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Deborah (162 KP) rated The Yard: Book 1 in Books
Dec 21, 2018
The Yard is a detective novel set in Victorian London in the early days of the Metropolitan Police force. It is a bit gruesome to be honest; the first victim is discovered packed in a steamer trunk with eyes and lips sewn shut and there are a number of murders of bearded men, which may or may not be connected.
Our main protagonist is Inspector Day, who is new to London, previously having been a constable in Devon, but now living in the Big Smoke with his wife, Claire. He is ably assisted by other members of the force, including constable Hammersmith. There is a also Kingsley, who has made himself unofficial police surgeon. The forensic bits with Kingsley are a bit macabre in some ways, but I also found them very interesting. I did wonder if some of the detail in the book was based on fact. Obviously it wasn't a real case and I'm not sure the characters are based on actual people (I daresay there could be some borrowing of characteristics, but nothing is mentioned).
It's over 500 pages long, but I seemed to get through it in no time at all! Many of the chapters are actually quite short. There are three interludes along the way, so we get a bit of back story on the three main characters (as mentioned above). There's also a fair bit seen from the point of view of the murderer, so we actually know 'whodunit' from quite early on. Somehow, this doesn't stop this from being a ripping read though!
The book reads as if it's due to be the first in a series and I think I'd be interested in reading Grecian's next offering.
Our main protagonist is Inspector Day, who is new to London, previously having been a constable in Devon, but now living in the Big Smoke with his wife, Claire. He is ably assisted by other members of the force, including constable Hammersmith. There is a also Kingsley, who has made himself unofficial police surgeon. The forensic bits with Kingsley are a bit macabre in some ways, but I also found them very interesting. I did wonder if some of the detail in the book was based on fact. Obviously it wasn't a real case and I'm not sure the characters are based on actual people (I daresay there could be some borrowing of characteristics, but nothing is mentioned).
It's over 500 pages long, but I seemed to get through it in no time at all! Many of the chapters are actually quite short. There are three interludes along the way, so we get a bit of back story on the three main characters (as mentioned above). There's also a fair bit seen from the point of view of the murderer, so we actually know 'whodunit' from quite early on. Somehow, this doesn't stop this from being a ripping read though!
The book reads as if it's due to be the first in a series and I think I'd be interested in reading Grecian's next offering.
Leanne Crabtree (480 KP) rated Raised by Wolves (Raised by Wolves, #1) in Books
Nov 18, 2019
I'll be honest. Out of all the paranormal creatures out there, shape shifters are not high on my list of favourites. I find them hard to connect to but I obviously like something about some of them as I have two werewolf series in paperback--Mercy Thompson series by Patricia Briggs and Shifters by Rachel Vincent.
This one took a little getting into. It had a very slow start, taking 50+ pages for Bryn to meet Chase, the boy who got bit by the rabid, and then another 50 or so for them to meet again under supervision this time and not without going through a lot of training to make sure she can outwit/fight Chase if things go south. Strangely, though, Bryn and Chase have a connection - a bond - something that keeps them coming together and they somehow mark each other, causing chaos in the Pack. There's also the little issue that the rabid that bit Chase is also the one that killed Bryn's parents when she was four. And that is what the rest of the book is about. Finding and killing the rabid werewolf.
It didn't really hold my attention. It was quite a lot of book for hardly anything happening. The final showdown with the rabid shifter took all of about 25 pages and seemed over far too easily.
I liked some of the secondary characters, for instance Devon. He's great; witty, protective and good in any situation. Lake was fun, if a little crazy with her guns. Chase, I haven't decided about yet. And then there's Callum. I liked him, he always had a plan.
That being said, I don't think I'll be continuing the series.
This one took a little getting into. It had a very slow start, taking 50+ pages for Bryn to meet Chase, the boy who got bit by the rabid, and then another 50 or so for them to meet again under supervision this time and not without going through a lot of training to make sure she can outwit/fight Chase if things go south. Strangely, though, Bryn and Chase have a connection - a bond - something that keeps them coming together and they somehow mark each other, causing chaos in the Pack. There's also the little issue that the rabid that bit Chase is also the one that killed Bryn's parents when she was four. And that is what the rest of the book is about. Finding and killing the rabid werewolf.
It didn't really hold my attention. It was quite a lot of book for hardly anything happening. The final showdown with the rabid shifter took all of about 25 pages and seemed over far too easily.
I liked some of the secondary characters, for instance Devon. He's great; witty, protective and good in any situation. Lake was fun, if a little crazy with her guns. Chase, I haven't decided about yet. And then there's Callum. I liked him, he always had a plan.
That being said, I don't think I'll be continuing the series.
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Bob Mann (459 KP) rated The Mercy (2018) in Movies
Sep 29, 2021
“With shroud, and mast, and pennon fair”.
It’s 1968. Donald Crowhurst (Colin Firth, “Kingsman: The Golden Circle“; “Magic in the Moonlight“), an amateur sailor and entrepreneur based in Teignmouth, Devon, is inspired by listening to single-handed round-the-world yachtsman Sir Francis Chichester and does a a crazy thing. He puts his business, his family’s house and his own life on the line by entering the Sunday Times single-handed round-the-world yacht race. It’s not even as if he has a boat built yet!
Lending him the money, under onerous terms, are local businessman Mr Best (Ken Stott, “The Hobbit“) and local newspaper editor Rodney Hallworth (David Thewlis, “Wonder Woman“, “The Theory of Everything“). With the race deadline upon him, Crowhurst is pressed into sailing away from his beloved wife Clare (Rachel Weisz, “Denial“, “The Lobster“) and young family in a trimaran that is well below par.
But what happens next is so ludicrous that it makes a mockery of whoever wrote this ridiculous work of fiction. Ah… but wait a minute… it’s a true story!
It is in fact such an astonishing story that this is a film that is easy to spoil in a review, a fact that seems to have passed many newspaper reviewers by (Arrrggghhh!!). So I will leave much comment to a “spoiler section” that follows the trailer (which is also best avoided). This is honestly a film worth seeing cold. What can I say that is spoiler-free then?
Firth and Weisz make a well-matched couple, and the rest of the cast is peppered with well-known faces from British film and (particularly) TV: Andrew Buchan and Jonathan Bailey (from “Broadchurch”); Mark Gatiss (“Sherlock”, “Out Kind of Traitor“); Adrian Schiller (“Victoria”; “Beauty and the Beast“).
The first part of the film is well executed and excellent value for older viewers. 60’s Devon is warm, bucolic and nostalgic. In fact, the film beautifully creates the late 60’s of my childhood, from the boxy hardwood furniture of the Crowhurst’s house to the Meccano set opened at Christmas time.
Once afloat though, the film is less successful at getting its sea-legs. The story is riveting, but quite a number of the scenes raise more questions than they answer. As stress takes hold it is perhaps not surprising that there are a few fantastical flights of movie fancy. But some specific elements in Scott Burns’ script don’t quite gel: a brass clock overboard is a case in point. What? Why?
And it seems to be light on the fallout from the race: there is a weighty scene in the trailer between Best and Hallworth that (unless I dozed off!) I don’t think appeared in the final cut, and I think was needed.
All in all, I was left feeling mildly dissatisfied: a potentially good film by “Theory of Everything” director James Marsh that rather goes off the rails in the final stretch.
This was a time where morality and honour were often rigidly adhered to – British “stiff upper lip” and all that – and seemed to carry a lot more weight than they do today. So some of the decisions in the film might mystify younger viewers. But for the packed older audience in my showing (Cineworld: this needs to be put on in a bigger screen!) then it was a gripping, stressful, but far from flawless watch.
I’d also like to take this opportunity to pay my respects to the film’s composer Jóhann Jóhannsson, who shockingly died last week at the ridiculously young age of 48. His strange and atmospheric music for films including “The Theory of Everything“, “Sicario” and (particularly) “Arrival” set him on the path to be a film composing great of the future. Like James Horner, another awful and untimely loss to the film music industry.
Lending him the money, under onerous terms, are local businessman Mr Best (Ken Stott, “The Hobbit“) and local newspaper editor Rodney Hallworth (David Thewlis, “Wonder Woman“, “The Theory of Everything“). With the race deadline upon him, Crowhurst is pressed into sailing away from his beloved wife Clare (Rachel Weisz, “Denial“, “The Lobster“) and young family in a trimaran that is well below par.
But what happens next is so ludicrous that it makes a mockery of whoever wrote this ridiculous work of fiction. Ah… but wait a minute… it’s a true story!
It is in fact such an astonishing story that this is a film that is easy to spoil in a review, a fact that seems to have passed many newspaper reviewers by (Arrrggghhh!!). So I will leave much comment to a “spoiler section” that follows the trailer (which is also best avoided). This is honestly a film worth seeing cold. What can I say that is spoiler-free then?
Firth and Weisz make a well-matched couple, and the rest of the cast is peppered with well-known faces from British film and (particularly) TV: Andrew Buchan and Jonathan Bailey (from “Broadchurch”); Mark Gatiss (“Sherlock”, “Out Kind of Traitor“); Adrian Schiller (“Victoria”; “Beauty and the Beast“).
The first part of the film is well executed and excellent value for older viewers. 60’s Devon is warm, bucolic and nostalgic. In fact, the film beautifully creates the late 60’s of my childhood, from the boxy hardwood furniture of the Crowhurst’s house to the Meccano set opened at Christmas time.
Once afloat though, the film is less successful at getting its sea-legs. The story is riveting, but quite a number of the scenes raise more questions than they answer. As stress takes hold it is perhaps not surprising that there are a few fantastical flights of movie fancy. But some specific elements in Scott Burns’ script don’t quite gel: a brass clock overboard is a case in point. What? Why?
And it seems to be light on the fallout from the race: there is a weighty scene in the trailer between Best and Hallworth that (unless I dozed off!) I don’t think appeared in the final cut, and I think was needed.
All in all, I was left feeling mildly dissatisfied: a potentially good film by “Theory of Everything” director James Marsh that rather goes off the rails in the final stretch.
This was a time where morality and honour were often rigidly adhered to – British “stiff upper lip” and all that – and seemed to carry a lot more weight than they do today. So some of the decisions in the film might mystify younger viewers. But for the packed older audience in my showing (Cineworld: this needs to be put on in a bigger screen!) then it was a gripping, stressful, but far from flawless watch.
I’d also like to take this opportunity to pay my respects to the film’s composer Jóhann Jóhannsson, who shockingly died last week at the ridiculously young age of 48. His strange and atmospheric music for films including “The Theory of Everything“, “Sicario” and (particularly) “Arrival” set him on the path to be a film composing great of the future. Like James Horner, another awful and untimely loss to the film music industry.