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Eilidh G Clark (177 KP) rated Fried Green Tomatoes at the Whistle Stop Cafe in Books
Aug 22, 2017
Reagan Elizabeth Grainger (288 KP) rated The Craftsman in Books
Aug 17, 2020
Best book I've read in a long time
I loved this book and have read a few of hers since, the book is well written with a good balance between scene setting and dialogue. The female main character is believable and fits well in the time frame. There are enough twists to keep you going without it being hard to keep up with the narrative.
Steve Fearon (84 KP) rated Hardcore Henry (2016) in Movies
Sep 5, 2018 (Updated Sep 5, 2018)
Action and Free-Running bonanza (1 more)
Frenetic Pace
Lack of narrative depth (1 more)
Some people won't enjoy the shaky-cam, first person style
Horrid Henry? Far from it!
Contains spoilers, click to show
If you want action of the most octane, Hardcore Henry is the film you want.
The plot and stylings are pure first person shooter, with an anime bad guy, a re-respawning side character played by the indomitable Sharlto Copley and a mute protagonist who acts as your vehicle for some of the most insane stuntwork, free running and combat ever seen on the big screen.
Yes the movie favours style over substance, yes the plot if ridiculously derivative and 2-dimensional, but this film delivers exactly what it promises, which is a hardcore action experience through a gamer's lens.
There are in jokes a plenty too, from the wilhelm scream kill in the stairwell, to the character "wiping blood from his (our) eyes" and the soundtrack which ranges from high tempo dance to Queen's "Don't Stop Me Now", all of which adds to the light-hearted frame that surrounds the brutal violence.
Some wont like the shaky cam style, but for me it adds to the hyperactive nature of the whole film, and I enjoyed every minute, even the odd bit of body horror they threw in!
The plot and stylings are pure first person shooter, with an anime bad guy, a re-respawning side character played by the indomitable Sharlto Copley and a mute protagonist who acts as your vehicle for some of the most insane stuntwork, free running and combat ever seen on the big screen.
Yes the movie favours style over substance, yes the plot if ridiculously derivative and 2-dimensional, but this film delivers exactly what it promises, which is a hardcore action experience through a gamer's lens.
There are in jokes a plenty too, from the wilhelm scream kill in the stairwell, to the character "wiping blood from his (our) eyes" and the soundtrack which ranges from high tempo dance to Queen's "Don't Stop Me Now", all of which adds to the light-hearted frame that surrounds the brutal violence.
Some wont like the shaky cam style, but for me it adds to the hyperactive nature of the whole film, and I enjoyed every minute, even the odd bit of body horror they threw in!
Gareth Evans recommended After Life (Wandafaru Raifu) (1998) in Movies (curated)
KatieLouCreate (162 KP) rated Wuthering Heights in Books
Jun 8, 2018
Narrative Frame Format (2 more)
Accurate Depiction of human life
Beautiful writing style
horrible characters (2 more)
no character development
over rated
For a full review you can check out my book review on my blog: https://katieloucreateblog.wordpress.com/2018/06/07/book-review-wuthering-heights/
:) but here are the overall points I thought about the book if you're not up for that ?
I first read this book in college and detested it. I don't know whether it was because I genuinely did not like the book or whether it was because it was being used in academic circumstances. So this year, I decided to re-read the book and settle once and for all whether I like the book.
Overall consensus? It was alright. I certainly enjoyed reading it more the second time around than I did when I first read it. But was it amazing? Was it great? In all honesty, not really.
I enjoyed the writing style and the way Bronte describes things. I like how the story is told, through the eye witness accounts of Nelly Dean to Mr. Lockwood when he comes to visit the Grange. It adds to the question-ability of truth and how stories are told.
But the story itself did not pull me in the way it has done for many other people. The 'love' between Heathcliff and Catherine is nothing less than toxic to me. No matter how much I wanted to invest in it, I just couldn't. Not only that, but all the characters are horrible. They are malicious and selfish humans and although I appreciate the accurate depiction of the human condition, it is hard to like any of the characters when you have no compassion for them and cannot relate to them in any way.
:) but here are the overall points I thought about the book if you're not up for that ?
I first read this book in college and detested it. I don't know whether it was because I genuinely did not like the book or whether it was because it was being used in academic circumstances. So this year, I decided to re-read the book and settle once and for all whether I like the book.
Overall consensus? It was alright. I certainly enjoyed reading it more the second time around than I did when I first read it. But was it amazing? Was it great? In all honesty, not really.
I enjoyed the writing style and the way Bronte describes things. I like how the story is told, through the eye witness accounts of Nelly Dean to Mr. Lockwood when he comes to visit the Grange. It adds to the question-ability of truth and how stories are told.
But the story itself did not pull me in the way it has done for many other people. The 'love' between Heathcliff and Catherine is nothing less than toxic to me. No matter how much I wanted to invest in it, I just couldn't. Not only that, but all the characters are horrible. They are malicious and selfish humans and although I appreciate the accurate depiction of the human condition, it is hard to like any of the characters when you have no compassion for them and cannot relate to them in any way.
LeftSideCut (3776 KP) rated Midsommar (2019) in Movies
Dec 16, 2019 (Updated Mar 31, 2020)
Beautiful, disturbing, utterly bizarre
Whether you like Midsommar or not, you have to admit, it's quite a trip.
It's so far removed from conventional horror, it's hard to pin to a genre.
It's every bit of a break up drama as a horror, and even quite amusing in places, but one things for sure, there nothing quite like it.
Midsommar starts in bleak fashion, grounded in concrete realism, as Dani (played by a fantastic Florence Pugh) deals with the sudden deaths of her parents and sister. Affected by this understandable trauma, she joins her boyfriend Christian (Jack Reynor) and his friends as they head to Sweden to attend a rural 9-day festival.
As soon as the story shifts to the Swedish setting, the tone changes from bleak and grey, to vibrant and colourful. The rest of the film is set in broad daylight, and it carries an extremely unsettling undertone, and as the characters dabble in drugs, a sense of reality quickly becomes disorientating for both them and us as an audience.
As the narrative draws on, director Ari Aster serves up plot hints and hidden messages in almost every frame. The violence is seldom, but when it happens it's visceral and shocking. All of this combined makes for an almost dream like experience, as we watch the two leads toxic relationship collide with the unnervingly joyful people of Hårga.
Ari Aster uses jarring and emotionally charged sound cues to stir up tension (the last few minutes!) and these are complimented by the beautiful score by The Haxan Cloak.
Aster also spoils us with continuously striking shots, providing a really unique approach to horror.
Midsommar is not for everyone, but as far as I'm concerned, it's disturbing, heart breaking, and absolutely captivating - the whole package.
Definitely one of the best films this year.
It's so far removed from conventional horror, it's hard to pin to a genre.
It's every bit of a break up drama as a horror, and even quite amusing in places, but one things for sure, there nothing quite like it.
Midsommar starts in bleak fashion, grounded in concrete realism, as Dani (played by a fantastic Florence Pugh) deals with the sudden deaths of her parents and sister. Affected by this understandable trauma, she joins her boyfriend Christian (Jack Reynor) and his friends as they head to Sweden to attend a rural 9-day festival.
As soon as the story shifts to the Swedish setting, the tone changes from bleak and grey, to vibrant and colourful. The rest of the film is set in broad daylight, and it carries an extremely unsettling undertone, and as the characters dabble in drugs, a sense of reality quickly becomes disorientating for both them and us as an audience.
As the narrative draws on, director Ari Aster serves up plot hints and hidden messages in almost every frame. The violence is seldom, but when it happens it's visceral and shocking. All of this combined makes for an almost dream like experience, as we watch the two leads toxic relationship collide with the unnervingly joyful people of Hårga.
Ari Aster uses jarring and emotionally charged sound cues to stir up tension (the last few minutes!) and these are complimented by the beautiful score by The Haxan Cloak.
Aster also spoils us with continuously striking shots, providing a really unique approach to horror.
Midsommar is not for everyone, but as far as I'm concerned, it's disturbing, heart breaking, and absolutely captivating - the whole package.
Definitely one of the best films this year.
LeftSideCut (3776 KP) rated It Follows (2015) in Movies
Oct 9, 2020
There are plenty of positive aspects to It Follows. The concept for one is decent and an original idea for a horror film. A sexually transmitted disease that causes an entity to relentlessly hunt you down at the pace of a Romero era zombie, never giving up until you're dead, unless you pass it on to someone new.
It's a very modern take on horror, acting as an age old cautionary tale about casual sex, masquerading as a creepy stalker flick.
The image of a person slowly walking towards you, staring at you the whole time is unsettling enough, but the entity's appearance will frequently change. This allows even people in the background shots to carry a weight of danger in the times where the audience is unaware of its whereabouts. It's a simple yet clever trick that gives It Follows a steady undercurrent of dread.
There's some really nice cinematography on display as well. Lingering shots of empty spaces are intimidating (I found myself constantly scanning for the entity, and got caught out more than once) It also has a phenomenal synth soundtrack courtesy of Disasterpiece. It will switch from ethereal to jarring in a flash and contributes greatly to the dark tone this film carries.
I wasn't a huge fan of the constant frame dissolves and screen wipes. It's kept taking me out of the narrative a bit, and the film suffers greatly with it's characters constantly making silly decisions. Although Maika Monroe is a solid lead.
Overall, It Follows is a genuinely unsettling horror-thriller with some truly chilling moments. It's just a little frustrating that the great concept isn't explored as much as it could have been.
It's a very modern take on horror, acting as an age old cautionary tale about casual sex, masquerading as a creepy stalker flick.
The image of a person slowly walking towards you, staring at you the whole time is unsettling enough, but the entity's appearance will frequently change. This allows even people in the background shots to carry a weight of danger in the times where the audience is unaware of its whereabouts. It's a simple yet clever trick that gives It Follows a steady undercurrent of dread.
There's some really nice cinematography on display as well. Lingering shots of empty spaces are intimidating (I found myself constantly scanning for the entity, and got caught out more than once) It also has a phenomenal synth soundtrack courtesy of Disasterpiece. It will switch from ethereal to jarring in a flash and contributes greatly to the dark tone this film carries.
I wasn't a huge fan of the constant frame dissolves and screen wipes. It's kept taking me out of the narrative a bit, and the film suffers greatly with it's characters constantly making silly decisions. Although Maika Monroe is a solid lead.
Overall, It Follows is a genuinely unsettling horror-thriller with some truly chilling moments. It's just a little frustrating that the great concept isn't explored as much as it could have been.
Midge (525 KP) rated Murder from Scratch in Books
Mar 18, 2019
A Delightful Cozy Mystery!
MURDER FROM SCRATCH is book four in the series of the Sally Solari Mysteries of which I look forward to reading more. It’s a delicious mixture of mystery, family, and irate chefs and a fun, fast and interesting read. I haven’t read the other books in this series yet, however, I don’t think that this spoilt my enjoyment of this novel. That said, there is nothing more exciting than picking up a book that is the first in a new series.
Santa Cruz restaurateur Sally Solari’s life is difficult enough at the busy Gauguin restaurant. So she’s worked up when her dad persuades her to take in Evelyn, her estranged blind cousin whose mother has just died of a drug overdose.
But Evelyn proves to be lots of fun and she’s a terrific cook. Back at the house she’d shared with her mum, Evelyn’s heightened sense of touch tells her that various objects - a bottle of cranberry juice, her grandfather’s jazz records - are out of place. She and her mum always kept things in the same place so Evelyn could find them. So she suspects that her mother’s death was neither accident nor suicide, no matter what the police believe.
The cousins’ turn detective and Sally and Evelyn are thrown into the world of male-oriented kitchens, and the cut-throat competitiveness that can flame up between chefs. With a long list of suspects in the frame, will Sally be able to find the perpetrator or end up getting burned?
Leslie Karst’s delightful writing style is well-paced and complemented by some interesting characters, some of whom were annoying but helped to make the story as good as it was. There was some romantic and spicy love entanglement, too. Written in the first-person narrative and sharing Sally’s innermost thoughts, Leslie Karst includes some wonderfully amusing moments and vivid descriptions especially of some of the food, such as fall-off-the-bone pulled pork and salmon with habanero-lime butter. An ex-lawyer, the highly organised and extremely likeable Sally demonstrated admirable sleuthing techniques and her cousin Evelyn, although with her own problems, exuded warmth and friendliness.
The book had a natural, steady pace and I was kept guessing right until the surprising reveal. Delightful and entertaining, MURDER FROM SCRATCH is a quick, light, highly recommended read for all cozy mystery fans.
{Thank you to #NetGalley, #Crookedlanebks and Leslie Karst for the free copy of #MurderFromScratch and for giving me the opportunity to provide an honest review.}
Santa Cruz restaurateur Sally Solari’s life is difficult enough at the busy Gauguin restaurant. So she’s worked up when her dad persuades her to take in Evelyn, her estranged blind cousin whose mother has just died of a drug overdose.
But Evelyn proves to be lots of fun and she’s a terrific cook. Back at the house she’d shared with her mum, Evelyn’s heightened sense of touch tells her that various objects - a bottle of cranberry juice, her grandfather’s jazz records - are out of place. She and her mum always kept things in the same place so Evelyn could find them. So she suspects that her mother’s death was neither accident nor suicide, no matter what the police believe.
The cousins’ turn detective and Sally and Evelyn are thrown into the world of male-oriented kitchens, and the cut-throat competitiveness that can flame up between chefs. With a long list of suspects in the frame, will Sally be able to find the perpetrator or end up getting burned?
Leslie Karst’s delightful writing style is well-paced and complemented by some interesting characters, some of whom were annoying but helped to make the story as good as it was. There was some romantic and spicy love entanglement, too. Written in the first-person narrative and sharing Sally’s innermost thoughts, Leslie Karst includes some wonderfully amusing moments and vivid descriptions especially of some of the food, such as fall-off-the-bone pulled pork and salmon with habanero-lime butter. An ex-lawyer, the highly organised and extremely likeable Sally demonstrated admirable sleuthing techniques and her cousin Evelyn, although with her own problems, exuded warmth and friendliness.
The book had a natural, steady pace and I was kept guessing right until the surprising reveal. Delightful and entertaining, MURDER FROM SCRATCH is a quick, light, highly recommended read for all cozy mystery fans.
{Thank you to #NetGalley, #Crookedlanebks and Leslie Karst for the free copy of #MurderFromScratch and for giving me the opportunity to provide an honest review.}
LeftSideCut (3776 KP) rated Last Night in Soho (2021) in Movies
Dec 1, 2021
Straight off the bat, there is a whole lot to love about Last Night in Soho. It's a modern-London thriller with a dashing of supernatural horror. It's a modern horror with lashings of giallo. It's a giallo that is also a murder mystery. It bursting with colour, and has two exceptionally talented actors at it's helm.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.
Adventure and Redemption
I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.