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Sarah (7798 KP) rated Crime Scene: The Vanishing at the Cecil Hotel in TV
Feb 22, 2021
Scarily glamourises internet sleuthing
Crime Scene: The Vanishing at the Cecil Hotel is the latest stylised true crime documentary from Netflix, and it’s a pretty scary watch, but not in the way you’d expect from something that has been advertised as a supernatural murder mystery.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
The 4 episode documentary series focuses on a notorious hotel in downtown L.A, Hotel Cecil, and the disappearance of a Canadian student, Elisa Lam, who went missing from the hotel in unexplained circumstances and who was later found dead. On paper this has everything a true crime lover wants: CCTV footage of the victim acting strangely, a creepy hotel with a dodgy history and a lot of strange and unusual circumstances, which culminates in Elisa Lam’s decomposing body being found in a water tank on the hotel roof days after her disappearance, the same water that the hotel guests have been drinking all along. It’s a truly fascinating story and if done properly, would have been very interesting. However in the hands of director Joe Berlinger, the disappearance of Elisa Lam has been turned into a dull, drawn out affair that dangerously glamourises baseless conspiracy theories.
One of the two main problems is that this documentary has been drawn out over 4 hour long episodes, when realistically the true story of Elisa Lam’s disappearance could still have been told effectively in an hour, maybe two maximum, without detracting from the facts. And I guess that’s really the problem with The Vanishing at the Cecil Hotel, it isn’t necessarily all that concerned about the facts but rather just wants to create a film-like entertaining story, with the facts almost an afterthought crammed into the final parts of the last episode. It features lengthy and pointless interviews from other guests and tourists to try and give us a feel of what life at the Cecil was like, and these are entirely unnecessary, as some short exposition from the hotel manager or officers involved would’ve sufficed. Every part of this case is stretched so thinly that you almost lose track after having to weed out the truth and facts amongst all the irrelevant interviews and chatter. It isn’t helped by the narration of some of Elisa’s Tumblr posts, which comes across as cheesy and irritating rather than emotional and meaningful like it was probably intended.
What is most irrelevant and dangerous about this documentary, and the second main problem, is the focus on internet sleuths. These are mostly YouTubers who have spent hours dissecting every aspect of the case and have put forward many outrageous theories, all of which are completely laughable. But instead of mocking these idiots, this documentary glamourises them and their theories, and has dedicated more of it’s runtime to them than it has to any of the real life detectives and investigators involved. Watching these people wheel out one ridiculous theory after another had me wanting to throw my remote at the screen to make it stop. The theories ranged from the questionably plausible (foul player or murder) to the downright ludicrous - someone copying the film Dark Water, possible links to the Lam-Elisa TB test and a vast cover up jointly orchestrated by the police, hotel management and coroners staff are the ones that made me laugh and cringe the most.
All jokes aside, this focus on internet sleuths is extremely damaging and dangerous and this is illustrated by the awful accusations they made about Pablo Vergara aka Morbid, who’s only crime was to make music that wouldn’t be considered mainstream. If this documentary had focused on slamming these people and highlighting the dangers of them getting involved, then it would’ve redeemed itself. But it doesn’t, it gives them centre stage and debunking their theories is almost an afterthought. They aren’t even condemned for their treatment of Pablo despite the obviously long lasting effects on his mental health. These people are crazy and this only serves to highlight the huge problem with internet, video streaming sites and social media – how Joe public can ever think they know better than qualified pathologists and investigators is beyond me. And how this documentary can indulge and glamourise these people is even worse. From working a day job in the emergency services, I know how damaging this sort of interference and public perception can be.
The story of Elisa Lam’s disappearance at the Hotel Cecil is undoubtedly an interesting one. However in Crime Scene: The Vanishing at the Cecil Hotel, the real story has been mauled and disrespected by the focus and respect given to the internet sleuths and their absurd theories. I feel like I’m being generous giving it a 3, it made me so angry.
Mandy and G.D. Burkhead (26 KP) rated Hottest Blood: The Ultimate in Erotic Horror in Books
May 20, 2018
Shelf Life – Hottest Blood: The Ultimate in Erotic Horror is Neither of Those Things
(I’m gonna go ahead and throw a disclaimer on up here: You are about to read something that deals with purportedly “erotic” subject matter. If you don’t like the sound of that word, you might wanna go elsewhere. If it’s actually-erotic things that offend you, though, you’ll be fine.)
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
I like short story compilations because you get a variety of content that’s just as easy to breeze through if you have the time as it is to get to a stopping point and put down if you don’t. I like horror fiction because it usually involves the super-natural, which interests me, and intense emotional responses, which are almost always a good thing in writing. And I like eroticism because I am a warm-blooded human being with a pulse. However, on the whole, I do not like Hottest Blood.
I wanted to, I did. Look at that cover. It’s equal amounts scary and sexy, both in completely safe, PG-13-at-most kind of ways. Unfortunately, Softcore Succubus here is both the scariest and the sexiest thing about this book
Bluntly analogized, you know that feeling you get when you come across something on the internet that disturbs and/or disgusts you, and then you learn that there’s a dedicated group of people that gets off on it? Most of the stories in this book are that feeling captured in words.
Case in point, the story “Damaged Goods” by Elizabeth Massie, which as far as I can tell is about a couple of physically abused, emotionally damaged, developmentally stunted kids somewhere around their early teens who live with a religious fringe cult being led out to a field to have sex with each other while a nameless U.S. President watches and masturbates before both kids are drowned in a river by their preacher/pimp caretaker.
Or there’s “Mr. Right” by Chris Lacher, which tells the story of a college student named Russ who has a secret fetish for the deformed women in the freak show at a nearby carnival – a fascination which leads to him getting held down and forcibly raped by a group of unwashed subhuman mutants, which the detailed descriptions make sure you understand are completely revolting to all five senses. The story ends with him being dumped out behind the fairgrounds while a small, legless girl happily informs him that this is how all carnival workers reproduce, and he can look forward to seeing his own mutant rape-spawn in the show next year.
Or there’s “Abuse” by Matthew Costello, which simply shows us how the arrest of a Peewee Herman surrogate goes down in an adult movie theater before ending with another man jerking off with the cold, dry, severed hand in his pocket as he contemplates getting a new one to replace it.
The tone of these three are pretty much par for the course for the rest of the book: thoroughly disturbing, and sex is involved, but the disturbing feeling stems from revulsion rather than fear, and the sex bits are so far on the other end of the spectrum from erotic that it feels like the authors are trying to punish their readers for even expecting to be aroused in any way.
Of course, I said myself earlier that intense emotional responses are “almost always a good thing in writing.” By that merit alone, this book technically succeeds; in fact, if it had billed itself as shock fiction instead of erotic horror, I’d begrudgingly give it a medal in its class. The “aw, what the hell?!” moments are not as artistically executed as, say, a Chuck Palahniuk read, and they tend not to have as much depth to them, but strictly in terms of making you wish that you could unread words, they get the job done.
But that isn’t the job that Hottest Blood was hired to do, and that’s not what it put on its resume. It said it was going to “heat the blood and chill the mind,” and promised that “terror never felt this sexy!” It would have been more appropriate to say that “sex never felt this terrible.”
All of that said, if you abandon any hope of seeing anything resembling erotica or horror (scary horror, anyway), there are a few stories in here that are decent reads – mostly because they try to say something with their subject matter rather than use it to see how thoroughly they can ruin the idea of sex for the reader. To give a few quick nods of approval:
Nancy Holder’s “I Hear the Mermaids Singing,” which opens the anthology, is a dark and modern re-imagining of “The Little Mermaid” that brutally points up the drawbacks to throwing away your whole life and family in order to pursue someone that you know nothing about outside of a few fleeting glimpses and lustful inner fantasies.
J.L. Comeau’s “Black Cars” is the narrative of a high-class chauffeur as he tells his passenger an increasingly mysterious story about a couple of his regular customers, culminating in a creepy twist payoff that, in retrospect, actually makes it count as a legitimate horror story, and a decently gripping one at that.
And “Safe at Home” by Steve and Melanie Tem, while decidedly and disturbingly unsexy, at least has good reason to be; it’s a short character study of a young woman who’d been molested as a child, and the lasting and complex psychological damage resulting thereof that prevents her from having any normal social life or relationships, even with someone whom she legitimately likes, someone who knows what’s happened and sincerely cares for her.
So for the handful of intriguing stories that don’t make you quit (or wish you had) mid-read out of revolted disappointment, I can’t completely condemn Hottest Blood. If you want to test your own threshold for repulsion but are understandably hesitant to use online image searches to this end, I heartily recommend it.
If you are legitimately turned on by the idea of a man eating a woman alive and then gestating her alien spawn inside his own bloated body until his head detaches and crawls away (“How Deep the Taste of Love,” John Shirley), I suppose I still heartily recommend it, though I do so from a safe distance.
If you want to read one of the few stories involved that aren’t horrible, I heartily recommend trying to find them on their own somewhere else first.
But if you want “the ultimate in erotic horror,” stay the hell away. Softcore Succubus is a trap.
5 Minute Movie Guy (379 KP) rated Scary Stories to Tell in the Dark (2019) in Movies
Sep 16, 2019
In the early 1980s, author Alvin Schwartz created a book of short horror stories titled Scary Stories to Tell in the Dark that would go on to terrorize a whole generation of curious young readers. Combined with its morbid and ghastly illustrations by artist Stephen Gammell, the book would serve as an introduction to horror for many. Over the next ten years, Schwartz wrote two more books in the Scary Stories series, and now, nearly forty years later, it has finally been adapted into a major motion picture. Produced by Academy Award-winning director Guillermo Del Toro and directed by André Øvredal, the Scary Stories to Tell in the Dark film constructs a new narrative around several of the iconic short stories from the book series, and brings them to life to haunt the movie’s teenage characters.
In Mill Valley, Pennsylvania in 1968, a group of teenage friends fleeing from a band of bullies hide out in an abandoned haunted house on Halloween night. They know the story of this house well, whose folklore is rooted in the origins of their own small town. It was once owned by the wealthy Bellows Family, who according to urban legend, locked away their own daughter, Sarah Bellows, inside the cellar of their home. Sarah had been accused of killing the town’s children, and so her family kept her hidden away and attempted to erase her from existence, even removing her from their own family portraits. According to legend, Sarah wrote a book of horror stories and would read them aloud through the walls of her room to frighten the local townspeople.
While inside this haunted house, our group of protagonists; Stella (Zoe Colletti), Ramón (Michael Garza), Auggie (Gabriel Rush), and Chuck (Austin Zajur), discover the room Sarah had spent her life trapped in. Stella, an amateur horror writer herself, finds the rumored book that was written by Sarah. Upon opening it she sees that a new page is somehow being written in blood right before her very eyes, and it happens to be about the bully that chased them into the house. The next day, they realize that it seems as though the story actually came true, and that the book itself may be haunted. This establishes the basic premise of the film, in which new stories are being written in the book and they appear to be targeting Stella and everyone else that entered the Bellows’ house that night.
It’s an interesting set-up that cleverly mixes horror with mystery, as the characters are not only trying to survive these stories as they come to life, but are also trying to figure out how to stop them from happening. The film features five different stories from the series, most of which come from the third and final book, and a sixth story centered around Stella and Sarah Bellows that is at least in part inspired by one of the original tales. To give an example without giving too much away, one story for instance, involves a haunted scarecrow, whereas another is about a walking corpse in search of its severed big toe. The stories themselves are much more dark and grotesque than I had anticipated. I was expecting something more along the lines of Goosebumps, which was a series of children’s horror books that I personally loved and grew up with as a child, but these are much more disturbing than that. While I only found the first story of the film, “Harold”, to actually be scary, I do imagine this movie might be a little too frightening for some teenagers.
I should clarify that I’m not familiar with the original written source material of Scary Stories to Tell in the Dark, and I had truthfully never even heard of the books prior to the movie’s announcement. I don’t have any personal stake in these stories, but I do admire the thoughtfulness and creativity that went into building the film around them. I thought the film started out really strong with a likable cast of characters, and with most of its best moments featured early on. I loved the introduction to the haunted house and the legend of the Bellows Family. I enjoyed the playful nature of our group of young protagonists, who in the beginning felt reminiscent of the fun and crazy kids you might find in an 80s movie like The Goonies. Additionally, I liked the mystery of Sarah Bellows that the kids were trying to uncover, all the while struggling to survive the dangers of her haunting stories that had come to life.
Unfortunately, as the movie went on, I found myself less and less invested in it with each passing story, all of which I would argue are weaker than the previous one before it. The Pale Lady storyline was particularly dull and underwhelming. The final act itself, although smartly designed with its use of parallels, wound up feeling poorly executed and unsatisfying overall.
Similarly, in regards to the acting, I liked the performances even less by the end as well. Early on I had been impressed with Zoe Colletti as Stella, but I found her to be annoying in the later parts of the movie. The same goes for Austin Zajur as Chuck. The cast for the most part was decent, but everything about the movie began to drop in quality as it dragged on, which is especially unfortunate given how well it starts out.
The special effects are mostly quite good and adequately disturbing, but on the same token, I wish they were more clearly visible at times. A lot of the horror settings take place in dark rooms, so at times it can be hard to see the monsters with much clarity. Still, I love the design of Harold the Scarecrow, as well as The Jangly Man, who is played by contortionist Troy James whose extreme flexibility allows the character to move in unnatural and disturbing looking ways.
To conclude, I’m left with some mixed feelings on Scary Stories to Tell in the Dark. For me, it almost hits the mark, but unfortunately it isn’t a movie that I think I’d bother to watch again. It made a solid first impression with its rich atmosphere and creepy first act, but it failed to maintain its momentum and level of quality. In the end, my favorite thing about the whole movie is actually the excellent cover song of “Season of the Witch” by Lana Del Rey that plays during the credits. However that’s not in any way to say the movie is so bad that the credits were my favorite part. It’s just a great song by an artist I very much enjoy. If you grew up with the Scary Stories to Tell in the Dark series, then by all means, I recommend that you at least check it out. If you like horror and have any troublesome teenaged kids, this may be a perfect opportunity to have some fun scaring the heck out of them.
In Mill Valley, Pennsylvania in 1968, a group of teenage friends fleeing from a band of bullies hide out in an abandoned haunted house on Halloween night. They know the story of this house well, whose folklore is rooted in the origins of their own small town. It was once owned by the wealthy Bellows Family, who according to urban legend, locked away their own daughter, Sarah Bellows, inside the cellar of their home. Sarah had been accused of killing the town’s children, and so her family kept her hidden away and attempted to erase her from existence, even removing her from their own family portraits. According to legend, Sarah wrote a book of horror stories and would read them aloud through the walls of her room to frighten the local townspeople.
While inside this haunted house, our group of protagonists; Stella (Zoe Colletti), Ramón (Michael Garza), Auggie (Gabriel Rush), and Chuck (Austin Zajur), discover the room Sarah had spent her life trapped in. Stella, an amateur horror writer herself, finds the rumored book that was written by Sarah. Upon opening it she sees that a new page is somehow being written in blood right before her very eyes, and it happens to be about the bully that chased them into the house. The next day, they realize that it seems as though the story actually came true, and that the book itself may be haunted. This establishes the basic premise of the film, in which new stories are being written in the book and they appear to be targeting Stella and everyone else that entered the Bellows’ house that night.
It’s an interesting set-up that cleverly mixes horror with mystery, as the characters are not only trying to survive these stories as they come to life, but are also trying to figure out how to stop them from happening. The film features five different stories from the series, most of which come from the third and final book, and a sixth story centered around Stella and Sarah Bellows that is at least in part inspired by one of the original tales. To give an example without giving too much away, one story for instance, involves a haunted scarecrow, whereas another is about a walking corpse in search of its severed big toe. The stories themselves are much more dark and grotesque than I had anticipated. I was expecting something more along the lines of Goosebumps, which was a series of children’s horror books that I personally loved and grew up with as a child, but these are much more disturbing than that. While I only found the first story of the film, “Harold”, to actually be scary, I do imagine this movie might be a little too frightening for some teenagers.
I should clarify that I’m not familiar with the original written source material of Scary Stories to Tell in the Dark, and I had truthfully never even heard of the books prior to the movie’s announcement. I don’t have any personal stake in these stories, but I do admire the thoughtfulness and creativity that went into building the film around them. I thought the film started out really strong with a likable cast of characters, and with most of its best moments featured early on. I loved the introduction to the haunted house and the legend of the Bellows Family. I enjoyed the playful nature of our group of young protagonists, who in the beginning felt reminiscent of the fun and crazy kids you might find in an 80s movie like The Goonies. Additionally, I liked the mystery of Sarah Bellows that the kids were trying to uncover, all the while struggling to survive the dangers of her haunting stories that had come to life.
Unfortunately, as the movie went on, I found myself less and less invested in it with each passing story, all of which I would argue are weaker than the previous one before it. The Pale Lady storyline was particularly dull and underwhelming. The final act itself, although smartly designed with its use of parallels, wound up feeling poorly executed and unsatisfying overall.
Similarly, in regards to the acting, I liked the performances even less by the end as well. Early on I had been impressed with Zoe Colletti as Stella, but I found her to be annoying in the later parts of the movie. The same goes for Austin Zajur as Chuck. The cast for the most part was decent, but everything about the movie began to drop in quality as it dragged on, which is especially unfortunate given how well it starts out.
The special effects are mostly quite good and adequately disturbing, but on the same token, I wish they were more clearly visible at times. A lot of the horror settings take place in dark rooms, so at times it can be hard to see the monsters with much clarity. Still, I love the design of Harold the Scarecrow, as well as The Jangly Man, who is played by contortionist Troy James whose extreme flexibility allows the character to move in unnatural and disturbing looking ways.
To conclude, I’m left with some mixed feelings on Scary Stories to Tell in the Dark. For me, it almost hits the mark, but unfortunately it isn’t a movie that I think I’d bother to watch again. It made a solid first impression with its rich atmosphere and creepy first act, but it failed to maintain its momentum and level of quality. In the end, my favorite thing about the whole movie is actually the excellent cover song of “Season of the Witch” by Lana Del Rey that plays during the credits. However that’s not in any way to say the movie is so bad that the credits were my favorite part. It’s just a great song by an artist I very much enjoy. If you grew up with the Scary Stories to Tell in the Dark series, then by all means, I recommend that you at least check it out. If you like horror and have any troublesome teenaged kids, this may be a perfect opportunity to have some fun scaring the heck out of them.
The second book in the Faithful and the Fallen series continues straight on from Malice, and follows several different groups as they re-group from the events at the end of Malice (the siege of Ardan and the assault on the giant stronghold to capture one of the 7 treasures).
From there on each group goes on its own journey, but at times I found it hard to remember where they were going or why. Most of the original PoV characters return with some extras.
Maquin was a good addition as he tries to cope with losing his lord in the depths of the giant stronghold and battles on without a purpose, and ends up going on a really exciting journey.
Having Veradis no longer following Nathair, acting both as his first-sword and also as his conscience, was a bit of a challenge for me. I love the character of Veradis, and the shield wall method of battle he has developed, but struggle to see the point in him away from Nathair. At times it felt like there were events happening elsewhere in the world and one of the PoV characters had to witness them so he drew the short straw.
The focus of this book shifts away from Corban quite a bit: where Malice devoted almost every other chapter to his development and growth, here he becomes part of the richer story.
At times the events felt a little unbelievable - groups arriving at the same place at the right time, people just chancing upon others in a random clearing in the forest etc - and I found it a little jarring.
I found the characters a bit more well-defined than in the first book, but that could just be because some of the ones which were similar to others have now died. A number of the less pleasant characters though are still hard to distinguish - Jael, Rafe, Quinn, Morcant - all seem pretty interchangeable.
The story has moved along a bit but I feel the overall storyline is a little undefined as yet - it isn't clear what the end game is - there will be a battle between good and evil but there doesn't seem to be anything to do until then, other than try to stop it happening (but as the book itself says "it is prophesied so it will happen"), so the purpose seems to be damage limitation.
A good read and an improvement over Malice, but I still struggle to remember what each group is doing for the first page or so of their chapters.
From there on each group goes on its own journey, but at times I found it hard to remember where they were going or why. Most of the original PoV characters return with some extras.
Maquin was a good addition as he tries to cope with losing his lord in the depths of the giant stronghold and battles on without a purpose, and ends up going on a really exciting journey.
Having Veradis no longer following Nathair, acting both as his first-sword and also as his conscience, was a bit of a challenge for me. I love the character of Veradis, and the shield wall method of battle he has developed, but struggle to see the point in him away from Nathair. At times it felt like there were events happening elsewhere in the world and one of the PoV characters had to witness them so he drew the short straw.
The focus of this book shifts away from Corban quite a bit: where Malice devoted almost every other chapter to his development and growth, here he becomes part of the richer story.
At times the events felt a little unbelievable - groups arriving at the same place at the right time, people just chancing upon others in a random clearing in the forest etc - and I found it a little jarring.
I found the characters a bit more well-defined than in the first book, but that could just be because some of the ones which were similar to others have now died. A number of the less pleasant characters though are still hard to distinguish - Jael, Rafe, Quinn, Morcant - all seem pretty interchangeable.
The story has moved along a bit but I feel the overall storyline is a little undefined as yet - it isn't clear what the end game is - there will be a battle between good and evil but there doesn't seem to be anything to do until then, other than try to stop it happening (but as the book itself says "it is prophesied so it will happen"), so the purpose seems to be damage limitation.
A good read and an improvement over Malice, but I still struggle to remember what each group is doing for the first page or so of their chapters.
This One Rocked
I Read Blood Sisters By Jane Corry in a few short hours.
No sleep at all for me as I couldn't put the bloody thing down.
so After an awful accident years ago left Vanessa dead, Kitty with severe brain damage living in a home and Alison Introverted and shouldering a heap load of guilt.
The whole trauma is about to be unearthed again for Kitty, Ali and their mother
Many years after the tragic circumstances that left Alison's sister brain damaged and her best friend dead, Alison is trying to move on with her life she has shelved her university plans and is now an artist working at a local college.
Upon spotting an add for a resident artist at a nearby open prison, Alison needing the money applies and surprisingly gets the position.
But then someone starts sending Alison threatening notes saying she will pay.
What is she keeping hidden from that terrible day?
Now what I really loved about this story was the way it jumped from sister to sister while also giving us flashes into the past of the lead-up to what occurred the morning of the accident.
We are first with Alison, Then kitty then back again and even as Kitty resides in the day home with brain damage we see how surprisingly lucid some of her thoughts are, How frustrated she is with the people around her, though she can't remember the past properly and has only flashbacks she struggles to remember more and get her thoughts across.
It gives a whole new perspective into how we interact with disabled individuals, making us think what it would be like to be treated like a child. how frustrating this must be.
Now I don't want to give too much away with Blood Sisters, so all I'm going to say is when you think you know something do not be surprised when its turned on its head. This story takes that many turns with the truth of what happened my head was spinning but in a really good way.
Blood Sisters is an excellent easy read that will keep you guessing until the end, I highly recommend it.
Thank you to the publisher and NetGalley for providing me with a free advance reader copy of this novel. This is my own unbiased opinion of Blood Sisters by Jane Corry.
Arc Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
No sleep at all for me as I couldn't put the bloody thing down.
so After an awful accident years ago left Vanessa dead, Kitty with severe brain damage living in a home and Alison Introverted and shouldering a heap load of guilt.
The whole trauma is about to be unearthed again for Kitty, Ali and their mother
Many years after the tragic circumstances that left Alison's sister brain damaged and her best friend dead, Alison is trying to move on with her life she has shelved her university plans and is now an artist working at a local college.
Upon spotting an add for a resident artist at a nearby open prison, Alison needing the money applies and surprisingly gets the position.
But then someone starts sending Alison threatening notes saying she will pay.
What is she keeping hidden from that terrible day?
Now what I really loved about this story was the way it jumped from sister to sister while also giving us flashes into the past of the lead-up to what occurred the morning of the accident.
We are first with Alison, Then kitty then back again and even as Kitty resides in the day home with brain damage we see how surprisingly lucid some of her thoughts are, How frustrated she is with the people around her, though she can't remember the past properly and has only flashbacks she struggles to remember more and get her thoughts across.
It gives a whole new perspective into how we interact with disabled individuals, making us think what it would be like to be treated like a child. how frustrating this must be.
Now I don't want to give too much away with Blood Sisters, so all I'm going to say is when you think you know something do not be surprised when its turned on its head. This story takes that many turns with the truth of what happened my head was spinning but in a really good way.
Blood Sisters is an excellent easy read that will keep you guessing until the end, I highly recommend it.
Thank you to the publisher and NetGalley for providing me with a free advance reader copy of this novel. This is my own unbiased opinion of Blood Sisters by Jane Corry.
Arc Reviewed By Beckie Bookworm
https://www.beckiebookworm.com/
https://www.facebook.com/beckiebookworm/
https://www.goodreads.com/user/show/9460945-bex-beckie-bookworm
Acanthea Grimscythe (300 KP) rated Fungoid in Books
May 16, 2018
Actual rating: 4.5 Stars
Post-apocalyptic stories are, by far, among my favorites to read, perhaps because it's a hypothetical possibility that could still occur in our future. From zombies to biological warfare, many stories offer a new perspective on the end of the world and William Meikle's Fungoid is no different.
Fungoid takes place in Canada and encompasses a wide range of characters and their interactions with one another and other individuals after the apocalypse falls upon the world in the form of a fungal outbreak, only in this case, the fungal epidemic appears to have a mind of its own as it voraciously consumes humanity. Those who manage to survive are left to fend for themselves as they search for a way to overcome their fates when all odds are against them.
Sometimes, a wide range of characters works. Other times, it doesn't. In this case, it does, when says a lot for Meikle's talent as a writer: his characters are well-developed and each possess their own distinct personalities. None of these characters are perfect: they have their own flaws and faults, and, in the true nature of horror, they aren't all good. The portrayal of a villainous character's decline from normality to the ultimate evil is often skipped over in favor of shining the spotlight on the heroes of a story. Meikle's unfortunate villain is spared no detail, and as a reader I was glad to find myself not only bewildered and frustrated by this character, but also found myself feeling sadness and sympathy for them.
The story is extremely fast paced, leaving little room for breathing as you flip through the pages. Given that the book is actually fairly short, it serves as a perfect read for a rainy afternoon inside. There's no shortage of action which is a necessity in a world where many people simply do not have the time to divulge to reading a thick, slower paced book. Meikle's writing is filled with twists and turns, where his characters are given a plausible route of escape or survival, only to find themselves forced to overcome obstacles that threaten to end their very lives.
Fungoid is a definite, must-read for fans of the horror genre, especially if you're looking for a new way of approaching the end of the world.
I would like to thank DarkFuse, William Meikle, and NetGalley for providing me with an advanced reader's copy in exchange for an honest and unbiased review.
Post-apocalyptic stories are, by far, among my favorites to read, perhaps because it's a hypothetical possibility that could still occur in our future. From zombies to biological warfare, many stories offer a new perspective on the end of the world and William Meikle's Fungoid is no different.
Fungoid takes place in Canada and encompasses a wide range of characters and their interactions with one another and other individuals after the apocalypse falls upon the world in the form of a fungal outbreak, only in this case, the fungal epidemic appears to have a mind of its own as it voraciously consumes humanity. Those who manage to survive are left to fend for themselves as they search for a way to overcome their fates when all odds are against them.
Sometimes, a wide range of characters works. Other times, it doesn't. In this case, it does, when says a lot for Meikle's talent as a writer: his characters are well-developed and each possess their own distinct personalities. None of these characters are perfect: they have their own flaws and faults, and, in the true nature of horror, they aren't all good. The portrayal of a villainous character's decline from normality to the ultimate evil is often skipped over in favor of shining the spotlight on the heroes of a story. Meikle's unfortunate villain is spared no detail, and as a reader I was glad to find myself not only bewildered and frustrated by this character, but also found myself feeling sadness and sympathy for them.
The story is extremely fast paced, leaving little room for breathing as you flip through the pages. Given that the book is actually fairly short, it serves as a perfect read for a rainy afternoon inside. There's no shortage of action which is a necessity in a world where many people simply do not have the time to divulge to reading a thick, slower paced book. Meikle's writing is filled with twists and turns, where his characters are given a plausible route of escape or survival, only to find themselves forced to overcome obstacles that threaten to end their very lives.
Fungoid is a definite, must-read for fans of the horror genre, especially if you're looking for a new way of approaching the end of the world.
I would like to thank DarkFuse, William Meikle, and NetGalley for providing me with an advanced reader's copy in exchange for an honest and unbiased review.
Phillip McSween (751 KP) rated Bird Box (2018) in Movies
Mar 18, 2019
Not a Huge Fan
In a post-apocalyptic world where medusa-like creatures can kill you if you look at them, a woman is trying to get her two kids to one of the only safe zones left in the world.
Acting: 10
Beginning: 10
Characters: 10
A strong choice of characters creates an interesting dynamic, starting with main character Malorie (Sandra Bullock). Malorie is so beaten down by the new life she has entered that she can’t even stand to name her children. The things that she has done and seen have hardened, but underneath all that is a person lost and ready to crack. It’s not hard to empathize with her throughout the story. Outside of Malorie, it’s interesting watching the characters inside the home (where most of the story takes place) interact. Some are scared, others rational, others resigned to their fate. You put them together in different scenarios and it was interesting watching the outcomes play out.
Cinematography/Visuals: 5
Conflict: 8
Like a lot of films with a similar gimmick, the movie succeeds by giving you a sense of terror throughout. Much like the characters themselves, you’re in a constant state of worry that something terrible is lingering around the corner. You spend pretty much the entire movie wondering just what that something is. If it’s not creatures, it’s humans on the attack. While some of it is for the sake of shock value, there are some delightfully intense moments that keep things interesting.
Genre: 7
Memorability: 1
Bird Box falls short because there is a lot of much ado about nothing. I don’t want to spoil things for those of you that still haven’t seen it, but it is absolutely missing that “punch” that makes a movie worth rewatching. I left post-credits thinking, “Why was this done this way?” In the end, there was no real message to be had or no point of excitement that makes a typical classic stand the test of time.
Pace: 7
Plot: 5
Resolution: 6
Overall: 69
Bird Box has a great concept, but it doesn’t pack the same punch like films like A Quiet Place managed to do. Because I wasn’t as emotionally connected to the characters as I wanted to be and there was a little bit too much shock value with no real value, I can’t recommend the movie. I wanted it to be better and, with a few tweaks, it definitely could’ve been. Alas.
Acting: 10
Beginning: 10
Characters: 10
A strong choice of characters creates an interesting dynamic, starting with main character Malorie (Sandra Bullock). Malorie is so beaten down by the new life she has entered that she can’t even stand to name her children. The things that she has done and seen have hardened, but underneath all that is a person lost and ready to crack. It’s not hard to empathize with her throughout the story. Outside of Malorie, it’s interesting watching the characters inside the home (where most of the story takes place) interact. Some are scared, others rational, others resigned to their fate. You put them together in different scenarios and it was interesting watching the outcomes play out.
Cinematography/Visuals: 5
Conflict: 8
Like a lot of films with a similar gimmick, the movie succeeds by giving you a sense of terror throughout. Much like the characters themselves, you’re in a constant state of worry that something terrible is lingering around the corner. You spend pretty much the entire movie wondering just what that something is. If it’s not creatures, it’s humans on the attack. While some of it is for the sake of shock value, there are some delightfully intense moments that keep things interesting.
Genre: 7
Memorability: 1
Bird Box falls short because there is a lot of much ado about nothing. I don’t want to spoil things for those of you that still haven’t seen it, but it is absolutely missing that “punch” that makes a movie worth rewatching. I left post-credits thinking, “Why was this done this way?” In the end, there was no real message to be had or no point of excitement that makes a typical classic stand the test of time.
Pace: 7
Plot: 5
Resolution: 6
Overall: 69
Bird Box has a great concept, but it doesn’t pack the same punch like films like A Quiet Place managed to do. Because I wasn’t as emotionally connected to the characters as I wanted to be and there was a little bit too much shock value with no real value, I can’t recommend the movie. I wanted it to be better and, with a few tweaks, it definitely could’ve been. Alas.
Hazel (1853 KP) rated Nirvana (Nirvana #1) in Books
Dec 7, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
Imagine a world without any bees. That is the world that J. R. Stewart conjures up in this new dystopian series, <i>Nirvana</i>. Twenty years from now, the bees have become extinct. There are no more trees, flowers, fruits or vegetables; and more animals have become extinct as a result. Young adult, Larissa, is living in a world that seems unimaginable, but not only is she dealing with this new way of life, she is also grieving the loss of her husband, Andrew.
Andrew was a scientist, an occupation that earned himself and Larissa a place in the Barracks where he could continue with his important research. They both believed they were lucky to receive this opportunity, but then Andrew went out on a mission and never came back. No matter how hard people try to convince her, Larissa cannot accept that her husband is dead, especially as she has seen him in <i>Nirvana</i> – a virtual reality world. As she struggles to piece together what is real and what is not, secrets are being uncovered that blur the lines between reality and the cybernetic domain.
<i>Nirvana </i>is an interesting concept. Firstly, the issue with the extinction of the bees is a very real concern for scientists at the moment. If bees were to die out there would be no pollination of the vital plants that humans use daily. Humanity would be faced with a future not unlike Larissa’s. Secondly, with the advance in computer technology, virtual reality has become a popular phenomenon in contemporary society, and with more expansion it is likely that something similar to Nirvana will be produced.
As a story, however, nothing exciting really happened. There was no major build up to the ending. Characters were suspected of hiding the truth from the very beginning and therefore it was no surprise when certain facts came to light later in the novel. <i>Nirvana</i> is also a very short first installment of the series, which does not give the story much chance to develop at an adequate pace, thus it is difficult to get our heads around the virtual reality concept that Stewart writes about.
Despite these misgivings there is the chance that the following novels in this series will become more thrilling as the truth begins to unravel about Andrew’s disappearance or death.
Imagine a world without any bees. That is the world that J. R. Stewart conjures up in this new dystopian series, <i>Nirvana</i>. Twenty years from now, the bees have become extinct. There are no more trees, flowers, fruits or vegetables; and more animals have become extinct as a result. Young adult, Larissa, is living in a world that seems unimaginable, but not only is she dealing with this new way of life, she is also grieving the loss of her husband, Andrew.
Andrew was a scientist, an occupation that earned himself and Larissa a place in the Barracks where he could continue with his important research. They both believed they were lucky to receive this opportunity, but then Andrew went out on a mission and never came back. No matter how hard people try to convince her, Larissa cannot accept that her husband is dead, especially as she has seen him in <i>Nirvana</i> – a virtual reality world. As she struggles to piece together what is real and what is not, secrets are being uncovered that blur the lines between reality and the cybernetic domain.
<i>Nirvana </i>is an interesting concept. Firstly, the issue with the extinction of the bees is a very real concern for scientists at the moment. If bees were to die out there would be no pollination of the vital plants that humans use daily. Humanity would be faced with a future not unlike Larissa’s. Secondly, with the advance in computer technology, virtual reality has become a popular phenomenon in contemporary society, and with more expansion it is likely that something similar to Nirvana will be produced.
As a story, however, nothing exciting really happened. There was no major build up to the ending. Characters were suspected of hiding the truth from the very beginning and therefore it was no surprise when certain facts came to light later in the novel. <i>Nirvana</i> is also a very short first installment of the series, which does not give the story much chance to develop at an adequate pace, thus it is difficult to get our heads around the virtual reality concept that Stewart writes about.
Despite these misgivings there is the chance that the following novels in this series will become more thrilling as the truth begins to unravel about Andrew’s disappearance or death.
Alice (12 KP) rated Blood Bank in Books
Jul 3, 2018
<i>I received a copy of this book in exchange for an honest review</i>
Blood Bank is the first book by Zoe Markham that I’ve read and it was one of those “swallow you whole” books. It was only a short little novella but it was packed full of action and kept your interest from the get go.
From the very first page we’re drawn into a story about the paranormal like no other; it begins with a carnival and quickly transfers into the town of Swindon and vampires. Not just any vampires – we’re talking brutal business men – not the romantic kind we all know – but vampires you DO NOT FUCK with.
There’s a club in Swindon where only the down-on-their-luck can get an invitation into its depths, where, if you can’t pay in money, you pay in the next best commodity – blood. The characters we see in this book are Zack, Ben and Lucy – all three of whom eventually have a link.
Zack and Lucy are in a relationship and this is basically where the story begins, they’re out on a date and as usual Lucy ends up paying for it, Zach has got himself into some big time debt and the only way to get out of it is to donate his blood.
Ben is a vampire – 10 years converted and hating it more each day – he comes to Lucy’s rescue when something bad happens to her and they develop a relationship that seems to be healthier than Lucy and Zack’s one. Zack has got the ugliest bracelet on which was supplied to him by his new employer, the creepiest priest agoing y’all. When they call, he has to come, if he doesn’t then the debt goes to his nearest and dearest.
The writing style of this book was one that I really liked, the correct terminology was used for the enemy of the vampires which was great and there was a suitable amount of freak out on Zack’s part and it was written with that in mind. Lucy was surprisingly mature given her age and I liked that about her.
There also wasn’t a lot of unnecessary filler dialogue or descriptions which I sometimes find with novellas – as if they struggled to fill the small amount of pages novellas take up – I didn’t find this with Zoe’s Blood Bank which has kind of given me an insight into her other writing which I’d love to read.
Blood Bank is the first book by Zoe Markham that I’ve read and it was one of those “swallow you whole” books. It was only a short little novella but it was packed full of action and kept your interest from the get go.
From the very first page we’re drawn into a story about the paranormal like no other; it begins with a carnival and quickly transfers into the town of Swindon and vampires. Not just any vampires – we’re talking brutal business men – not the romantic kind we all know – but vampires you DO NOT FUCK with.
There’s a club in Swindon where only the down-on-their-luck can get an invitation into its depths, where, if you can’t pay in money, you pay in the next best commodity – blood. The characters we see in this book are Zack, Ben and Lucy – all three of whom eventually have a link.
Zack and Lucy are in a relationship and this is basically where the story begins, they’re out on a date and as usual Lucy ends up paying for it, Zach has got himself into some big time debt and the only way to get out of it is to donate his blood.
Ben is a vampire – 10 years converted and hating it more each day – he comes to Lucy’s rescue when something bad happens to her and they develop a relationship that seems to be healthier than Lucy and Zack’s one. Zack has got the ugliest bracelet on which was supplied to him by his new employer, the creepiest priest agoing y’all. When they call, he has to come, if he doesn’t then the debt goes to his nearest and dearest.
The writing style of this book was one that I really liked, the correct terminology was used for the enemy of the vampires which was great and there was a suitable amount of freak out on Zack’s part and it was written with that in mind. Lucy was surprisingly mature given her age and I liked that about her.
There also wasn’t a lot of unnecessary filler dialogue or descriptions which I sometimes find with novellas – as if they struggled to fill the small amount of pages novellas take up – I didn’t find this with Zoe’s Blood Bank which has kind of given me an insight into her other writing which I’d love to read.
LilyLovesIndie (123 KP) rated Tormented (The Gates Legacy, #2) in Books
Nov 5, 2018
If you follow my reviews then you'll know I loved Hunted and I'm a sucker (pun intended) for anything connected to vampires. That said, I always worry with series that they won't match up to the hype or the quality, but rest assured, Font hit the ground running with this one and it does not disappoint.
It continues on flawlessly from the first book, with a odd bod gang of vamps and humans still reeling from the twists and turns they've been subjected to (apologies for the vagueness, but I loathe spoilers). As always with Font's writing, there are many perspectives from which to tell a story, but as always, she's written it splendidly and it's always clear exactly which POV and which character you're following - a skill of hers I've loved since the first piece of writing I sampled. I love how we see the perspectives of new characters in this book, namely more of Tor and Ally, alongside familiar favourites Harrow and Jordan.
The character development, as a whole, is fabulous, Font is skilled in showing such growth in all characters in such a short space of narrative, but Tor in particular really stands out for all the right reasons in this story. His growth as a character is phenomenal, and the changes are superbly written. As a reader, you want to be able to get into the heads of the characters and Font does just that for us with Tor.
She writes in the same vein of twisting and turning and never quite fully letting you know what's going to happen. As a result, the plot twists are fabulous and completely unexpected. Furthermore, the way the information is drip fed, oh so slowly, keeps you completely hooked, like an addict after their next fix you turn each page and devour it in no time. You feel everything that happens - the thrill of the battle, the horror of loss, the sorrow for thee deaths which come thick and fast. It's all brilliantly done.
This is a stunning piece of storytelling and a series I have added to my favourites list. I cannot wait to see what Font does next with these characters, but I have a feeling I should heed the warnings of a friend and not get too attached to anyone. A very worthy 5 stars and an excellent continuation of what promises to be a phenomenal series.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
It continues on flawlessly from the first book, with a odd bod gang of vamps and humans still reeling from the twists and turns they've been subjected to (apologies for the vagueness, but I loathe spoilers). As always with Font's writing, there are many perspectives from which to tell a story, but as always, she's written it splendidly and it's always clear exactly which POV and which character you're following - a skill of hers I've loved since the first piece of writing I sampled. I love how we see the perspectives of new characters in this book, namely more of Tor and Ally, alongside familiar favourites Harrow and Jordan.
The character development, as a whole, is fabulous, Font is skilled in showing such growth in all characters in such a short space of narrative, but Tor in particular really stands out for all the right reasons in this story. His growth as a character is phenomenal, and the changes are superbly written. As a reader, you want to be able to get into the heads of the characters and Font does just that for us with Tor.
She writes in the same vein of twisting and turning and never quite fully letting you know what's going to happen. As a result, the plot twists are fabulous and completely unexpected. Furthermore, the way the information is drip fed, oh so slowly, keeps you completely hooked, like an addict after their next fix you turn each page and devour it in no time. You feel everything that happens - the thrill of the battle, the horror of loss, the sorrow for thee deaths which come thick and fast. It's all brilliantly done.
This is a stunning piece of storytelling and a series I have added to my favourites list. I cannot wait to see what Font does next with these characters, but I have a feeling I should heed the warnings of a friend and not get too attached to anyone. A very worthy 5 stars and an excellent continuation of what promises to be a phenomenal series.
*This book was first reviewed on Lily Loves Indie as part of a blog tour, for which an ARC was received in return for an honest review*
Erika (17788 KP) Mar 1, 2021
Sarah (7798 KP) Mar 2, 2021