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Kristy H (1252 KP) rated The Secret Place in Books
Feb 13, 2018
The fifth installment in Tana French's Dublin Murder Squad series reintroduces some familiar faces, notably Holly Mackey, Frank Mackey, and Stephen Moran from French's [b:Faithful Place|7093952|Faithful Place (Dublin Murder Squad, #3)|Tana French|https://d.gr-assets.com/books/1291165900s/7093952.jpg|7350661]. Detective Moran is toiling away in Cold Cases, dreaming of joining the Murder Squad, when Holly shows up. She holds in her hand a card reading "I know who killed him," featuring a photo of Chris Harper, a handsome boy from a private school who was killed a year ago. Suddenly, Stephen finds himself inserted into the middle of St. Kilda's School, Holly's private all-girls' school, the neighborhood school to Chris', and the place where his body was found. Stephen joins up with the Murder Squad's Detective Antoinette Conway, one of the original leads on Chris' case, to find out what happened. But Stephen quickly realizes that Antoinette isn't a popular figure in the Squad, and that the girls of St. Kilda's are a tight-knit, complicated bunch whose interconnected relationships present Conway and Moran many obstacles in finding Chris' killer. Can they find the killer before the girls close ranks for good?
This was a typical Tana French mystery in many ways. This novel is compelling, as always, featuring thoughtful and reflective characters and a detailed, well-plotted mystery. The story is told in alternating chapters by Stephen (in the present-day) and then flashes back to various sections told by the girls of St. Kilda's, who are telling bits of the story leading up to Chris' death. It's an excellent technique because Stephen's portion covers basically 24 hours, as he and Antoinette rush to solve the crime before the girls can cover their tracks once and for all. But by going into the past, French effectively builds suspense and allows us to meet the various teens in her tale (about eight in all, which is a lot at times).
Overall, she does an good job of capturing teen culture: particularly, I'm sure, the culture of British teens in boarding school (shockingly, something I'm not too familiar with). While the descriptions of the girls gets a little tedious (a lot of blond, straightened hair), their personalities are clear and develop easily over the course of the novel. The commentary on the bonds of teen friendship is excellent. For me, Stephen wasn't one of my all-time favorite French protagonists, but I enjoyed the dynamic between him and Conway and how the window into their lives is basically less than 24 hours.
The mystery portion was a little less enjoyable for me than some of French's other novels and a bit of a let down at the end, but it was still a great read. One of my favorite things about French's books is how they easily transport you into another world while reading--you find yourself lost in the characters and their world--and this one was no exception. 3.5 strong stars. I'm looking forward to her next novel, which is supposed to feature Conway again.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/justacatandbook">Twitter</a>;
This was a typical Tana French mystery in many ways. This novel is compelling, as always, featuring thoughtful and reflective characters and a detailed, well-plotted mystery. The story is told in alternating chapters by Stephen (in the present-day) and then flashes back to various sections told by the girls of St. Kilda's, who are telling bits of the story leading up to Chris' death. It's an excellent technique because Stephen's portion covers basically 24 hours, as he and Antoinette rush to solve the crime before the girls can cover their tracks once and for all. But by going into the past, French effectively builds suspense and allows us to meet the various teens in her tale (about eight in all, which is a lot at times).
Overall, she does an good job of capturing teen culture: particularly, I'm sure, the culture of British teens in boarding school (shockingly, something I'm not too familiar with). While the descriptions of the girls gets a little tedious (a lot of blond, straightened hair), their personalities are clear and develop easily over the course of the novel. The commentary on the bonds of teen friendship is excellent. For me, Stephen wasn't one of my all-time favorite French protagonists, but I enjoyed the dynamic between him and Conway and how the window into their lives is basically less than 24 hours.
The mystery portion was a little less enjoyable for me than some of French's other novels and a bit of a let down at the end, but it was still a great read. One of my favorite things about French's books is how they easily transport you into another world while reading--you find yourself lost in the characters and their world--and this one was no exception. 3.5 strong stars. I'm looking forward to her next novel, which is supposed to feature Conway again.
<a href="http://justacatandabookatherside.blogspot.com/">My Blog</a> ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://twitter.com/justacatandbook">Twitter</a>;
Lucy Buglass (45 KP) rated Knives Out (2019) in Movies
Oct 24, 2019
Due to its ensemble cast, gorgeous aesthetics and whodunit storyline, it’s safe to say that I had high expectations for Knives Out.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
Gareth von Kallenbach (980 KP) rated Peppermint (2018) in Movies
Jul 2, 2019
Tragedy strikes Riley North (Jennifer Garner) when her husband and young daughter are gunned down in a drive-by shooting. The shooters were all part of a local gang ran by Diego Garcia (Juan Pablo Raba). Garcia thought Riley’s husband, Chris (Jeff Hephner), was part of a plot to steal money from him. Chris had actually turned down the job but it was too late and Garcia ordered his henchmen to make a statement out of killing Chris. Riley despite being shot in the heard and unconscious she was still able to identify the murders of her husband and her daughter Carly (Cailey Fleming). Thinking she would get justice she testified at a preliminary hearing. But to her surprise the defense lawyer said due to being her injuries that she didn’t really know what she saw. Shockingly the prosecutor did nothing to help her and the judge declared there was not enough evidence to proceed. Feeling cheated and everyone was working against her Riley disappears. On the five year anniversary of the murder of her family the three men responsible are found hanging from a Ferris wheel. When Detective Beltran (John Ortiz) and Detective Carmichael (John Gallagher Jr.) show up to the crime scene the immediately wonder could Riley North be back and exacting vengeance.
This vigilante action film is pretty much what you think it will be. There is blood and a lot of action. The acting is okay but not really the focal point of the film. But one thing that is not in doubt is the ending, don’t worry I won’t spoil it I don’t need to. With the somewhat recent success of films like Taken, John Wick and The Equalizer, and their sequels, this genre is not lacking in content. For me this dilutes the quality and original story telling of this type of film. The director, Pierre Morel (Taken, The Gunman), seems at home in this film type and does a decent job here. Jennifer Garner comes off as a bad ass and I enjoyed her in this film. The rest of the cast is good but pretty stereotypical of the genre also. This is not a bad movie just one I feel I have seen before. I will say I enjoyed all three of the movies I mentioned above and that should speak well to this movie. I just wanted a little more. It is also worth mentioning that in many of the scenes where Garner was exacting her revenge the audience was prone to laugh as a bad guy was getting a bullet to the head or a file cabinet dropped on their head. That makes it hard to take the movie too seriously.
If you are a vigilante movie fan this is definitely one to check out. The action is good and there is definitely a good amount of it. A little over the top with the blood for me but not too bad. It is nice to see Garner back in the action world and I hope this leads to more from her. I would say save your theater money for another movie and stream this one when it hits your favorite service.
This vigilante action film is pretty much what you think it will be. There is blood and a lot of action. The acting is okay but not really the focal point of the film. But one thing that is not in doubt is the ending, don’t worry I won’t spoil it I don’t need to. With the somewhat recent success of films like Taken, John Wick and The Equalizer, and their sequels, this genre is not lacking in content. For me this dilutes the quality and original story telling of this type of film. The director, Pierre Morel (Taken, The Gunman), seems at home in this film type and does a decent job here. Jennifer Garner comes off as a bad ass and I enjoyed her in this film. The rest of the cast is good but pretty stereotypical of the genre also. This is not a bad movie just one I feel I have seen before. I will say I enjoyed all three of the movies I mentioned above and that should speak well to this movie. I just wanted a little more. It is also worth mentioning that in many of the scenes where Garner was exacting her revenge the audience was prone to laugh as a bad guy was getting a bullet to the head or a file cabinet dropped on their head. That makes it hard to take the movie too seriously.
If you are a vigilante movie fan this is definitely one to check out. The action is good and there is definitely a good amount of it. A little over the top with the blood for me but not too bad. It is nice to see Garner back in the action world and I hope this leads to more from her. I would say save your theater money for another movie and stream this one when it hits your favorite service.
Darren (1599 KP) rated The Abominable Snowman (1957) in Movies
Jul 8, 2019 (Updated Oct 24, 2019)
Due to its ensemble cast, gorgeous aesthetics and whodunit storyline, it’s safe to say that I had high expectations for Knives Out.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
I’m pleased to report that it surpassed each and every one of them.
Rian Johnson’s tale of mystery follows the death of renowned crime novelist Harlan Thrombey (Christopher Plummer), which took place after his 85th birthday. Presumed to be a murder, his eccentric and very large family are soon under investigation by Detective Benoit Blanc (Daniel Craig) and his team.
Straight away, Daniel Craig steals the show with his hilarious performance of Detective Blanc. From his deep Southern American drawl to his quirky mannerisms, this is so far removed from what you’d expect from a Craig performance. I’ve never seen him have this much fun in a role before.
He’s tasked with getting to the bottom of what happened, which involves a delightful series of interviews in which the family are sitting in front of several display knives, just one of the many eccentricities of the Thrombey manor house. In terms of set design it’s just glorious to look at, and even one of the characters compares it to a Cluedo board.
Even the characters themselves are quirky enough to be boxed up inside the classic board game, and could give the likes of Miss Scarlet and Colonel Mustard a run for their money.
Characters include Thrombey’s daughter and real estate mogul Linda Drysdale (Jamie Lee Curtis), her husband Richard (Don Johnson), and outcast trust fund son Ransom (Chris Evans), who form quite the dysfunctional family even when you remove them from the bigger picture.
Then there’s the rather insufferable, yet hugely entertaining, lifestyle guru Joni Thrombey (Toni Collette) and her daughter and social activist Meg (Katherine Langford). These two characters are parodies of popular blogging culture and ‘social justice warriors’, and they’re hilarious.
Each character has been wonderfully crafted by Rian Johnson, who both wrote and directed Knives Out. They’re essentially caricatures, but the result of this is a thoroughly entertaining cinema experience. What a brilliant use of such a talented cast.
The only seemingly normal person wrapped up in all this is caretaker Marta Cabrera (Ana de Armas), who acted as both a friend and nurse to Harlan prior to his death. Even against a backdrop of such bold characters, de Armas’ performance shines just as brightly.
Mysteries are hard to get right, and being able to predict the ending is a bragging right for many cinephiles. Well unfortunately, this script absolutely floored me with how fantastic it was, and I was unable to predict anything that went down. Johnson has serious talent when it comes to crafting a murder-mystery.
Don’t even get me started on how gorgeous the wardrobe in this film is either. If anyone knows where I can get Jamie Lee Curtis’ striking red suit, you need to tell me immediately.
Watching Knives Out was the most fun I’ve had in the cinema this year, perhaps ever. I was fully engrossed from start to finish, and walked out with the biggest smile on my face.
If you see one film this autumn, make it this one. You won’t regret it.
Phil Leader (619 KP) rated The Bootlegger in Books
Nov 11, 2019
The Bootlegger is the latest in the series of stories about the detective Isaac Bell from Cussler and Bell collaborator Justin Scott.
Time has moved on for Bell; it is now the early 1920s prohibition is in force and the loss of lives during the First World War has hit the Van Dorn detective agency hard. Faced with routine lawbreaking to smuggle and sell alcohol on the East Coast, and with lucrative government contracts being lost to new federal agencies, the struggle against crime has never been harder. And when Bell has to take over the role of head of the agency he faces a tough job.
Meanwhile the recent war in Europe has spread communist revolutionaries across the world, trying to destablise governments and bring about the fall of capitalism, following the example of the Russian Revolution. One resourceful operative sees the possibilities of bootlegging to finance his activities against America, but his masters are not so keen on the idea of making vast amounts of money, regardless of the use it is to be put to. But his fatal mistake is attracting the attention of the Van Dorns, who still stick by their motto - We Never Give Up. Ever.
You pretty much get what you expect with this book, more of the same from the previous Isaac Bell books. Personally I enjoy them, the insight into American early 20th century history is always a fantastic backdrop. Scott's seeming obsession with train timetables is kept to a small section here regarding moving a cargo from one place to another. There is still the full selection of large engined transport - fast cars, fast planes and in this one fast boats. There are exciting chases and shootouts, plots and subplots, ruthless villains and gangsters aplenty and the real motives of the villain do not become clear until the final showdown.
It is a shame that we know the identity of the villain more or less right from the start rather than the Van Dorns having to piece the clues together to unmask him, as in the previous novels. Although in this case it would have been hard to explain the conflict between his communist aims and capitalist means of obtaining them, which is the real engine at the heart of the plot.
Unlike Columbo Bell is not sure who his man is for quite a way through the book until realisation dawns about who he must be looking for. But I felt that he suddenly went from not knowing the actual identity of the villain to seeing through all his subterfuge far too quickly. There didn't seem to be a Columbo 'Just one more thing' moment where the vital clue or clever insight threw everything wide open. But perhaps it was time for the story to cut to the chase - and it certainly does that to a satisfying (although possibly not great) finale.
Overall I enjoyed the book, the pace was good and the set pieces very well written. However it was never going to challenge the reader in any real way. But then it's an escapist adventure story, why should it?
Time has moved on for Bell; it is now the early 1920s prohibition is in force and the loss of lives during the First World War has hit the Van Dorn detective agency hard. Faced with routine lawbreaking to smuggle and sell alcohol on the East Coast, and with lucrative government contracts being lost to new federal agencies, the struggle against crime has never been harder. And when Bell has to take over the role of head of the agency he faces a tough job.
Meanwhile the recent war in Europe has spread communist revolutionaries across the world, trying to destablise governments and bring about the fall of capitalism, following the example of the Russian Revolution. One resourceful operative sees the possibilities of bootlegging to finance his activities against America, but his masters are not so keen on the idea of making vast amounts of money, regardless of the use it is to be put to. But his fatal mistake is attracting the attention of the Van Dorns, who still stick by their motto - We Never Give Up. Ever.
You pretty much get what you expect with this book, more of the same from the previous Isaac Bell books. Personally I enjoy them, the insight into American early 20th century history is always a fantastic backdrop. Scott's seeming obsession with train timetables is kept to a small section here regarding moving a cargo from one place to another. There is still the full selection of large engined transport - fast cars, fast planes and in this one fast boats. There are exciting chases and shootouts, plots and subplots, ruthless villains and gangsters aplenty and the real motives of the villain do not become clear until the final showdown.
It is a shame that we know the identity of the villain more or less right from the start rather than the Van Dorns having to piece the clues together to unmask him, as in the previous novels. Although in this case it would have been hard to explain the conflict between his communist aims and capitalist means of obtaining them, which is the real engine at the heart of the plot.
Unlike Columbo Bell is not sure who his man is for quite a way through the book until realisation dawns about who he must be looking for. But I felt that he suddenly went from not knowing the actual identity of the villain to seeing through all his subterfuge far too quickly. There didn't seem to be a Columbo 'Just one more thing' moment where the vital clue or clever insight threw everything wide open. But perhaps it was time for the story to cut to the chase - and it certainly does that to a satisfying (although possibly not great) finale.
Overall I enjoyed the book, the pace was good and the set pieces very well written. However it was never going to challenge the reader in any real way. But then it's an escapist adventure story, why should it?
Gareth von Kallenbach (980 KP) rated Dark Crimes (2018) in Movies
Jul 8, 2019
great many of us film aficionados have, at one time or another, thought that they’ve seen so many films from so many different genres or written by so many ‘messed up’ writers or directed by so many warped minds that have simply ‘walked off the map’ that nothing and I mean absolutely nothing could shock us. We think we’ve ‘seen everything’ or have been ‘prepared’ for anything shocking that filmmakers might throw our way. As today’s film for your consideration will demonstrate, even folks like ‘us’ can be caught off guard by the occasional ‘curve ball’ by a writer, director, or actor/actress we’ve become acquainted with through their work over the years. I can say this much before we go any further … I have never seen nor did I ever imagine seeing Jim Carrey in a film like this.
Today’s selection is a 2016 Polish-American dramatic-mystery film entitled ‘Dark Crimes’. The film is based upon an article published in ‘The New Yorker’ in 2008 entitled ‘True Crime:A Post-Modern Murder Mystery’ by David Grann about convicted Polish murderer, writer, and photographer Krystian Bala. Directed by Alexandros Avranas and written by Jeremey Brock, ‘Dark Crimes’ stars Jim Carrey, Marton Csokas, Agata Kulesza, Kati Outinen, Charlotte Gainsbourg, and Zbigniew Zamachowski. Jim Carrey is Detective Tadek. Formerly a highly decorated and respected detective, his recent work with the police department has been nothing more than administrative duties in the records department after a controversial case he was investigating involving an unsolved murder at a sex club was suddenly ‘shelved’ and he was relegated to his current desk job. A recent book by a controversial author Kozlow (Csokas), describes a murder almost identical to the unsolved murder of a businessman Tadek was investigating and even contains details that mirror many he discovered in his original investigation. After pleading with his immediate superior to allow him to continue examining the case, Tadek begins to delve deeper into the incident re-visiting the location of the murder and interviewing possible witnesses and others who may have been present or involved in the murder.
Soon Tadek’s determination overshadows everything else. He becomes paranoid and obsessed to such severity that he alienates his family and crosses lines professionally and personally as a sort of madness begins to take over. The moment he believes he has figured out the solution to the case that has become his obsession and cost him everything he has and the person he is, it all slips away as the truth about Kozlow’s involvement in the crime becomes clear and Tadek’s only remaining option is the one you don’t see coming.
This film is DARK and not for the faint of heart. The world knows Jim Carrey for comedy and that’s what he’ll ALWAYS be known for. This film metaphorically takes all that, throws it right out the window, then proceeds to run downstairs and then outside and stomp on it. Prepare to be shocked as this was Carrey like I’ve never seen him before. The film is dark, gritty, serious, and will tempt you to keep your finger on the ‘off button’ all the way through the film. In that regard, it is indeed a great film. It’s like a modern take on a classic well-written murder mystery novel where even in the end, the outcome is sometimes equal to if not worse than the actual crime itself. The world knows Marton Csokas for his villainous roles where he typically portrays Russian or Eastern European madmen and once again he does the same in this film with great flair. The film is rated R for strong and disturbing content and runs about an hour and a half so it’s most definitely NOT one for young folks. Which it late at night when it’s dark if you’re looking for something scary that will keep you awake all night. I’m going to give the film 3 out of 5 stars. It’s okay to see once but in all honesty, it’s nothing original that hasn’t been done in other films with other actors. This one is just a variation on a theme with deferent players and different aspects and details
Today’s selection is a 2016 Polish-American dramatic-mystery film entitled ‘Dark Crimes’. The film is based upon an article published in ‘The New Yorker’ in 2008 entitled ‘True Crime:A Post-Modern Murder Mystery’ by David Grann about convicted Polish murderer, writer, and photographer Krystian Bala. Directed by Alexandros Avranas and written by Jeremey Brock, ‘Dark Crimes’ stars Jim Carrey, Marton Csokas, Agata Kulesza, Kati Outinen, Charlotte Gainsbourg, and Zbigniew Zamachowski. Jim Carrey is Detective Tadek. Formerly a highly decorated and respected detective, his recent work with the police department has been nothing more than administrative duties in the records department after a controversial case he was investigating involving an unsolved murder at a sex club was suddenly ‘shelved’ and he was relegated to his current desk job. A recent book by a controversial author Kozlow (Csokas), describes a murder almost identical to the unsolved murder of a businessman Tadek was investigating and even contains details that mirror many he discovered in his original investigation. After pleading with his immediate superior to allow him to continue examining the case, Tadek begins to delve deeper into the incident re-visiting the location of the murder and interviewing possible witnesses and others who may have been present or involved in the murder.
Soon Tadek’s determination overshadows everything else. He becomes paranoid and obsessed to such severity that he alienates his family and crosses lines professionally and personally as a sort of madness begins to take over. The moment he believes he has figured out the solution to the case that has become his obsession and cost him everything he has and the person he is, it all slips away as the truth about Kozlow’s involvement in the crime becomes clear and Tadek’s only remaining option is the one you don’t see coming.
This film is DARK and not for the faint of heart. The world knows Jim Carrey for comedy and that’s what he’ll ALWAYS be known for. This film metaphorically takes all that, throws it right out the window, then proceeds to run downstairs and then outside and stomp on it. Prepare to be shocked as this was Carrey like I’ve never seen him before. The film is dark, gritty, serious, and will tempt you to keep your finger on the ‘off button’ all the way through the film. In that regard, it is indeed a great film. It’s like a modern take on a classic well-written murder mystery novel where even in the end, the outcome is sometimes equal to if not worse than the actual crime itself. The world knows Marton Csokas for his villainous roles where he typically portrays Russian or Eastern European madmen and once again he does the same in this film with great flair. The film is rated R for strong and disturbing content and runs about an hour and a half so it’s most definitely NOT one for young folks. Which it late at night when it’s dark if you’re looking for something scary that will keep you awake all night. I’m going to give the film 3 out of 5 stars. It’s okay to see once but in all honesty, it’s nothing original that hasn’t been done in other films with other actors. This one is just a variation on a theme with deferent players and different aspects and details
Haley Mathiot (9 KP) rated A Sherlock Holmes Devotional: Uncovering the Mysteries of God in Books
Apr 27, 2018
Every once in a while I read a book that is just trying way too hard to be cool. Sadly, this is one of those books.
Sherlock Holmes was an amazing detective. The Bible is an amazing book. So why not make a Sherlock Holmes devotional? The answer is because the two are about totally different things, and when you try to make a secular thing spiritual, you end up with poison.
I requested this book with suspicion (the same publisher had a bunch of other awesome-looking books, and this was the only one I was iffy about), but I hoped it would surprise and maybe impress me. Sadly, it’s actually worse than I imagined.
For example: The first devotional is about the Case of the Cardboard Box, where a woman has a package delivered to her with two severed ears. The devotional goes on to praise Sherlock for solving the crime, and then diverts to “We can hear the voice of God. Sherlock said the ear is amazing. See how these two are connected?” And yes obviously that’s a paraphrase. But it was the point of the devotional.
In staying in this same idea, let me tell you a story and give you a practical on how it made me feel.
Did you know in the Appalachian mountains, some people put Mountain Dew in their babies bottles? It’s cheaper than milk and the kids get addicted to it young. Obviously it causes major health issues like diabetes and sever obesity, the kids end up loosing their teeth before they even break skin, and (though I haven’t researched it, I’m sure) that some have died.
In the same way, the Bible tells us that newer Christians thrive on smaller amounts of doctrine, simple statements of truth. In the new testament, a Christian not moving past that stage is considered an adult still drinking baby milk. But the milk isn’t enough, and eventually, their faith will die if they don’t move forward. So Mountain Dew is like Baby Milk. See how the two are connected?
Sorry, but this book isn’t baby food. It’s poison. I love Sherlock and I love Jesus. But I find this book offensive
Sherlock Holmes was an amazing detective. The Bible is an amazing book. So why not make a Sherlock Holmes devotional? The answer is because the two are about totally different things, and when you try to make a secular thing spiritual, you end up with poison.
I requested this book with suspicion (the same publisher had a bunch of other awesome-looking books, and this was the only one I was iffy about), but I hoped it would surprise and maybe impress me. Sadly, it’s actually worse than I imagined.
For example: The first devotional is about the Case of the Cardboard Box, where a woman has a package delivered to her with two severed ears. The devotional goes on to praise Sherlock for solving the crime, and then diverts to “We can hear the voice of God. Sherlock said the ear is amazing. See how these two are connected?” And yes obviously that’s a paraphrase. But it was the point of the devotional.
In staying in this same idea, let me tell you a story and give you a practical on how it made me feel.
Did you know in the Appalachian mountains, some people put Mountain Dew in their babies bottles? It’s cheaper than milk and the kids get addicted to it young. Obviously it causes major health issues like diabetes and sever obesity, the kids end up loosing their teeth before they even break skin, and (though I haven’t researched it, I’m sure) that some have died.
In the same way, the Bible tells us that newer Christians thrive on smaller amounts of doctrine, simple statements of truth. In the new testament, a Christian not moving past that stage is considered an adult still drinking baby milk. But the milk isn’t enough, and eventually, their faith will die if they don’t move forward. So Mountain Dew is like Baby Milk. See how the two are connected?
Sorry, but this book isn’t baby food. It’s poison. I love Sherlock and I love Jesus. But I find this book offensive
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Movie Metropolis (309 KP) rated The Snowman (2017) in Movies
Jun 10, 2019
No, not that one
Nordic noir is big business at the moment, but with the incredible scenery of the locations lending themselves perfectly to film, is there any wonder?
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/
The Girl with the Dragon Tattoo and The Hypnotist are just a couple of movies that have fallen into this massively expanding genre.
Now, Jo Nesbø’s chilling The Snowman novel gets the silver screen treatment in a film of the same name. But can this continue the thrilling trend of whodunit novels being turned into fabulous crime dramas?For Detective Harry Hole (Michael Fassbender), the death of a young woman during the first snow of winter feels like anything but a routine homicide. His investigation leads him to “The Snowman Killer,” an elusive sociopath who continuously taunts Hole with ingeniously crafted cat-and-mouse games. As the brutal deaths show no sign of slowing, Harry teams up with a new recruit (Rebecca Ferguson) to try and lure the madman out of the shadows before it’s too late.
With Michael Fassbender at the helm, director Thomas Alfredson (Tinker Tailor Soldier Spy) manages to blend gorgeous imagery with an intriguing plot and excellent performances in a film that suffers from a couple of issues that stops it from becoming a must-see event.
These R-rated thrillers are ten-a-penny these days with the bar still being set incredibly high by Gone Girl. Last year’s Girl on the Train was a decent stab at dethroning David Fincher’s masterpiece, but it just fell a little short – well the same has happened here.
Michael Fassbender is uniformly excellent as troubled detective, Harry and the actor can do no wrong in his performances, but he’s suffered this year. After Assassin’s Creed failed to ignite the box-office, it looks to be a similar story this time. While The Snowman is technically competent and filmed beautifully, it lacks the sense of originality that breeds success.
It also doesn’t help that he’s surrounded by thinly padded supporting characters like former love interest Rakel (Charlotte Gainsbourg) and new police officer Katrine (Ferguson). Elsewhere, bizarre glorified cameos for Val Kilmer and Toby Jones leave you wondering if these actors expected a little more from their parts.
Perhaps I’m being a little harsh. After all, the cast is one of the film’s strongest suits. Add J.K. Simmons to the aforementioned roster and it really does have one of the best line-ups of the year. It’s just a shame the script doesn’t do more with them.
To look at, The Snowman is absolutely gorgeous. Helped obviously by magnificent Norwegian landscapes, Alfredson shoots using steady cam in scenes reminiscent of Stanley Kubrick’s The Shining, high praise indeed. In a year populated by CGI-heavy blockbusters, this comes as a real breath of fresh air.
Unfortunately, the constant use of flashbacks and a peculiar subplot involving a Winter sporting event ruin the pacing, though at 130 minutes, this isn’t too much of an issue. The ending however, is disappointing and lacks an emotional payoff after the film’s events.
Overall, The Snowman is a gritty adaptation of Jo Nesbø’s successful novel and while some of the plot choices leave a little to be desired, a great anchor performance by Michael Fassbender and stunning cinematography mean it’s definitely worth a watch; just don’t expect too much.
https://moviemetropolis.net/2017/10/14/the-snowman-review/