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IBM and the Holocaust
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"IBM and the Holocaust" promises to reveal the international company's strategic alliance with Nazi...
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In 2017, the musical term 'electronic' is nearly obsolete given the ubiquity of computerized...
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Green Screen by Do Ink
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The #1 Green Screen app for the iPad in Education, now available for the iPhone too! Green Screen by...
DaveySmithy (107 KP) rated Fight Club (1999) in Movies
Dec 3, 2024
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.
Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.
Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.
What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.
Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.
The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.
While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.
Bird (1704 KP) rated Prison Break in TV
Nov 29, 2024
A Riveting Ride with a Few Bumps:
Prison Break is a show that deserves its reputation as one of the most exciting and original dramas of its time. While not without its flaws, the series delivers a thrilling mix of suspense, clever plotting, and character-driven storytelling that keeps you invested throughout its run. With an intriguing premise and a solid cast, it’s easy to see why Prison Break has garnered such a devoted fanbase.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.
The standout feature of Prison Break is undoubtedly its core premise. The idea of a structural engineer, Michael Scofield (played by Wentworth Miller), intentionally landing himself in prison to break out his falsely accused brother, Lincoln Burrows (Dominic Purcell), is fascinating. The execution of Michael’s plan, complete with hidden clues in his tattooed body map, is both ingenious and fun to watch unfold. The first season, in particular, excels at building tension as Michael carefully navigates the treacherous world of Fox River Penitentiary, laying the groundwork for the escape. It’s a slow burn at times, but the payoff is worth it.
The cast is another highlight. Wentworth Miller’s calm and calculated performance as Michael is captivating, and Dominic Purcell brings a solid, if sometimes overly stoic, presence to Lincoln. Robert Knepper steals the show as Theodore "T-Bag" Bagwell, delivering a performance that’s equal parts chilling and oddly charismatic. Supporting characters like Sucre (Amaury Nolasco) and Sara Tancredi (Sarah Wayne Callies) add warmth and heart to balance the often dark and gritty tone of the series.
However, the show isn’t without its flaws. While the first season is nearly airtight in its storytelling, later seasons can feel uneven. The second season’s shift to a manhunt format is exhilarating but occasionally stretches believability, with some plot twists feeling more like conveniences than organic developments. As the series progresses, the introduction of larger conspiracies and shadowy organisations adds scale but also detracts from the grounded tension that made the first season so compelling. By the time you reach the third and fourth seasons, the narrative occasionally veers into melodrama and over-the-top scenarios, which may pull some viewers out of the experience.
The pacing can also be hit or miss. While some episodes are packed with heart-pounding tension, others feel like filler, particularly in the later seasons. The show sometimes leans too heavily on cliffhangers, which can feel manipulative rather than earned. Additionally, while the cast is strong overall, some characters, like Lincoln, can come across as one-dimensional at times, and a few storylines feel underdeveloped or rushed.
That said, Prison Break is undeniably entertaining. Its gritty atmosphere, clever plotting, and high-stakes drama make it a standout among action-thrillers. The relationships between characters, particularly Michael and Lincoln’s unshakable brotherly bond, give the series emotional weight. Even with its flaws, the show’s twists and turns keep you engaged, and there’s a palpable sense of satisfaction when long-brewing plans come to fruition.
In summary, Prison Break is a fantastic watch, especially for fans of crime dramas and action-packed thrillers, though it occasionally falters under the weight of its ambition. It’s an 8/10 for me—hugely enjoyable, if not always perfect. While it may not stick the landing as well as it starts, the journey is more than worth taking.
The China Factor: Leveraging Emerging Business Strategies to Compete, Grow, and Win in the New Global Economy
Wiley, Amy Karam and Ken Wilcox
Book
The Innovation of Globalization proven strategies to succeed and out-compete emerging competition...
5 Minute Movie Guy (379 KP) rated A Walk Among the Tombstones (2014) in Movies
Jun 28, 2019 (Updated Jun 28, 2019)
Liam Neeson puts in a commanding performance and is a natural as a detective. (2 more)
The film has great visual flair and creates an effectively dark and moody atmosphere.
The solid supporting cast strengthen an otherwise dull and derivative film.
The heavy graphic content of rape, mutilation, and murder is extremely off-putting. (1 more)
There's not a single likeable character to be found in the whole movie.
A Walk Among the Tombstones is unsettling but never really all that compelling. It's a decent detective movie, but your enjoyment of it may depend on how well you can handle its grimy setting and extreme violence.
After watching A Walk Among the Tombstones, I literally felt like I was going to puke. This mystery-thriller, based on Lawrence Block’s popular novel, is a gross and grisly foray into the criminal underworld in search of sadistic kidnappers. Director Scott Frank paints a portrait of a dark and twisted 1990s New York City where women are disappearing, only to later show up chopped into pieces. The film is grim without remorse or reason, and if you’re anything like me, you’ll be eager for it to end so you can wash your hands of it entirely. It stars Liam Neeson as an unlicensed private detective named Matthew Scudder who leads an investigation to find the people responsible for these horrific murders. While it may appear from the trailers to be another entry in Neeson’s growing lineup of ass-kicking action-thrillers, it’s actually far from it. A Walk Among the Tombstones plays out more like a brooding, slow-paced horror film. If you’re expecting Taken, then you’re walking right into the wrong movie.
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
Neeson’s character Matt Scudder is a former alcoholic and an ex-cop turned personal private investigator who works in exchange for favors. Since he’s no longer affiliated with the police, he’s an appealing person to turn to for those who need help but want to keep the cops out of the picture. When a drug dealer’s wife is kidnapped and savagely murdered, he seeks out Scudder for help. What follows is in an investigation into the murder that links up to the murder of another drug dealer’s wife. With the killers still at large, Scudder is determined to catch them before they can strike again.
Being that Scudder is working with criminals to find even worse criminals, the characters in A Walk Among the Tombstones are quite despicable. In fact, I would argue there’s not a single likeable character in the whole film. Even our protagonist Scudder is a shady person with a corrupt past. It’s hard to care about anyone here except for the poor abducted women, and yet we never get to know any of them. They’re reduced to the point where it’s hard to see them as anything more than the killers’ unlucky victims who have no chance of surviving. We follow Scudder through this twisted investigation not because we care about him, but for their sake of these women, with the hope that our detective hero can put an end to these killers’ unspeakable crimes. The film’s dreadful cast of characters give an incredibly bleak and hopeless outlook on people as a whole.
Liam Neeson gives a suitable performance as Scudder, fitting into the role of a detective quite naturally. As usual, he has a great presence and commands your attention any time he’s on screen. In A Walk Among the Tombstones, he’s not nearly the unstoppable action-hero he has been in his other recent films, but he’s still an intimidating guy you’d be wise not to mess with. He does actually have a couple tense conversations with the killers over the phone that are reminiscent of the famous scene in Taken, but certainly not as memorable.
The killers in the movie happen to be far more appalling than interesting. We don’t ever get to know much about them or their motives. They’re sick, demented people that aren’t given much more depth than being bad for the sake of being bad. However, there’s no question that they’re believably haunting and deranged. Despite their limited screen time and lack of complexity, their actors put in truly unnerving performances.
The film is well-acted throughout, with a few especially notable performances from supporting characters. Olafur Darri Olafsson is terrific as the creepy cemetery groundskeeper, and Eric Nelsen does a commendable job as the drug addict younger brother of the drug dealer who sought Scudder’s help. There’s also Brian “Astro” Bradley as a homeless teenager named TJ that Scudder befriends, who volunteers himself to be his crime-solving partner. Astro at times lightens up the moody film with his charm, and while he’s truly the only character that offers any sense of hope in the film’s gritty world, I think his character largely feels out of place as an unnecessary inclusion.
Scott Frank effectively creates a dark and sullen atmosphere in his movie that is also visually striking. He turns New York’s underbelly into a stylishly gloomy city where its seedy citizens can run rampant. He demonstrates proficiency behind the camera, building eeriness and suspense. However, he goes too far with the film’s graphic sexual content, which includes rape, torture, and mutilation. While he never gives you a very clear look at these heinous acts, he puts you right there in the moment and lets the camera linger. It’s sadistic, cruel, and very disturbing to watch. In a bizarre directorial decision, he has the 12 steps to recovery from Alcoholics Anonymous narrated over the climax of the film. Considering Scudder regularly attends AA meetings to celebrate his sobriety, I can understand why it was included, but it just doesn’t work and ends up detracting from the film’s most heightened sequences. He also disappointingly finishes the movie on a bad note with a conclusion that is drawn out far too long and which contains a weak, conventional ending that is completely forgettable.
A Walk Among the Tombstones raises more questions than it answers, but in a movie this morbid, maybe it’s best not to know. While the movie excels at being unsettling, it’s never really all that compelling. Filled with plenty of bad dialogue and characters that are hard to relate to and care about, I was yearning for this one to end so I wouldn’t have to endure any more of its vileness. Even with all the disturbing content aside, I would argue that the film is still only average at best. While I’m sure there are plenty of people with a penchant for the macabre that will enjoy the film, I am certainly not one of them and I left the theater feeling completely disturbed by what I had just watched. A Walk Among the Tombstones is a decent detective movie, but your enjoyment of the film may depend on how well you can handle its grimy setting and extreme violence. One thing that I can assure you is that I personally don’t have the stomach for it.
(This review was originally posted at 5mmg.com on 9.20.14.)
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.
Haley Mathiot (9 KP) rated Blind Sight in Books
Apr 27, 2018
Thomas lost his family in a terrible accident two years ago. He’s been living as a hermit, rejecting God, ever since. When he starts getting mysterious e-mails and phone messages from some nut saying that he needs him to save his children, Thomas at first doesn’t believe it. But on a whim he goes to the air port. And there are two children there, waiting for him, calling him “uncle Thomas.”
Thomas is dragged (by the hand of God no less) into this insane mission to save these children from a cult, bring them to their mother who has been living undercover for three years, and expose the lies that the cult has been feeding to the world. But how is he going to keep his sanity when every time he sees the kids, he thinks about his own children and his wife who died at what he sees as his own hand? And what about his forsaken relationship with God?
I’m having a very hard time trying to think of words that describe Blind Sight. It is an incredible story about a terrible loss, but more than a loss of family—a loss of a relationship with Christ, but one that is rekindled to an absolute trust in His sovereignty. Blind Sight had my adrenalin racing through all 400-pages, yet parts of it were so peaceful and uplifting that I went back and read them again.
My favorite character was Micah, the little boy. He and Michelle were twins. He was so trusting, so brave, and so fragile. He couldn’t see, so he learned to rely completely on Michelle’s guidance, and had to learn to trust a man he’d never met before (Thomas). My heart ached for him through the story.
On that note, all the characters had some sort of major flaw that made them definite real people. My heart ached (almost physically) for each of them in a different way.
The writing was contemporary prose, easy to read, fluid, but simple. It wasn’t what made the book a 5-star book, but it didn’t take away from the overall enjoyment.
The narration alternated between several different view points, and left you hanging, making it a compelling page-turner. The viewpoints were not confusing, however, because it was all from third-person perspective. Also because each character was so real, so distinct, it was easy to get inside their heads.
Because of the different view points, there were some sections where I was reading what was going on during the cult’s worship service. It was amazing in a repulsive, nerve-wracking way that sent shivers of disgust down my spine. I hated the cult with a passion, and because of that I related to Justine, the mother, very well.
The ending was peculiar. Most books leave you with a satisfied smile on your face. This one, not so much. That satisfied smile comes after you’ve set it down and thought about it for a while—and it does stick with you. Pence doesn’t really “finish” the story in the sense that everything is wrapped up completely. You know what will happen in the future, and because of that he doesn’t have to spell it out for you. Once I sat back and thought about what God had in store for these characters and watched it play out in my head, I grinned. It’s wonderful!
Content: 100% Clean!
Recommendation: Anyone ages 10+ would enjoy this! It would be a wonderful read for a family to share, or for an adult looking for a good clean Christian-thriller, or a teenager with the weekend off of homework.
Thomas is dragged (by the hand of God no less) into this insane mission to save these children from a cult, bring them to their mother who has been living undercover for three years, and expose the lies that the cult has been feeding to the world. But how is he going to keep his sanity when every time he sees the kids, he thinks about his own children and his wife who died at what he sees as his own hand? And what about his forsaken relationship with God?
I’m having a very hard time trying to think of words that describe Blind Sight. It is an incredible story about a terrible loss, but more than a loss of family—a loss of a relationship with Christ, but one that is rekindled to an absolute trust in His sovereignty. Blind Sight had my adrenalin racing through all 400-pages, yet parts of it were so peaceful and uplifting that I went back and read them again.
My favorite character was Micah, the little boy. He and Michelle were twins. He was so trusting, so brave, and so fragile. He couldn’t see, so he learned to rely completely on Michelle’s guidance, and had to learn to trust a man he’d never met before (Thomas). My heart ached for him through the story.
On that note, all the characters had some sort of major flaw that made them definite real people. My heart ached (almost physically) for each of them in a different way.
The writing was contemporary prose, easy to read, fluid, but simple. It wasn’t what made the book a 5-star book, but it didn’t take away from the overall enjoyment.
The narration alternated between several different view points, and left you hanging, making it a compelling page-turner. The viewpoints were not confusing, however, because it was all from third-person perspective. Also because each character was so real, so distinct, it was easy to get inside their heads.
Because of the different view points, there were some sections where I was reading what was going on during the cult’s worship service. It was amazing in a repulsive, nerve-wracking way that sent shivers of disgust down my spine. I hated the cult with a passion, and because of that I related to Justine, the mother, very well.
The ending was peculiar. Most books leave you with a satisfied smile on your face. This one, not so much. That satisfied smile comes after you’ve set it down and thought about it for a while—and it does stick with you. Pence doesn’t really “finish” the story in the sense that everything is wrapped up completely. You know what will happen in the future, and because of that he doesn’t have to spell it out for you. Once I sat back and thought about what God had in store for these characters and watched it play out in my head, I grinned. It’s wonderful!
Content: 100% Clean!
Recommendation: Anyone ages 10+ would enjoy this! It would be a wonderful read for a family to share, or for an adult looking for a good clean Christian-thriller, or a teenager with the weekend off of homework.