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Ten Tiny Breaths (Ten Tiny Breaths, #1)
8.7
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After a terrible car accident destroys her life as she knew it, twenty-year-old Kacey escapes to...
Fogged Off
10.0
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When travel agent Cyd Redondo’s client and Jack the Ripper expert Shep Helnikov is found dead in...
Mark @ Carstairs Considers (2200 KP) rated Charlie Thorne and the Curse of Cleopatra in Books
Jun 30, 2022 (Updated Jun 30, 2022)
Charlie’s Following Cleopatra’s Footsteps
Charlie Thorne is once again on her own, and she’s decided to find out what Cleopatra left behind over two thousand years ago. To do so, she needs to slip into the apartment of a rich Egyptian playboy. Naturally, things don’t go as planned, and Charlie finds herself being chased by not only the man’s security, but several different countries’ agents. Can she dodge them and still find what Cleopatra left behind?
This series has a couple of issues for me. One is Charlie, who can come across as a perfect character for far too long. Eventually, we do see some weaknesses, but it takes a while. I suspect this is something that adults will pick on more than kids do. Then there’s the data dumps. We need some of that information to have the context for the action, but it can get to be a bit much. However, overall, I do like these books, and this one in particular. There are plenty of action sequences and twists. I’m curious where the series is going to go from here. I like the core cast, yes, even Charlie. And I mentioned the action, right? Fans of good stories will enjoy this book.
This series has a couple of issues for me. One is Charlie, who can come across as a perfect character for far too long. Eventually, we do see some weaknesses, but it takes a while. I suspect this is something that adults will pick on more than kids do. Then there’s the data dumps. We need some of that information to have the context for the action, but it can get to be a bit much. However, overall, I do like these books, and this one in particular. There are plenty of action sequences and twists. I’m curious where the series is going to go from here. I like the core cast, yes, even Charlie. And I mentioned the action, right? Fans of good stories will enjoy this book.
Blue Billy’s Rogue Lexicon: An Historical Bawdyhouse Romance
Book
William Dempsey was a wonder among wonders. By 18, he had risen from a gang of London street...
Historical Fiction Queer Fiction Romantic Comedy
Dreams Never Seen (Gen-Heirs World: Bella and the Beast Master #3)
10.0
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Having spent an entire winter apart, Bella and Markus want nothing more than a few private moments...
Paranormal Romance
Lyndsey Gollogly (2893 KP) rated Zombie Insurance ( Book 1) in Books
Jun 12, 2024
114 of 220
Booksirens arc
Zombie Insurance ( Book 1)
By Dean Williamson
⭐️⭐️
Emma works for Zombie Insurance, a company selling what she believes to be bogus policies. The growing pile of bills are enough to quiet Emma’s conscience, and, to her, this is merely a job. With her father crashing on the couch of her small, one bedroom apartment, and dealing with the grief of her husband’s death five years prior, Emma is depressed, penniless, and desperate.
During a routine claim inspection, Emma makes the harrowing discovery that she is an unwitting accomplice in the zombie apocalypse. She is forced to contend with the startling discovery that zombies are real and that the movies, video games, and comics ill prepared Emma for dealing with their horrifying nature.
Emma must navigate through her emotions of revenge, sorrow, and loneliness as she faces trials that confront her past. Forgiveness and redemption are available should she summon the strength to take them.
This started well and had such a good concept. But it got bizarre and not in a good way it got way to “clever” and I got bored.
I received an advance review copy for free, and I am leaving this review voluntarily.
Booksirens arc
Zombie Insurance ( Book 1)
By Dean Williamson
⭐️⭐️
Emma works for Zombie Insurance, a company selling what she believes to be bogus policies. The growing pile of bills are enough to quiet Emma’s conscience, and, to her, this is merely a job. With her father crashing on the couch of her small, one bedroom apartment, and dealing with the grief of her husband’s death five years prior, Emma is depressed, penniless, and desperate.
During a routine claim inspection, Emma makes the harrowing discovery that she is an unwitting accomplice in the zombie apocalypse. She is forced to contend with the startling discovery that zombies are real and that the movies, video games, and comics ill prepared Emma for dealing with their horrifying nature.
Emma must navigate through her emotions of revenge, sorrow, and loneliness as she faces trials that confront her past. Forgiveness and redemption are available should she summon the strength to take them.
This started well and had such a good concept. But it got bizarre and not in a good way it got way to “clever” and I got bored.
I received an advance review copy for free, and I am leaving this review voluntarily.
Bob Mann (459 KP) rated Rear Window (1954) in Movies
Sep 29, 2021
“Hmm… must have splattered a lot”.
Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcockblogathon. A fine idea, celebrating the life and works of the “Master of Suspense”. My contribution comes from his 1954 masterpiece “Rear Window” starring James Stewart and Grace Kelly.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
rw-poster
In one pan around his small apartment, and without a word of dialogue required, Hitchcock deftly fills in all the back-story you need: Stewart plays ace photo-journalist L.B. Jefferies, laid up from jetting the world to worn-torn regions by a broken leg in a full-cast with only his courtyard view to entertain him. In sweltering summer temperatures all the apartments are open to the elements, so he can be well entertained by the menagerie before him: “Miss Torso”, the scantily-clad and frequently showering ballerina; a sculptress with an eye towards Henry Moore; a struggling composer (who has his clock wound by someone very familiar!); a newly-wedded bride threatening to wear out the groom; a salesman and his bed-ridden wife; a dog-loving and balcony-sleeping couple; and “Miss Lonelyhearts” – a hard-drinking spinster forced to create imaginary male dinner-guests.
Stewart plays his usual ‘Mr Ordinary’ watching perfectly ordinary goings on in a perfectly ordinary apartment block.
Or not. Jefferies is drawn to some odd-events in the apartment of the salesman (Raymond Burr, still 13 years before his career-defining role in TV’s “Ironside”). His rampant suspicions infect not only his cranky middle-aged physiotherapist Stella (Thelma Ritter) but also his perfect (“too perfect”) girlfriend, the fashion expert Lisa (Grace Kelly). Of course his police friend Doyle (Wendell Corey) is having none of it… there is no evidence of any crime being committed. And the “murdered” wife has been seen being put on a train by her husband, and is sending him letters from the countryside.
Is Jefferies just going stir-crazy? Or is there really something to it?
The set for this film is masterly. Although depicting a genuine location in New York’s Greenwich village the huge set was constructed on the Paramount lot in Hollywood, and you can just imagine the army of carpenters and artists building the multi-layered structure.
It’s one of the stars of the film, allowing for a wealth of detail to be populated: in the apartments; in the street behind; even in the cafe over the other side of the street. And it’s this detail that really makes what could be a highly static film come alive. There are a half dozen films-within-the-film going on at once, with Stewart’s character – and you as the fellow-voyeur – having a multi-pass to watch them all simultaneously.
And watch he does. As what could be perceived as a seriously pervy character – something he is called out on by Stella – Jeffries gets to see an eyeful in particular of the shapely and scantily-clad ballerina (Georgine Darcy, agent-less and only paid $350 for the role!). These scenes must have been deemed quite risque for the year of release.
Where the film rather falters is in the bickering romance between Stewart and Kelly. As a hot-blooded man, I will declare that even today Kelly’s first dream-like appearance (with Vaseline lightly coating the lens) is breathtaking. She’s just the ‘girl-next-door’: if you live next to a palace that is! And yet (with Kelly 21 years Stewart’s junior) she’s just “too perfect” for L.B. , who feels (against her protestations) that she’s ‘too girly’ to hack the life of a war photographer on the road. The mysogeny, common for the day, is gasp-making: “If a girl’s pretty enough, she just has to ‘be'” intones Stewart, to no howls of protest or throwing of saucepans! In fact Kelly is greatly encouraged: “Preview of coming attractions” purrs Kelly, flaunting what she has around the apartment in a negligee.
These scenes though are rather overlong and somewhat get in the way of the murder mystery plot-line. Things really start to warm up when a death occurs, to piercing screams in the night: “Which one of you did it?” shouts a woman to the neighbourhood, as everything – momentarily – stops. “WHICH ONE OF YOU DID IT?”. Given your emotional involvement in the ongoing voyeurism, it’s hard as a viewer not to feel discomforted…. (“well, it wasn’t me”…. shifts uneasily in the seat).
From then on, Hitchcock proceeds to pile on suspenseful jolt after jolt, with first Lisa and then L.B. placed in harms way. While the perpetrator may seem clueless and incompetent, as most murderers of passion probably are, the denouement is satisfying, with a great trial use of green-screen ‘falling’ that would be perfected by Hitchcock for “Vertigo” four years later.
What’s curious for such as classic is that there are a number of fluffed lines in the piece: with two notable ones by Stewart and Kelly. Hitchcock was the master of long and uninterrupted takes, but did he not believe in re-shooting scenes when such errors occurred? Most odd.
Although tighter and more claustrophobic that some of his better known films, this is a firm favourite of mine. If you’ve never seen it, its well worth you checking out.
BankofMarquis (1832 KP) rated Rope (1948) in Movies
Nov 15, 2018
Master Director working some Masterful Camerawork
For my next deep dive into a film of the "Master of Suspense", Alfred Hitchock, I thought I'd pull out a "one-trick pony" film of his, 1948's ROPE. Based on a stage play, HItchock decided to film this movie as it were a play - keeping the entire film in one location (an apartment) and to film it in (what appears to be) one long take.
And, darn it all, if he doesn't pull it off.
The film starts off with a murder, we see two young men (John Dall and Farley Granger) strangling their "inferior" friend. They then decide to hold a dinner party to see if anyone can tell that they have committed murder. Included in this party is the dead friend's girlfriend (Joan Chandler), his father (Sir Cedrick Hardwicke) and their old school teacher (James Stewart).
The fun of this film isn't "will they get caught", it's "how will they get caught - and by who". The cast is wonderful (especially Hardwicke) but they all take a back seat to the absolute stellar performance of Stewart who begins to piece together that something is amiss and turns the tide on the two murderers.
The real star of this film is Director HItchock and his camera. Since he decided to make this in one long take, it took a master of organization and logistics to pull this off, having stagehands move furniture and walls out of the way (and back in again) as the camera moved around. In 1948, a camera could only hold 10 minutes worth of film, so the "one long take" aspect of this is a trick, as it is really 8 takes with strategic timing of camera movements behind walls and backs to give the illusion of seamlessness.
The interesting thing of this "trick" is that you are totally at the control of what Hitchock wants you to see (and not see). There is a scene about 1/2 way through the film that completely ignores the action and the people in the scene and focuses on the trunk the body is in. It is a masterwork, and the tension of keeping your focus there throughout the course of this part of the film is scary, tense and mesmerizing.
One last thing, Hitchock makes a cameo in every one of his films. Try to tell where Hitch is in this film (and, no, it is not as someone walking by the apartment at the beginning of the movie).
Not one of Hitchock's best, plotwise, but one of his best, camera-wise. Well worth checking out.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
And, darn it all, if he doesn't pull it off.
The film starts off with a murder, we see two young men (John Dall and Farley Granger) strangling their "inferior" friend. They then decide to hold a dinner party to see if anyone can tell that they have committed murder. Included in this party is the dead friend's girlfriend (Joan Chandler), his father (Sir Cedrick Hardwicke) and their old school teacher (James Stewart).
The fun of this film isn't "will they get caught", it's "how will they get caught - and by who". The cast is wonderful (especially Hardwicke) but they all take a back seat to the absolute stellar performance of Stewart who begins to piece together that something is amiss and turns the tide on the two murderers.
The real star of this film is Director HItchock and his camera. Since he decided to make this in one long take, it took a master of organization and logistics to pull this off, having stagehands move furniture and walls out of the way (and back in again) as the camera moved around. In 1948, a camera could only hold 10 minutes worth of film, so the "one long take" aspect of this is a trick, as it is really 8 takes with strategic timing of camera movements behind walls and backs to give the illusion of seamlessness.
The interesting thing of this "trick" is that you are totally at the control of what Hitchock wants you to see (and not see). There is a scene about 1/2 way through the film that completely ignores the action and the people in the scene and focuses on the trunk the body is in. It is a masterwork, and the tension of keeping your focus there throughout the course of this part of the film is scary, tense and mesmerizing.
One last thing, Hitchock makes a cameo in every one of his films. Try to tell where Hitch is in this film (and, no, it is not as someone walking by the apartment at the beginning of the movie).
Not one of Hitchock's best, plotwise, but one of his best, camera-wise. Well worth checking out.
Letter Grade A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
Billie Wichkan (118 KP) rated Remember Me (Where There's Love #1) in Books
Mar 15, 2019
Can we ever forget someone we love?
She does not remember who he is.
And yet, her heart recognizes him.
By all means, Jena leads an average, ordinary life.
Working as a waitress, she shares an apartment with Abby, her best friend from college, dreams of being a columnist and spends many waking hours arguing with her brother.
Until one day, when a stranger walks into the restaurant looking for her.
Seemingly desperate to talk to her, he always disappears before Jena can find out who he is and what he wants. However, their paths cross again and again, and soon, Jena feels certain that she once knew the man who is desperately trying to remind her of something she seems to have forgotten.
Their love.
Bree Wolf has done it once again. This is an absolutely gripping novel. This story is full of twists and turns; filled with a bit of mystery and suspense. I absolutely love the way the author brings the characters to life in the pages. I was absolutely gripped and love how it was all brought together at the end. I will not risk saying more as I don't want to spoil it for anyone.
Highly recommend reading this.
I received this copy for free but this is my honest voluntary review.
She does not remember who he is.
And yet, her heart recognizes him.
By all means, Jena leads an average, ordinary life.
Working as a waitress, she shares an apartment with Abby, her best friend from college, dreams of being a columnist and spends many waking hours arguing with her brother.
Until one day, when a stranger walks into the restaurant looking for her.
Seemingly desperate to talk to her, he always disappears before Jena can find out who he is and what he wants. However, their paths cross again and again, and soon, Jena feels certain that she once knew the man who is desperately trying to remind her of something she seems to have forgotten.
Their love.
Bree Wolf has done it once again. This is an absolutely gripping novel. This story is full of twists and turns; filled with a bit of mystery and suspense. I absolutely love the way the author brings the characters to life in the pages. I was absolutely gripped and love how it was all brought together at the end. I will not risk saying more as I don't want to spoil it for anyone.
Highly recommend reading this.
I received this copy for free but this is my honest voluntary review.
Tailgate to Heaven: A British NFL Fan Tackles America
Book
Despite a global recession, Englishman Adam Goldstein felt 2008 was the perfect time to invest in...