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Kristy H (1252 KP) rated The Turn of The Key in Books
Aug 16, 2019
Rowan Caine feels like her life is at a bit of a dead end when she finds the advertisement: it's for a live-in nanny, and the pay is amazing. Rowan has a background in nannying and working with children, so she submits her CV and crosses her fingers. Still, she can't believe her luck when she interviews at the gorgeous Heatherbrae House in Scotland. It's isolated, but beautiful. And then she gets the job caring for four seemingly lovely children: Rhiannon, 14; Maddie, 8; Ellie, 5; and Petra, eighteen months. But the position isn't all it cracked up to be. The children are nothing like the sweet kids they appeared when she interviewed. The entire house is a smart home, controlled by a home management app, and it seems to go haywire constantly. The parents leave nearly the moment she arrives. And it really seems like the rumors of ghosts and a haunted house that drove away the past four nannies are true. We know Rowan is writing about all of this from prison--jailed for the death of one of the children. She claims she's innocent. What really happened at Heatherbrae House?
This was a very intriguing, eerie thriller, made all the more creepy by reading it alone in a cabin in the woods with no one beside me but my dog. Perhaps choosing this read for my short getaway was a mistake? Ha, I actually liked getting a little spooked by this Gothic mystery. It was an enjoyable slow-burning read that kept me hooked.
As mentioned, the entire book is told in letter form--albeit mostly one long letter--as Rowan sits in Scottish prison, trying to convince a Mr. Wrexham to take up her case. She's innocent, she says, and here is her story. And quite a story it is. From the moment Rowan arrives at the Elincourt's beautiful home, Heatherbrae House, it seems like things go wrong--she hasn't memorized the 300-page "manual" required to watch the girls, the "smart" house is out of control, and the children are absolute terrors.
"I guess it comes down to this in the end. I am the nanny in the Elincourt case, Mr. Wrexham. And I didn't kill that child."
But the more we hear from Rowan, we learn she may not be completely guilt-free in all of this, as perhaps there is more to her story than meets the eye. It all unfurls easily in Ware's deft hands. It may take a while to get to some of the major twists and turns, but there's plenty of little bits of creepiness along the way. Rowan is sure she's being haunted, and it's quite fun to try to figure out what exactly is happening. Ghosts? The smart house gone awry? While Rowan isn't always the easiest character to root for, I still sympathized with her (I wouldn't want to be left with four combative children) and yet I found myself getting attached to the kids anyway (clearly they didn't choose to be left behind by their rich and distracted parents).
"I need you to understand why I did what I did."
Overall, this one is a fun, eerie read. I enjoyed the combination of creepy Gothic plus smart home craziness. I also couldn't always foresee what was coming up next, which I appreciated. It's engaging and surprising, despite our limited cast of characters. 4 stars.
This was a very intriguing, eerie thriller, made all the more creepy by reading it alone in a cabin in the woods with no one beside me but my dog. Perhaps choosing this read for my short getaway was a mistake? Ha, I actually liked getting a little spooked by this Gothic mystery. It was an enjoyable slow-burning read that kept me hooked.
As mentioned, the entire book is told in letter form--albeit mostly one long letter--as Rowan sits in Scottish prison, trying to convince a Mr. Wrexham to take up her case. She's innocent, she says, and here is her story. And quite a story it is. From the moment Rowan arrives at the Elincourt's beautiful home, Heatherbrae House, it seems like things go wrong--she hasn't memorized the 300-page "manual" required to watch the girls, the "smart" house is out of control, and the children are absolute terrors.
"I guess it comes down to this in the end. I am the nanny in the Elincourt case, Mr. Wrexham. And I didn't kill that child."
But the more we hear from Rowan, we learn she may not be completely guilt-free in all of this, as perhaps there is more to her story than meets the eye. It all unfurls easily in Ware's deft hands. It may take a while to get to some of the major twists and turns, but there's plenty of little bits of creepiness along the way. Rowan is sure she's being haunted, and it's quite fun to try to figure out what exactly is happening. Ghosts? The smart house gone awry? While Rowan isn't always the easiest character to root for, I still sympathized with her (I wouldn't want to be left with four combative children) and yet I found myself getting attached to the kids anyway (clearly they didn't choose to be left behind by their rich and distracted parents).
"I need you to understand why I did what I did."
Overall, this one is a fun, eerie read. I enjoyed the combination of creepy Gothic plus smart home craziness. I also couldn't always foresee what was coming up next, which I appreciated. It's engaging and surprising, despite our limited cast of characters. 4 stars.
Sarah (7798 KP) rated Mean Girls (2004) in Movies
Nov 22, 2020
Entertaining
Film #3 on the 100 Movies Bucket List: Mean Girls
The third film on my 100 Movies Bucket List is Mean Girls, a film I’ve seen but never had any strong emotion for. Mean Girls stars Lindsay Lohan as Cady, who after living and being homeschooled in Africa for most of her life, must now enter the terrifying world of an American high school. Here she meets Janis (Lizzy Caplan) and Damian (Daniel Franzese) who clue her into high school hierarchy, including introducing her to the Plastics: Regina (Rachel McAdams), Karen (Amanda Seyfried) and Gretchen (Lacey Chabert).
Mean Girls is a teenage movie that is unlike many others – instead of being dumb and crude, it’s surprisingly smart and humorous. From the opening scenes, it’s obvious that this is intelligent. It’s full of subtle jokes and remarks and some absolutely superb one liners, and these are all down to Tina Fey who has written an excellent script. And in the process appears to have some of the best lines as teacher Mrs Norbury, but do you blame her? Mean Girls manages to portray the high school hierarchy and social interactions perfectly. Whilst is is obviously catering more to American high schoolers, I doubt there are many that would watch this and not see something that they personally experienced at high school. It’s almost poking fun at the high school experience but in such a smart and enjoyable way. There are moments and lines in this that are almost verging on inappropriate, and likely wouldn’t be acceptable in today’s society, but even though this was made in 2004 I don’t doubt that this impropriety is still reflective of modern day high schools.
The acting on offer here is superb. Lindsay Lohan is entirely believable as Cady and this is hugely important considering the message Mean Girls is portraying. This film is entirely about the realisation that you should be happy about you are, and that putting other people down will never achieve anything. Getting this message across is done very well, in a funny yet almost heartwarming manner although admittedly it is all rather obvious. Although at least this tries to avoid as many teenage film clichés as possible, which makes for a refreshing change.
My problem with Mean Girls is the whole bitchiness of it all that underpins the second act. I know “mean” girls were to be expected, but by the end I found myself getting very irritable with how horrible these girls were and the constant sniping at each other. This may stem from my own sometimes unpleasant experiences at high school, but teenage girls stabbing each other in the backs gets very old very quickly. Fortunately the ending does at least relieve some of the meanness and provide a surprisingly heartwarming and uplifting resolution, but I’m afraid some of the damage remains. And I must admit that seeing a smart girl play dumb and risk failing for a boy really makes my blood boil, and yes I do know it’s only a film.
Overall Mean Girls is a well done teenage film which stands out mostly because of its very smart script. It’s probably one of the best high school based films out there but it isn’t perfect, and I do question as to whether it deserves a spot on the bucket list when there are so many outstanding films that have missed out.
The third film on my 100 Movies Bucket List is Mean Girls, a film I’ve seen but never had any strong emotion for. Mean Girls stars Lindsay Lohan as Cady, who after living and being homeschooled in Africa for most of her life, must now enter the terrifying world of an American high school. Here she meets Janis (Lizzy Caplan) and Damian (Daniel Franzese) who clue her into high school hierarchy, including introducing her to the Plastics: Regina (Rachel McAdams), Karen (Amanda Seyfried) and Gretchen (Lacey Chabert).
Mean Girls is a teenage movie that is unlike many others – instead of being dumb and crude, it’s surprisingly smart and humorous. From the opening scenes, it’s obvious that this is intelligent. It’s full of subtle jokes and remarks and some absolutely superb one liners, and these are all down to Tina Fey who has written an excellent script. And in the process appears to have some of the best lines as teacher Mrs Norbury, but do you blame her? Mean Girls manages to portray the high school hierarchy and social interactions perfectly. Whilst is is obviously catering more to American high schoolers, I doubt there are many that would watch this and not see something that they personally experienced at high school. It’s almost poking fun at the high school experience but in such a smart and enjoyable way. There are moments and lines in this that are almost verging on inappropriate, and likely wouldn’t be acceptable in today’s society, but even though this was made in 2004 I don’t doubt that this impropriety is still reflective of modern day high schools.
The acting on offer here is superb. Lindsay Lohan is entirely believable as Cady and this is hugely important considering the message Mean Girls is portraying. This film is entirely about the realisation that you should be happy about you are, and that putting other people down will never achieve anything. Getting this message across is done very well, in a funny yet almost heartwarming manner although admittedly it is all rather obvious. Although at least this tries to avoid as many teenage film clichés as possible, which makes for a refreshing change.
My problem with Mean Girls is the whole bitchiness of it all that underpins the second act. I know “mean” girls were to be expected, but by the end I found myself getting very irritable with how horrible these girls were and the constant sniping at each other. This may stem from my own sometimes unpleasant experiences at high school, but teenage girls stabbing each other in the backs gets very old very quickly. Fortunately the ending does at least relieve some of the meanness and provide a surprisingly heartwarming and uplifting resolution, but I’m afraid some of the damage remains. And I must admit that seeing a smart girl play dumb and risk failing for a boy really makes my blood boil, and yes I do know it’s only a film.
Overall Mean Girls is a well done teenage film which stands out mostly because of its very smart script. It’s probably one of the best high school based films out there but it isn’t perfect, and I do question as to whether it deserves a spot on the bucket list when there are so many outstanding films that have missed out.
Sarah (7798 KP) rated The Hunt (2020) in Movies
Nov 14, 2020
Darkly fun
The Hunt follows twelve strangers as they wake up in a clearing with no recollection of how they got there, and soon find themselves hunted for sport by a group of liberal elites.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.
Starring Betty Gilpin, Hilary Swank, Emma Roberts, Ethan Suplee and Justin Hartley, and written by Nick Cuse and Damon Lindelof, The Hunt’s original release was delayed in 2019 due to a number of mass shootings in America. It was pushed back to Spring 2020 only for it to come out just before the big lockdown for COVID-19, so to say this film has suffered a few setbacks would be an understatement, and this is a shame as it’s actually one of the most enjoyable new releases I’ve seen in 2020 so far.
Right from the opening scene, The Hunt shows you what it’s made of - understated and subtle it is not. It’s a riotously funny and witty parody, poking fun at absolutely everyone in it with it’s on the nose references that are so relevant to today’s political and social climate. Neither the prey or the hunters escape unscathed, in all manner of the word, and everything from climate change to racial prejudices and political ideology feature heavily in the running satire on offer here. This is a darkly funny and very smart film, and it knows it.
What this film is not though, is a horror film. Gory yes and brilliantly so, but it is in no means scary or horrifying. The plot itself is of course reminiscent of Battle Royale and even The Hunger Games, but The Hunt is very much it’s own film. It starts with an overly dramatic score and a decent amount of tension, and shifts into the action virtually straight away - with a short 90 minute runtime, this doesn’t waste it’s time on unnecessary exposition. Whilst I wouldn’t say this isn’t entirely unpredictable, The Hunt still has a few surprises to throw at you. The first half hour plays out a lot differently than you’d expect and makes you wonder if it’s played out it’s hand a little too soon.
But then in walks Betty Gilpin who is by far the star of the show and leads the remaining hour almost single handedly. Gilpin’s Crystal is a kickass, strong, smart heroine and she’s a delight to watch, although even she can’t quite save the lull half way through. Fortunately the lull doesn’t last long and watching Crystal exact her revenge on the hunters is wonderful to watch. Hilary Swank however is on the sidelines for most of the film, and for some bizarre reason whenever she is featured earlier on her face is kept hidden which is a rather strange move when we all know who it is. But despite this, when Swank is finally revealed in the final act she plays the cold, cruel and calculating Athena as a perfect callous bitch. The final exchange and reveal between Athena and Crystal is smart, tense and wickedly funny, and the ensuing fight scene is beautifully choreographed with some great laughs thrown in, and is probably the best fight scene I’ve seen in any film in quite some time.
The Hunt is gloriously over the top and mocks everyone and everything, yet also proves to be an equally thought provoking and relevant commentary on today’s society. As long as you’re not easily offended and don’t take it too seriously, it’ll prove to be hugely entertaining.