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Gareth von Kallenbach (971 KP) rated The Bourne Legacy (2012) in Movies
Aug 7, 2019
With the franchise torch passing from Matt Damon to Jeremy Renner, “The Bourne Legacy” shows that there is still plenty of life in the franchise.
The events of the film take place during and after the events in The Bourne Ultimatum”and portrays the effects and consequences of the actions taken by Jason Bourne in the first three movies. Now that Bourne has made Treadstone/Blackbriar public and began to seek some measure of justice for lives that were destroyed by the program, the government attempts to cover-up their operations and discredit Bourne and his associate CIA deputy director Pamela Landy who is facing a myriad of charges.
Enter Stacy Keach and Ed Norton who ooze a chilling creepiness as shadowy government figures who will stop at nothing to cover up the growing scandal, including wholesale murder.
Bourne and his program were, in the words of one character, “the tip of the iceberg” and as such, just another program the government ran, which had the same goals of Operation Treadstone but used different methods to create and train their agents, becomes the focus of the film.
Alex Cross (Renner), finds himself the lone survivor of a purge that has eliminated all the living members of his program, this includes the very scientists who helped created the enhanced agents. As a creation who needs special medications to function, Cross races to Washington in an attempt to reach Dr. Marta Shearing (Rachel Weisz), who has been a medical contact for Cross for years. Shearing herself is a survivor of numerous dangers and attempted assassinations, thanks to the timely arrival of Cross.
In an attempt to escape the government manhunt lead by Agent Eric Byer (Edward Norton), As these events are unfolding, the actions of Jason Bourne and Pam Landy in the final moments of ‘The Bourne Ultimatum’ are beginning to unravel which forces Cross and Marta to flee to Manila to get Cross a shot at being able to function at his elite level with the need for medications.
With locales that include the wilderness of Alaska, the alleys of Chicago, America’s east coast, and the streets of Manila, “The Bourne Legacy” breathes new life into the franchise. While the first hour of the film moved at a slow pace and lacked much action, the last thirty minutes kicked into high gear and included a fantastic chase and action sequence through Manila.
Renner does not try to be Bourne, and instead plays Cross as a kind but efficient warrior. We are given some insight into his backstory and motivations for entering the program, and Renner goes all out for a demanding and physical role while earning the audience’s sympathy for the plight of Cross.
Director Tony Gilroy (Who also had a hand in the script), knows the franchise well as he had a hand in writing the previous three films and directed one. It is clear that he is steering the franchise to a very likely fifth film, perhaps one where Renner and Damon will cross paths which would be to the fans’ delight. Should that not happen, the series is in great hands with Renner.
The events of the film take place during and after the events in The Bourne Ultimatum”and portrays the effects and consequences of the actions taken by Jason Bourne in the first three movies. Now that Bourne has made Treadstone/Blackbriar public and began to seek some measure of justice for lives that were destroyed by the program, the government attempts to cover-up their operations and discredit Bourne and his associate CIA deputy director Pamela Landy who is facing a myriad of charges.
Enter Stacy Keach and Ed Norton who ooze a chilling creepiness as shadowy government figures who will stop at nothing to cover up the growing scandal, including wholesale murder.
Bourne and his program were, in the words of one character, “the tip of the iceberg” and as such, just another program the government ran, which had the same goals of Operation Treadstone but used different methods to create and train their agents, becomes the focus of the film.
Alex Cross (Renner), finds himself the lone survivor of a purge that has eliminated all the living members of his program, this includes the very scientists who helped created the enhanced agents. As a creation who needs special medications to function, Cross races to Washington in an attempt to reach Dr. Marta Shearing (Rachel Weisz), who has been a medical contact for Cross for years. Shearing herself is a survivor of numerous dangers and attempted assassinations, thanks to the timely arrival of Cross.
In an attempt to escape the government manhunt lead by Agent Eric Byer (Edward Norton), As these events are unfolding, the actions of Jason Bourne and Pam Landy in the final moments of ‘The Bourne Ultimatum’ are beginning to unravel which forces Cross and Marta to flee to Manila to get Cross a shot at being able to function at his elite level with the need for medications.
With locales that include the wilderness of Alaska, the alleys of Chicago, America’s east coast, and the streets of Manila, “The Bourne Legacy” breathes new life into the franchise. While the first hour of the film moved at a slow pace and lacked much action, the last thirty minutes kicked into high gear and included a fantastic chase and action sequence through Manila.
Renner does not try to be Bourne, and instead plays Cross as a kind but efficient warrior. We are given some insight into his backstory and motivations for entering the program, and Renner goes all out for a demanding and physical role while earning the audience’s sympathy for the plight of Cross.
Director Tony Gilroy (Who also had a hand in the script), knows the franchise well as he had a hand in writing the previous three films and directed one. It is clear that he is steering the franchise to a very likely fifth film, perhaps one where Renner and Damon will cross paths which would be to the fans’ delight. Should that not happen, the series is in great hands with Renner.
Eilidh G Clark (177 KP) rated A Portable Shelter in Books
May 13, 2017
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Kristy H (1252 KP) rated I Let You Go in Books
Feb 1, 2018
One rainy evening, an accident occurs on a quiet neighborhood street. Walking home from school with his mother, young Jacob is hit by a car, and killed. Even worse, the car quickly backs up and drives away, leaving Jacob's mother shattered and Detective Inspector Ray Stevens and his team, particularly eager young DC Kate, to seek out answers.
With her world ruined by the accident, Jenna Gray seeks refuge by the coast. She finds a small cottage, gets a dog, and tries to escape the nightmares of the accident that haunt both her dreams and waking hours. Meanwhile, Ray and Kate are forced to close Jacob's case, no closer to the suspect than when they started. But the two remain undaunted, working on the case in their off hours, and an anniversary plea one year after the accident turns up some potential leads. What exactly happened that rainy night? Will justice ever come for Jacob--and peace for Jenna?
This was an excellent thriller-- a real surprise, honestly. The beginning of the novel started out slow, and was so horrendously sad, what with Jacob's accident and his mother's terrible grief. It was one of several book's I'd read lately involving the death of a child, and I was so saddened that I almost set it aside. I'm glad I didn't though, because while the book is gut-wrenchingly sad, it's excellent, tense, and suspenseful. Divided into several parts, things pick up immensely at the end of the first part, when Mackintosh throws in an excellent plot twist (I shan't say anymore so as not to ruin it).
Mackintosh is excellent at conveying Jenna's anguish and the sadness that the accident causes. We also have a side-plot of Ray and his feelings toward his subordinate, Kate. Ray's home life is unbalanced: he's dealing with issues with his son, Tom, and his wife. These are a bit distracting at times, but serve to humanize him as well. The police subplot (watching them try to piece things together) is interesting, also. In fact, the book alternates in perspectives: we hear from Ray, Jenna, and one more character. In part 2, we go back in time for some of the characters, but remain in the present with Ray and Kate as they (much like us, the readers) try to solve this crime. It's an interesting technique and works surprisingly well. Jenna is a complicated character, but a well-drawn one.
Overall, I quite enjoyed this book. I won't spoil anything, but I will say that there is definitely a trigger for domestic abuse/violence, so please be forewarned for that. There's a character in the novel who reminds me of the husband in that creepy Julia Roberts' film "Sleeping with the Enemy" (I'm totally dating myself here). As such I was up late reading one night, completely creeped out. However, that's the sign of an excellent thriller in my opinion. I raced through the last 2/3 of the book and really wasn't disappointed. There are several more twists, but they actually are pretty believable, not outlandish like in many thrillers. Definitely recommend this one (with the abuse caveat thrown in). A unique psychological thriller that's worth your time, for sure.
I received an ARC of this novel from Netgalley - thank you! The U.S. edition is available everywhere on 5/3/16. You can find a review of this book and many more at my <a href="http://justacatandabookatherside.blogspot.com/">blog</a>;.
With her world ruined by the accident, Jenna Gray seeks refuge by the coast. She finds a small cottage, gets a dog, and tries to escape the nightmares of the accident that haunt both her dreams and waking hours. Meanwhile, Ray and Kate are forced to close Jacob's case, no closer to the suspect than when they started. But the two remain undaunted, working on the case in their off hours, and an anniversary plea one year after the accident turns up some potential leads. What exactly happened that rainy night? Will justice ever come for Jacob--and peace for Jenna?
This was an excellent thriller-- a real surprise, honestly. The beginning of the novel started out slow, and was so horrendously sad, what with Jacob's accident and his mother's terrible grief. It was one of several book's I'd read lately involving the death of a child, and I was so saddened that I almost set it aside. I'm glad I didn't though, because while the book is gut-wrenchingly sad, it's excellent, tense, and suspenseful. Divided into several parts, things pick up immensely at the end of the first part, when Mackintosh throws in an excellent plot twist (I shan't say anymore so as not to ruin it).
Mackintosh is excellent at conveying Jenna's anguish and the sadness that the accident causes. We also have a side-plot of Ray and his feelings toward his subordinate, Kate. Ray's home life is unbalanced: he's dealing with issues with his son, Tom, and his wife. These are a bit distracting at times, but serve to humanize him as well. The police subplot (watching them try to piece things together) is interesting, also. In fact, the book alternates in perspectives: we hear from Ray, Jenna, and one more character. In part 2, we go back in time for some of the characters, but remain in the present with Ray and Kate as they (much like us, the readers) try to solve this crime. It's an interesting technique and works surprisingly well. Jenna is a complicated character, but a well-drawn one.
Overall, I quite enjoyed this book. I won't spoil anything, but I will say that there is definitely a trigger for domestic abuse/violence, so please be forewarned for that. There's a character in the novel who reminds me of the husband in that creepy Julia Roberts' film "Sleeping with the Enemy" (I'm totally dating myself here). As such I was up late reading one night, completely creeped out. However, that's the sign of an excellent thriller in my opinion. I raced through the last 2/3 of the book and really wasn't disappointed. There are several more twists, but they actually are pretty believable, not outlandish like in many thrillers. Definitely recommend this one (with the abuse caveat thrown in). A unique psychological thriller that's worth your time, for sure.
I received an ARC of this novel from Netgalley - thank you! The U.S. edition is available everywhere on 5/3/16. You can find a review of this book and many more at my <a href="http://justacatandabookatherside.blogspot.com/">blog</a>;.
Lee (2222 KP) rated Cloak & Dagger in TV
Aug 10, 2018
While I'm a massive fan of the Marvel Cinematic Universe, I never really seem to get on so well with the Marvel TV shows. I get bored, frustrated or just run out of patience with the TV format, with Luke Cage being my longest run so far at 8 episodes. I decided to give Cloak and Dagger a shot, knowing absolutely nothing about about it, and with low expectations after reading the synopsis. I was pleasantly surprised.
The show begins with two young children, following very different lives. Tandy is returning from a ballet class in the back of her fathers car, Tyrone hanging out with his older brother and a gang of boys looking to steal a car radio. As Tyrone and his brother flee from the cops and Tandy and her father are crossing a bridge, fate leads them down a similar path. A drilling platform off the coast of New Orleans explodes, sending the car crashing into the ocean, and causing one of the cops chasing the boys to panic, shooting Tyrones brother dead while Tyrone escapes into the ocean. Unfortunately, Tandy's father doesn't make it, and both Tandy and Tyrone are suddenly caught in a mysterious wave of energy which ripples out from the collapsing platform.
8 years later and both kids are alive and still leading very different lives. They begin to discover that they have abilities, although it's not clear for much of the season exactly what those abilities are and how well they can be used. Tandy can generate bright white daggers from her hands and Tyrone can teleport randomly. Also, when Tandy touches somebody, she can see their hopes. When Tyrone touches somebody, he can see their fears. It all seems a bit pointless for a while, so luckily for us the rest of the story, along with the supporting cast, is all pretty strong. Tandy is investigating Roxxon, the company responsible for the exploding platform. Her father also worked for Roxxon, who seem determined to tarnish his good name and do anything possible to cover up whatever it is they're up to. Meanwhile Tyrone is out to see the cop who shot his brother, and was never punished for it, finally brought to justice.
Along the way, their paths cross, and it becomes clear that their powers are more effective when they're together. This all comes to a head in episode 7, where they both enter the mind of a man who has been in a comatose state since working on the drilling platform eight years ago. They must repeatedly relive the few minutes before the explosion until they can figure out what happened and how to stop it in order to free the man. It's the kind of plot I absolutely love, and one which gets used a lot in TV shows, most recently in the last season of Star Trek Discovery. I loved it then, and I loved it now.
While the season finale was a bit of a strange mish-mash, it didn't matter for me as I loved the rest of the season so much. A bit of a slow burn at times, but with a good story and characters to keep things moving nicely. Nice to know that season 2 has been given the go ahead too.
The show begins with two young children, following very different lives. Tandy is returning from a ballet class in the back of her fathers car, Tyrone hanging out with his older brother and a gang of boys looking to steal a car radio. As Tyrone and his brother flee from the cops and Tandy and her father are crossing a bridge, fate leads them down a similar path. A drilling platform off the coast of New Orleans explodes, sending the car crashing into the ocean, and causing one of the cops chasing the boys to panic, shooting Tyrones brother dead while Tyrone escapes into the ocean. Unfortunately, Tandy's father doesn't make it, and both Tandy and Tyrone are suddenly caught in a mysterious wave of energy which ripples out from the collapsing platform.
8 years later and both kids are alive and still leading very different lives. They begin to discover that they have abilities, although it's not clear for much of the season exactly what those abilities are and how well they can be used. Tandy can generate bright white daggers from her hands and Tyrone can teleport randomly. Also, when Tandy touches somebody, she can see their hopes. When Tyrone touches somebody, he can see their fears. It all seems a bit pointless for a while, so luckily for us the rest of the story, along with the supporting cast, is all pretty strong. Tandy is investigating Roxxon, the company responsible for the exploding platform. Her father also worked for Roxxon, who seem determined to tarnish his good name and do anything possible to cover up whatever it is they're up to. Meanwhile Tyrone is out to see the cop who shot his brother, and was never punished for it, finally brought to justice.
Along the way, their paths cross, and it becomes clear that their powers are more effective when they're together. This all comes to a head in episode 7, where they both enter the mind of a man who has been in a comatose state since working on the drilling platform eight years ago. They must repeatedly relive the few minutes before the explosion until they can figure out what happened and how to stop it in order to free the man. It's the kind of plot I absolutely love, and one which gets used a lot in TV shows, most recently in the last season of Star Trek Discovery. I loved it then, and I loved it now.
While the season finale was a bit of a strange mish-mash, it didn't matter for me as I loved the rest of the season so much. A bit of a slow burn at times, but with a good story and characters to keep things moving nicely. Nice to know that season 2 has been given the go ahead too.
Midge (525 KP) rated Shallow Water in Books
Jan 23, 2019 (Updated Jan 23, 2019)
Lots of suspense (1 more)
Great lead characters
Nail-biting Thriller!
"Shallow Water" is a nail-biting, edge-of-your-seat story that has a bit of everything. From tension, fear, and panic to drama, romance and conflict, and joy and sorrow, there really is something for everyone. It is a suspenseful, psychological thriller fiction novel set in wonderfully scenic Pt. Redwood on California’s rural Mendocino coast.
What’s really likeable about it straight-away are the opening chapters that draw you into the main character, Clara Kendrick. She is a strong, feisty, sexy, confident, badass, journalist, but is living her life under the shadow of the past. She partially blames herself for the terrible unsolved murder of her best friend Ruthi eight years ago, memories of which continue to haunt her.
Clara receives a telephone call from a relative begging her to go and visit her sick mother who she hasn't seen since she fled from her home town all those years ago. She can't bear the thought of seeing her first-love and old flame Sean again. Relationships are put to the test when she does return and past issues are brought to the fore.
But not long into her return to Pt. Redwood, another teenage girl is found on the beach in similar circumstances to Ruthi. Clara and Sean find themselves at the centre of the investigation. Is there a serial killer at large, or is the second murder a coincidence?
I felt instantly on her side of the emotional and impulsive Clara, particularly in her initial dealings with Sean, her handsome, bad-boy first-love. You can immediately sense there is something still going on, and one of the highlights of the book is following how they deal with their emotional baggage. Sean is, at first, hard to work out but you gradually get to know him as the story unfolds and see that he has many surprising qualities. Both the plot and the character development are excellent, and the story-line is very believable. The story is both captivating and engaging. It held my interest from start to finish, and I found myself rooting for both Sean and Clara as they tried to deal with all of the accusations being made against them and the courage they showed in confronting their challenges.
"Shallow Water" was an interesting novel particularly for the interplay of the different characters - a distant and indifferent mother, a group of exceptionally bitchy grown-up teenagers and a judgemental, close-knit community. Plenty of twists and turns ups and downs along the way and plenty of surprises. I loved the authors writing style which I found very easy to read and the suspense at times had me scared and almost afraid to read on. I loved it!
I did figure out who was behind the murders but not until very near the climax of the book and I was very satisfied with the ending. I have been inspired to read more from Amanda J. Clay and I highly recommend this book. I suggest wholeheartedly that you add it to your reading list.
Thank you to LibraryThing and the author, Amanda J. Clay for a free ARC of this book in exchange for a voluntary, honest review.
What’s really likeable about it straight-away are the opening chapters that draw you into the main character, Clara Kendrick. She is a strong, feisty, sexy, confident, badass, journalist, but is living her life under the shadow of the past. She partially blames herself for the terrible unsolved murder of her best friend Ruthi eight years ago, memories of which continue to haunt her.
Clara receives a telephone call from a relative begging her to go and visit her sick mother who she hasn't seen since she fled from her home town all those years ago. She can't bear the thought of seeing her first-love and old flame Sean again. Relationships are put to the test when she does return and past issues are brought to the fore.
But not long into her return to Pt. Redwood, another teenage girl is found on the beach in similar circumstances to Ruthi. Clara and Sean find themselves at the centre of the investigation. Is there a serial killer at large, or is the second murder a coincidence?
I felt instantly on her side of the emotional and impulsive Clara, particularly in her initial dealings with Sean, her handsome, bad-boy first-love. You can immediately sense there is something still going on, and one of the highlights of the book is following how they deal with their emotional baggage. Sean is, at first, hard to work out but you gradually get to know him as the story unfolds and see that he has many surprising qualities. Both the plot and the character development are excellent, and the story-line is very believable. The story is both captivating and engaging. It held my interest from start to finish, and I found myself rooting for both Sean and Clara as they tried to deal with all of the accusations being made against them and the courage they showed in confronting their challenges.
"Shallow Water" was an interesting novel particularly for the interplay of the different characters - a distant and indifferent mother, a group of exceptionally bitchy grown-up teenagers and a judgemental, close-knit community. Plenty of twists and turns ups and downs along the way and plenty of surprises. I loved the authors writing style which I found very easy to read and the suspense at times had me scared and almost afraid to read on. I loved it!
I did figure out who was behind the murders but not until very near the climax of the book and I was very satisfied with the ending. I have been inspired to read more from Amanda J. Clay and I highly recommend this book. I suggest wholeheartedly that you add it to your reading list.
Thank you to LibraryThing and the author, Amanda J. Clay for a free ARC of this book in exchange for a voluntary, honest review.
Jesters_folly (230 KP) rated 10 Cloverfield Lane (2016) in Movies
Oct 6, 2020
Contains spoilers, click to show
10 Cloverfield Lane is the second film in the Cloverfield series but isn't a sequel. 10 Cloverfield lane doesn't follow on from the first film but is set at the same time however, there is almost nothing that links the two films (at least to begin with) and even some of the links aren't obvious. for example, right at the beginning of the film, Michelle is grabbing her belongings when the house is shaken. There is nothing made of this however, according to official sources this is caused by Clover's first attack in the first film.
In my review of Cloverfield I stated that it wasn't necessarily the film for Kaiju fans, especially if you want monster vs monster action and this is even more true for 10 Cloverfield Lane. This is not a monster film it's more a phycological thriller.
After leaving her home Michelle is in a car crash and wakes up in a bunker belonging to survivalist Howard. The only other person in the bunker is Howards neighbour, Emmett.
10 Cloverfield Lane is a slow burn, Howard tells Michelle that there has been an attack and that she can't leave because the air is probably contaminated, Michelle is not sure if this is true. And this is where the film is clever, if you know about the connection to the first Cloverfield film then you know that there could be something out there but that it may not be contamination, if you don't know about the connection then the attack could be possible. It's John Goodman's acting as Howard that really pulls the film along, sometimes he seems believable whilst other times he seems crazy never quite revealing just how much he actually knows, right down to his last line where he tells Michelle that she can't out run what is out there, hinting that he knows what is really going on.
It's the end of the film that (kind of) links 10 Cloverfield Lane to Cloverfield but still possibly not the part you'd think. When Michelle finally gets out of the bunker she is attacked by monsters but nothing we've seen before, there is a four legged dog type thing that is not one of the parasites from the first film and what at first looks like a space ship (an idea that is further enhanced by something Howard had said earlier) but we later see that it is a creature with a mechanical looking shell, this creature also has two tentacles similar to those on Clover. The biggest link to the first film is actually after these creatures, there are radio announcements that 'we have taken back the coast' referring to the fact that we the army have defeated Clover, showing us how much time has past.
As I said, 10 Cloverfield Lane is a good thriller, if you take it for what it is (not a monster film) then it is tense and enjoyable but, if you don't know about the link then the monsters at the end would be just odd as, if it was a stand alone film, it would work better as an invasion, even if it was an alien invasion where as these monsters do just seem to be there.
As an attempt to create a larger world and to show how the events in the first film affect other places it's a good start but there needs to more. Of course there is a third film but more about that next time.
In my review of Cloverfield I stated that it wasn't necessarily the film for Kaiju fans, especially if you want monster vs monster action and this is even more true for 10 Cloverfield Lane. This is not a monster film it's more a phycological thriller.
After leaving her home Michelle is in a car crash and wakes up in a bunker belonging to survivalist Howard. The only other person in the bunker is Howards neighbour, Emmett.
10 Cloverfield Lane is a slow burn, Howard tells Michelle that there has been an attack and that she can't leave because the air is probably contaminated, Michelle is not sure if this is true. And this is where the film is clever, if you know about the connection to the first Cloverfield film then you know that there could be something out there but that it may not be contamination, if you don't know about the connection then the attack could be possible. It's John Goodman's acting as Howard that really pulls the film along, sometimes he seems believable whilst other times he seems crazy never quite revealing just how much he actually knows, right down to his last line where he tells Michelle that she can't out run what is out there, hinting that he knows what is really going on.
It's the end of the film that (kind of) links 10 Cloverfield Lane to Cloverfield but still possibly not the part you'd think. When Michelle finally gets out of the bunker she is attacked by monsters but nothing we've seen before, there is a four legged dog type thing that is not one of the parasites from the first film and what at first looks like a space ship (an idea that is further enhanced by something Howard had said earlier) but we later see that it is a creature with a mechanical looking shell, this creature also has two tentacles similar to those on Clover. The biggest link to the first film is actually after these creatures, there are radio announcements that 'we have taken back the coast' referring to the fact that we the army have defeated Clover, showing us how much time has past.
As I said, 10 Cloverfield Lane is a good thriller, if you take it for what it is (not a monster film) then it is tense and enjoyable but, if you don't know about the link then the monsters at the end would be just odd as, if it was a stand alone film, it would work better as an invasion, even if it was an alien invasion where as these monsters do just seem to be there.
As an attempt to create a larger world and to show how the events in the first film affect other places it's a good start but there needs to more. Of course there is a third film but more about that next time.
Bob Mann (459 KP) rated The Meg (2018) in Movies
Sep 28, 2021
Fins ain’t what they used to be.
OK, OK, so I must be about the last person in the country – at least, those who want to see this at the cinema – who actually has! Maybe its something about the summer slipping into autumn that made me crave for one last summer blockbuster hoorah! In any case, I feel like a bit of a traitor, since I was very scathing about this film’s trailer when it came out. But – do you know – as a brainless piece of popcorn entertainment, I quite enjoyed it!
Jason Statham – the unthinking man’s Dwayne Johnson – plays our hero Jonas Taylor. (Jonas? Surely some sly joke?). Jonas is drinking his life away in Thailand after being traumatised by an underwater rescue mission in which he was 90% successful. (Yeah, I know. Bloody perfectionists. Hate ’em). But he is needed again, since his cute ex-wife Lori (Jessica McNamee) is stuck at the bottom of the sea being terrorised by a terrifying creature: no, not Spongebob Square Pants… the titular prehistoric shark.
Lori is working at an undersea research station – Mana One – off the coast of China, funded by the annoyingly brash billionaire Morris (Rainn Wilson, from “The Office”), who you just HOPE HOPE HOPE will get munched at some point!
Running the station (in the most shameless Hollywood/Chinese market crossover since “The Great Wall“) is Zhang (Winston Chao) assisted by his cute daughter Suyin (played by the gloriously named and very talented Bingbing Li) and his even cuter granddaughter Meiying (Sophia Cai). The race is on to use their brains and Taylor’s brawn to stop the monster from reaching the seaside resort of Sanya Bay for lunch.
The action is, of course, absurd with so many near misses for Jonas from gnashing teeth that he could be The Meg’s registered dentist. There is a really nice dynamic though built up between Jonas, his potential cross-cultural love interest Suyin and young Meiying. Suyin is a classic TimesUp heroine for 2018, with an assertive f***-you attitude and not remotely giving an inch to Statham’s hero.
But it’s young Sophia as Meying who really steals lines and steals hearts with a truly charming performance, and would get my ‘man of the match’ were it not for…
…research assistant Jaxx (Australian model, Ruby Rose). She has an absolutely extraordinary look in this film. Chiselled and tattooed, she literally looks like she has stepped out of a Final Fantasy video game… and acts well too: the complete package.
As referenced above, the Hollywood/Chinese crossover is quite striking in this film, with the Chinese beach location looking like Amity Island on crack! (Cue the overweight Chinese kid as the Jaws “Alex” replacement… who knew China had a child obesity issue too… and that they also have ‘Zoom’ ice lollies!) Unusually for a mainstream Western film, a significant number of lines in the film are in Chinese with English subtitles.
In the league table of shark movies, it is far nearer to “Deep Blue Sea” than it is to “Jaws”, the reigning league champion, and all are far in excess of the ridiculous “Sharknado”. But compared to “Deep Blue Sea”, and even compared to “Jaws” – now, astonishingly, 43 years old! – it’s a curiously bloodless concoction, presumably to guarantee it’s 12A certificate. I have seen far bloodier and more violent 12A’s, and if anything I think director Jon Turteltaub (“National Treasure”) rather overdid the sanitisation.
It’s not going to win many gongs at the Oscars, but it is a slice of movie fun nonetheless.
Jason Statham – the unthinking man’s Dwayne Johnson – plays our hero Jonas Taylor. (Jonas? Surely some sly joke?). Jonas is drinking his life away in Thailand after being traumatised by an underwater rescue mission in which he was 90% successful. (Yeah, I know. Bloody perfectionists. Hate ’em). But he is needed again, since his cute ex-wife Lori (Jessica McNamee) is stuck at the bottom of the sea being terrorised by a terrifying creature: no, not Spongebob Square Pants… the titular prehistoric shark.
Lori is working at an undersea research station – Mana One – off the coast of China, funded by the annoyingly brash billionaire Morris (Rainn Wilson, from “The Office”), who you just HOPE HOPE HOPE will get munched at some point!
Running the station (in the most shameless Hollywood/Chinese market crossover since “The Great Wall“) is Zhang (Winston Chao) assisted by his cute daughter Suyin (played by the gloriously named and very talented Bingbing Li) and his even cuter granddaughter Meiying (Sophia Cai). The race is on to use their brains and Taylor’s brawn to stop the monster from reaching the seaside resort of Sanya Bay for lunch.
The action is, of course, absurd with so many near misses for Jonas from gnashing teeth that he could be The Meg’s registered dentist. There is a really nice dynamic though built up between Jonas, his potential cross-cultural love interest Suyin and young Meiying. Suyin is a classic TimesUp heroine for 2018, with an assertive f***-you attitude and not remotely giving an inch to Statham’s hero.
But it’s young Sophia as Meying who really steals lines and steals hearts with a truly charming performance, and would get my ‘man of the match’ were it not for…
…research assistant Jaxx (Australian model, Ruby Rose). She has an absolutely extraordinary look in this film. Chiselled and tattooed, she literally looks like she has stepped out of a Final Fantasy video game… and acts well too: the complete package.
As referenced above, the Hollywood/Chinese crossover is quite striking in this film, with the Chinese beach location looking like Amity Island on crack! (Cue the overweight Chinese kid as the Jaws “Alex” replacement… who knew China had a child obesity issue too… and that they also have ‘Zoom’ ice lollies!) Unusually for a mainstream Western film, a significant number of lines in the film are in Chinese with English subtitles.
In the league table of shark movies, it is far nearer to “Deep Blue Sea” than it is to “Jaws”, the reigning league champion, and all are far in excess of the ridiculous “Sharknado”. But compared to “Deep Blue Sea”, and even compared to “Jaws” – now, astonishingly, 43 years old! – it’s a curiously bloodless concoction, presumably to guarantee it’s 12A certificate. I have seen far bloodier and more violent 12A’s, and if anything I think director Jon Turteltaub (“National Treasure”) rather overdid the sanitisation.
It’s not going to win many gongs at the Oscars, but it is a slice of movie fun nonetheless.
Bob Mann (459 KP) rated Deepwater Horizon (2016) in Movies
Sep 29, 2021
“Full of sound and fury, Signifying nothing” could be a summary of this modern-age disaster movie. In 2010 the “Deepwater Horizon” drilling rig off the coast of Louisiana failed in spectacular fashion, bursting into flames and spewing millions of barrels of crude oil into the Gulf of Mexico in what was the worst oil-spill in American history. Mark Wahlberg plays the well-respected electrical ‘Mr fixit’ Mike Williams on the rig, reporting to the Operations Manager Jimmy Harrell (Kurt Russell).
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
BankofMarquis (1832 KP) rated The Banshees of Inisherin (2022) in Movies
Jan 13, 2023
Strong Acting aids Character Study
Back in 2008, Writer/Director Martin McDonagh scored an improbable hit with IN BRUGES, a tale of two hitmen “laying low” in…well…Bruges, Belgium while awaiting instructions from their boss. During this down time these two characters muse about the meanings of life and love in a wonderful, Oscar Nominated, character study.
15 years later, McDonagh does it again with THE BANSHEES OF INISHERIN.
Set in the 1920s in the fictional Island of Inisherin (off the coast of Ireland), BANSHEES reunites Writer/Director McDonagh with his two stars of the previous film - Brendan Gleeson (“Mad Eye” Mooney in the Harry Potter films) and Colin Farrell (unrecognizable as The Penguin in the recent BATMAN movie) - and the resultant character study is just as interesting and intriguing to watch in a setting just as interesting…and breath-takingly beautifully bleak.
McDonagh, more than likely, will be nominated (as he was with IN BRUGES) for his screenplay for this film - it IS Oscar worthy - but for me, he was better as the Director of this character study, pointing his camera with a keen eye and surety in what he wanted to show all the while letting the performers and the countryside tell the story.
Both lead performers (and the Supporting Actors) are perfectly cast. Farrell, as Padraic,is the protagonist - a simple man who just wants to be able to go to the pub everyday and have conversation with his best friend, Colm (Gleeson) who, one day, proclaims that he no longer wants to be friends with Padraic. Padraic, then spends the rest of the film trying to understand why this is so, what happened and what he can do to make amends.
Farrell will earn an Oscar nomination for his portrayal of the simple (but not simple-minded) Padraic who is having a hard time grappling with deeper issues seeping into his simple life. Farrell has really grown into a fine actor and he (at this point in time) has to be considered on of the FrontRunners for the Best Actor Oscar for his work in this film.
Just as good is Gleeson as Colm, the recalcitrant, stoic friend who stubbornly wants nothing to do with Padraic. In lesser hands, this character could have come off as “one-note” being, simply, an immovable object in the way of Padraic’s irresistible force, but in Gleeson’s skilled hands, Colm has layers and depth that seep out through the cracks of his stoney facade. I would not be surprised if Gleeson, too, is nominated for an Oscar (probably in the Supporting category).
These two are capably assisted by Kerry Condon (Stacey Ehrmantraut in BETTER CAUL SAUL) and Barry Keoghn (DUNKIRK) as Padraic’s sister and a friend of both Padraic and Colm (respectively). Both bring their “A” games to this film and truly show the meaning of the term “Supporting” in “Supporting Performance”.
Special mention needs to be made for the Cinematography of Ben Davis (GUARDIANS OF THE GALAXY) who brings beauty to the bleak, stark and harsh Irish countryside. This cinematography is, actually, another character of this piece and brings strong emotional support to the performances.
Not the fastest moving film you will ever see, THE BANSHEES OF INISHERIN is an interesting, intriguing - and beautifully shot - character study that will stay with you long after the film ends.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
15 years later, McDonagh does it again with THE BANSHEES OF INISHERIN.
Set in the 1920s in the fictional Island of Inisherin (off the coast of Ireland), BANSHEES reunites Writer/Director McDonagh with his two stars of the previous film - Brendan Gleeson (“Mad Eye” Mooney in the Harry Potter films) and Colin Farrell (unrecognizable as The Penguin in the recent BATMAN movie) - and the resultant character study is just as interesting and intriguing to watch in a setting just as interesting…and breath-takingly beautifully bleak.
McDonagh, more than likely, will be nominated (as he was with IN BRUGES) for his screenplay for this film - it IS Oscar worthy - but for me, he was better as the Director of this character study, pointing his camera with a keen eye and surety in what he wanted to show all the while letting the performers and the countryside tell the story.
Both lead performers (and the Supporting Actors) are perfectly cast. Farrell, as Padraic,is the protagonist - a simple man who just wants to be able to go to the pub everyday and have conversation with his best friend, Colm (Gleeson) who, one day, proclaims that he no longer wants to be friends with Padraic. Padraic, then spends the rest of the film trying to understand why this is so, what happened and what he can do to make amends.
Farrell will earn an Oscar nomination for his portrayal of the simple (but not simple-minded) Padraic who is having a hard time grappling with deeper issues seeping into his simple life. Farrell has really grown into a fine actor and he (at this point in time) has to be considered on of the FrontRunners for the Best Actor Oscar for his work in this film.
Just as good is Gleeson as Colm, the recalcitrant, stoic friend who stubbornly wants nothing to do with Padraic. In lesser hands, this character could have come off as “one-note” being, simply, an immovable object in the way of Padraic’s irresistible force, but in Gleeson’s skilled hands, Colm has layers and depth that seep out through the cracks of his stoney facade. I would not be surprised if Gleeson, too, is nominated for an Oscar (probably in the Supporting category).
These two are capably assisted by Kerry Condon (Stacey Ehrmantraut in BETTER CAUL SAUL) and Barry Keoghn (DUNKIRK) as Padraic’s sister and a friend of both Padraic and Colm (respectively). Both bring their “A” games to this film and truly show the meaning of the term “Supporting” in “Supporting Performance”.
Special mention needs to be made for the Cinematography of Ben Davis (GUARDIANS OF THE GALAXY) who brings beauty to the bleak, stark and harsh Irish countryside. This cinematography is, actually, another character of this piece and brings strong emotional support to the performances.
Not the fastest moving film you will ever see, THE BANSHEES OF INISHERIN is an interesting, intriguing - and beautifully shot - character study that will stay with you long after the film ends.
Letter Grade: A-
8 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Hazel (1853 KP) rated The House at the Edge of the Night in Books
Oct 20, 2017
For Victoria Hislop fans
I received this book for free through Goodreads First Reads.
Castellamare, a small island off the south coast of Italy, is the perfect setting for a captivating epic tale that traces a family from the beginning of the 1900s until the more recent year of 2009. Centred at the island’s only bar ‘The House at the Edge of the Night’, the island inhabitants suffer through two world wars, fascism, tourism and recession, however, the bar determinedly stays standing. But what happens in the rest of the world is largely ignored by the island dwellers that prefer to come to the bar to learn about friendships, betrayals and love affairs.
The House at the Edge of the Night begins on the mainland where the Dr Esposito removes the foundling Amadeo from care. Following in his foster father’s footsteps, Amadea Esposito trains to be a doctor and eventually lands himself a position on Castellamare. Having never had a doctor on the island before, Amadeo is welcomed by almost everyone, however, an illicit affair puts an end to his career. Fortunately, The House at the End of the Night provides Amadeo with an income and a home for his new wife, Pina, and his four children.
The story takes the reader through the Second World War, something that is interesting to read from the Italian’s point of view. Rejecting fascism, the Islanders are enraged when their boys are called up to join the war, especially as many, including Amadeo’s three boys, never return. With only a daughter, Maria-Grazia, remaining, the Esposito’s keep the bar going for lack of anything better to do.
But war brings good things as well as bad. Washed up on sure, the British soldier Robert brings good luck to the superstitious villagers, eventually marrying the lovely Maria-Grazia. The story continues through the childhood of their unruly boys, coming to an end as their granddaughter reaches adulthood.
A doctor and a barman, Amadeo also had a love for stories. Listening to his patients and patrons fantastical tales, Amadeo keeps note of them all in his personal notebook. Split into five parts, the book contains a story at the beginning of each section that, although mythical, set the scene for the subsequent narrative.
Alienated from the rest of the world, the Islanders are stuck in their ways, attributing any luck – good and bad – to their patron saint, Sant’Agata. Whenever life gets tough, the people on Castellamare turn to prayer, which although is part of their Catholic faith, often comes across as superstitious and irrational. They refuse to believe any logical explanation, preferring to regard their island as a magical, preternatural site.
There is no specific storyline with the usual climax and conclusion; instead, it works as a biography of a fictional family. It is interesting to regard the impact of the rapidly developing world on the island, from the introduction of a building society and the eventual launch of the Europe – something that the Islanders are naturally against. The inhabitants of Castellamare come across as naïve, but their backgrounds and beliefs are far more interesting than the average person.
The House at the Edge of the Night is a story of stories. It provides more than to be expected from a novel. Catherine Banner writes of beautiful settings, compelling characters and fascinating events that both amuse and entertain in a moving way.
With Victoria Hislop’s novels such as The Island being all the rage amongst many female readers, Catherine Banner’s The House at the Edge of the Night is destined for success. It is a great book to read on holiday or at home, and perfect for book clubs. This book is the ideal escape from the stresses of everyday life.
Castellamare, a small island off the south coast of Italy, is the perfect setting for a captivating epic tale that traces a family from the beginning of the 1900s until the more recent year of 2009. Centred at the island’s only bar ‘The House at the Edge of the Night’, the island inhabitants suffer through two world wars, fascism, tourism and recession, however, the bar determinedly stays standing. But what happens in the rest of the world is largely ignored by the island dwellers that prefer to come to the bar to learn about friendships, betrayals and love affairs.
The House at the Edge of the Night begins on the mainland where the Dr Esposito removes the foundling Amadeo from care. Following in his foster father’s footsteps, Amadea Esposito trains to be a doctor and eventually lands himself a position on Castellamare. Having never had a doctor on the island before, Amadeo is welcomed by almost everyone, however, an illicit affair puts an end to his career. Fortunately, The House at the End of the Night provides Amadeo with an income and a home for his new wife, Pina, and his four children.
The story takes the reader through the Second World War, something that is interesting to read from the Italian’s point of view. Rejecting fascism, the Islanders are enraged when their boys are called up to join the war, especially as many, including Amadeo’s three boys, never return. With only a daughter, Maria-Grazia, remaining, the Esposito’s keep the bar going for lack of anything better to do.
But war brings good things as well as bad. Washed up on sure, the British soldier Robert brings good luck to the superstitious villagers, eventually marrying the lovely Maria-Grazia. The story continues through the childhood of their unruly boys, coming to an end as their granddaughter reaches adulthood.
A doctor and a barman, Amadeo also had a love for stories. Listening to his patients and patrons fantastical tales, Amadeo keeps note of them all in his personal notebook. Split into five parts, the book contains a story at the beginning of each section that, although mythical, set the scene for the subsequent narrative.
Alienated from the rest of the world, the Islanders are stuck in their ways, attributing any luck – good and bad – to their patron saint, Sant’Agata. Whenever life gets tough, the people on Castellamare turn to prayer, which although is part of their Catholic faith, often comes across as superstitious and irrational. They refuse to believe any logical explanation, preferring to regard their island as a magical, preternatural site.
There is no specific storyline with the usual climax and conclusion; instead, it works as a biography of a fictional family. It is interesting to regard the impact of the rapidly developing world on the island, from the introduction of a building society and the eventual launch of the Europe – something that the Islanders are naturally against. The inhabitants of Castellamare come across as naïve, but their backgrounds and beliefs are far more interesting than the average person.
The House at the Edge of the Night is a story of stories. It provides more than to be expected from a novel. Catherine Banner writes of beautiful settings, compelling characters and fascinating events that both amuse and entertain in a moving way.
With Victoria Hislop’s novels such as The Island being all the rage amongst many female readers, Catherine Banner’s The House at the Edge of the Night is destined for success. It is a great book to read on holiday or at home, and perfect for book clubs. This book is the ideal escape from the stresses of everyday life.