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Eleanor Luhar (47 KP) rated The Curse of Crow Hollow in Books
Jun 24, 2019
Read the original review on my blog: https://bookmarkedreading.wordpress.com/2015/10/05/book-review-the-curse-of-crow-hollow/
The Curse of Crow Hollow is a story of a town fighting for survival, trying so desperately to maintain their perfect society while tearing it apart themselves. It's written to sound as though you are being spoken to (and I can't help but wonder how anyone would have the time to tell a story this long) and in a rather unique way, as well. The writing style made me think of old-fashioned towns or something, at least until phones and flat-screen TVs are mentioned.
Crow Hollow is home to a witch. Yep, a witch. After her husband was found dead at the roadside, Alvaretta Graves shut herself away in a tiny little cabin in the woods. No one dared to go up there; the whole town knew to stay away from Alvaretta.
But the reader is told of a story that begins with a group of teenagers - Cordelia, Scarlett, Naomi and Hays - who go where nobody has gone for a long, long time. And when an incident involving Cordelia's mother's bracelet, the kids are led right to clearing where Alvaretta settled all those years ago.
After meeting the witch, those kids' lives will never be the same. Nor will any of the lives of their friends, families and neighbours. The witches curse spreads through the town, leaving everyone in panic.
Will they be able to fix their mistakes? Rid the town of evil and return to their normal lives? The chances are slim at best. Despite this, they are determined to try their hardest. The plot was definitely exciting, and there were more than a few elements of surprise in this book. Nothing better than a good old plot twist. But I did find it a little hard to follow, as I got caught up in the details and numerous characters a fair few times. (Who's Landis again? Which one is the doctor?) But like I said, I loved the whole idea of the book and the writing style, despite it being rather different for me. So I'm going to give The Curse of Crow Hollow 3.5 stars out of 5.
The Curse of Crow Hollow is a story of a town fighting for survival, trying so desperately to maintain their perfect society while tearing it apart themselves. It's written to sound as though you are being spoken to (and I can't help but wonder how anyone would have the time to tell a story this long) and in a rather unique way, as well. The writing style made me think of old-fashioned towns or something, at least until phones and flat-screen TVs are mentioned.
Crow Hollow is home to a witch. Yep, a witch. After her husband was found dead at the roadside, Alvaretta Graves shut herself away in a tiny little cabin in the woods. No one dared to go up there; the whole town knew to stay away from Alvaretta.
But the reader is told of a story that begins with a group of teenagers - Cordelia, Scarlett, Naomi and Hays - who go where nobody has gone for a long, long time. And when an incident involving Cordelia's mother's bracelet, the kids are led right to clearing where Alvaretta settled all those years ago.
After meeting the witch, those kids' lives will never be the same. Nor will any of the lives of their friends, families and neighbours. The witches curse spreads through the town, leaving everyone in panic.
Will they be able to fix their mistakes? Rid the town of evil and return to their normal lives? The chances are slim at best. Despite this, they are determined to try their hardest. The plot was definitely exciting, and there were more than a few elements of surprise in this book. Nothing better than a good old plot twist. But I did find it a little hard to follow, as I got caught up in the details and numerous characters a fair few times. (Who's Landis again? Which one is the doctor?) But like I said, I loved the whole idea of the book and the writing style, despite it being rather different for me. So I'm going to give The Curse of Crow Hollow 3.5 stars out of 5.
ClareR (5945 KP) rated The Familiars in Books
Jul 14, 2019 (Updated Jul 14, 2019)
The fact that this book is based on true events makes it all the more harrowing, in my opinion. When people ask “What era would you like to visit or live in?”, I pretty much always answer “I’m fine just where I am. I rather like the antibiotics, general freedom and option not to be hung and/ or burned as a witch, thanks very much”. I do however, very much like reading about the past, and this gives a fascinating insight to the Pendle Hill Witch Trials.
Fleetwood is seventeen years old and pregnant for the fourth time. Her three previous pregnancies have all resulted in stillbirth or miscarriage, and she has found letters from a doctor to her husband, saying that she will not survive another. She meets Alice Grey, who is a midwife, by chance. Alice promises to help her give birth to a living child, and assures her that she will survive the birth.
The fact that Alice is a midwife leaves her vulnerable to accusations of witchcraft, and accused she is. Fleetwood is adamant that she will save her as she is her friend and the only person who will be able to save hers and her baby’s lives. No one takes Fleetwood seriously though; when they do take her seriously, they expect her to go home and knuckle down to the more womanly pursuits of child bearing and being a wife.
Fleetwoods frustration is described so well - no one will listen, and no one will help. It’s such a tense atmosphere - Fleetwood just wants to help,her friend, and there are so many obstacles in the way. Even her social standing is no deterrent if someone were to accuse her of witchcraft if she becomes too troublesome (there’s the example of Margaret Pearson in the story, whose maid accused her of having a toad as a familiar, and spent time in the stocks before being imprisoned)
I really enjoyed this book, and I’ll be waiting for whatever the author writes next (I’m on the mailing list!).
Many thanks to Readers First for my copy of this book.
Fleetwood is seventeen years old and pregnant for the fourth time. Her three previous pregnancies have all resulted in stillbirth or miscarriage, and she has found letters from a doctor to her husband, saying that she will not survive another. She meets Alice Grey, who is a midwife, by chance. Alice promises to help her give birth to a living child, and assures her that she will survive the birth.
The fact that Alice is a midwife leaves her vulnerable to accusations of witchcraft, and accused she is. Fleetwood is adamant that she will save her as she is her friend and the only person who will be able to save hers and her baby’s lives. No one takes Fleetwood seriously though; when they do take her seriously, they expect her to go home and knuckle down to the more womanly pursuits of child bearing and being a wife.
Fleetwoods frustration is described so well - no one will listen, and no one will help. It’s such a tense atmosphere - Fleetwood just wants to help,her friend, and there are so many obstacles in the way. Even her social standing is no deterrent if someone were to accuse her of witchcraft if she becomes too troublesome (there’s the example of Margaret Pearson in the story, whose maid accused her of having a toad as a familiar, and spent time in the stocks before being imprisoned)
I really enjoyed this book, and I’ll be waiting for whatever the author writes next (I’m on the mailing list!).
Many thanks to Readers First for my copy of this book.
Lyndsey Gollogly (2893 KP) rated Windswept & Interesting in Books
Aug 12, 2022
143 of 230
Book
Windswept and Interesting
By Billy Connolly
⭐️⭐️⭐️⭐️⭐️
In his first full-length autobiography, comedy legend and national treasure Billy Connolly reveals the truth behind his windswept and interesting life.
Born in a tenement flat in Glasgow in 1942, orphaned by the age of 4, and a survivor of appalling abuse at the hands of his own family, Billy's life is a remarkable story of success against all the odds.
Billy found his escape first as an apprentice welder in the shipyards of the River Clyde. Later he became a folk musician - a 'rambling man' - with a genuine talent for playing the banjo. But it was his ability to spin stories, tell jokes and hold an audience in the palm of his hand that truly set him apart.
As a young comedian Billy broke all the rules. He was fearless and outspoken - willing to call out hypocrisy wherever he saw it. But his stand-up was full of warmth, humility and silliness too. His startling, hairy 'glam-rock' stage appearance - wearing leotards, scissor suits and banana boots - only added to his appeal.
It was an appearance on Michael Parkinson's chat show in 1975 - and one outrageous story in particular - that catapulted Billy from cult hero to national star. TV shows, documentaries, international fame and award-winning Hollywood movies followed. Billy's pitch-perfect stand-up comedy kept coming too - for over 50 years, in fact - until a double diagnosis of cancer and Parkinson's Disease brought his remarkable live performances to an end. Since then he has continued making TV shows, creating extraordinary drawings... and writing.
I grew up watching Billy my dad absolutely loved him. The only swearing we were allowed to watch. I have always loved him the one comedian that I took from my childhood and kept watching. I discovered so much in this book that I never knew and you have to admire him. He went through so much but never seems bitter, he never really flaunts his fame in this book and plays a lot down. Such an amazing insight into his life and a really good read.
Book
Windswept and Interesting
By Billy Connolly
⭐️⭐️⭐️⭐️⭐️
In his first full-length autobiography, comedy legend and national treasure Billy Connolly reveals the truth behind his windswept and interesting life.
Born in a tenement flat in Glasgow in 1942, orphaned by the age of 4, and a survivor of appalling abuse at the hands of his own family, Billy's life is a remarkable story of success against all the odds.
Billy found his escape first as an apprentice welder in the shipyards of the River Clyde. Later he became a folk musician - a 'rambling man' - with a genuine talent for playing the banjo. But it was his ability to spin stories, tell jokes and hold an audience in the palm of his hand that truly set him apart.
As a young comedian Billy broke all the rules. He was fearless and outspoken - willing to call out hypocrisy wherever he saw it. But his stand-up was full of warmth, humility and silliness too. His startling, hairy 'glam-rock' stage appearance - wearing leotards, scissor suits and banana boots - only added to his appeal.
It was an appearance on Michael Parkinson's chat show in 1975 - and one outrageous story in particular - that catapulted Billy from cult hero to national star. TV shows, documentaries, international fame and award-winning Hollywood movies followed. Billy's pitch-perfect stand-up comedy kept coming too - for over 50 years, in fact - until a double diagnosis of cancer and Parkinson's Disease brought his remarkable live performances to an end. Since then he has continued making TV shows, creating extraordinary drawings... and writing.
I grew up watching Billy my dad absolutely loved him. The only swearing we were allowed to watch. I have always loved him the one comedian that I took from my childhood and kept watching. I discovered so much in this book that I never knew and you have to admire him. He went through so much but never seems bitter, he never really flaunts his fame in this book and plays a lot down. Such an amazing insight into his life and a really good read.
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BankofMarquis (1832 KP) rated The Birds (1963) in Movies
Oct 28, 2020
Strong Suspense by the Master of Suspense
THE BIRDS is often listed amongst the great works of Alfred Hitchcock and I could never really understand the attraction. I thought it was a so-so fright-flick, so when I tripped across it on TV the other day, I started watching it with one eye, figuring I'd flip to something else in a few minutes.
And...then I caught myself getting into it.
Based on the novel by Daphne Du Maurier, THE BIRDS is told in Alfred Hithcock's suspenseful style to elevate a "pulp novel" idea of birds turning on humans to something much more tense than it had any right to be.
Newcomer Tippi Hendren stars as wealthy San Francisco socialite Melanie Daniels who chases suave charismatic lawyer Mitch Brenner (Rod Taylor) north of San Fran to his home of Bodego Bay. Will Melanie be able to win Mitch's heart over the objections of his mother (Jessica Tandy) and ex-girlfriend (Suzanne Pleshette)? We'll never know, for the Birds have their own idea of how this tale will end.
Hitchock, of course, earns his nickname "The Master of Suspense" with this film. He has some long scenes that grow with tension. Whether it's Melanie crossing the Bay in a boat (only to, finally, be attacked by a bird) or Mitch's mother going down a long hallway to find out what happened to a farmer friend of hers to the famous - and famously pulled off - scene of the birds gathering en masse on the jungle gym prior to attacking Melanie and the school children. Hitchcock knows exactly how to raise tension in these scenes and he does so marvelously. Even 56 years later, I found what little hairs I have standing up on the back of my neck and my body bending ever so slightly towards the screen during these scenes.
But...the thing that caught me this time around was the performances of the leads and the way Hitchock lets scenes play out with the actors. I've never been a big Rod Taylor fan, I've always thought he was "fine", but nothing special. He is much more than "fine" in this film. It's probably the best work I've ever seen him do. Jessica Tandy, of course, as the mother is wonderfully cold and distant to begin with and slowly moves to close to madness and then understanding, it is a wonderfully understated performance showcasing a superb theater actress. As is Pleshette's turn as school teacher Annie. Her scenes with Hendren were laced (I'm sure purposely) with an undercurrent of sexual tension between the two female characters.
But...the star of this film is Tippi Hendren, beyond a doubt. Much has been made of the cruelty and misogynistic ways that Hitchock treated and abused Hendren in the making of this film. But her performance shone as the gold-digging, fun loving Melanie who descends into the depths as the film progresses. I've never thought much of her as a performer, but will have to check out other films of hers (most notably, Hitchock's MARNIE).
The special effects - which were cutting edge and earned an Oscar nomination back in the day - are dated, but that adds to the charm of the film (at least for me). I'm sure they "wowed" the audience in 1963, so I'll cut them some slack.
I was pleasantly surprised by the pacing, acting and SUSPENSE of this film. It has held up very well and if you haven't seen THE BIRDS in awhile, I recommend you check it out.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And...then I caught myself getting into it.
Based on the novel by Daphne Du Maurier, THE BIRDS is told in Alfred Hithcock's suspenseful style to elevate a "pulp novel" idea of birds turning on humans to something much more tense than it had any right to be.
Newcomer Tippi Hendren stars as wealthy San Francisco socialite Melanie Daniels who chases suave charismatic lawyer Mitch Brenner (Rod Taylor) north of San Fran to his home of Bodego Bay. Will Melanie be able to win Mitch's heart over the objections of his mother (Jessica Tandy) and ex-girlfriend (Suzanne Pleshette)? We'll never know, for the Birds have their own idea of how this tale will end.
Hitchock, of course, earns his nickname "The Master of Suspense" with this film. He has some long scenes that grow with tension. Whether it's Melanie crossing the Bay in a boat (only to, finally, be attacked by a bird) or Mitch's mother going down a long hallway to find out what happened to a farmer friend of hers to the famous - and famously pulled off - scene of the birds gathering en masse on the jungle gym prior to attacking Melanie and the school children. Hitchcock knows exactly how to raise tension in these scenes and he does so marvelously. Even 56 years later, I found what little hairs I have standing up on the back of my neck and my body bending ever so slightly towards the screen during these scenes.
But...the thing that caught me this time around was the performances of the leads and the way Hitchock lets scenes play out with the actors. I've never been a big Rod Taylor fan, I've always thought he was "fine", but nothing special. He is much more than "fine" in this film. It's probably the best work I've ever seen him do. Jessica Tandy, of course, as the mother is wonderfully cold and distant to begin with and slowly moves to close to madness and then understanding, it is a wonderfully understated performance showcasing a superb theater actress. As is Pleshette's turn as school teacher Annie. Her scenes with Hendren were laced (I'm sure purposely) with an undercurrent of sexual tension between the two female characters.
But...the star of this film is Tippi Hendren, beyond a doubt. Much has been made of the cruelty and misogynistic ways that Hitchock treated and abused Hendren in the making of this film. But her performance shone as the gold-digging, fun loving Melanie who descends into the depths as the film progresses. I've never thought much of her as a performer, but will have to check out other films of hers (most notably, Hitchock's MARNIE).
The special effects - which were cutting edge and earned an Oscar nomination back in the day - are dated, but that adds to the charm of the film (at least for me). I'm sure they "wowed" the audience in 1963, so I'll cut them some slack.
I was pleasantly surprised by the pacing, acting and SUSPENSE of this film. It has held up very well and if you haven't seen THE BIRDS in awhile, I recommend you check it out.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Author's new direction
This ARC was provided by the publisher via NetGalley in exchange for an honest review
Cecelia Ahern is the well-known Irish author of contemporary women’s fiction, particularly P.S. I Love You. However, Ahern has decided to branch out and has penned her first dystopian, young adult novel, Flawed. It is dubious when an author, who is loved for her work, changes their style, but it appears she has pulled it off.
Seventeen-year-old Celestine is a logical girl who is soon to learn she lives in an illogical world. In an attempt to create a perfect society, citizens must avoid making moral or ethical mistakes; otherwise they will be branded as Flawed. And branded means literal branding with a hot iron, there is no hiding the fact that they have flaws. Celestine, like everyone else, has been brainwashed into believing that Flawed people should be avoided and do not deserve the same privileges as the “perfect” people. However, after seeing an elderly Flawed man choking on a bus, her logical brain kicks in and goes to help him. Big mistake.
After finding herself accused of being Flawed, Celestine reaslises how corrupt society is, yet there is nothing she can do about it without enduring further punishment. Despite her bleak outlook on her future, her hopes begin to rise when she discovers that there are people on her side – people that want rid of the government that disciplines people when they should not be punished in the first place.
As a reader of Ahern’s previous works and a fan of dystopian fiction, I honestly did not expect Flawed to be any good. Ahern has proved she has the talent to write women’s fiction, but this book was a complete contrast. The first few chapters of the novel were admittedly a bit shaky. It did not look promising. Yet eventually Ahern found her flow and produced a pretty good young adult novel.
When I saw the title, Flawed, I immediately assumed it would be a book about physical appearance and was hesitant about reading it. Therefore I was pleasantly surprised when this was not the case at all. The concept is fresh and original and does not become apocalyptical like many other dystopian fictions.
How the majority will receive this book is difficult to say. Fans of Cecelia Ahern may be disappointed by her change in genre. Fans of dystopia may be put off by the author’s previous novels. I urge readers to approach this story with an open mind; you may be pleasantly surprised. Flawed will not look out of place amongst other books of similar themes, and for those who do enjoy it, there will be a sequel, Perfect, next year.
Cecelia Ahern is the well-known Irish author of contemporary women’s fiction, particularly P.S. I Love You. However, Ahern has decided to branch out and has penned her first dystopian, young adult novel, Flawed. It is dubious when an author, who is loved for her work, changes their style, but it appears she has pulled it off.
Seventeen-year-old Celestine is a logical girl who is soon to learn she lives in an illogical world. In an attempt to create a perfect society, citizens must avoid making moral or ethical mistakes; otherwise they will be branded as Flawed. And branded means literal branding with a hot iron, there is no hiding the fact that they have flaws. Celestine, like everyone else, has been brainwashed into believing that Flawed people should be avoided and do not deserve the same privileges as the “perfect” people. However, after seeing an elderly Flawed man choking on a bus, her logical brain kicks in and goes to help him. Big mistake.
After finding herself accused of being Flawed, Celestine reaslises how corrupt society is, yet there is nothing she can do about it without enduring further punishment. Despite her bleak outlook on her future, her hopes begin to rise when she discovers that there are people on her side – people that want rid of the government that disciplines people when they should not be punished in the first place.
As a reader of Ahern’s previous works and a fan of dystopian fiction, I honestly did not expect Flawed to be any good. Ahern has proved she has the talent to write women’s fiction, but this book was a complete contrast. The first few chapters of the novel were admittedly a bit shaky. It did not look promising. Yet eventually Ahern found her flow and produced a pretty good young adult novel.
When I saw the title, Flawed, I immediately assumed it would be a book about physical appearance and was hesitant about reading it. Therefore I was pleasantly surprised when this was not the case at all. The concept is fresh and original and does not become apocalyptical like many other dystopian fictions.
How the majority will receive this book is difficult to say. Fans of Cecelia Ahern may be disappointed by her change in genre. Fans of dystopia may be put off by the author’s previous novels. I urge readers to approach this story with an open mind; you may be pleasantly surprised. Flawed will not look out of place amongst other books of similar themes, and for those who do enjoy it, there will be a sequel, Perfect, next year.
Gareth von Kallenbach (980 KP) rated Freeheld (2015) in Movies
Jun 19, 2019
Based on a true story about Detective Lauren Hester (Julianne Moore) who is dying of cancer and her life-partner Stacie Andree (Ellen Page, who “came out” herself last year), and their fight for their civil rights against the “Freeholders Committee” in Ocean City, NJ.
After more than 20 years of being on the force and highly decorated, Lauren Hester is seeking to give her pension to her domestic partner just like any straight married county employee has been able to do. The Freeholders, are a committee who governs the county, decided that Hester’s pension would not be given to Andree because they are lesbians and the fight begins. They are contacted by a gay rights activist, Steve Goldstein (Steve Carell), who with the help of Hester’s detective partner Dane Wells (Michael Shannon), try to get the Freeholders to change their opinion. Only with help from the community and police force, who are rallied by Goldstein and Wells,will anything be changed.
Right from the start the movie grabs hold of the viewer, and keeps them engrossed in their struggle to the end. Being so close to being a biography I was surprised at how well it was done and my interest was kept throughout. It is not just an account of a gay couple, more a depiction of a battle for everyone’s civil rights. Freeheld skillfully depicts the struggles of gay professionals to keep their identity a secret from society while still being successful in their field, having a fulfilling relationship and how society discriminated LGBTQ domestic partnerships which became fuel for the Marriage Equality movement.
The actors and director (Peter Sollett) keep the pace fluid and easy to follow without losing any of the important details of their lives or bogging it down with the legalities of the fight. The screenplay could easily have turned this into an exploitation just for the tear-jerking factor, but instead keep it realistic, even adding a bit of humor alleviate the dreariness the story, just like most people will do when facing the death of a loved one. I found Freeheld to be somewhat upbeat, even in the darkest scenes dealing with the misuse of the laws due to bigotry and how close to reality Moore simulates a person dying of cancer, instead turning it into another gloom and doom cancer or civil rights movie. Having been through it myself, I could fully connect with Page’s depiction how it feels to watch loved one dying of cancer and I know so many others will also.
I honestly loved Freeheld, I would suggest to anyone who prefers a matter of fact movie mixed with humor, compassion, and heartbreak that ends with you feeling like you were fully immersed in their life and closure with the finale.
http://sknr.net/2015/10/09/freeheld/
After more than 20 years of being on the force and highly decorated, Lauren Hester is seeking to give her pension to her domestic partner just like any straight married county employee has been able to do. The Freeholders, are a committee who governs the county, decided that Hester’s pension would not be given to Andree because they are lesbians and the fight begins. They are contacted by a gay rights activist, Steve Goldstein (Steve Carell), who with the help of Hester’s detective partner Dane Wells (Michael Shannon), try to get the Freeholders to change their opinion. Only with help from the community and police force, who are rallied by Goldstein and Wells,will anything be changed.
Right from the start the movie grabs hold of the viewer, and keeps them engrossed in their struggle to the end. Being so close to being a biography I was surprised at how well it was done and my interest was kept throughout. It is not just an account of a gay couple, more a depiction of a battle for everyone’s civil rights. Freeheld skillfully depicts the struggles of gay professionals to keep their identity a secret from society while still being successful in their field, having a fulfilling relationship and how society discriminated LGBTQ domestic partnerships which became fuel for the Marriage Equality movement.
The actors and director (Peter Sollett) keep the pace fluid and easy to follow without losing any of the important details of their lives or bogging it down with the legalities of the fight. The screenplay could easily have turned this into an exploitation just for the tear-jerking factor, but instead keep it realistic, even adding a bit of humor alleviate the dreariness the story, just like most people will do when facing the death of a loved one. I found Freeheld to be somewhat upbeat, even in the darkest scenes dealing with the misuse of the laws due to bigotry and how close to reality Moore simulates a person dying of cancer, instead turning it into another gloom and doom cancer or civil rights movie. Having been through it myself, I could fully connect with Page’s depiction how it feels to watch loved one dying of cancer and I know so many others will also.
I honestly loved Freeheld, I would suggest to anyone who prefers a matter of fact movie mixed with humor, compassion, and heartbreak that ends with you feeling like you were fully immersed in their life and closure with the finale.
http://sknr.net/2015/10/09/freeheld/
Kirk Bage (1775 KP) rated Tenet (2020) in Movies
Jan 22, 2021
Due to circumstances we have all lived with now for about 8 months, that scarce need a word more said about them, this has remained only the second film I have seen at a cinema in 2020, following an early January viewing of The Rise of Skywalker. And it will probably be the last film I head out to see on the big screen for a while. This, naturally, breaks my heart. It does, however, place Christopher Nolan’s complex thriller into a very peculiar and memorable place in the collective psyche of film lovers.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.
JT (287 KP) rated The Intruder (2019) in Movies
Mar 10, 2020
When are couples moving into a new home going to realise that there is a lot more to worry about than just making sure all of your stuff arrives in one piece. If it’s not things going bump in the night or uninvited demons, it’s seemingly sweet as pie neighbours with an ulterior motive.
Annie (Meagan Good) and Scott ( Michael Ealy) think that they have found their dream home, away from the concrete jungle of the city with an idyllic setting in which to start a family. Step in Charlie (Dennis Quaid), a kind hearted widower who is selling in order to start a new life with his daughter in Florida – or so it would seem, as we know, looks can be deceiving.
Dennis Quaid nails the disturbed seller turned psycho
The film has been battered with reviews saying that it forgoes plot in favour of setting up a good jump scare, but do you know what? I don’t mind that.
I’ve always been a sucker for this type of genre and this one is no different. There are the obvious plot holes, some laughable, like how come it takes Annie so long to realise that Charlie has psychotic tendencies, despite Scott practically spelling it out for her? Or the fact that everyone seems to be drawn to a particular linen closet. It moves along enough to keep you entertained with Quaid giving a good account of himself and clearly having fun.
Director (Deon Taylor) seems inspired by classic home invasion thrillers but offers nothing new that we won’t have already seen before – you can just throw this one onto the pile with all the rest.
Annie (Meagan Good) and Scott ( Michael Ealy) think that they have found their dream home, away from the concrete jungle of the city with an idyllic setting in which to start a family. Step in Charlie (Dennis Quaid), a kind hearted widower who is selling in order to start a new life with his daughter in Florida – or so it would seem, as we know, looks can be deceiving.
Dennis Quaid nails the disturbed seller turned psycho
The film has been battered with reviews saying that it forgoes plot in favour of setting up a good jump scare, but do you know what? I don’t mind that.
I’ve always been a sucker for this type of genre and this one is no different. There are the obvious plot holes, some laughable, like how come it takes Annie so long to realise that Charlie has psychotic tendencies, despite Scott practically spelling it out for her? Or the fact that everyone seems to be drawn to a particular linen closet. It moves along enough to keep you entertained with Quaid giving a good account of himself and clearly having fun.
Director (Deon Taylor) seems inspired by classic home invasion thrillers but offers nothing new that we won’t have already seen before – you can just throw this one onto the pile with all the rest.