June was better than May, I guess, even if I’m still not 100% convinced by this 2015 thing.<\/p>\n
I read two books, which seems to be what I’m averaging lately each month. The first was Nemesis Games<\/i> by James S.A. Corey, the latest book in the Expanse series, which did not disappoint. And the second was Sourcery<\/i> by Terry Pratchett, continuing my slowly ongoing read of the entire Discworld series.<\/p>\n
Pratchett has his weaknesses — he’s maybe not phenomenal at describing big action set-pieces, of which there are occasionally a few — but the warmth and humor in the books just keeps getting stronger with each volume. (And here it was just nice to see Rincewind and the Luggage again.) I’m led to understand the some of the very late books, like Raising Steam<\/i>, might not be as good, but right now I’m really enjoying the series and discovering it all for the first time.<\/p>\n
Right<\/i> now, though, I’m taking a short break before moving on to Pratchett’s Wyrd Sisters<\/i> and reading Wool<\/i> by Hugh Howey.<\/p>\n
I saw only five movies in June:<\/p>\n
None were what I’d call remarkable<\/i>, though they all had some great moments. <\/p>\n
Well, maybe not Jupiter Ascending<\/i>, but that sure isn’t for lack of trying. I don’t think there’s anything<\/i> that movie doesn’t try. I give the Wachowskis a whole lot of credit this kind of ballsy, heart-on-their-sleeve kind of film-making, even when it when really<\/i> doesn’t pay off.<\/p>\n
The biggest problem with Jupiter Ascending<\/i> — beyond whatever it is that Eddie Redmayne’s doing with his voice, which is also the best thing about the movie — is that instead of being one big space opera epic it tries to be about twenty. It’s better once you figure out the basic plot underlying all the other exposition and window-dressing, but oh man is there a lot<\/i> of that to get through.<\/p>\n
I was a much bigger fan of the Wachowskis’ recent Netflix series Sense8<\/i>, which also really<\/i> shouldn’t work on paper. (It’s not the place to go, for instance, if you’re looking for propulsive narrative. Or maybe narrative at all.) But it’s so risky and courageous, and strange and diverse, and made with such warmth and love, that I completely and totally fell for it.<\/p>\n
Frankenstein<\/i> was good solid Hammer horror, the first pairing of Peter Cushing and Christopher Lee. (Lee’s recent passing was why I sought the movie out.) The Falcon and the Snowman<\/i> has good performances, particularly from Sean Penn. Kingsman<\/i> has an uber-British Colin Firth and a couple of genuinely incredible set-pieces, though it’s considerably weaker in other respects. And Dumbo<\/i> is…well, it’s short, only about an hour in total, and some of it’s quite lovely. But maybe it’s the short length, maybe it’s that Dumbo as a character never speaks, or maybe it’s just a product of when it was made — the movie’s not overtly<\/i> racist, but those crows aren’t the best<\/i> characters. I’d just say it’s not essential<\/i> Disney, I guess.<\/p>\n
In June, I read 34 short stories. My favorites were:<\/p>\n
I didn’t write as much, and it’s been many weeks since my online writing group last met, but I’m hoping to change that. The former part — the writing — that I need<\/i> to change.<\/p>\n
I also listened to some music in June, though not as much new stuff:<\/p>\n