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Kate and her husband Ron, have a seemingly perfect life: happily married, two kids, etc. So Kate is thrown off by her attraction to another man, Peter Ash, when she meets him at a dinner party held by one of Ron's colleagues and his own wife. Peter himself is married, with twin sons. Unable to get Peter out her mind, Kate ignores the warnings of her friend Beth, and arranges an encounter. Shortly after that event, Kate and Beth are involved in a horrific terrorist attack, and it seems like nothing will ever be the same.
This was a slightly bizarre novel with an interesting premise: a sort of anti-adultery treatise, in a way. The novel confounded me slightly with its two different tracks: one of personal angst and murder (I don't think it's a spoiler to state that shortly after the terrorist attack, Peter Ash winds up murdered) and then the terrorist attack, which seems somewhat oddly inserted into the novel's plot. Kate's friend Beth is a police detective, and for me, Beth was driving force of the book (and seriously, practically the only sane person in this story). I enjoyed her character and while it's been noted that this was a standalone novel for Lescroart, I could see another book featuring her.
Beth is perplexed as she tries to solve Peter Ash's murder. For us: not really. I felt as if the suspect was fairly easily identifiable the whole time. Lescroart did a fairly good job as casting suspicions on someone else; at one point, I finally thought, oh, ok, maybe I really am wrong (but I wasn't). There's a whole host of characters in the novel and they are interesting, but not really as complex or intricate as Beth. Overall, I enjoyed this novel-- I haven't read anything by Lescroart since some of his early Dismas Hardy books ages ago-- but I didn't find it to have an amazing "wow" factor or anything. It was an interesting, if somewhat predictable thriller, with some strange plot points thrown in.
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 01/24/2017.
This was a slightly bizarre novel with an interesting premise: a sort of anti-adultery treatise, in a way. The novel confounded me slightly with its two different tracks: one of personal angst and murder (I don't think it's a spoiler to state that shortly after the terrorist attack, Peter Ash winds up murdered) and then the terrorist attack, which seems somewhat oddly inserted into the novel's plot. Kate's friend Beth is a police detective, and for me, Beth was driving force of the book (and seriously, practically the only sane person in this story). I enjoyed her character and while it's been noted that this was a standalone novel for Lescroart, I could see another book featuring her.
Beth is perplexed as she tries to solve Peter Ash's murder. For us: not really. I felt as if the suspect was fairly easily identifiable the whole time. Lescroart did a fairly good job as casting suspicions on someone else; at one point, I finally thought, oh, ok, maybe I really am wrong (but I wasn't). There's a whole host of characters in the novel and they are interesting, but not really as complex or intricate as Beth. Overall, I enjoyed this novel-- I haven't read anything by Lescroart since some of his early Dismas Hardy books ages ago-- but I didn't find it to have an amazing "wow" factor or anything. It was an interesting, if somewhat predictable thriller, with some strange plot points thrown in.
I received a copy of this novel from Netgalley and the publisher (thank you!) in return for an unbiased review; it is available everywhere as of 01/24/2017.
LeftSideCut (3776 KP) rated Mandy (2018) in Movies
Oct 30, 2019 (Updated Oct 30, 2019)
A ride from start to finish
Mandy is an utterly bizarre experience, but it's one that kept me absolutely enthralled from beginning to end.
The basic plot is pretty simple - Red (Nicolas Cage) and Mandy (Andrea Riseborough) live an idyllic and secluded life until a run in with a cult-like group lead by Jeremiah Sand (Linus Roache).
After a night of terror falls on the couple, Red takes it upon himself to exact bloody vengeance on those who have harmed them.
This straightforward horror-revenge narrative however is washed in a truly striking example of filmaking.
The cinematography throughout is gorgeous, from huge sweeping shots, to grainier settings full of fog and red light. Director Panos Cosmatos lands numerous memorable shots and presents with a surreal visual experience with a continuous 80s vibe under the surface.
This distinct style paired with a beautiful synth heavy score from the late Jóhann Jóhannsson (which constantly reminded me of Twin Peaks) gives the movie a dream-like coating that gives the movie a really unsettling and downright creepy presence.
King Crimson plays over the opening credits also, which is always going to win me over!
The first half is a slow burner (the title card doesn't appear until 70 minutes in!), really taking advantage of everything mentioned above, before taking a pretty crazy, LSD drenched turn.
The gorier moments of Mandy happen here, and they're pretty effective, outlandish, but at the same time realistic. It certainly sticks with you as the movie slips further into a drug fuelled bloody nightmare. (there's a goddamn chainsaw duel!)
The cast are all pretty decent - Linus Roache makes for a menacing villain during his limited screentime, and his followers are suitably weird (the whole thing has a horrible Charles Manson vibe to it), and Nicolas Cage is both unnervingly restrained at times (even when drenched in blood) with the odd moment of full blown Cage that we've come to know and love.
Mandy deals with themes of love, revenge, toxic masculinity, religion, and cultism, all wrapped up in a truly outlandish and violent fever dream.
Some people love it, some people hate it, but it's certainly unlike any horror I've seen before and I though it's was pretty damn good.
The basic plot is pretty simple - Red (Nicolas Cage) and Mandy (Andrea Riseborough) live an idyllic and secluded life until a run in with a cult-like group lead by Jeremiah Sand (Linus Roache).
After a night of terror falls on the couple, Red takes it upon himself to exact bloody vengeance on those who have harmed them.
This straightforward horror-revenge narrative however is washed in a truly striking example of filmaking.
The cinematography throughout is gorgeous, from huge sweeping shots, to grainier settings full of fog and red light. Director Panos Cosmatos lands numerous memorable shots and presents with a surreal visual experience with a continuous 80s vibe under the surface.
This distinct style paired with a beautiful synth heavy score from the late Jóhann Jóhannsson (which constantly reminded me of Twin Peaks) gives the movie a dream-like coating that gives the movie a really unsettling and downright creepy presence.
King Crimson plays over the opening credits also, which is always going to win me over!
The first half is a slow burner (the title card doesn't appear until 70 minutes in!), really taking advantage of everything mentioned above, before taking a pretty crazy, LSD drenched turn.
The gorier moments of Mandy happen here, and they're pretty effective, outlandish, but at the same time realistic. It certainly sticks with you as the movie slips further into a drug fuelled bloody nightmare. (there's a goddamn chainsaw duel!)
The cast are all pretty decent - Linus Roache makes for a menacing villain during his limited screentime, and his followers are suitably weird (the whole thing has a horrible Charles Manson vibe to it), and Nicolas Cage is both unnervingly restrained at times (even when drenched in blood) with the odd moment of full blown Cage that we've come to know and love.
Mandy deals with themes of love, revenge, toxic masculinity, religion, and cultism, all wrapped up in a truly outlandish and violent fever dream.
Some people love it, some people hate it, but it's certainly unlike any horror I've seen before and I though it's was pretty damn good.
Deborah (162 KP) rated Queen's Gambit in Books
Dec 21, 2018
This wasn't a bad début novel by any means and it seems that lots of people really enjoyed it. I didn't dislike it, I actually found it a pleasant read, but it was also fairly undemanding. You might want that from a book sometimes or you may want something a bit more challenging. It may be that there are so many historical novels out there and of these ones about the Tudors top the leaderboard by a mile, so for me, a Tudor historical novel needs to really outstandingly good to make it stand out from the crowd. I also read a fair bit of 'proper' history (i.e. non-fiction books), so perhaps I know too much for there to be any surprises awaiting me? I do tend to get riled by bizarre deviations from historical fact.
Anyway, the novel deals with part of the life of Katherine Parr, last wife of Henry VIII, starting with the death of her second husband and continuing just past her own demise. I suppose an historical novel will give the author more leeway to explain real events and there is a sort of expectation that a book should be a nice tidy package, explaining everything within its covers. I don't really feel that Fremantle does this with the Parr/Seymour relationship. It's not easy to see why an intelligent woman could be taken in by a man like this anyway, but in the book it was as if Katherine actually was attracted to him against her will, so the relationship never sat quite happily for me. The other main protagonist is a woman called Dorothy (Dot) Fownten, who acts very much as a maidservant to Katherine, and her stepdaughter, Meg Neville. I was interested to learn that Dot was a real historical character, but so little is known of her that Fremantle has had the liberty of embroidering her story.
As I said, not a bad book. Good if you want something fairly undemanding, such as a beach read. I suspect it will appeal to fans of Philippa Gregory and Alison Weir, but those who prefer Penman may find it a little lacking.
Anyway, the novel deals with part of the life of Katherine Parr, last wife of Henry VIII, starting with the death of her second husband and continuing just past her own demise. I suppose an historical novel will give the author more leeway to explain real events and there is a sort of expectation that a book should be a nice tidy package, explaining everything within its covers. I don't really feel that Fremantle does this with the Parr/Seymour relationship. It's not easy to see why an intelligent woman could be taken in by a man like this anyway, but in the book it was as if Katherine actually was attracted to him against her will, so the relationship never sat quite happily for me. The other main protagonist is a woman called Dorothy (Dot) Fownten, who acts very much as a maidservant to Katherine, and her stepdaughter, Meg Neville. I was interested to learn that Dot was a real historical character, but so little is known of her that Fremantle has had the liberty of embroidering her story.
As I said, not a bad book. Good if you want something fairly undemanding, such as a beach read. I suspect it will appeal to fans of Philippa Gregory and Alison Weir, but those who prefer Penman may find it a little lacking.
Phil Leader (619 KP) rated The Hole Opportunity in Books
Nov 14, 2019
Colin Griggs is a farmer who tires of all the red tape and paperwork involved with traditional farming and decides to embark on a new venture - hole farming. Colin's lack of practicality is more than made up for by his wife Izzy who does her best to turn Colin's wild ideas into reality. When they win the contract to provide the holes for the newly refurbished local golf course, the future of Griggs Hole Farming seems assured. But not everything goes as expected...
This book is a good and well thought out farce in the mould of Tom Sharpe. There are misunderstandings and assumptions galore with a cast of characters designed to cause maximum friction between their personalities. The central concept - farming holes - means that no part of this can be taken seriously and is a delightfully surreal basis for the rest of the story to hang off of.
The book is essentially in three sections; the first concerns the setting up of Griggs Hole Farming and the golf course contract. Following this there are various accusations of attempted murder introducing the characters of the local reporter and various members of the police force. The third section involves the arrival of aristocracy to return the local stately home to its former glory, which requires several holes to be provided for the ornamental ponds.
I found the first and last thirds of the book humourous and witty, plenty of laugh out loud jokes and cringeworthy moments as befits a farce. The middle third I didn't enjoy anywhere near as much. I suspect this was mostly because people being arrested for attempted murder is not a very funny concept, even if the charges are obvouisly completely ridiculous and follow a bizarre series of events and assumptions. But once this part is over the third part returns to the form of the first with some terrific class snobbery and social climbing, the staple of many classic British comedies.
Overall this is an enjoyable book with plenty to recommend it. The middle section dropped a few marks for me
This book is a good and well thought out farce in the mould of Tom Sharpe. There are misunderstandings and assumptions galore with a cast of characters designed to cause maximum friction between their personalities. The central concept - farming holes - means that no part of this can be taken seriously and is a delightfully surreal basis for the rest of the story to hang off of.
The book is essentially in three sections; the first concerns the setting up of Griggs Hole Farming and the golf course contract. Following this there are various accusations of attempted murder introducing the characters of the local reporter and various members of the police force. The third section involves the arrival of aristocracy to return the local stately home to its former glory, which requires several holes to be provided for the ornamental ponds.
I found the first and last thirds of the book humourous and witty, plenty of laugh out loud jokes and cringeworthy moments as befits a farce. The middle third I didn't enjoy anywhere near as much. I suspect this was mostly because people being arrested for attempted murder is not a very funny concept, even if the charges are obvouisly completely ridiculous and follow a bizarre series of events and assumptions. But once this part is over the third part returns to the form of the first with some terrific class snobbery and social climbing, the staple of many classic British comedies.
Overall this is an enjoyable book with plenty to recommend it. The middle section dropped a few marks for me
Gareth von Kallenbach (980 KP) rated Captain Fantastic (2016) in Movies
Aug 6, 2019
Written and directed by Matt Ross, “Captain Fantastic” is perhaps the most beautiful film put out in many years. It tells the story of a family living in the wilderness of the Pacific Northwest, surviving off of the land.
Viggo Mortensen plays Ben, a father who raises his children away from society, training them to be hunters and philosophers. The first scene is of an epic chase of a deer in the forest. In a manner that can only be equated to tribal tradition, the children stalk the animal while covered in black mud. When the eldest son takes down the deer, he is fed its heart and pronounced a man. Although, the film is not filled with scenes aimed at shock value. It has far too much depth to be described in that way.
When tragedy strikes, the family is forced to go into the city and face the rest of the world. Ben and his children stop at a diner in a small town, and everything is bizarre to the kids. They had never heard of soda, and they don’t understand why everyone is so overweight around them.
Quickly though, it becomes clear to them that they are the “strange” ones. When they visit their relatives, Ben is confronted with disdain and concern for how he chooses to raise his children. Everyone is panicked that he is not providing them with an adequate upbringing, while he feels it is the only acceptable path.
Together, they go on a journey that invokes the beauty, wildness, and sadness of being human.
“Captain Fantastic” takes audiences through the spectrum of human emotion, and truly makes one think about what it means to live in society today so far disconnected from our animal roots.
Each character delivers a raw and authentic performance. At moments Ben seems like a lunatic; at other times he seems like he is actually the sanest person on the planet.
The film is beautifully shot in some amazing parts of Washington, inciting nostalgia for Seattleites.
The music is subtle and helps to make the film a riveting experience.
Not just a movie, but a true masterpiece. Though it seems like a massive understatement, I give “Captain Fantastic” 5 out of 5 stars.
Viggo Mortensen plays Ben, a father who raises his children away from society, training them to be hunters and philosophers. The first scene is of an epic chase of a deer in the forest. In a manner that can only be equated to tribal tradition, the children stalk the animal while covered in black mud. When the eldest son takes down the deer, he is fed its heart and pronounced a man. Although, the film is not filled with scenes aimed at shock value. It has far too much depth to be described in that way.
When tragedy strikes, the family is forced to go into the city and face the rest of the world. Ben and his children stop at a diner in a small town, and everything is bizarre to the kids. They had never heard of soda, and they don’t understand why everyone is so overweight around them.
Quickly though, it becomes clear to them that they are the “strange” ones. When they visit their relatives, Ben is confronted with disdain and concern for how he chooses to raise his children. Everyone is panicked that he is not providing them with an adequate upbringing, while he feels it is the only acceptable path.
Together, they go on a journey that invokes the beauty, wildness, and sadness of being human.
“Captain Fantastic” takes audiences through the spectrum of human emotion, and truly makes one think about what it means to live in society today so far disconnected from our animal roots.
Each character delivers a raw and authentic performance. At moments Ben seems like a lunatic; at other times he seems like he is actually the sanest person on the planet.
The film is beautifully shot in some amazing parts of Washington, inciting nostalgia for Seattleites.
The music is subtle and helps to make the film a riveting experience.
Not just a movie, but a true masterpiece. Though it seems like a massive understatement, I give “Captain Fantastic” 5 out of 5 stars.
LeftSideCut (3776 KP) rated Sleepy Hollow (1999) in Movies
Apr 20, 2020 (Updated Apr 20, 2020)
Sleepy Hollow is one of those films that I will always love. I first saw it when I was 13, when DVDs were still pretty new, and I would watch it over and over again.
It's just about creepy enough to offer itself to horror fans, and has the right amount of Tim Burton campiness to still appeal to younger audiences (not too young mind, plenty of blood flying about).
Johnny Depp plays Ichabod Crane, a constable sent from New York to the small town of Sleepy Hollow to investigate a series of bizarre murders, at the tail end of the 1700s.
The townsfolk are gripped with fear, convinced that the murders are the work of the fabled Headless Horseman, but Ichabod is certain that there's a less supernatural involvement behind the scenes.
The 18th Century setting is perfect for Burton's gothic style. The whole film is draped in a misty asthethic, lending it a cold and dreary atmosphere.
This is further complimented by Danny Elfman's incredible church-organ-heavy score.
The Horseman himself looks ghostly and makes for some unforgettable shots as he chases down and decapitates his way through the cast.
Said cast is a heavy duty one as well. Johnny Depp is front and centre, pretty much just being typical Johnny Depp, but it works wonders with Ichabod's almost mad-scientist character.
The rest of the cast boasts the likes of Christina Ricci, Michael Gambon, Christopher Walken, Miranda Richardson, Ian McDiarmid, Michael Gough, Richard Griffiths, Christopher Lee, Jeffrey Jones... It's an impressive list.
Some of the acting is a bit overboard at times (looking at you Christopher Walken) but it kind of adds a bit of surrealism to the whole affair.
The effects are pretty solid as well. Burton's approach to using a large amount of practical effects is admirable, and what CGI is used is subtle enough to not show the films age.
Despite it cheesyness, Sleepy Hollow manages to be both a dark and fun horror adventure, that I always enjoy watching and remains a highlight in Tim Burton's resume.
It's just about creepy enough to offer itself to horror fans, and has the right amount of Tim Burton campiness to still appeal to younger audiences (not too young mind, plenty of blood flying about).
Johnny Depp plays Ichabod Crane, a constable sent from New York to the small town of Sleepy Hollow to investigate a series of bizarre murders, at the tail end of the 1700s.
The townsfolk are gripped with fear, convinced that the murders are the work of the fabled Headless Horseman, but Ichabod is certain that there's a less supernatural involvement behind the scenes.
The 18th Century setting is perfect for Burton's gothic style. The whole film is draped in a misty asthethic, lending it a cold and dreary atmosphere.
This is further complimented by Danny Elfman's incredible church-organ-heavy score.
The Horseman himself looks ghostly and makes for some unforgettable shots as he chases down and decapitates his way through the cast.
Said cast is a heavy duty one as well. Johnny Depp is front and centre, pretty much just being typical Johnny Depp, but it works wonders with Ichabod's almost mad-scientist character.
The rest of the cast boasts the likes of Christina Ricci, Michael Gambon, Christopher Walken, Miranda Richardson, Ian McDiarmid, Michael Gough, Richard Griffiths, Christopher Lee, Jeffrey Jones... It's an impressive list.
Some of the acting is a bit overboard at times (looking at you Christopher Walken) but it kind of adds a bit of surrealism to the whole affair.
The effects are pretty solid as well. Burton's approach to using a large amount of practical effects is admirable, and what CGI is used is subtle enough to not show the films age.
Despite it cheesyness, Sleepy Hollow manages to be both a dark and fun horror adventure, that I always enjoy watching and remains a highlight in Tim Burton's resume.
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