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Phil Leader (619 KP) rated The Big Over Easy (Nursery Crime, #1) in Books

Nov 8, 2019

After the success of his Thursday Next books, in which the heroine can enter works of fiction and interact with the characters, Fforde dusted off a previous idea for a novel: a town where nursery rhyme characters are real. Humpty Dumpty is found in pieces at the bottom of his wall, but did he fall or was he pushed?

Investigated by detective Jack Spratt (usefully the name Jack is quite common in nursery rhymes) and his new partner Mary Mary we meet a number of characters from nursery rhymes, songs and myth and legend. As the body count rises Jack and Mary must do what all the king's horses and all the king's men couldn't, and assemble the pieces of Humpty's demise to find the culprit.

The world Fforde creates - a fictional version of the town of Reading (and strongly implied to be the same world that Thursday Next lives in, in the book-within-a-book Caversham Heights) works suprisingly well, perhaps because other than the traits inherited from their nursery rhymes the characters are otherwise conventional. So Jack can't eat any fat and is destined to sell something for beans, but at the core is a straightforward detective.

This contrasts with, say, The Hollow Chocolate Bunnies of the Apocalypse by Robert Rankin which again is a detective story populated with nursery rhyme characters (and poor Humpty is again a victim, but in a very different murder) where the setting is in Toyland so doesn't have the grounding of reality that The Big Over Easy does.

The plot itself is very complex - there are red herrings, theories and suspects galore - and Fforde enjoys playing with the reader as much as with Jack. And there is of course humour aplenty, both simple gags from the story and characters and also some good knowing winks to the reader when events mirror the characters' nursery rhymes. Above all Fforde never forgets that this is after all a detective novel.

Probably not quite as good as the Thursday Next books but definitely a good read and will entertain from the first to the last page.

Kudos

JT (287 KP) rated Ready or Not (2019) in Movies

Mar 3, 2020

Ready or Not (2019)

2019 | Comedy, Horror, Mystery

7.6

(46 Ratings)

Movie Rating Watch

Original story (1 more)

Solid tension

The ending might not be appreciated (0 more)

White wedding goes full bloodshed

Grace (Samara Weaving) is about to marry the man of her dreams, Alex Le Domas (Mark O’Brien). But her new in-laws, as it turns out, are going to be a real nightmare.

After a long sweeping shot through a gothic house 30-years earlier which sets up the back story to what is going to unfold, Grace is tasked with drawing a card from a mysterious mechanical box.

The premise is simple, whatever game is on the card she has to play in order to be accepted into the family – a tradition which must be accepted.

Innocently believing that it is just a harmless game of Hide-and-Seek Grace sets off to hide. The family, however, arming themselves with a variety of antique weaponry, must kill poor Grace before sunrise or they will all perish.

The family is an eclectic mix of batshit crazed parents, eccentric grandparents, troublesome daughters and drunken sons. When merged they come across as a psychopath’s answer to the Keystone Cops, all flair but no clue whatsoever.

Ready or Not manages to balance horror and comedy nicely. It is gory when it needs to be with several grotesque and humorous scenes that will leave viewers squirming in their seats.

The remainder of the film is a tense game of cat and mouse with Grace now realising what the real motives of the family are. She must hold her nerve to see out the night and make it to morning.

The setting is perfect for this type of caper and the gothic mansion provides plenty of twists and turns; from secret doors and passages to outhouses filled with decaying corpses.

Grace turns from the bride in white to the bride in blood as she battles the family – the tension rarely lets up for a second. Ready or Not gets just about everything spot on and it never suffers from horror cliches or boredom.

Weaving gives a good account of herself as a modern-day scream queen turned badass, running around in a torn wedding dress and trainers dispelling the myth ‘till death do us part‘.