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Kirk Bage (1775 KP) rated Making A Murderer - Season 1 in TV
Mar 3, 2020
The phenomenon of “true crime” as entertainment is disturbing. What we are saying when we subscribe to watch these compellingly morbid shows is that, of course, we don’t “enjoy” or condone the crimes themselves. But, we do increasingly expect that without the grotesque detail of primary crime scene evidence, documented visually, we can switch over to another show that will give us our macabre kick. So, it is a dangerous precedent to say that without that factor we won’t engage.
What does make us want to know, and solve, and understand the worst criminal minds of the last century? Do we place ourselves as amateur sleuths and psychologists, so we can have our own opinions on a difficult subject, or do we just want to see the very worst of humanity to satisfy a need to be shocked? One thing for sure is that there is no end to this kind of docu-drama available, especially on Netflix, if we choose to stomach it.
I watched three recently in quick succession, and do feel like I have something to say about it…
First, was the extension of the Making A Murderer case of Steven Avery, which can be credited for re-imagining the scope of this kind of “reality” show on Netflix in late 2015. Without a doubt, the draw of the first series was in showing how corrupt, ambiguous and vague the American criminal system can be. We know this from circus shows such as the OJ Simpson case, that capture a curiosity in the public that must be explored and documented. There is no point in saying, no don’t do it, because eventually we have to know, and current forensic science and film techniques allow us to approach it. Carefully. Oh, so carefully!
In this case, the much criticised production extracts further detail from an undeniably fascinating case of criminal negligence and injustice, without ever providing a new revelation enough to definitively say we now know enough to put it to bed. It focuses largely on the power of Kathleen Zellner as a lawyer of impeccable motives and results to prove the innocence of convicted men.
What we then get is 10 episodes of contrivance that increasingly try to convince us further that this is a miscarriage of justice that must be addressed. The continual message is that there is a conspiracy here, which makes for good TV. Someone doesn’t want this show to have an influence. Who is covering up what? And why is the justice system adamant in disallowing the revelations this show throws up so regularly? In the end it becomes less about the victim and the crime, as an indictment of a process that does not want to be examined. The power of this show has always been that something is rotten in Denmark. But what exactly?
There is no doubt at all that once involved you have to keep watching. It is exceptionally presented, and therefore successful as an entertainment because of that. The complexity of the argument comes not in the real recordings of conversations and evidence, but in the form of presentation as a TV show. A question, I am certain, the film-makers themselves constantly ask. It is about finding “truth” for the families of the victims; a crusade that may or may not include individuals wrongly accused of a crime.
What does make us want to know, and solve, and understand the worst criminal minds of the last century? Do we place ourselves as amateur sleuths and psychologists, so we can have our own opinions on a difficult subject, or do we just want to see the very worst of humanity to satisfy a need to be shocked? One thing for sure is that there is no end to this kind of docu-drama available, especially on Netflix, if we choose to stomach it.
I watched three recently in quick succession, and do feel like I have something to say about it…
First, was the extension of the Making A Murderer case of Steven Avery, which can be credited for re-imagining the scope of this kind of “reality” show on Netflix in late 2015. Without a doubt, the draw of the first series was in showing how corrupt, ambiguous and vague the American criminal system can be. We know this from circus shows such as the OJ Simpson case, that capture a curiosity in the public that must be explored and documented. There is no point in saying, no don’t do it, because eventually we have to know, and current forensic science and film techniques allow us to approach it. Carefully. Oh, so carefully!
In this case, the much criticised production extracts further detail from an undeniably fascinating case of criminal negligence and injustice, without ever providing a new revelation enough to definitively say we now know enough to put it to bed. It focuses largely on the power of Kathleen Zellner as a lawyer of impeccable motives and results to prove the innocence of convicted men.
What we then get is 10 episodes of contrivance that increasingly try to convince us further that this is a miscarriage of justice that must be addressed. The continual message is that there is a conspiracy here, which makes for good TV. Someone doesn’t want this show to have an influence. Who is covering up what? And why is the justice system adamant in disallowing the revelations this show throws up so regularly? In the end it becomes less about the victim and the crime, as an indictment of a process that does not want to be examined. The power of this show has always been that something is rotten in Denmark. But what exactly?
There is no doubt at all that once involved you have to keep watching. It is exceptionally presented, and therefore successful as an entertainment because of that. The complexity of the argument comes not in the real recordings of conversations and evidence, but in the form of presentation as a TV show. A question, I am certain, the film-makers themselves constantly ask. It is about finding “truth” for the families of the victims; a crusade that may or may not include individuals wrongly accused of a crime.
Hazel (2934 KP) rated The Little Grave (Detective Amanda Steele #1) in Books
Jan 17, 2021
I admit I don't read a lot of American crime; I've nothing against it but I just happen to prefer my crime books to be set in the UK however, this one caught my eye and I thought I'd have a bit of a change and, overall, I was very satisfied.
The blurb, as you can see, is a long one and sets the scene very well for this solid start to a new series.
Amanda is a complex character and was difficult to get to like at first but this was understandable given what she has experienced; she did grow on me at the end as she started to work through her grief and the true Amanda came out however, I admit to nearly giving up on her but glad I didn't.
As the blurb says, Amanda is investigating the murder of the man who killed her husband and daughter but can she be objective and why is she getting threatening phone calls telling her to back off? She doesn't of course, otherwise there wouldn't be a book, but this is not a straightforward murder and does it have anything to do with the murder of the man's business partner and an exotic dancer or is it just a coincidence? The closer Amanda gets to finding out, the closer she gets to discovering the answers are closer to home than she could ever imagined.
The plot was great, the pace was good and the characters were explored just enough to wet your appetite to want to get to know them more, particularly Trent, but what I felt was really well explored was the grieving process that Amanda was experiencing. I really got a sense of her total desolation and how little things triggered memories of her dead loved ones and how this impacted on her every waking minute because, let's face it, if you had lost your entire reason for being, I'm sure you'd be the same.
Like I said at the beginning, this is a solid start to a new series and I am looking forward to seeing what comes next.
Many thanks to Bookoutre and NetGalley for my copy in return for an unbiased review.
The blurb, as you can see, is a long one and sets the scene very well for this solid start to a new series.
Amanda is a complex character and was difficult to get to like at first but this was understandable given what she has experienced; she did grow on me at the end as she started to work through her grief and the true Amanda came out however, I admit to nearly giving up on her but glad I didn't.
As the blurb says, Amanda is investigating the murder of the man who killed her husband and daughter but can she be objective and why is she getting threatening phone calls telling her to back off? She doesn't of course, otherwise there wouldn't be a book, but this is not a straightforward murder and does it have anything to do with the murder of the man's business partner and an exotic dancer or is it just a coincidence? The closer Amanda gets to finding out, the closer she gets to discovering the answers are closer to home than she could ever imagined.
The plot was great, the pace was good and the characters were explored just enough to wet your appetite to want to get to know them more, particularly Trent, but what I felt was really well explored was the grieving process that Amanda was experiencing. I really got a sense of her total desolation and how little things triggered memories of her dead loved ones and how this impacted on her every waking minute because, let's face it, if you had lost your entire reason for being, I'm sure you'd be the same.
Like I said at the beginning, this is a solid start to a new series and I am looking forward to seeing what comes next.
Many thanks to Bookoutre and NetGalley for my copy in return for an unbiased review.
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Gareth von Kallenbach (980 KP) rated Masterminds (2016) in Movies
Jul 15, 2019
Masterminds features a star studded cast led by Zack Galifianakis as he portrays David Ghantt, an armored car delivery man who is stuck in a boring, monotonous life. When his partner played by Kristen Wiig is fired she begins to hang out with a sordid group of degenerates who hatch a scheme to rob Loomis Fargo so they can live the “good life.”
After convincing and seducing David into pursuing the robbery, all players and bandits find themselves swept up in a storm of confusion and wild escapades. David’s haul of over $17 million becomes the largest heist in American history which has the FBI, Interpol, and a hitman hot on his trail.
Masterminds finds its genius in the continuous jokes and ability to take a basic heist story and turn it into a fun-filled romp similar to Raising Arizona or We’re the Millers. There are moments that may cause audiences to pause and reflect on the events of the film and even question if and how any of them could have happened, but the interplay of the characters takes your mind off of the serious crime committed and you find yourself laughing at some of the most simple things in the film.
Galifianakis, Wiig, Owen Wilson, and Jason Sudeikis, will have you laughing throughout the film and possibly chuckling to yourself later at some of the one-liners and awkward moments delivered. This could quickly become a cult hit.
After convincing and seducing David into pursuing the robbery, all players and bandits find themselves swept up in a storm of confusion and wild escapades. David’s haul of over $17 million becomes the largest heist in American history which has the FBI, Interpol, and a hitman hot on his trail.
Masterminds finds its genius in the continuous jokes and ability to take a basic heist story and turn it into a fun-filled romp similar to Raising Arizona or We’re the Millers. There are moments that may cause audiences to pause and reflect on the events of the film and even question if and how any of them could have happened, but the interplay of the characters takes your mind off of the serious crime committed and you find yourself laughing at some of the most simple things in the film.
Galifianakis, Wiig, Owen Wilson, and Jason Sudeikis, will have you laughing throughout the film and possibly chuckling to yourself later at some of the one-liners and awkward moments delivered. This could quickly become a cult hit.
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