It was a gloomy Saturday afternoon, and I had notes to type, so I scanned Netflix for a movie to put on. I wanted something that would not be involving, something that could function as background noise. I spied Jupiter Ascending. I had never seen the movie, but I knew its reputation--oh, boy did I know. A $176 million dollar bomb by the Wachowskis, it was eviscerated by critics and audience alike. I had already read a long and snarky, point-by-point summary of it and seen enough parodies to know the general plot, so I figured it wouldn’t take up too much of my attention.
I should have known better.
Jupiter Ascending is the story of Jupiter Jones (Mila Kunis), a poor Russian immigrant living in Chicago, who finds herself unwittingly caught up in a power struggle that spans the universe. A powerful race of advanced humans have discovered a way to keep themselves young and beautiful forever by using other humans to create an immorality serum. This is a lucrative industry, with the Abrasax family “seeding” planets with humans and “harvesting” them when the population reaches its peak. Earth currently belongs to Balem Abrasax (Eddie Redmayne), the eldest of three siblings, who plans to decimate Earth’s population in the near future.
But there’s a wrinkle. Jupiter Jones is the genetic match of the now-deceased matriarch of the Abrasax family, the matriarch’s “reincarnation,” so to speak. As such, she can stake a claim to the Earth--provided she can survive the plotting of the three Abrasax siblings. Aided by Caine Wise (Channing Tatum), a genetic “splice” of human and dog DNA, Jupiter Jones learns what makes her special (her genetic code), finds love, and learns to appreciate the miserable life she has on Earth.
Jupiter Ascending is an uneasy mixture of Star Wars and Twilight, with a dash of 2001: A Space Odyssey and dollop of Cinderella. It has way too many ideas and most of them are under-baked. It doesn’t know what it wants to be or what it wants to say. Without a core to hold it up, it stumbles from one incident to the next. The characters are cardboard-thin. Jupiter gets the most development and the most sympathy, but also spends most of her screen time being a damsel in distress, getting tricked, and/or trying to flirt with Caine using cringe-inducing banter. The action and cinematography have the glossy competence of a Hollywood blockbuster, and the sets and costumes are absolutely beautiful. It’s not good, but it’s also harmless and forgettable fluff.
What ended up tearing my attention from my typing and forcing me to watch the film was not so much the movie itself, which, for all its explosions, was pretty boring. No, it was the meta question: “What went wrong?” Because skimming the surface of the film, it seemed like a pretty standard movie. A high concept idea, generic action set pieces, a forced romantic subplot, pretty visuals. About midway through, I started getting into it. I wouldn’t say it’s a good movie, but it’s a movie I had some affection for, unlike, say, The Meg, which I found generic, dull, and unambitious. Yet Jupiter Ascending was ridiculed and reviled. Why?
(From this point on there will be spoilers. I will not be doing a point-by-point summary, but I will give away the ending. You have been warned.)
Title: Sister of Blood and Spirit
Author: Kady Cross
Genre: YA, Fantasy, Paranormal, Romance
Lark and Wren are twins. White-haired Lark was born living. Red-haired Wren was born dead. Nonetheless, the two continue to communicate. Being known as the girl who talks to her dead sister has a way of making Lark’s life miserable. After being labeled the school freak and attempting suicide, Lark hopes to re-enter high school without attracting unwanted attention. Unfortunately, she is soon confronted by a group of students who ask for her help. Among them are Kevin, the medium Wren called out to when Lark lay dying; Mason, the boy who held Lark as she bled out and begged her not to die; and Ben, a handsome boy who seems weirdly cool with the supernatural.
It seems Lark’s new acquaintances have trespassed onto an ancient hospital, where an angry ghost attacked them and left spiritual wounds on their body--wounds invisible to everyone but Lark. Lark realizes the angry ghost has marked them as his own and will continue to suck their spirits dry unless someone puts a stop to it. Lark prefers that person not be her. But when Wren guilts her into helping, Lark will put everything on the line to save a group of people who may become her friends.
I picked up this book at the library because the ghostly themes reminded me of a book I’m currently writing. I liked the concept of supernatural sisters. I was interested to see how the author addressed the afterlife. I wanted to like Sisters of Blood and Spirit, I really did. But I didn’t. Every element felt under baked, and the more I read, the more bored I became.
Although she is an abandoned orphan in the Dusklands at the outer edge of the Amber Empire, Sylvie is born with a “legacy”—a gift of magic. She can spin elaborate illusions, fantasies of her own creation. Knowing that only those with noble blood can wield magic, Sylvie treks to the Amber City to claim her rightful spot in Empress Severine’s court. She hopes to find a place to belong. Instead, she’s thrust into a dangerous game of intrigue and politics.
Ragged and poor, no one takes Sylvie seriously, least of all the Empress. But Severine is intrigued by Sylvie’s power. She offers her courtiers a wager: if Sylvie can polish her legacy by Carrousel, her allies will gain favor and Sylvie will receive position in the court. A handsome nobleman named Lord Sunder with the unnerving legacy of causing pain agrees to sponsor Sylvie, but wagers against her. With no allies, no upbringing, and no idea what she’s gotten herself into Sylvie—newly renamed Mirage—will have to use all her powers to outwit her enemies and beat them at their own game.
On the one hand, Amber and Dusk is not a particularly ground-breaking novel. All the major tropes of the YA/ Fantasy/ Romance/ Dystopian genre are here in full force. Determined heroine with more power than she realizes? Check. Mysterious past that becomes important in the third act? Check. Love triangle? Check. Decadent and cruel empire with a rebellion growing in the wings? Check. If you know the genre, you’ll recognize many of the same elements at work here.
Author: Stephanie Garbar
Genre: YA Fantasy Romance
After seven years of dreaming of escaping to the magic and splendor of Caraval, Scarlett Dragna’s wish has finally come true—at precisely the wrong time. Her invitation to the exclusive five-day fair arrives right as she is about to be married to a count she’s never met. Marriage is the only way Scarlett can think of to keep herself and her impetuous sister Donatella safe from their father’s wrath. Donatella, however, has other plans. When her sister seizes the opportunity to visit Caraval, Scarlett has no choice but to follow her into a world where illusion and reality intertwine, where dreams can be purchased at the cost of dark secrets, and where to win the ultimate prize, Scarlett may have to pay the ultimate cost.
I bought the book because it had a strong concept that had a lot of potential. Not only does Scarlett get to visit this carnival of magic, but soon her sister is kidnapped and Scarlett is forced to play a game with the Caraval master to get her back. Why is Scarlett singled out? What sort of game will she be forced to play? How will she overcome the obstacles to emerge the winner?
Writer. Critic. Dreamer.