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cromulentbookreview · 5 years

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Ambergris!

Amberlough, Armistice, Amnesty...Ambergris? That could be a potential title for a 4th book, right? I mean, Ambergris is basically whale poo that makes perfume, but hey, it’d be a cool title. It’s also the basis of an awesome Bob’s Burgers episode.

I couldn’t find a gif from the actual episode, so...I picked this one.

And by all of that, I mean: Amnesty, book three of the Amberlough Dossier by Lara Elena Donnelly!

Hoo boy.

So there are two things I really, really love in a story: old timey spycraft (there’s a reason why one of my favorite ever TV series is TURN: Washington’s Spies. You don’t get more crafty than 18th century spycrafting!) and Art Deco. I love Art Deco. I love the style that emerged in the 1920s and 30s - when fashion, especially for women, took a massive heel-face-turn, when electricity was only just becoming mainstream, cars were phasing out horse-drawn transport, radio was becoming a thing and everybody smoked like chimneys and drank like fish, and figured it probably wasn’t bad for you. Seriously, you go from the 1910s, where women’s skirts were floor-length and heaven forbid someone see your ankles, to dresses with hemlines above the knee. We’re talking knee-exposure, people! That is a DEFCON-1 sartorial situation, people! Edwardian matrons are having heart attacks at the sight of their granddaughters’ knees. The 20s and 30s it seems combine the sort of fun, old-timey lawlessness of Ye Olden Days with just a enough modernity so things are fun. I mean, come on, it’s like Boardwalk Empire or The Untouchables, or Jeeves and Wooster or Caberet. Or the planet Sigma Iotia II from the Star Trek episode A Piece of the Action.

OK, so my love of the 20s and 30s and old timey spycraft has been well-established, right? Yeah, those are both things I very much enjoy. I love John Le Carre’s George Smiley books because that’s back when spying involved handwritten notes taped to the backs of benches and dead-drops in train station lockers. I’m sure modern spycraft still uses some of these old-school methods - you can’t hack a piece of paper, after all - but old timey spycraft just sounds, I dunno, more fun than modern spycraft. At least, it’s more fun for me to read about.

Anyway! This brings me around to Lara Elena Donnelly’s Amberlough Dossier series.

The Amberlough Dossier is technically a fantasy series because it takes place in a world that doesn’t exist. Though that world seems extremely familiar - it’s basically Sigma Iotia II from A Piece of the Action, or Berlin of Christopher Isherwood’s 1930s - a world of decadence, caberet, free-flowing booze and cigarettes...that is slowly rotting from the inside out. 1930s Germany is a fascinating place - and by “fascinating” I mean “pants-pissing-levels of terrifying.” As someone who spent many, many, many, some would say “too many” years spent learning German, a language I almost never, ever use in my daily life (like, ever), I also spent a lot of time learning about German history. The way the rise of the Nazis also saw the rise of the Kabarett. Anyway, Amberlough City is very much like a mix of New York, London, and Berlin of the 30s. You’ve got all the fun of the 30s, mixed with the rise of a Fascist party called the One State Party, or OSP, frequently referred to as “Ospies.”

Now, if you haven’t read Amberlough and Armistice, you should. You really should. In fact, why don’t you do that. Go ahead, I’ll wait.

Did you read them? Aren’t they fantastic? OK. So, on to the grand finale: Amnesty!

Just as Armistice begins with a three-year time jump after the events of Amberlough, Amnesty does the same, only this time, it’s five years after the events of Armistice, eight years after everything that went down during Amberlough. I’m not always a fan of time jumps - more often than not they make me angry, because I want to know absolutely everything that happens all the time always. Only, in the case of Amnesty, as with Armistice, I got over it pretty quick. Donnelly knows how to smooth over a time jump, filling us in with the events that happened in-between, and it does make sense that, for the most part, most major events of interest don’t always take place in perfect, chronological order. Anyway, we’re at five years after Armistice - Aristide and Daoud failed in their efforts to find Cyril in the Lisoan jungle, and they ended up setting up their own half-legit import/export business instead. Things are going pretty well - then Aristide gets a phone call from Prince Asiyah. They’ve found Cyril. Gasp!!

Meanwhile, in Amberlough, the Ospies have fallen. The revolution is over. If you were hoping for a whole book dedicated to guerilla warfare between Spotlight and the Ospies, well...sorry, you’ll be disappointed. Instead, we skip immediately to the interim government, trying to rebuild Amberlough from scratch. Lillian DePaul, with her husband Jinadh Addas and their son Stephen, now 13, have relocated back to the DePaul family home in Amberlough. The houses (a country estate and a town house) didn’t fare too well during Ospie rule, nor did the DePaul family’s assets. Plus, there’s also Cyril’s reputation is traitor to the nation to deal with. So Lillian, practically broke, has to contend with two crumbling houses that she can’t afford to staff properly, a husband who is not 100% happy with life in Amberlough, and a 13-year-old boy who acts like, well, a 13-year-old boy. Namely: moody, pissy and generally insufferable.

Then she gets a call out of nowhere from her old kind-of-sort-of-friend, Aristide Makricosta, with the news that her brother Cyril is still alive, and heading back to come stay with her. Yay?

Poor Cyril. Things were not great for him during the 8 years between the end of Amberlough and the start of Amnesty. He’d spent most of that time running dangerous ops for the Lisoan government in the jungle, with little regard for his own life. So when he finally emerges back to civilization he’s...well, different. There’s definitely a strong combination of PTSD and extreme guilt there. Plus a bit of survivalist kleptomania (hey, if you don’t know when you’re going to eat next, you’d squirrel away bits of food, too). Cyril is basically a man with a death wish, not giving a fuck about much of anything, preferring instead to retreat behind the mask of his work identities. Now he’s back - reunited with his old lover, Aristide, and his sister, Lillian. Plus, he gets to finally meet his nephew, Stephen.

But Cyril’s return to Amberlough isn’t exactly the best idea: once word gets out that he’s back, one of the politicians running for president of the new Amberlough decides to use Cyril as a political platform, namely that he should be arrested and put to death for treason. Cyril is like “sure, OK,” to that, but Lillian and Aristide? Yeah, they definitely don’t like that idea, and now they have to scramble to save not just Cyril, but themselves as well.

OK, so I fricking love this series. I tore through Amberlough and Armistice in just a couple of days, and I’m a slow reader, so that’s saying something. Amnesty is a completely satisfying end to the series, though I will still want more details about Cyril’s SuperHappyFun Jungle Adventures, or Aristide’s adventures in Porachis Bollywood or Coredlia’s rise as the leader of the resistance. Having those time gaps between books means we get to imagine all the adventures that happened in between. Which means: fanfiction! Woo! Or possible future short stories of novellas. (Cough cough hint hint Ms. Donnelly). If you’re not fond of big time gaps, then you might find this series frustrating, but still, Amnesty is an absolutely satisfying conclusion to the series.

My biggest complaint is, however, most definitely a spoiler, so I will be as vague as possible: one of the characters is killed off between Armistice and Amnesty. At first, I was pissed - it’s like when a character is killed off between seasons of a TV show because the actor got fired or left for a different job. You’re like, “noooo!” but, going directly from Armistice to Amnesty, the death of this particular character does make sense, and it’s not like their death is dismissed with a hand wave. It’s a huge part of the story. I’d already forgiven the off-screen death by the time I’d gotten halfway through the book. So if you’re tempted to throw the book across the room when you learn that [character] died between books, don’t. Keep going. You’d be cheating yourself otherwise.

My second biggest complaint is that we never get a map that includes the exact locations of Liso and Porachis. I want to know where everything is, damn it!

In all, you need to read this series. If you want a fantastic LGBTQ romance, a story that spans nearly a decade, old-timey Le Carre-level spycraft, political infighting, scheming, and a 1930s-esque world, then you need to read the entire Amberlough Dossier. Go on. You know you want to.

RECOMMENDED FOR: Fans of worlds inspired by the 20s and 30s, John Le Carre fans, anyone in need for a LGBTQ romance with spycraft elements.

NOT RECOMMENDED FOR: Anybody not interested in reading about the minutiae of politics of a world that doesn’t exist. I love that sort of thing but it’s not everyone’s cup of tea.

OVERALL SERIES RATING: 5/5

AMNESTY RATING: 4.5/5

AMNESTY RELEASE DATE: April 16, 2019

ANTICIPATION LEVEL FOR ANOTHER BOOK / NOVELLA / SHORT STORY / ANYTHING: Olympus Mons

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aion-rsa · 3 years

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Oscars 2021: Frontrunners and Predictions

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This is weird, right? In a normal year this kind of article would have been written closer to New Year’s Day, and the awards season red carpets would’ve been rolled up weeks ago. But 2020 really was a weird experience, to put it mildly. And among other problems, it caused the Oscars race to bleed all the way into April. Indeed, it’s mid-March and the weekly Sunday night ceremonies have barely begun.

Nevertheless, and despite hand-wringing from this time last year about whether there would even be anything worthy of nomination in 2020, we’ve just come through a resilient and even hopeful period for quality cinema. Movie theaters remain largely closed throughout the U.S. and Europe, yet filmmakers have found a way to get their passion projects out via streaming, video-on-demand, and for a precious few in limited capacity movie theaters. Through it all, the industry endured and quality work found an eager audience anxious for the catharsis of shared art—or at least a good Borat joke.

Thus the weekend before Oscar nominations are officially announced, we are providing our final predictions of who’s leading the race for Best Picture, and where the frontrunners might also stand in other Academy Award categories. The movies below are ranked from most likely to get a Best Picture nod to least likely.

Nomadland

The obvious frontrunner has long been Chloé Zhao’s Nomadland. This held true months before the Searchlight Pictures release picked up Best Picture prizes at the Golden Globes and the Critics Choice Awards in the last two weeks… but those certainly helped.

As a beautiful and lyrical elegy to the people America has left behind, and the fascinating American Nomad culture that has flourished from these hardships, Nomadland struck us as a modern day Grapes of Wrath when we saw the film at TIFF last year. In fact, the movie won the coveted People’s Choice Award at that festival, a feat achieved by recent Best Picture frontrunners La La Land and Green Book, with the latter succeeding at winning the top prize.

More impressive than tea leaves derived from historical precedent though is that Nomadland is the rare major Hollywood release from a studio (Searchlight Pictures, which is the prestige arm of the now Disney-owned 20th Century Studios) that opened in theaters for a limited period of time before debuting on Hulu last month. That commitment to the theatrical experience—although not absurdly so—will play well to Academy voters who’ve long resisted awarding streaming originals the Best Picture over the last decade.

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Nomadland Review: A Modern Day Grapes of Wrath

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Nomadland: How Bob Wells’ Real Life Story Grounds a Quiet Depiction of Grief

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Additionally, Nomadland is an achievement wherein the line between narrative storytelling and documentary filmmaking is blurred. That unusual alchemy has become Zhao’s specialty, and in a year of acute self-consciousness, finally awarding the talented Chinese filmmaker with Best Picture and probably Best Director is a refreshing nigh inevitability. Also expect nominations for Best Actress thanks to the ever riveting Frances McDormand’s haunting turn, as well as nods in Adapted Screenplay, Cinematography, and other technical categories.

The Trial of the Chicago 7

The new old adage of “if it wasn’t a Netflix movie…” applies heavily to Aaron Sorkin’s otherwise Academy-friendly The Trial of the Chicago 7. A truly terrific drama that recounts a gross miscarriage of justice enacted against eight men deemed “radical” for protesting the Vietnam War by the Nixon administration, The Trial of the Chicago 7 is a life-affirming period piece about a subject near and dear to Baby Boomers’ hearts: the culture war of the 1960s. The fact Sorkin finds direct parallels between its story about civil unrest and social injustice during the Civil Rights movement and modern demands for social justice at the tail-end of the Trump Years makes it doubly potent.

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The Trial of the Chicago 7: Abbie Hoffman and Jerry Rubin Were the Martin and Lewis of the Radical Left

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Aaron Sorkin: Donald Trump Made The Trial of the Chicago 7 Movie Possible

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(It probably also doesn’t hurt its chances that Yahya Abdul-Mateen II’s powerhouse performance as Black Panther Bobby Seale is supporting while Eddie Redmayne’s all-American embodiment of the New Left is the closest the film’s ensemble has to a lead). Sorkin’s ability to turn dialogue into spectacle has long appealed to the Academy, with his scripts previously earning him three Oscar nominations, and one win for The Social Network. We imagine though that he’ll again have the best chance to win in the Best Original Screenplay category, as Chicago 7’s Netflix status might just make it first runner-up, as Roma was to Green Book. However, don’t be surprised if Sacha Baron Cohen also pulls an upset in the Best Supporting Actor category for his resurrection of Abbie Hoffman’s ghost.

The movie is also a near lock for the Best Editing prize.

Minari

One of the best films of 2020, Minari has had a quiet ascent to the top. In actuality, the film has been cruelly misrepresented by other awards bodies. Categorized as a “foreign language film” by the Golden Globes’ Hollywood Foreign Press Association, as well as the Critics Choice Awards, this all-American story about Korean American immigrants attempting to make a go of it as Arkansas farmers is as American as Apple pie. And Lee Isaac Chung’s visibly semi-autobiographical portrait of his young family in the 1980s heartland, complete with a nuanced empathy for the plight of his parents and even his grandmother, make this one of the most beautiful triumphs about the human spirit committed to cinema this year.

The film was snubbed by the Globes from the Best Picture race, but the much more prescient Hollywood guilds, including the Screen Actors Guild (SAG), the Directors Guild of America (DGA), and the Producers Guild of America (PGA), have all recognized Minari’s brilliance. Indeed, Chung getting into the competitive DGA short-list speaks highly of its competitiveness. One year after Parasite shocked the world by winning Best Picture, here’s an American story that supported the theatrical experience thanks to A24, and whose inclusion speaks well about the future of American cinema. Putting it in its rightful place at the top of the ticket, as opposed to Best International Film, is also a very good look. Hopefully, nominations will also include Best Supporting Actress, Best Cinematography, and Best Original Score.

Ma Rainey’s Black Bottom

Perhaps showing the relative sparseness of this year’s cinematic offerings, I suspect we’re already past the point on this list where contenders have a sincere shot at winning Best Picture. However, a movie like Ma Rainey’s Black Bottom will surely be nominated. As a sledgehammer film about the pressures on Black artists in America, and the corrosive influence of white money used to appropriate that art, George C. Wolfe’s Ma Rainey’s Black Bottom hits like a ton of bricks.

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Ma Rainey’s Life and Reign as the Mother of the Blues

By Tony Sokol

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Ma Rainey’s Black Bottom Ending Explained

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This is in no small part due to the harrowing performances of both the late great Chadwick Boseman and Viola Davis. Expect both to be nominated in the Leading performance categories, with Boseman as close to a lock as possible for winning the Best Actor prize with his final, heartbreaking performance. The movie should also do well in the Adapted Screenplay, Costume, Makeup, and Production Design categories.

Mank

A personal favorite of mine from 2020, Mank is an admittedly acquired taste. A meticulously researched and authentic portrait of the creative process and the uglier side of Hollywood’s Golden Age, David Fincher’s Netflix production is less a love letter to the industry than an affectionate middle finger. That abrasiveness has rubbed some audiences the wrong way, as does its expectation you know about the the debate of authorial credit on Citizen Kane. Nonetheless, this is a swaggering triumph of presentation and performance.

Ergo expect a large amount of nominations for Best Director (Fincher), Best Actor (Gary Oldman), Best Supporting Actress (Amanda Seyfried), Best Original Screenplay (Jack Fincher), and multiple technical nominations including Cinematography, Editing, Score, Costumes, and Production Design. For above the line nominations though, the best shot at a win may be Seyfried’s enigmatic turn as Marion Davies. Although, given the chances of two performances below, she’s now the underdog in that race.

Promising Young Woman

One of the most original and talked about movies of 2020, Emerald Fennell’s Promising Young Woman is a pitch black comedy/tragedy that’s as intentionally uncomfortable as it is bleakly amusing. A passion play for the post-#MeToo era that examines our culture’s treatment of women through the gaze of an avenging loner named Cassandra (Carey Mulligan), this soon-to-be millennial cult classic may honestly be too outside-the-box and ballsy (pardon the phrase) for the the typically more conventional, older sensibilities of Academy voters when considering the top prize.

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Promising Young Woman: Director Emerald Fennell Breaks Down the Ending

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Mank and Amanda Seyfried’s Quest to Save Marion Davies from Citizen Kane

By David Crow

Still, expect Fennell to also get nominated for Best Director while also being the frontrunner to win the Best Original Screenplay Oscar over Sorkin. It is a long established tradition for the Academy to award the most challenging (and stylish) Best Picture contenders a Screenplay Oscar over Picture or Director. Meanwhile, Carey Mulligan is likewise the frontrunner in the Best Actress category—deservedly so.

One Night in Miami

Despite premiering on the globally accessible Amazon Prime, Regina King’s One Night in Miami feels like it’s fallen a bit under the radar for most folks. Which is a shame, because this is a superb directorial debut for King and one of the most thought-provoking movies of 2020. Another adaptation of a play about the intersection between the soft power of celebrity and the hard responsibility of Black art, we personally argue One Night in Miami is the more challenging and intriguing adaptation: one that imagines what words might’ve been said on a mysterious night shared by Cassius Clay (soon to be renamed Muhammad Ali), Malcolm X, Sam Cooke, and Jim Brown.

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The Internal Debate Within the Writer of One Night in Miami and Soul

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Judas and the Black Messiah Ending Shows Horrific Legacy of COINTELPRO

By David Crow

With this being such an actor’s showcase, as well as one directed by a great actress herself, expect the Academy’s large thespian wing to power this into a Best Picture nomination. Leslie Odom Jr. also appears to likely be nominated for Best Supporting Actor due to his turn as Sam Cooke, as will Kemp Powers’ adaptation of his own play likely land him in the Best Adapted Screenplay race. However, after the DGA snub, I fear King will be ignored in the Best Director category.

Judas and the Black Messiah

At this point, we are examining films on the bubble of actually getting a Best Picture nomination. One contender that may yet squeeze in is Shaka King’s fearless depiction of the death of Black Panther Party Chairman Fred Hampton. Executed by police officers working on intelligence gathered by the FBI, the film of Hampton’s life is told from the vantage of William O’Neal, the man who betrayed Hampton to the feds.

A film with a more revolutionary heart than the similarly themed The Trial of the Chicago 7—in fact, Hampton is a supporting character in the Sorkin picture—Judas might be too zealous for more conservative Oscar voters; it also is a little narratively messier. It should be nominated for Best Picture, and its odds grew with a nod from the PGAs, which remains the best prognosticator for this category. However, it very well may wind up with only nominations for Daniel Kaluuya in the Best Supporting Actor category and a nod for Best Original Song.

On the plus side, Kaluuya is the clear and away frontrunner for Best Supporting Actor after winning in the same race at the Globes and CCAs.

Borat Subsequent Moviefilm

Borat 2 is a legitimate Oscar contender. Brave new world, indeed. While I’m still skeptical about it actually getting into the Best Picture race, that idea doesn’t seem impossible after Borat Subsequent Moviefilm earned a dark horse nomination at the PGAs. Granted the producers guild is always more eager to shower love on successful audience entertainments than the Oscars, hence Deadpool and Wonder Woman also getting recent PGA nominations while being shut out by the Academy. But those movies didn’t have a scene where a fictional character unmasked Rudy Giuliani as a dishonest creeper with his hand down his pants. So…

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Maria Bakalova is Ready to Do Borat 3 in ‘Five Minutes’

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Borat 2: Sacha Baron Cohen Reveals Dangerous Deleted Scene

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Either way, expect Borat 2 to pick up a Best Supporting Actress nomination for Maria Bakalova’s star-making turn as Borat’s daughter, Tutar. It’s a performance that demanded as much spontaneity and improvisation as Baron Cohen’s, with Bakalova arguably being even more impressive as she also creates a sincere heartbeat underneath the snark. The performance was snubbed from winning a category it should’ve been a shoo-in for at the Golden Globes—Best Actress in a Comedy/Musical—but Bakalova recovered momentum by winning in the more 1:1 Supporting Actress category at the Critics Choice. She faces steep competition from Olivia Colman in The Father and Amanda Seyfried in Mank, but neither of them embarrassed Donald Trump’s personal lawyer weeks ahead of the election he was trying to undermine.

The Father

As someone who has watched a loved one suffer from dementia and the effects of aging, I can attest that Florian Zeller’s The Father is an accurate, and arguably too devastating of a portrait of a mind in deterioration. For that depressing element, I suspect Zeller’s film will play too tragically for Academy voters, who tend to prefer life-affirming stories in the Best Picture category. But The Father has an outside shot for nomination. And it will definitely get nominations for Best Actor (Anthony Hopkins), Best Supporting Actress (Olivia Colman), and Best Adapted Screenplay. The odds makers similarly say Colman’s the frontrunner in her category (even though she’s lost the major awards thus far), although I still have my doubts about that too.

Sound of Metal

Darius Marder’s depiction of a punk rock drummer going through early hearing loss got a boost of confidence from the PGAs nominating it for Best Picture. I could also see it sneaking into a Best Picture slot over Judas and the Black Messiah and Borat 2, especially with its story of a man learning to live again. However, it will most likely walk away solely with a nomination for Riz Ahmed in the Best Actor category.

Da 5 Bloods

Spike Lee’s follow-up to BlacKkKlansman may be one Netflix film too many for Academy voters this year. Which is a shame since this is an underrated slice of cinema that merges Vietnam War dramas with Treasure of the Sierra Madre thriller elements, and Lee’s singular dreamlike stylizations. At the very least, Delroy Lindo should be nominated for Best Actor. However, I fear Da 5 Bloods will be shut out, save for perhaps a Best Cinematography nomination.

News of the World

An underrated Paul Greengrass Western starring Tom Hanks, this is old school moviemaking that I suspect would’ve found a larger audience in a normal year. Instead it opened to mostly closed theaters and has gone strangely overlooked. At the very least child actor Helena Zengel should be considered for Best Supporting Actress for her poignant turn as a child torn between two worlds. However, this may only end up nominated in a handful of technical categories, with its best chance at a nod being for James Newton Howard’s rousing score.

Soul

Pixar’s Soul is excellent and will almost certainly pick up Oscars for Best Animated Film and Best Original Score. That might also be the extent of its nominations.

The United States vs. Billie Holiday

Lee Daniels’ by the numbers musical biopic about one of the defining voices of jazz being hounded to her death by the federal government will not be nominated for Best Picture. Sadly, this is a movie that should’ve been much better. Still, Andra Day will definitely be nominated for Best Actress.

Pieces of a Woman

An interesting (if somewhat cold) piece of cinema, Kornél Mundruczó’s Pieces of a Woman was always a long-shot before allegations of abuse against star Shia LaBeouf took it entirely out of the Best Picture running. Yet you can expect Vanessa Kirby to be nominated in the fifth spot for Best Actress for her raw essay of a woman who’s lost her child. Ellen Burstyn also has a dark horse shot at getting in for Best Supporting Actress thanks to her ruthless depiction of a grandmother denied.

Academy Award nominations are announced on Monday morning, March 15.

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