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Out of the Ordinary: A Life of Gender and Spiritual Transitions
Michael Dillon, Cameron Partridge, Jacob Lau and Susan Stryker
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Now available for the first time-more than 50 years after it was written-is the memoir of Michael...
Bob Mann (459 KP) rated They Shall Not Grow Old (2018) in Movies
Sep 28, 2021
We DO remember them.
“Trapped in a Charlie Chaplin World”. So says director Peter Jackson in a post-screening discussion with Mark Kermode, describing early black and white documentary footage. Whereas modern film runs at 24 fps, most of the old footage is hand cranked, with speeds as low as 12 fps which leads to its jerky nature. Jackson in this project with the Imperial War Museum took their WW1 footage and put it through a ‘pipeline process. This cleaned-up and restored the original footage; used clever computer interpolation to add in the missing 6 to 12 frames per second; and then colourised it.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
Phillip McSween (751 KP) rated Sorry to Bother You (2018) in Movies
Apr 1, 2019
Bananas
When a man gets a job at a call center, he finds that using his “white voice” not only gets him ahead faster, but it takes him down a road crazier than he ever could have imagined. “Crazier” is the operative word here as this movie pushes crazy to the absolute limit. Sorry to Bother You is not without its flaws, but it gets the job done in terms of quality.
Acting: 10
Beginning; 10
Characters: 10
Cassius’ (LaKeith Stanfield) character works on a number of levels. He’s your average guy trying to make it in the world having to rob Peter to pay Paul. He’s easily lovable and funny. More importantly, he’s relatable. There was a number of times watching the movie where I found myself thinking, “Definitely been there before.”
While his character shines, it pales in comparison to Detroit played by the phenomenal Tessa Thompson. She has such a smoothness about her that you can’t escape. In this role, she is a starving artist trying to pave her way and stay true to herself as she wants Cassius to do. She’s cool as shit, but also not the type of girl you ever want to doublecross. I can’t express enough how much Detroit impacted the movie as a whole.
Cinematography/Visuals: 7
The movie succeeds with a lot of jarring imagery, although I will admit that the shock value felt too strong at times. The visuals won’t change your life, but there were a few moments that raised an eyebrow or two. This is the lovechild of when artsy-fartsy meets comedy.
Conflict: 8
Genre: 10
Memorability: 10
Pace: 9
There were a couple of times where I found myself asking, “Ok, where is this going?” But it gets there eventually. It’s consistently funny and is meant to be one of those movies that you probably need to watch a couple of times to really grasp. Outside of one lull, expect to be consistently entertained throughout as this strange mystery unfolds.
Plot: 9
Resolution: 3
Overall: 86
Sorry to Bother You should be a classic, but a meh ending keeps that award just out of reach. I still really liked it and I think you will too. However, it fell just short of me loving it. If you’re looking for some strong social commentary, look no further.
Acting: 10
Beginning; 10
Characters: 10
Cassius’ (LaKeith Stanfield) character works on a number of levels. He’s your average guy trying to make it in the world having to rob Peter to pay Paul. He’s easily lovable and funny. More importantly, he’s relatable. There was a number of times watching the movie where I found myself thinking, “Definitely been there before.”
While his character shines, it pales in comparison to Detroit played by the phenomenal Tessa Thompson. She has such a smoothness about her that you can’t escape. In this role, she is a starving artist trying to pave her way and stay true to herself as she wants Cassius to do. She’s cool as shit, but also not the type of girl you ever want to doublecross. I can’t express enough how much Detroit impacted the movie as a whole.
Cinematography/Visuals: 7
The movie succeeds with a lot of jarring imagery, although I will admit that the shock value felt too strong at times. The visuals won’t change your life, but there were a few moments that raised an eyebrow or two. This is the lovechild of when artsy-fartsy meets comedy.
Conflict: 8
Genre: 10
Memorability: 10
Pace: 9
There were a couple of times where I found myself asking, “Ok, where is this going?” But it gets there eventually. It’s consistently funny and is meant to be one of those movies that you probably need to watch a couple of times to really grasp. Outside of one lull, expect to be consistently entertained throughout as this strange mystery unfolds.
Plot: 9
Resolution: 3
Overall: 86
Sorry to Bother You should be a classic, but a meh ending keeps that award just out of reach. I still really liked it and I think you will too. However, it fell just short of me loving it. If you’re looking for some strong social commentary, look no further.
BankofMarquis (1832 KP) rated Casablanca (1942) in Movies
May 6, 2019
A Classic in Every Sense of the Word
"Of all the gin joints, in all the towns, in all the world, she walks into mine."
"We'll always have Paris."
"Here's looking at you, kid."
"Louis, I think this is the beginning of a beautiful friendship."
And many, many, many other iconic lines were featured in the brilliant 1942 all-time Classic CASABLANCA. Listed as "Warner Brothers Project #410", this film was supposed to be "just another film", but it turned out to be something more.
Starring Humphrey Bogart, Ingrid Bergman and Claude Rains, CASABLANCA tells the story of refugees trying to flee Nazi controlled France (via Casablanca) in WWII. Amongst the denizens of Casablanca, there is Rick Blain, proprieter of Rick's Cafe American - a place where one can buy documents needed to escape, as well as escape - through a bottle.
Humphrey Bogart is perfectly cast as the jaded, "I stick my neck out for no one", Rick. He is cynical, corrupt, selfish...but he also has a heart of gold underneath it all. Bogie plays all of these layers - richly - at once, and was rewarded with an Academy Award nomination. He would lose to Paul Lukas for WATCH ON THE RHINE - a film I haven't seen, so can't judge as to the merits of his win. But...based on Bogart's performance...I'd say he was robbed.
Rick's "partner in crime' is Capt. Louis Renault of the Casablanca police. He is cheerfully and unapologetic-ally played by Claude Rains, who also was nominated (but didn't win) for his performance. These two play off each other brilliantly and the chemistry between these two is evident and I would have LOVED to see another film featuring these two fine performers. I'd say the chemistry between these two actors is a high point in this film, if it weren't for...
Ingrid Bergman as Ilse Lund - a past romance of Rick's. When Ilse and her husband, Viktor Laszlo enters Rick's seeking transit papers to flee the Nazi's, the instant spark and chemistry between Bogart and Bergman is palatable. You can feel the heat between the two of them through the screen and the longing and regret for "what could have been" is heartbreaking. If you were to show an example of "screen chemistry" the scenes between Bogart in Bergman in this film would be "Exhibit A".
Credit for all of this - and for keeping the plot machinations moving forward - is Warner Brothers "contract director" Michael Curtiz - one of the greatest Directors of "old Hollywood." His credits include the Errol Flynn ROBIN HOOD, James Cagney's Oscar turn as George M. Cohan in YANKEE DOODLE DANDY, CASABLANCA, the Bing Crosby/Danny Kaye WHITE CHRISTMAS and John Wayne in THE COMMANCHERO'S - all big budget, big expectations films that delivered the goods. Curtiz won the Oscar for his work in this film.
Assisting him are the two men who wrote so many memorable lines...twin brothers Julius and Phillip Epstein. They (deservedly) won an Oscar for their screenplay - the only set of Twins to win the Oscar.
The supporting cast - including Paul Henreid, Sydney Greenstreet and Peter Lorre - are exceptional as well, as are great scene after great scene - including the "Marseilles" scene and, of course, the fog covered airport scene at the end.
If you haven't seen this film in awhile, do yourself a favor and check it out. If you have NEVER seen it, I envy you the experience of seeing this wonderful black and white film for the first time. It is consistently listed as one of the top 5 films of all time - and earns that ranking. It truly is one of the greatest films - with some of the greatest performances - of all time.
Certainly, if you wanted just one example of Studio "Old Hollywood" movie making, this would be the one movie to watch.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
"We'll always have Paris."
"Here's looking at you, kid."
"Louis, I think this is the beginning of a beautiful friendship."
And many, many, many other iconic lines were featured in the brilliant 1942 all-time Classic CASABLANCA. Listed as "Warner Brothers Project #410", this film was supposed to be "just another film", but it turned out to be something more.
Starring Humphrey Bogart, Ingrid Bergman and Claude Rains, CASABLANCA tells the story of refugees trying to flee Nazi controlled France (via Casablanca) in WWII. Amongst the denizens of Casablanca, there is Rick Blain, proprieter of Rick's Cafe American - a place where one can buy documents needed to escape, as well as escape - through a bottle.
Humphrey Bogart is perfectly cast as the jaded, "I stick my neck out for no one", Rick. He is cynical, corrupt, selfish...but he also has a heart of gold underneath it all. Bogie plays all of these layers - richly - at once, and was rewarded with an Academy Award nomination. He would lose to Paul Lukas for WATCH ON THE RHINE - a film I haven't seen, so can't judge as to the merits of his win. But...based on Bogart's performance...I'd say he was robbed.
Rick's "partner in crime' is Capt. Louis Renault of the Casablanca police. He is cheerfully and unapologetic-ally played by Claude Rains, who also was nominated (but didn't win) for his performance. These two play off each other brilliantly and the chemistry between these two is evident and I would have LOVED to see another film featuring these two fine performers. I'd say the chemistry between these two actors is a high point in this film, if it weren't for...
Ingrid Bergman as Ilse Lund - a past romance of Rick's. When Ilse and her husband, Viktor Laszlo enters Rick's seeking transit papers to flee the Nazi's, the instant spark and chemistry between Bogart and Bergman is palatable. You can feel the heat between the two of them through the screen and the longing and regret for "what could have been" is heartbreaking. If you were to show an example of "screen chemistry" the scenes between Bogart in Bergman in this film would be "Exhibit A".
Credit for all of this - and for keeping the plot machinations moving forward - is Warner Brothers "contract director" Michael Curtiz - one of the greatest Directors of "old Hollywood." His credits include the Errol Flynn ROBIN HOOD, James Cagney's Oscar turn as George M. Cohan in YANKEE DOODLE DANDY, CASABLANCA, the Bing Crosby/Danny Kaye WHITE CHRISTMAS and John Wayne in THE COMMANCHERO'S - all big budget, big expectations films that delivered the goods. Curtiz won the Oscar for his work in this film.
Assisting him are the two men who wrote so many memorable lines...twin brothers Julius and Phillip Epstein. They (deservedly) won an Oscar for their screenplay - the only set of Twins to win the Oscar.
The supporting cast - including Paul Henreid, Sydney Greenstreet and Peter Lorre - are exceptional as well, as are great scene after great scene - including the "Marseilles" scene and, of course, the fog covered airport scene at the end.
If you haven't seen this film in awhile, do yourself a favor and check it out. If you have NEVER seen it, I envy you the experience of seeing this wonderful black and white film for the first time. It is consistently listed as one of the top 5 films of all time - and earns that ranking. It truly is one of the greatest films - with some of the greatest performances - of all time.
Certainly, if you wanted just one example of Studio "Old Hollywood" movie making, this would be the one movie to watch.
Letter Grade: A+
10 stars (out of 10) and you can take that to the Bank(ofMarquis)
FarFaria Stories To Read Along
Education and Book
App
- “Brain Expander” –Parenting Magazine - “Netflix for Children's Books!” –USA Today -...
Bob Mann (459 KP) rated The Personal History of David Copperfield (2019) in Movies
Jan 8, 2021
The fantastic ensemble cast (1 more)
Great directing and editing
Effortlessly stylish and entertaining
The Personal History of David Copperfield starts with the young man (Dev Patel) regaling a theatre audience with a reading of his autobiography. This immediately pitches him into witnessing his own birth to widowed single mother Clara (the wonderful Morfydd Clark, or "Saint Maud" fame). From there, Copperfield goes helter-skelter into a rollercoaster life encompassing workhouse-bottling poverty, fish-gutting and rich gentlemanly pursuits.
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
You have to admire the artistry of Dickens. Of course, I am aware of some of the plethora of rich and complex characters that Dickens imagined including the rascally Mr Micawber (Peter Capaldi) and the ever-'umble but conniving Uriah Heep (Ben Wishaw). But the story is literally rammed with amazing characters. It's almost as if Dickens conjured up full pen-portraits of 30 different characters and then contrived to fit them somehow into the story. Remarkably rich.
There's a very striking nature to the casting of this movie. It had me going "Wha?? Who??" while watching it. Because the roles are cast multi-culturally, without nature to the demographics of the time and - crucially - to the relationship between the characters. For example, with Copperfield, you might - with a bit of a squint - play along with it since we never see the father. But then the mother of the (very-much-white) Steerforth (Aneurin Barnard) turns up as Nigerian-born actress Nikki Amuka-Bird (who is fabulous). Benedict Wong also turns up as legal director Mr Wickfield. It was as if the casting was done purely on talent and regardless of race and appropriateness for the Dickensian times. Which is refreshingly different and much to be welcomed.
Sarah Crowe has won a number of awards for her casting of the film and a BAFTA nomination too. And well deserved, since she pulls in a truly stellar ensemble cast. As well as those mentioned above, we also have Hugh Laurie as the addled Mr Dick; Tilda Swinton as Betsey Trotwood; Anna Maxwell Martin as Mrs Strong; Paul Whitehouse as Daniel Peggotty; and Gwendoline Christie as the evil Mrs Murdstone. Even Daisy May Cooper (from TV's "This Country") turns up and is particularly effective as Peggoty - the housemaid and friend to Copperfield. And casting Morfydd Clark in a second role as the scatty love interest Dora Spenlow is also both brilliant and provocative.
With such a wealth of talent on show, it's difficult to pull out specific performances. This is a movie that genuinely deserved to make the SAG Ensemble award list.
When I saw that the director of this was Armando Iannucci, I raised an eyebrow. For the subject matter seemed to be at right angles to the normal satirical thrust of the director. But the guy behind "The Thick of It" and "The Death of Stalin" reigned in his most satirical barbs and - together with his regular collaborative screenwriter Simon Blackwell - turned the movie into a delightfully quirky telling of the story. I felt that there was something of the Guy Ritchie "Sherlock Holmes" behind the very effective use of the cutting and on screen handwriting.
In that cutting, many of the scene transitions are masterfully done. So a special shout-out to the film editors Mick Audsley and Peter Lambert here. A memorable example is a flashback in the "boat house" where a background tarpaulin blows away to reveal Steerforth on horseback in France: simply breathtaking.
This was a refreshing movie. Endlessly innovative and entertaining. It makes me even possibly want to revisit trying to read the book again! Highly recommended.
(For the full graphical review, please check out the review here - https://rb.gy/ba74zo ).
Chinese Cookery Master Class
Food & Drink and Lifestyle
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Take a master class in Chinese cookery with this collection of over 500 video lessons. Many...
Holly Johnson recommended Sgt. Pepper's Lonely Hearts Club Band by The Beatles in Music (curated)
LC
Le Corbusier
Graham Livesey and Antony Moulis
Book
Le Corbusier (1887-1965), born Charles-Edouard Jeanneret-Gris in La Chaux-de-Fonds (Switzerland), is...
Lyndsey Gollogly (2893 KP) rated Masters of Horror: A Horror Anthology in Books
Jun 26, 2020
112 of 200
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!
Kindle
Masters of Horror: A Horror anthology
Presented by Matt Shaw
Collection of authors
Masters of Horror A selection of some of the finest horror writers of today were invited by Matt Shaw to bring him their twisted tales for this anthology. A book put together with the sole purpose of reminding readers what the horror genre is really about. Each author was told they could write about any subject matter they wanted so long as it was set in a world of horror. The only rule they had: No Paranormal Romance. Vampires do not sparkle, werewolves do not date, Witches do not scour Tinder for Virgins and ghosts do not declare their undying love whilst tidying the apartment... This is horror... Featuring work from: Introduction- Matt Shaw Brian Lumley - The Cyprus Shell Ramsey Campbell- Again Sam West- Survival J R Park - Mary Peter McKeirnon- Doll Face Andrew Freudenberg- A Taste of Mercy Mason Sabre - Chocolate Shaun Hutson- The Contract Anton Palmer- Dead-Eyed Dick Wrath James White- Beast Mode Shane McKenzie- Dewey Davenport Tonia Brown - Zolem Graeme Reynolds- The Pit Adam L.G. Nevill- Hippocampus Gary McMahon- You Can Go Now Ryan Harding - Down There Matt Shaw - Letter From Hell Matt Hickman- Eye For An Eye Daniel Marc Chant - Three Black Dogs Amy Cross- Checkout Kit Power- Loco Parentis Adam Millard - In The Family Guy N. Smith - The Priest Hole Jaime Johnesee- Just Breathe Craig Saunders- Raintown Sam Michael Bray - The End Is Where You’ll Find It Jeff Strand- Don’t Make Fun Of The Haunted House Mark Cassell - Trust Issues Paul Flewitt- The Silent Invader Clare Riley Whitfield- The Clay Man Jim Goforth- Animus Brian Lumley - The Deep-Sea Conch Chris Hall- Afterword
A few comments on the ones I enjoyed the most!
1. The Cyprus shell by Brain Lumley
This is a letter to a friend explaining his recent early departure from a dinner party. He explains his awful experience and aversion to oysters! Got to say I loved it and it captured so much in a short letter!
2. Again by Ramsey Campbell
This is a strange little story about a hiker discovering a strange old woman keeping her almost dead husband tied to a bed. It was a little strange.
4. Mary by J R Park
Ooo this was good religious symbols and lots of murder and blood!!
5 Doll Face by Peter McKeirnon
This was creepy as f**k there are no limits to what a father would do for his little girl!
6. A taste of Mercy by Andrew Freudenburg
Brilliant so sad and yet so gross! You felt every word of the woe the trenches brought these men!
7 chocolate by Mason Sabre
Ok so I will be keeping a close eye on my kids and their imaginary friends needing chocolate haha loved it!
8 The Contract by Shaun Hutson
Well this taught us one thing is certain killing death would be a very silly thing to do!!
9 Dead-eyed Dick by Anton Palmer
This had me in tears laughing and must be every mans worst nightmare! I’m definitely getting my husband to read it! Brilliant!!
11 Hippocampus by Adam L.G. Nevill
Nevill is one of my favourite authors he has a way of taking you every step of the journey with every book he writes. This one did not disappoint I walked the length of that vessel
With him! I know have some pretty gruesome scenes in my head.
12 you can go now. By Gary McMahon
Totally heartbreaking in some way and utterly creepy in others! Also an eye opener to mental illness which I took from it!
13 letter from hell by Matt Shaw
Reading this made me sick to my stomach being a mum I think it’s my worst nightmare! I can just imagine how those mothers felt when their children never came home! Totally gut wrenching!!
14 Eye for an eye by Matt Hickman
Brilliant! Gruesome and totally what you’d expect from the afterlife of a murderer!
16 Loco Parentis by Kit Power
About a man rounding up a pedophile ring and breaking some bones but in a strange twist he turns it on the reader lol very good!!
I absolutely loved most of these stories I think there is something in there for every Horror fan I’ve also found a few more authors!