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Janeeny (200 KP) rated A Deadly Education: Lesson One of the Scholomance in Books
Jun 18, 2021
I received an ARC of this book in exchange for an honest review.
It’s taken me three days to write this review, as I’ve tried to find something clever and witty to say about it when the simple truth is, I like this book and it’s hard to explain why without giving too much away.
It has all the elements you’d expect and enjoy from a fantasy novel, and even though most people I know who enjoy this genre feel it bridges the gap between YA and adult fiction, I should still probably say that the only thing that gives it away that this is a YA book is the teenage protagonist. Novik has gone with the canny technique of a YA voice and theme with an adult backdrop. (I know it’s school but I don’t think even Harry Potter had THIS many near-death experiences)
The protagonist is a girl called El who goes to a special school called The Scholomance. What makes this school so special is the fact that it’s for magically gifted children, it’s held between realities, there are no teachers, the school itself assesses your progress and provides your work accordingly. However, where there are magical beings there are beasties and there are some right nasty ones in this school. Luckily El is constantly rescued by resident hero Orion, which she is especially aggrieved by, considering that El herself is potentially the most dangerous thing in the school.
Oddly enough, one of my favourite aspects of this book was the one thing that most reviewers found annoying about it, and that’s what they’re calling the ‘info-dumping’. There’s a strong feeling amongst the reviews that there is constantly just too much information being thrown at you. In hindsight, I can see their point, and if you’re a fan of Novik and were expecting her usual standard this may be annoying. However, for me as my first foray into her style, I didn’t mind it. In fact, I think it contributed to her world-building and just made me even keener to read the next book. Maybe now that the base is established the next book won’t have so much of it, but it didn’t detract from the story at all for me. I can’t help it, I like information. Sure if a bunch of schoolroom chairs have just come to life and chased after our main characters I want to know how that turns out as quickly as possible, but I do also like to know why.
There is so much going on here, that not only is Novik giving you an entertaining story but it feels like she’s laying the groundwork for what could be (hopefully) an epic new series. El is at times annoying and frustrating, but refreshingly consistent. Orion is the reluctant hero, despite being provided with a bit of background for him he still feels a little 2 dimensional to me, but I hope he’ll be fleshed out a bit more in the next book. They are supported by a range of diverse characters, speaking of which . . .
I’d be remiss if I didn’t mention the controversy around the book regarding some racist claims. I am by no means qualified to comment on this point, but what I would say is that the issue is a sin of omission rather than intention, and has been addressed by the author. If this is an issue that has you reconsidering adding this to your TBR pile, please do read a broad selection of reviews before making up your mind. As it is a fantastic book and could potentially be my favourite new series
It’s taken me three days to write this review, as I’ve tried to find something clever and witty to say about it when the simple truth is, I like this book and it’s hard to explain why without giving too much away.
It has all the elements you’d expect and enjoy from a fantasy novel, and even though most people I know who enjoy this genre feel it bridges the gap between YA and adult fiction, I should still probably say that the only thing that gives it away that this is a YA book is the teenage protagonist. Novik has gone with the canny technique of a YA voice and theme with an adult backdrop. (I know it’s school but I don’t think even Harry Potter had THIS many near-death experiences)
The protagonist is a girl called El who goes to a special school called The Scholomance. What makes this school so special is the fact that it’s for magically gifted children, it’s held between realities, there are no teachers, the school itself assesses your progress and provides your work accordingly. However, where there are magical beings there are beasties and there are some right nasty ones in this school. Luckily El is constantly rescued by resident hero Orion, which she is especially aggrieved by, considering that El herself is potentially the most dangerous thing in the school.
Oddly enough, one of my favourite aspects of this book was the one thing that most reviewers found annoying about it, and that’s what they’re calling the ‘info-dumping’. There’s a strong feeling amongst the reviews that there is constantly just too much information being thrown at you. In hindsight, I can see their point, and if you’re a fan of Novik and were expecting her usual standard this may be annoying. However, for me as my first foray into her style, I didn’t mind it. In fact, I think it contributed to her world-building and just made me even keener to read the next book. Maybe now that the base is established the next book won’t have so much of it, but it didn’t detract from the story at all for me. I can’t help it, I like information. Sure if a bunch of schoolroom chairs have just come to life and chased after our main characters I want to know how that turns out as quickly as possible, but I do also like to know why.
There is so much going on here, that not only is Novik giving you an entertaining story but it feels like she’s laying the groundwork for what could be (hopefully) an epic new series. El is at times annoying and frustrating, but refreshingly consistent. Orion is the reluctant hero, despite being provided with a bit of background for him he still feels a little 2 dimensional to me, but I hope he’ll be fleshed out a bit more in the next book. They are supported by a range of diverse characters, speaking of which . . .
I’d be remiss if I didn’t mention the controversy around the book regarding some racist claims. I am by no means qualified to comment on this point, but what I would say is that the issue is a sin of omission rather than intention, and has been addressed by the author. If this is an issue that has you reconsidering adding this to your TBR pile, please do read a broad selection of reviews before making up your mind. As it is a fantastic book and could potentially be my favourite new series
Kirk Bage (1775 KP) rated Good Time (2017) in Movies
Jan 22, 2021
Here is another example of a very watchable low budget film that may have passed by your radar undetected. It came to my attention in two ways. The first because I disliked Uncut Gems so much folk started telling me to watch Good Time to get a better idea of what the Safdie brothers were all about. The second because Robert Pattinson kept popping up and being good in things, when again, there was a time I wouldn’t have thought that possible.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.
Josh and Benny Safdie have a lot of energy as filmmakers it seems; if the two films I’ve seen so far indicate a motif then it is people forced to act without much thought when the stakes are pretty much life and death. A raw, desperate energy exists in their work that comes straight at you through the screen. In Uncut Gems I found they pushed that feeling too hard, and what we were left with was a massively uncomfortable experience that felt like drinking too much coffee and then being screamed at by someone you hated. Good Time tempers that a little by having a protagonist whose motives you can at least identify with, played by a better, less shouty, more subtle and more likeable actor.
The plot revolves around Pattinson’s Connie frantically trying to find and save his mentally challenged brother, Nick, played by co-director Benny Safdie, after forcing him to participate in a bank robbery that goes wrong. Safdie as an actor is superb and memorable in the role, as is Pattinson. The chemistry between the two is simultaneously edgy, heartbreaking and somehow genuine. You believe they are brothers and invest in it – feeling Nick’s guilt and need to atone driving every bad decision along the grimy path he treads through the seedier parts of the city.
The camerawork and direction make the lights and sounds of the city a character in itself. It may not be true, but I see this film in my head, now as I think of it, as being 90% at night, lit by flashing headlights. Certainly that feel of running head-on into traffic is a big part of it. But there are slower, more sensitive scenes that spring to mind too. Constantly we are being asked if we can forgive Nick, or at least understand why he is making the choices he is making. Essentially he wants the panic to stop, but can’t ever get himself to a place of peace. An idea beautifully illustrated in the scenes involving the female characters of Corey and Crystal (the former played by Jennifer Jason Leigh with typical edge); Nick wants to be loved and respected, but how will that ever be possible?
Contrasting Pattinson’s work here with other recent efforts, including Tenet, The Lighthouse and The Lost City of Z, you can see an impressive range where his true personality disappears into his character. Something not every actor can do by any means, and something Adam Sandler failed to do in Uncut Gems, for example. I continue to be more impressed by him from film to film, to the extent that if I saw him in a cast it would be reason enough to see something. He has that ability to make an average film watchable, often being the best thing about the project. And I have to admit that has surprised me. But I like Kristen Stewart too these days, so it just shows how much the Twilight franchise has to answer for!
I wouldn’t go mad recommending this to everyone, but there is a time and a place for it, and I’m pleased I can appreciate the talent and potential the Safdie Brothers have inherently. There certainly aren’t enough young filmmakers taking risks in this way any more. It wouldn’t surprise me at all to see their formula strike true gold before too long.
Kirk Bage (1775 KP) rated Unsolved Mysteries in TV
Jan 22, 2021 (Updated Jan 22, 2021)
It is a guilty secret of mine that when in the right mood I love to get a small fix of the unexplained or the macabre true crime documentary type thing. They tend to range from truly ridiculous to the mildly convincing, but tend not to have especially high production value. Netflix seem to know there is demand for it however, and every now and again there is a mini-series that can live in the same box as the more serious docs.
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Making a Murderer was maybe the first to break through into the mainstream consciousness, some five years ago. I watched the first series of that with a morbid fascination, as did everyone else. The second season was interesting too, but lacked the cliffhanger drive of the first. Then there are three or four parters like the superlative Ted Bundy Tapes, which get to the point and don’t out stay their welcome. Unsolved Mysteries is sort of something in the middle.
The twist on this series is that these six stories are all active cases that remain unsolved by local police forces, and we are encouraged at the end of each one to call a hotline with any info that may lead to an arrest. This is a gimmick, of course, and I can’t imagine the calls and emails they have been getting! Those would make a better TV show than this actually is, for sure.
Each episode is an hour long, which in honesty is twice as long as it needs to be in half the cases. In fact, only two of the six captured my imagination enough to give me chills and want to know what happened. The other four were standard missing person stories that although “unsolved” were pretty mundane. As mundane as murder ever gets… which is a pitfall of watching this stuff… it all gets quite normalised and loses its power to disturb, as it should.
The first to interest me was the first up, the strange story of Rey Rivera, known as “the mystery on the rooftop”. The thing that got me was the hidden note taped to the back of his computer, that read like a coded message, and hinted at involvement with a secret society. That, combined with the fact that his fall to death was impossible, and that his boss put a gagging order on all his staff after the event. Whatever this guy had going on in his life it was weird! And his family knew not one thing about it…
The second was “House of Terror”, the story of a French aristocrat who secretly shot his entire family while they slept, carefully buried them under the back porch with immense care, left no other trace of evidence in the house, then disappeared forever into the mountains, seemingly creating a deliberate false trail on CCTV. What got me here was the calculation and calm of it all, combined with the mystery of not knowing his motive, other than the fact he may have been living a lie about how successful he was financially. Regardless, his actions were so cool and unpanicked, it was like watching something out of the Bourne Identity.
As I say, otherwise it is all pretty standard stuff, and nothing to write home about. But I will remember those two cases and be holding out for any new developments in them. I guess that’s all they want – enough intrigue to keep you hooked for more down the line. Of course, you are never quite sure how manipulative with the “truth” these things are? It seemed to be presented soberly and without a sensationalist angle, but you never know. Why do I watch them at all, that is the biggest mystery…
Purple Phoenix Games (2266 KP) rated Paradox of Morality in Tabletop Games
Dec 17, 2020
Paradox of Morality. That’s a super cool name for a game. What do you think of when you read it? I immediately thought of questionable choices that could mean life or death, or having to choose between two ugly outcomes, or questioning one’s own value systems. This is a great premise for a game. Does this one deliver on its namesake and give the players these excruciating choices?
Paradox of Morality is a moderated scenario game between players (or teams of players) where one player will be the judge and the others will be convincing the judge to award them points based on their responses to scenario prompts.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. You are invited to back the game through the Kickstarter campaign or through any retailers stocking it after fulfillment. -T
Setup is very easy: choose a judge, split up the remaining players into teams and choose the first scenario from the stack of large cards. The game may now begin!
Playing a round is similar to playing a company-mandated icebreaker activity where each team is given the same prompt by the judge to be discussed in their groups. Once the judge has called time for the scenario each team will need one or more spokespeople to deliver their arguments for what they have discussed. The judge then listens to all teams’ spokespeople and awards points based on responses given. The first team to reach 200 points is the winner.
Components. Again, this is a prototype and I do not know if the components will be any different once the game is officially produced. That said, this game is just a large stack of large prompt cards. The rules are printed on the inside of the box cover. There is minimal art in the game and it only resides on the box and on the card backs. I can describe the art as photos of trippy scantily-clad quasi-Egyptian masquerade attendees with the females wearing what appears to be only body paint. It certainly does not connect to the gameplay in any fashion, and I question its usage. Additionally, the verbiage throughout the game (and maybe it’s just for the prototype) uses abbreviated text-speech. So a prompt could read similar to, “u c a man walking down the street n he has 2 call out 2 u 2 ask a question.” I must be getting old because that is not at all endearing to me.
Similarly, the game as a whole just does not speak to me. The prompts are strange and almost railroad players and teams down paths of just grossness or straight up ridiculousness. I will admit, there are a few good scenarios in the box, but it is really hard to get past the delivery style and presentation of the game (at least in this format). Perhaps cleaning up the verbiage would help, and paring down the number of scenarios given to truly enhance the game’s offerings would be better. I don’t know, I’m not a designer.
All in all, if you are someone who lusts for those staff meetings like this, then Paradox of Morality is for you. If you dread those activities, I would stay away this time. Perhaps the game will change by the time it reaches Kickstarter or full production, and if so I would like to take another look at it. However, as it is presented now, I would be passing on this. Perhaps it is not targeting 41-year-old married men, but for me it has missed my bullseye.
Paradox of Morality is a moderated scenario game between players (or teams of players) where one player will be the judge and the others will be convincing the judge to award them points based on their responses to scenario prompts.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I do not know for sure if the final components will be any different from these shown. You are invited to back the game through the Kickstarter campaign or through any retailers stocking it after fulfillment. -T
Setup is very easy: choose a judge, split up the remaining players into teams and choose the first scenario from the stack of large cards. The game may now begin!
Playing a round is similar to playing a company-mandated icebreaker activity where each team is given the same prompt by the judge to be discussed in their groups. Once the judge has called time for the scenario each team will need one or more spokespeople to deliver their arguments for what they have discussed. The judge then listens to all teams’ spokespeople and awards points based on responses given. The first team to reach 200 points is the winner.
Components. Again, this is a prototype and I do not know if the components will be any different once the game is officially produced. That said, this game is just a large stack of large prompt cards. The rules are printed on the inside of the box cover. There is minimal art in the game and it only resides on the box and on the card backs. I can describe the art as photos of trippy scantily-clad quasi-Egyptian masquerade attendees with the females wearing what appears to be only body paint. It certainly does not connect to the gameplay in any fashion, and I question its usage. Additionally, the verbiage throughout the game (and maybe it’s just for the prototype) uses abbreviated text-speech. So a prompt could read similar to, “u c a man walking down the street n he has 2 call out 2 u 2 ask a question.” I must be getting old because that is not at all endearing to me.
Similarly, the game as a whole just does not speak to me. The prompts are strange and almost railroad players and teams down paths of just grossness or straight up ridiculousness. I will admit, there are a few good scenarios in the box, but it is really hard to get past the delivery style and presentation of the game (at least in this format). Perhaps cleaning up the verbiage would help, and paring down the number of scenarios given to truly enhance the game’s offerings would be better. I don’t know, I’m not a designer.
All in all, if you are someone who lusts for those staff meetings like this, then Paradox of Morality is for you. If you dread those activities, I would stay away this time. Perhaps the game will change by the time it reaches Kickstarter or full production, and if so I would like to take another look at it. However, as it is presented now, I would be passing on this. Perhaps it is not targeting 41-year-old married men, but for me it has missed my bullseye.
Heather Cranmer (2721 KP) rated Captain Clive's Dreamworld in Books
Dec 12, 2020
I love books that deal with a mysterious town that seems to be perfect yet strange things happen, so when I heard about Captain Clive's Dreamworld by Jon Bassoff, I knew this would be my kind of book. I can not tell you enough about how great of a book this was!
Deputy Sam Hardy is fed up with his life. Everything looks bleak for Hardy. When a prostitute is found dead in a seedy motel room and Hardy looks like he may be the culprit, he is banished to take over the role of deputy in the seemingly perfect town of Angels and Hope. Everyone seems to love this town, and everything is so cookie cutter, but the people never seem to sleep. Young girls are going missing yet the town says the girls never existed. When Hardy begins to pry into this town's history, he puts his own wellbeing in jeopardy.
I will say the plot of Captain Clive's Dreamworld drew me in right away. The pacing is done perfectly, and I kept on finding myself reading as fast as possible so I could learn what would happen next. I was instantly transported to the town of Angels and Hope with Deputy Sam Hardy. I never lost interest at all. In my head, I was trying to work out what was wrong with the town. Everything seemed to be perfect there, but we all know that nothing is ever perfect. While Angels and Hope was created to be a utopia, it was much more dystopian. There were many sinister goings on happening. While I was able to predict some of the plot, it was still interesting to read on to see if I was correct. There are a few plot twists too. Jon Bassoff did a fantastic job making this story come together brilliantly enough to keep it interesting. While the book didn't end the way I wanted, it was definitely an interesting ending for sure. All loose ends were tied up and the story came together very well.
I enjoyed each and every character in Captain Clive's Dreamworld. Each character felt realistic and fleshed out. Sam Hardy was quite the interesting character. I liked reading about his thought process. I felt like I was going through everything he was. Although I thought he would be uncaring, he was quite the opposite. His plight to get answers was quite the journey to read about. The three witches were fabulous antagonists. I could picture each of the three women easily in my mind. They were easy to hate. I loved trying to figure out Mayor Sampson's character. I kept on trying to guess how much he knew and what he'd be willing to do to keep secrets hidden. I enjoyed reading about all the townspeople of Angels and Hope and trying to guess what their guilty secrets were and what their end game was.
Trigger warnings for Captain Clive's Dreamworld include death, murder, suicide, violence, prostitution, sex, child rape, incest, blackmail, gaslighting, threats, drugs, alcohol, and swearing. This is not a book for the faint of heart as it deals with some very dark subjects.
All in all, Captain Clive's Dreamworld is a highly entertaining read with a great cast of characters as well as a great plot. It is definitely not for the faint of heart though as it is quite dark but enjoyable nonetheless. I would definitely recommend Captain Clive's Dreamworld by Jon Bassoff to those aged 18+ who love a dark horror novel with great depth.
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(A special thank you to Pump Up Your Book for providing me with a paperback of Captain Clive's Dreamworld by Jon Bassoff in exchange for an honest and unbiased review.)
Deputy Sam Hardy is fed up with his life. Everything looks bleak for Hardy. When a prostitute is found dead in a seedy motel room and Hardy looks like he may be the culprit, he is banished to take over the role of deputy in the seemingly perfect town of Angels and Hope. Everyone seems to love this town, and everything is so cookie cutter, but the people never seem to sleep. Young girls are going missing yet the town says the girls never existed. When Hardy begins to pry into this town's history, he puts his own wellbeing in jeopardy.
I will say the plot of Captain Clive's Dreamworld drew me in right away. The pacing is done perfectly, and I kept on finding myself reading as fast as possible so I could learn what would happen next. I was instantly transported to the town of Angels and Hope with Deputy Sam Hardy. I never lost interest at all. In my head, I was trying to work out what was wrong with the town. Everything seemed to be perfect there, but we all know that nothing is ever perfect. While Angels and Hope was created to be a utopia, it was much more dystopian. There were many sinister goings on happening. While I was able to predict some of the plot, it was still interesting to read on to see if I was correct. There are a few plot twists too. Jon Bassoff did a fantastic job making this story come together brilliantly enough to keep it interesting. While the book didn't end the way I wanted, it was definitely an interesting ending for sure. All loose ends were tied up and the story came together very well.
I enjoyed each and every character in Captain Clive's Dreamworld. Each character felt realistic and fleshed out. Sam Hardy was quite the interesting character. I liked reading about his thought process. I felt like I was going through everything he was. Although I thought he would be uncaring, he was quite the opposite. His plight to get answers was quite the journey to read about. The three witches were fabulous antagonists. I could picture each of the three women easily in my mind. They were easy to hate. I loved trying to figure out Mayor Sampson's character. I kept on trying to guess how much he knew and what he'd be willing to do to keep secrets hidden. I enjoyed reading about all the townspeople of Angels and Hope and trying to guess what their guilty secrets were and what their end game was.
Trigger warnings for Captain Clive's Dreamworld include death, murder, suicide, violence, prostitution, sex, child rape, incest, blackmail, gaslighting, threats, drugs, alcohol, and swearing. This is not a book for the faint of heart as it deals with some very dark subjects.
All in all, Captain Clive's Dreamworld is a highly entertaining read with a great cast of characters as well as a great plot. It is definitely not for the faint of heart though as it is quite dark but enjoyable nonetheless. I would definitely recommend Captain Clive's Dreamworld by Jon Bassoff to those aged 18+ who love a dark horror novel with great depth.
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(A special thank you to Pump Up Your Book for providing me with a paperback of Captain Clive's Dreamworld by Jon Bassoff in exchange for an honest and unbiased review.)
Kristy H (1252 KP) rated Never Look Back in Books
Sep 2, 2019
For Quentin Garrison, his podcast, entitled Closure, is truly about just that--closure. It centers on a series of murders in the 1970s committed by teens Gabriel LeRoy and April Cooper. The victims included Quentin's mother's little sister and his grandmother. As a result, Quentin has spent most of his life raised by a neglectful, drug addict mom. For Robin Diamond, a columnist, the podcast causes only confusion. When Quentin contacts her about it, asking specifically about April Cooper and tying her to Robin's own mother, Robin is bewildered. But the more she delves into the murders, the more she starts to wonder. Then there's a terrible home invasion at her parent's house, killing her father and leaving her mom unconscious. What exactly happened back in the '70s--and, now, in the home invasion?
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.
This was an excellent thriller that had me hooked from the first page. It's dark, gritty, and utterly mesmerizing. When I started it, I was thinking to myself, not another podcast mystery, but little did I know... this book is totally addictive and brings in the podcast element in a seamless, fresh way.
It's told from the perspective of several of our main characters--particularly Robin and Quentin. We also get excerpts from a school assignment of April's when she was fifteen: letters to her future child. These slowly reveal what happened during the killings, and they are told in a spot-on voice of a fifteen-year-old girl. The way everything is woven together is perfect: I found myself completely captivated and read basically the last half of the book in one breathless setting, staying up past my bedtime to finish it.
We learn that both Gabriel and April died in a fire at the site of their last attempted murder. So when Quentin receives a tip claiming that April Cooper is still alive, it changes everything, including the focus of his podcast. When he starts to believe that Robin's mother is April, things get even more interesting. I loved the suspense--constantly wondering if April was alive and if she was, who she could be. And then, there's the aspect of was April "good" or "bad" during the killings. So many people blamed her for the deaths of their loved ones, and nothing is black or white in this book.
Even Quentin. Since his past is strongly affected by the murders, we find ourselves wondering if we can trust him, too. Quentin's grandfather basically gave up raising his daughter, Kate--Quentin's mother--after the death of his wife and young daughter. As such, Quentin's own mother wasn't much of a parent to him. Quentin's own bitterness and anger shines through--a strong theme in the book. Can we rely on someone so angry, we wonder? I felt for him, and his devoted husband and loving best friend and podcast partner. So many of the characters are intense, and each is so well-crafted and unique. Each flew off the page.
This is often a dark book, and there are many scenes of violence. But, for me, it was the emotional scenes that were the toughest to read. There are many touching moments, too, and I found myself attached to several of the characters. Reading young April's letters was quite a feat. Gaylin is such an excellent writer, and she just pulls you into the story so effortlessly--you feel as if you are there with her characters. Throw in some great twists and turns and this is an excellent and suspenseful novel.
The ending was a tough one, but I get it. Overall, I really enjoyed this dark psychological thriller. I am just loving Gaylin's recent books and need to go back and read some of her previous works (there's a little Brenna Spector shoutout in this one for those of you who are fans). Definitely recommend! 4.5 stars.
Dwarf Fotress
7.3
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Dwarf Fortress is a single-player fantasy game. You can control a dwarven outpost or an adventurer...
Bad, Dad, And Dangerous Anthology
Rhys Ford, TA Moore, Bru Baker and Jenn Moffatt
8.5
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Bad, Dad, and Dangerous Anthology When the kids are away, the monsters will play. School’s out...
Paranormal Romance MM MF
Bob Mann (459 KP) rated Phantom Thread (2017) in Movies
Sep 29, 2021
“There’s an air of quiet death in this house”.
The alleged acting swan-song of Daniel Day-Lewis (“Lincoln“) sees him deliver a brilliantly intense portrayal of a maestro in his craft with all the quirks and egotistical faults that come with that position.
Reynolds Woodcock is the craftsman behind a world-renowned 1950’s fashion house, in demand from the elite classes and even royalty. He has a magnetic personality, is overtly self-confident, obsessive, a cruel bully and treats his girlfriends as chattels that he can tire of and dismiss from his life without a backward glance. Trying to keep the business and Reynolds on track, with ruthless efficiency, is his sister Cyril (Leslie Manville, “Maleficent“).
Looking for his next conquest during a trip to his seaside residence, he reels in blushing young waitress Alma (Vicky Krieps, “The Colony”). But he gets more than he bargains for.
This is a really exquisite and gentle film. Aside from some dubious fungi-related practices, there is no violence, no sex and – aside from about half a dozen well-chosen F-words – limited swearing (of which more below). This is a study of the developing relationship between the two protagonists, with little in the way of plot. Sounds dull? Far from it. This is two hours that flew by.
What it also features is (yet) another example of extremely strong women asserting their power. A scene (well trailed in Manville’s award snippets) where Cyril firmly puts Reynolds back in his box is brilliant: a real turning of tables with Woodcock meekly falling into line. And Alma makes for an incredibly rich and complicated character, one of the most interesting female roles I’ve seen this year so far.
It’s a stellar acting performance from Day-Lewis, and while Oldman fully deserves all of his award kudos for “Darkest Hour”, Day-Lewis delivers the goods without any of the make-up. It feels like Day-Lewis is a long way down the betting odds this year because “he always gets one”. He certainly gets my vote ahead of all of the other three nominees.
Kreips – not an actress I know – also brilliantly holds her own, and if it wasn’t such a strong female field this year she could well have been nominated.
Also worthy of note is the pervasive piano score by (suprisingly) Radiohead’s Jonny Greenwood. It’s really lovely and counterpoints the rest of the classical score nicely. Its BAFTA and Oscar nominations are both well deserved (though I would expect the Oscar to follow the BAFTA steer with “The Shape of Water“).
All in all, this is a real tour de force by writer/director Paul Thomas Anderson (“Inherent Vice”, “There Will Be Blood”). How much I enjoyed this film was a surprise to me, since I have no interest in the “fashion industry” (as my family will no doubt be quick to point out!) and I went to see this more out of ‘duty’ based on its Oscar buzz than because I really wanted to see it.
The big curiosity is why exactly the BBFC decided that this film was worthy of a 15 certificate rather than a 12A. Their comments on the film say “There is strong language (‘f**k’), as well as milder terms including ‘bloody’ and ‘hell’. Other issues include mild sex references and scenes of emotional upset. In one scene, a woman’s nipples are visible through her slip while she is measured for a dress.” For a 12A, the board say “The use of strong language (for example, ‘f***’) must be infrequent”. I didn’t count the f-words… but as I said I don’t think it amounts to more than a half-dozen. Is that “frequent”? And – SHOCK, HORROR… visible covered nipples you say?! Lock up your teenagers! When you look at the gentleness of this film versus the violence within “Black Panther”, you have to question this disparity.
Reynolds Woodcock is the craftsman behind a world-renowned 1950’s fashion house, in demand from the elite classes and even royalty. He has a magnetic personality, is overtly self-confident, obsessive, a cruel bully and treats his girlfriends as chattels that he can tire of and dismiss from his life without a backward glance. Trying to keep the business and Reynolds on track, with ruthless efficiency, is his sister Cyril (Leslie Manville, “Maleficent“).
Looking for his next conquest during a trip to his seaside residence, he reels in blushing young waitress Alma (Vicky Krieps, “The Colony”). But he gets more than he bargains for.
This is a really exquisite and gentle film. Aside from some dubious fungi-related practices, there is no violence, no sex and – aside from about half a dozen well-chosen F-words – limited swearing (of which more below). This is a study of the developing relationship between the two protagonists, with little in the way of plot. Sounds dull? Far from it. This is two hours that flew by.
What it also features is (yet) another example of extremely strong women asserting their power. A scene (well trailed in Manville’s award snippets) where Cyril firmly puts Reynolds back in his box is brilliant: a real turning of tables with Woodcock meekly falling into line. And Alma makes for an incredibly rich and complicated character, one of the most interesting female roles I’ve seen this year so far.
It’s a stellar acting performance from Day-Lewis, and while Oldman fully deserves all of his award kudos for “Darkest Hour”, Day-Lewis delivers the goods without any of the make-up. It feels like Day-Lewis is a long way down the betting odds this year because “he always gets one”. He certainly gets my vote ahead of all of the other three nominees.
Kreips – not an actress I know – also brilliantly holds her own, and if it wasn’t such a strong female field this year she could well have been nominated.
Also worthy of note is the pervasive piano score by (suprisingly) Radiohead’s Jonny Greenwood. It’s really lovely and counterpoints the rest of the classical score nicely. Its BAFTA and Oscar nominations are both well deserved (though I would expect the Oscar to follow the BAFTA steer with “The Shape of Water“).
All in all, this is a real tour de force by writer/director Paul Thomas Anderson (“Inherent Vice”, “There Will Be Blood”). How much I enjoyed this film was a surprise to me, since I have no interest in the “fashion industry” (as my family will no doubt be quick to point out!) and I went to see this more out of ‘duty’ based on its Oscar buzz than because I really wanted to see it.
The big curiosity is why exactly the BBFC decided that this film was worthy of a 15 certificate rather than a 12A. Their comments on the film say “There is strong language (‘f**k’), as well as milder terms including ‘bloody’ and ‘hell’. Other issues include mild sex references and scenes of emotional upset. In one scene, a woman’s nipples are visible through her slip while she is measured for a dress.” For a 12A, the board say “The use of strong language (for example, ‘f***’) must be infrequent”. I didn’t count the f-words… but as I said I don’t think it amounts to more than a half-dozen. Is that “frequent”? And – SHOCK, HORROR… visible covered nipples you say?! Lock up your teenagers! When you look at the gentleness of this film versus the violence within “Black Panther”, you have to question this disparity.
Bob Mann (459 KP) rated American Made (2017) in Movies
Sep 29, 2021
Cruise Flying High Again.
If you ask anyone to list the top 10 film actors, chance is that “Tom Cruise” would make many people’s lists. He’s in everything isn’t he? Well, actually, no. Looking at his imdb history, he’s only averaged just over a movie per year for several years. I guess he’s just traditionally made a big impact with the films he’s done. This all rather changed in the last year with his offerings of the rather lacklustre “Jack Reacher: Never Go Back” (FFF) and the pretty dreadful “The Mummy” (Ff) as one of this summer’s big blockbuster disappointments. So Thomas Cruise Mapother IV was sorely in need of a upward turn and fortunately “American Made” delivers in spades.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.
A quick stop in Nicaragua to pick up some paperwork from Noriega.
“Based on a True Story” this is a biopic on the life of Barry Seal, a hot shot ‘maverick’ (pun intended) TWA pilot who gets drawn into a bizarre but highly lucrative spiral of gun- and drug-running to and from Central America at the behest of a CIA operative Monty Schafer (Domhnall Gleeson). All this is completely mystifying to Barry’s wife Lucy (Sarah Wright) who is, at least not initially, allowed to be ‘in’ on the covert activities.
Flying high over Latin America.
The film is a roller-coaster ride of unbelievable action from beginning to end. In the same manner as you might have thought “that SURELY can’t be true” when watching Spielberg’s “Catch Me If You Can”, this thought constantly flits through your mind. At each turn Seal can’t believe his luck, and Cruise brilliantly portrays the wide-eyed astonishment required. This is a role made for him.
Also delivering his best performance in years is Domhnall Gleeson (“Ex Machina“, “Star Wars: The Force Awakens“) as the CIA man with the (whacky) plan. Large chunks of the film are powered by his manic grin.
Domhnall Gleeson as the CIA man with a sense of Contra-rhythm.
As an actress, Sarah Wright is new to me but as well as being just stunningly photogenic she works with Cruise really well (despite being 20 years his junior – not wanting to be ageist, but this is the second Cruise film in a row I’ve pointed that out!)). Wright also gets my honourary award for the best airplane sex scene this decade!
“Time to pack honey”. Seal (Cruise) delivering a midnight surprise to wife Lucy (Sarah Wright) – and not in a good way.
Written by Gary Spinelli (this being only his second feature) the script is full of wit and panache and – while almost certainly (judging from wiki) stretches the truth as far as Seal’s cash-storage facilities – never completely over-eggs the pudding.
Doug Liman (“Jason Bourne“, “Edge of Tomorrow“) directs brilliantly, giving space among the action for enough character development to make you invest in what happens to the players. The 80’s setting is lovingly crafted with a garish colour-palette with well-chosen documentary video inserts of Carter, Reagan, Oliver Stone, George Bush and others. It also takes really chutzpah to direct a film that (unless I missed it) had neither a title nor any credits until the end.
The real Barry Seal.
The only vaguely negative view I had about this film is that it quietly glosses over the huge pain, death and suffering that the smuggled drugs will be causing to thousands of Americans under the covers. And this mildly guilty thought lingers with you after the lights come up to slightly – just slightly – take the edge off the fun.
Stylish, thrilling, moving and enormously funny in places, this is action cinema at its best. A must see film.