’t come without its own foibles.

AS: The thought of a do-over is a pretty cool thing. The entire time, the reader has no idea whether Jillian will stay in the past forever or somehow end up back in the present day. How did you like her journey and what was your favorite aspect of it?

AWS: I’d say that the last 1/3 of the book is my favorite. Without giving too much away, I really just enjoyed when Jillian started making her transformation to her smarter, better self. It was fun to write, and even now, I think it’s fun to read. The Christmas and New Year’s scenes (again, without spoiling anything) are probably my favorite.

AS: Who are some of the authors that you have admired over the years?

AWS: Oh, so many. Elin Hilderbrand, Jonathan Tropper, Tom Perrotta, Laura Dave, Lolly Winston, Julie Buxbaum, Ann Packer, Jodi Picoult…I mean, I could go on and on.

AS: What was the last book you read?

AWS: I just finished Kissing Games of the World by Sandi Kahn Shelton, which I really enjoyed and have Elin Hilderbrand’s The Castaways on my nightstand right now.

AS: How do you keep your writing fresh? What motivates you?

AWS: I just really enjoy the creative outlet – as I said, I contemplated a career in acting, and I think writing is fairly similar. You dive into the minds of other people and get to envision an alternate world, and that’s a lot of fun for me. I also love getting feedback from readers – to know that I put something out in the world that resonates and connects us all to each other, it’s the most gratifying part of this job.

AS: What is the greatest challenge about being a novelist?

AWS: I have pretty high standards for myself, so I probably put a lot of unnecessary pressure on myself as a result. I want to improve on my ideas and my writing with every book, so the challenge to do that can be tough. But I’m trying! I just want to give readers a few hours that transports them away from their lives, and if I can do that, I’m pretty happy at the end of the day.

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Good People: Book Review

August 4, 2009

Author: Marcus Sakey
Publisher: Penguin

As it happened, Anna had found an even better twist. The cashier’s checks were good for the clinic and their medical expenses. But Currency Exchanges would let them pay their credit card bills directly, immediately depositing the money.

That morning, they’d been almost seventy grand in debt. By noon, they were even.

Good People is not a genre I read often but I tend to mix a thriller in from time to time and when I do I want a real page-turner: a Laura Lippman or a Harlan Coben. A story that keeps me thinking, guessing, and most importantly keeps me up all night reading. Good People, unfortunately, is not that book. Here’s the premise: Chicago couple Tom and Anna Reed have been trying to have a child for an extremely long time and have hit the expensive stage of the fertility process: IUI [intrauterine insemination] and IVF [in vitro fertilization]. Anna and Tom find nearly $400K in hidden money in their tenant’s basement unit. Not surprisingly, this hidden stash leads to more trouble than the couple ever expects when slowly the money’s links to drug-deals, thieves, and other unsavory characters are exposed. How much is the money worth to them? While author Marcus Sakey has a decent concept he fails to develop the characters of Anna and Tom enough that I cared why they wanted/needed the money to face so much danger and to deceive each other and those around them. Thousands of couples cannot have their own children. I did not feel so sorry for them that I was thrilled with their decision to keep this money. Adopt like other people and stop being so selfish. I did not buy into the entire morality tale that Sakey tried to build around this supposedly “good” couple finding a stash of tainted money and going to extreme lengths to keep it. These “good” people turned out to be just as calculated as the “bad” guys. Good People starts with a bang and ends with a whimper. This is not what I want in a thriller.

GRADE: C

Giveaway– for copy of this book, leave a comment below. I will choose best comment.


From the Vault: The Savages

August 3, 2009


This isn’t therapy. This is real life.

In this remarkable film, two siblings, short of their goals, come together to take care of their father who suffers from dementia. Wendy [Laura Linney] is an aspiring playwright/temp who’s having an affair with a married guy [I have an MFA! This is ridiculous] and keeps applying for fellowships to support her creative endeavors [fellowships that she’s unlikely qualified for, nor will ever receive]. Her brother, Jon [Philip Seymour Hoffman], lives in Buffalo and teaches philosophy and is an expert on Bertolt Brecht. For years, he has been tolling away on a book about the dramatist. After four years, his Polish girlfriend’s visa has run out and instead of helping her or committing to her, he just drives her to the airport. He cries when she cooks him eggs, but isn’t sure if it could work out between them.

This is another role in which Hoffman can stretch. After his turns as a slimy, conniving brother in Before the Devil Knows You’re Dead and as a sarcastic, anti-Bond CIA agent in Charlie Wilson’s War, you could say Hoffman has had quite the year in cinema. I first noticed Linney [and loved her] in the Tales of the City miniseries. Linney [The Nanny Diaries, Breach] chooses unique, layered roles and has been consistently good through the years. Both actors are from New York and are theatrically trained. And both are super talented in basically un-flashy supporting roles or leading roles in independent films that are rarely seen [like this one]. Linney graduated from Brown and then Julliard. Hoffman from New York University. As brother and sister, it’s a joy to watch these pros play off each other. The siblings nearly balance each other out: messy Jon has a laissez-faire attitude; neatnik Wendy constantly stresses.

The stellar screenplay is poignant, biting, smart, and honest. Writer/director Tamara Jenkins [The Slums of Beverly Hills] has a deft eye for the nuances of human frailties, shortcomings and she’s got a lot of the details in there: the “happy” decorations at the rehab facility/nursing home, the lucid moments inter-mixed with confusion, a child’s need to ignore reality and the final acceptance. Some parts were hard for me for two reasons: one, my grandmother had dementia and died in April and two, I worked at a nursing home, where one week someone would be fine and the next not eating or on oxygen. I appreciate that Jenkins could combine humor [an uncomfortable screening of The Jazz Singer] with heartfelt moments [Wendy brings in a lava lamp to spruce up her father’s room]. There’s a purity and humanity to her outlook. Yes, these are pill-popping, dysfunctional and in many ways unlikeable adults but many of their choices and their experiences are relatable. The Savages covers thorny subject matter with originality.


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