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Gareth von Kallenbach (980 KP) rated Crimson Peak (2015) in Movies
Jun 19, 2019
For Writer/Director Guillermo del Toro horror and the supernatural go hand in hand with much of his work. From Pan’s Labyrinth” to The Strain, and “Hellboy” his unique mix of visuals and compelling characters have made him a darling of the genre.
In his new film “Crimson Peak”, the setting is the cold locales of Buffalo New York and Rural England during the late 1800s, and one where the weather both cold and wet play important parts in the look and plot of the film.
For Edith Cushing (Mia Wasikowska), life is exciting as despite the loss of her mother, her wealthy and supportive father has arranged for her to see her potentially see her stories published. As an avid writer, Edith holds that she has seen the ghost of her mother a secret and uses this as central themes of her writing.
Naturally this does not go well with the times, and she is urged to focus on romantic stories instead. Undaunted, Edith soldiers on unaware that her sheltered and privileged world is going to be upended by the arrival of the dashing Thomas (Tom Hiddleston), and his sister Lucille (Jessica Chastain), who have come to America to secure funding for their business ventures.
Tom came from a wealthy background and has fallen on hard times which have forced him to look for backers abroad. Edith’s father takes a disliking to him and even more so when he begins to court his daughter.
When her father pays off Thomas to leave when parts of his past are uncovered, things become complicated when Edith’s father is brutally killed and it is passed off as an accident. Grief stricken Edith marries Thomas and relocates to his home in England with Lucille to await her inheritance.
Of course things are not as they seem, and the home in which she lives is filled with dark secrets and Edith must find a way to survive the nightmare to which she has become a part of.
The film has some great visuals and a strong cast, but does tend to plod along. It is less of a horror story and more of a drama as the Supernatural element is there mainly to support aspects of the story rather than be the driving point.
My biggest issue with the film aside from pacing was that I was able to figure out where the story was going, twists and all within the first 30 minutes so there were no real surprises for me as it unfolded.
That being said, it was a pleasant enough diversion, I just do not think it will deliver the thrills and chills that audiences are expecting as it is more of a turn of the century drama than a horror film.
http://sknr.net/2015/10/14/crimson-peak/
In his new film “Crimson Peak”, the setting is the cold locales of Buffalo New York and Rural England during the late 1800s, and one where the weather both cold and wet play important parts in the look and plot of the film.
For Edith Cushing (Mia Wasikowska), life is exciting as despite the loss of her mother, her wealthy and supportive father has arranged for her to see her potentially see her stories published. As an avid writer, Edith holds that she has seen the ghost of her mother a secret and uses this as central themes of her writing.
Naturally this does not go well with the times, and she is urged to focus on romantic stories instead. Undaunted, Edith soldiers on unaware that her sheltered and privileged world is going to be upended by the arrival of the dashing Thomas (Tom Hiddleston), and his sister Lucille (Jessica Chastain), who have come to America to secure funding for their business ventures.
Tom came from a wealthy background and has fallen on hard times which have forced him to look for backers abroad. Edith’s father takes a disliking to him and even more so when he begins to court his daughter.
When her father pays off Thomas to leave when parts of his past are uncovered, things become complicated when Edith’s father is brutally killed and it is passed off as an accident. Grief stricken Edith marries Thomas and relocates to his home in England with Lucille to await her inheritance.
Of course things are not as they seem, and the home in which she lives is filled with dark secrets and Edith must find a way to survive the nightmare to which she has become a part of.
The film has some great visuals and a strong cast, but does tend to plod along. It is less of a horror story and more of a drama as the Supernatural element is there mainly to support aspects of the story rather than be the driving point.
My biggest issue with the film aside from pacing was that I was able to figure out where the story was going, twists and all within the first 30 minutes so there were no real surprises for me as it unfolded.
That being said, it was a pleasant enough diversion, I just do not think it will deliver the thrills and chills that audiences are expecting as it is more of a turn of the century drama than a horror film.
http://sknr.net/2015/10/14/crimson-peak/
Sarah (7800 KP) rated Truth Seekers - Season 1 in TV
Nov 8, 2020
Enjoyably British
Truth Seekers is the latest collaboration from Nick Frost and Simon Pegg, and centres around employees of a network services provider who run a YouTube channel as amateur paranormal investigators.
The series follows Gus Roberts (Nick Frost), the top installation engineer for network provider Smyle. He lives with his dad (Malcolm McDowell) and investigates paranormal activities in his spare time, running his own YouTube channel as ‘The Truth Seeker’. His boss Dave (Simon Pegg) pairs Gus with a new employee Elton John (Samson Kayo), and Truth Seekers follows the pair as they increasingly encounter paranormal and mysterious entities as they go about their daily work, including a haunted young woman called Astrid (Emma D’Arcy).
Truth Seekers starts off as a case by episode series, with a new spooky encounter every time (think Supernatural but very British) and then mid-way works into a bigger overall plot involving Julian Barratt’s Dr Peter Toynbee that seems to tie all the earlier elements together. As a supernatural horror show, this works really well. It doesn’t rely on typical jump scares, and instead uses well known horror situations to be as creepy as possible. Admittedly this is a tad cliched – think of all the known supernatural experiences you’d expect to see (psychiatric hospitals, hotels, demons and satanic books to name a few) and you’ll definitely find them here. However this doesn’t matter as they’re done well and in such a smart, creepy and very British way. Even the special effects are impressive for something that looks like it should be fairly low budget.
Whilst this is made out to be a horror comedy, it’s the comedy side that appears to be a little lacking. Don’t get me wrong, this has its’s funny and witty moments and seems to relish all of the pop culture references it throws in at every opportunity, however it doesn’t seem quite as edgy and quick witted as Frost and Pegg’s previous collaborations. Frost delivers his usual deadpan style well and is ably supported by Samson Kayo’s Elton as his rather adorable and unwitting partner. The standout though is unsurprisingly Malcolm McDowell as Gus’ dad Richard. Right from the first episode McDowell shines and is an absolute riot. Every scene he’s in gives rise to so many laughs and in particular there’s one scene featuring him going upstairs on a stair lift so slowly that nearly had me crying with laughter. But despite this the humour is maybe a little lacking from what we’d expect. I also felt like some of the pop culture references were a little forced and unnatural, which is a shame as there were also a lot that worked quite well – nods to Aliens and The Shawshank Redemption were particularly appreciated.
Truth Seekers may be lacking a little in humour, but what is there is adeptly delivered by a rather stellar cast. Pegg takes a backseat as boss Dave with an atrocious hairpiece and there are some small roles for Kelly MacDonald, Susie Wokoma and Julian Barratt, but everyone puts in a great performance no matter the screen time. McDowell undoubtedly steals the show, but the main trio of Frost, Kayo and D’Arcy carry the show well between them.
What surprised me the most about Truth Seekers is how short it was. A mere eight episodes running at 30 minutes each doesn’t seem like enough – by the end of the eighth episode I was shocked to see there wasn’t any more, although the final scenes do at least set this up for a second series that will hopefully come to fruition. I was a little concerned about the main plot involving Toynbee as it did get a little convoluted towards the end, and the final scenes do nothing but add to this and hint at a much bigger story going on. This could end up being rather good, but it could also turn what is by and large a very enjoyable British supernatural series into something rather crazy and confused. Only series two will tell.
The series follows Gus Roberts (Nick Frost), the top installation engineer for network provider Smyle. He lives with his dad (Malcolm McDowell) and investigates paranormal activities in his spare time, running his own YouTube channel as ‘The Truth Seeker’. His boss Dave (Simon Pegg) pairs Gus with a new employee Elton John (Samson Kayo), and Truth Seekers follows the pair as they increasingly encounter paranormal and mysterious entities as they go about their daily work, including a haunted young woman called Astrid (Emma D’Arcy).
Truth Seekers starts off as a case by episode series, with a new spooky encounter every time (think Supernatural but very British) and then mid-way works into a bigger overall plot involving Julian Barratt’s Dr Peter Toynbee that seems to tie all the earlier elements together. As a supernatural horror show, this works really well. It doesn’t rely on typical jump scares, and instead uses well known horror situations to be as creepy as possible. Admittedly this is a tad cliched – think of all the known supernatural experiences you’d expect to see (psychiatric hospitals, hotels, demons and satanic books to name a few) and you’ll definitely find them here. However this doesn’t matter as they’re done well and in such a smart, creepy and very British way. Even the special effects are impressive for something that looks like it should be fairly low budget.
Whilst this is made out to be a horror comedy, it’s the comedy side that appears to be a little lacking. Don’t get me wrong, this has its’s funny and witty moments and seems to relish all of the pop culture references it throws in at every opportunity, however it doesn’t seem quite as edgy and quick witted as Frost and Pegg’s previous collaborations. Frost delivers his usual deadpan style well and is ably supported by Samson Kayo’s Elton as his rather adorable and unwitting partner. The standout though is unsurprisingly Malcolm McDowell as Gus’ dad Richard. Right from the first episode McDowell shines and is an absolute riot. Every scene he’s in gives rise to so many laughs and in particular there’s one scene featuring him going upstairs on a stair lift so slowly that nearly had me crying with laughter. But despite this the humour is maybe a little lacking from what we’d expect. I also felt like some of the pop culture references were a little forced and unnatural, which is a shame as there were also a lot that worked quite well – nods to Aliens and The Shawshank Redemption were particularly appreciated.
Truth Seekers may be lacking a little in humour, but what is there is adeptly delivered by a rather stellar cast. Pegg takes a backseat as boss Dave with an atrocious hairpiece and there are some small roles for Kelly MacDonald, Susie Wokoma and Julian Barratt, but everyone puts in a great performance no matter the screen time. McDowell undoubtedly steals the show, but the main trio of Frost, Kayo and D’Arcy carry the show well between them.
What surprised me the most about Truth Seekers is how short it was. A mere eight episodes running at 30 minutes each doesn’t seem like enough – by the end of the eighth episode I was shocked to see there wasn’t any more, although the final scenes do at least set this up for a second series that will hopefully come to fruition. I was a little concerned about the main plot involving Toynbee as it did get a little convoluted towards the end, and the final scenes do nothing but add to this and hint at a much bigger story going on. This could end up being rather good, but it could also turn what is by and large a very enjoyable British supernatural series into something rather crazy and confused. Only series two will tell.
DaveySmithy (107 KP) rated The Dead Zone (1983) in Movies
Dec 3, 2024
A Chilling and Thoughtful Thriller
David Cronenberg’s The Dead Zone (1983) is a film that quietly lingers with you long after the credits roll. Adapted from Stephen King’s novel, it’s a rare blend of psychological horror, heartfelt drama, and supernatural thriller that doesn’t rely on cheap scares to grip its audience. Instead, it uses its haunting premise, a strong central performance by Christopher Walken, and Cronenberg’s understated direction to craft a deeply unsettling exploration of fate, morality, and the burden of knowing the future.
The story follows Johnny Smith (Walken), an ordinary schoolteacher whose life is upended when a car accident leaves him in a coma for five years. When he awakens, he discovers he has gained the ability to see people’s pasts and futures through physical contact—a gift that feels more like a curse. What begins as an attempt to understand and use this newfound power for good spirals into a dark moral dilemma when Johnny foresees a catastrophic future involving a rising politician, Greg Stillson (Martin Sheen).
Christopher Walken is the emotional core of the film, delivering one of his most human and vulnerable performances. He masterfully conveys Johnny’s pain, loneliness, and reluctant heroism, making his character deeply sympathetic. Walken’s portrayal grounds the supernatural elements of the story, ensuring they never feel far-fetched. Martin Sheen is equally compelling as the menacing and unhinged Stillson, a character whose ambition and ruthlessness are frighteningly plausible.
Cronenberg, known for his visceral body horror, takes a restrained approach here, focusing on mood and atmosphere over gore. This subtlety works to the film’s advantage, allowing the tension to simmer until its gripping climax. The muted color palette and moody score by Michael Kamen add to the sense of dread, perfectly capturing the eerie small-town setting.
However, The Dead Zone isn’t without its flaws. The pacing occasionally drags, and some of the supporting characters feel underdeveloped. Additionally, the episodic structure—though true to the novel—can make the narrative feel uneven.
Despite these minor issues, The Dead Zone is an intelligent and emotionally resonant thriller that explores heavy themes with nuance. It may not be as flashy as other Stephen King adaptations, but its quiet power and moral complexity make it a standout. A solid 8/10.
The story follows Johnny Smith (Walken), an ordinary schoolteacher whose life is upended when a car accident leaves him in a coma for five years. When he awakens, he discovers he has gained the ability to see people’s pasts and futures through physical contact—a gift that feels more like a curse. What begins as an attempt to understand and use this newfound power for good spirals into a dark moral dilemma when Johnny foresees a catastrophic future involving a rising politician, Greg Stillson (Martin Sheen).
Christopher Walken is the emotional core of the film, delivering one of his most human and vulnerable performances. He masterfully conveys Johnny’s pain, loneliness, and reluctant heroism, making his character deeply sympathetic. Walken’s portrayal grounds the supernatural elements of the story, ensuring they never feel far-fetched. Martin Sheen is equally compelling as the menacing and unhinged Stillson, a character whose ambition and ruthlessness are frighteningly plausible.
Cronenberg, known for his visceral body horror, takes a restrained approach here, focusing on mood and atmosphere over gore. This subtlety works to the film’s advantage, allowing the tension to simmer until its gripping climax. The muted color palette and moody score by Michael Kamen add to the sense of dread, perfectly capturing the eerie small-town setting.
However, The Dead Zone isn’t without its flaws. The pacing occasionally drags, and some of the supporting characters feel underdeveloped. Additionally, the episodic structure—though true to the novel—can make the narrative feel uneven.
Despite these minor issues, The Dead Zone is an intelligent and emotionally resonant thriller that explores heavy themes with nuance. It may not be as flashy as other Stephen King adaptations, but its quiet power and moral complexity make it a standout. A solid 8/10.
Lucy Buglass (45 KP) rated Ghost Stories (2018) in Movies
Jun 20, 2019
For years, mankind has pondered over the existence of ghosts, demons and the paranormal. Many have claimed to have experienced it firsthand, while others dedicate their lives and careers to debunking those experiences. It seems to be a question that no one has been able to answer or prove one way or the other, and this fear of the unknown has been the basis of a number of popular horror stories.
Based on the stage play of the same name, ‘Ghost Stories’ follows skeptic Professor Phillip Goodman’s (Nyman) investigation of three unsolved cases, each one detailing a different haunting. After meeting with his idol and fellow skeptic Charles Cameron, and feeling deflated when he begins to question his lifelong skepticism, Goodman meets with former night watchman Tony Matthews (Whitehouse), teenager Simon Rifkind (Lawther), and businessman Mike Priddle (Freeman) to learn about their firsthand experiences with the supernatural. The film is split into three segments, allowing each character to explain their case through the use of flashbacks where we get to see exactly what happened to the characters.
Throughout these flashbacks, Nyman and Dyson have utilised a number of popular horror techniques that will make you jump out of your seat, or hide behind your hands. There’s a serious feeling of unease throughout the entire film, and you have no idea what’s going to happen next. Even as an avid fan of the genre, I found myself genuinely terrified during a large portion of the film. ‘Ghost Stories’ knows exactly how to pace a horror film, and how to leave an audience uncomfortable yet unable to look away from the screen. Whilst the jump scare is inevitable, the film doesn’t overuse these and instead finds ways to build tension and fear, which actually heightens the experience because you find yourself trying to predict when something’s going to pop out at you. It leaves you on edge for the entire ninety minutes, which in my mind, is exactly what a horror film should do.
The stories told by each of the men are gripping, and the actors all do exceptional jobs of portraying their characters. Each of the men interviewed by Goodman are very different in their class backgrounds, beliefs and personalities, but are united in their adamancy that they did experience hauntings and that they left them completely shaken up afterwards. This reinforces the idea that the supernatural can target anyone, and leave anyone feeling helpless. Particular praise has to be given to Alex Lawther; after seeing him in season 3 of ‘Black Mirror’ I had high hopes, and he delivered. He’s certainly one to watch and I look forward to seeing what he gets up to next.
‘Ghost Stories’ is incredibly British in nature, mixing the right amount of dry humour and satire into what is an utterly terrifying experience overall. Other critics have said it’s the best British horror film in years, and I couldn’t agree more. It’s an incredibly gripping story that has a lot of twists and turns, and tugs at all of your heartstrings. Alongside the characters, I went through a number of emotions and felt fully invested in their lives. These are all characters that feel familiar, they’re your average human, which throws realism into the mix. Being able to identify with characters in a horror film makes your fear 100 times worse.
This film is best experienced with as little context as possible, if you walk into it completely blind, I believe you’ll get maximum enjoyment out of it. The trailers have done a great job at keeping it as vague as possible, which was a bonus. There’s nothing worse than trailers giving everything away in a few seconds. ‘Ghost Stories’ does have a twist ending, but I thought this was done brilliantly and I personally was unable to predict it. Nyman and Dyson have put so much effort into crafting an intense, thrilling, mysterious story and it’s seriously paid off. I’m now hoping ‘Ghost Stories’ will be returning to the stage soon, because I’ll be first in line for a ticket!
https://jumpcutonline.co.uk/ghost-stories/
Based on the stage play of the same name, ‘Ghost Stories’ follows skeptic Professor Phillip Goodman’s (Nyman) investigation of three unsolved cases, each one detailing a different haunting. After meeting with his idol and fellow skeptic Charles Cameron, and feeling deflated when he begins to question his lifelong skepticism, Goodman meets with former night watchman Tony Matthews (Whitehouse), teenager Simon Rifkind (Lawther), and businessman Mike Priddle (Freeman) to learn about their firsthand experiences with the supernatural. The film is split into three segments, allowing each character to explain their case through the use of flashbacks where we get to see exactly what happened to the characters.
Throughout these flashbacks, Nyman and Dyson have utilised a number of popular horror techniques that will make you jump out of your seat, or hide behind your hands. There’s a serious feeling of unease throughout the entire film, and you have no idea what’s going to happen next. Even as an avid fan of the genre, I found myself genuinely terrified during a large portion of the film. ‘Ghost Stories’ knows exactly how to pace a horror film, and how to leave an audience uncomfortable yet unable to look away from the screen. Whilst the jump scare is inevitable, the film doesn’t overuse these and instead finds ways to build tension and fear, which actually heightens the experience because you find yourself trying to predict when something’s going to pop out at you. It leaves you on edge for the entire ninety minutes, which in my mind, is exactly what a horror film should do.
The stories told by each of the men are gripping, and the actors all do exceptional jobs of portraying their characters. Each of the men interviewed by Goodman are very different in their class backgrounds, beliefs and personalities, but are united in their adamancy that they did experience hauntings and that they left them completely shaken up afterwards. This reinforces the idea that the supernatural can target anyone, and leave anyone feeling helpless. Particular praise has to be given to Alex Lawther; after seeing him in season 3 of ‘Black Mirror’ I had high hopes, and he delivered. He’s certainly one to watch and I look forward to seeing what he gets up to next.
‘Ghost Stories’ is incredibly British in nature, mixing the right amount of dry humour and satire into what is an utterly terrifying experience overall. Other critics have said it’s the best British horror film in years, and I couldn’t agree more. It’s an incredibly gripping story that has a lot of twists and turns, and tugs at all of your heartstrings. Alongside the characters, I went through a number of emotions and felt fully invested in their lives. These are all characters that feel familiar, they’re your average human, which throws realism into the mix. Being able to identify with characters in a horror film makes your fear 100 times worse.
This film is best experienced with as little context as possible, if you walk into it completely blind, I believe you’ll get maximum enjoyment out of it. The trailers have done a great job at keeping it as vague as possible, which was a bonus. There’s nothing worse than trailers giving everything away in a few seconds. ‘Ghost Stories’ does have a twist ending, but I thought this was done brilliantly and I personally was unable to predict it. Nyman and Dyson have put so much effort into crafting an intense, thrilling, mysterious story and it’s seriously paid off. I’m now hoping ‘Ghost Stories’ will be returning to the stage soon, because I’ll be first in line for a ticket!
https://jumpcutonline.co.uk/ghost-stories/
Classic Era of American Comics
Book
The world has never seen the like of the American comic book. In their heyday, the top 500 comics...
Matthew Krueger (10051 KP) rated Max Payne (2008) in Movies
Jan 22, 2021
The PG-13 verison of a M game
Ive only played the 3rd one, when it came out so like 2011 or 2012. I never finished the game idk why, i just didnt. I havent played the first one or the second one either. Alot of people hated this film, i can see why. First of all what genre is this film surpost be? A action film, a horror film, a drama film, a revenge film, a gritty film, a thriller? I dont know its a mix a genres. Second the slow mo is good/bad, cause it was in the games it has to be in film right. Third the action is bad, someone was just shaking the camera the whole time.
The plot: After the murders of his family and his partner, maverick cop Max (Mark Wahlberg) becomes hell-bent on revenge. Teamed with beautiful and deadly Russian mobster Mona Sax (Mila Kunis), Max journeys into a dark underworld to find the truth, but forces -- both worldly and supernatural -- align against him, determined to silence Max forever.
Oh lastly PG-13 why?
The plot: After the murders of his family and his partner, maverick cop Max (Mark Wahlberg) becomes hell-bent on revenge. Teamed with beautiful and deadly Russian mobster Mona Sax (Mila Kunis), Max journeys into a dark underworld to find the truth, but forces -- both worldly and supernatural -- align against him, determined to silence Max forever.
Oh lastly PG-13 why?
Inside the Asylum (A Kathy Ryan Novel #2)
6.3
Rate It
Book
A mind is a terrible thing to destroy . . . Kathy has been hired to assess the threat of patient...
supernatural horror adult fiction series Kathy Ryan
The Devil, The Witch and The Whore (The Deal #1)
8.0
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Book
“Leave the forest alone. Whatever's out there, just let it be. Don't make it angry.” When a...
Horror suspense violence supernatural
Emma @ The Movies (1786 KP) rated The Little Stranger (2018) in Movies
Sep 25, 2019
I can't say that this is a horror. It's a little bit creepy. It's also somehow engaging, despite it not having that horror aspect you're expecting.
Domhnall Gleeson is an interesting leading actor. He plays the roll well and it feels fitting for the period. But for me Will Poulter really was the best performance. Entirely believable and quite possibly the best thing I've seen him do. I can't say that I was particularly excited about anyone else in this.
The music, or the lack thereof, is very atmospheric. It's really noticable and brings that creepy sense just when it's needed. The visuals get the atmosphere just right too. There's a fantastic slightly out of focus (lets call it squiggly feeling) shot that was used when the supernatural was in the air and it worked intriguingly well.
At the time of writing this I have been out of the screening for six hours... and for six hours I've been annoyed with how the film ended. I've been scouring the internet for a full synopsis of the novel, and while the whole thing seems to match up well, the ending does have a slightly different spin... or it is just handled really weirdly in the film... I really don't know but what I can say is that I came out feeling incredibly unsatisfied.
Based on the book The Little Stranger by Sarah Walters.
What should you do?
I'm tempted to say read the book instead of going to see this one.
Movie thing you wish you could take home
Can I take home Will Poulter?
Domhnall Gleeson is an interesting leading actor. He plays the roll well and it feels fitting for the period. But for me Will Poulter really was the best performance. Entirely believable and quite possibly the best thing I've seen him do. I can't say that I was particularly excited about anyone else in this.
The music, or the lack thereof, is very atmospheric. It's really noticable and brings that creepy sense just when it's needed. The visuals get the atmosphere just right too. There's a fantastic slightly out of focus (lets call it squiggly feeling) shot that was used when the supernatural was in the air and it worked intriguingly well.
At the time of writing this I have been out of the screening for six hours... and for six hours I've been annoyed with how the film ended. I've been scouring the internet for a full synopsis of the novel, and while the whole thing seems to match up well, the ending does have a slightly different spin... or it is just handled really weirdly in the film... I really don't know but what I can say is that I came out feeling incredibly unsatisfied.
Based on the book The Little Stranger by Sarah Walters.
What should you do?
I'm tempted to say read the book instead of going to see this one.
Movie thing you wish you could take home
Can I take home Will Poulter?
Merissa (12889 KP) rated This is Not a Horror Movie in Books
Jun 4, 2021 (Updated Jul 18, 2023)
THIS IS NOT A HORROR MOVIE is a gorgeous story of first love and scary happenings.
Emory is a late bloomer and happy to hide behind horror movies and books so he doesn't have to socialise. He has been in the snarky shadow of his twin sister for a long time and doesn't understand the looks he's now getting. Liz helps to put him on the right track, much to his disgust at the thought of girls wanting to make out with him! Enter Connor, the crush Emory had and shows no signs of dissipating.
This was a great story, full of sibling snark, and romance with the boy of his dreams. Luckily for Emory, Connor feels the same way, and seeing these two grow and develop their feelings was a warm and fuzzy moment for me. Connor is very protective, and with good reason, as Emory doesn't appear to realise just when he's in danger. I loved the supernatural element to the story, although the realtor wasn't much of a surprise! I'm also happy about Leland!!! I was worried about him.
I enjoyed the pacing of this story, the sweet times with Connor and Emory, the promise of the future, and the amazing supporting cast that helped them. A great addition to the Sara Dobie Bauer collection, and absolutely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jun 4, 2021
Emory is a late bloomer and happy to hide behind horror movies and books so he doesn't have to socialise. He has been in the snarky shadow of his twin sister for a long time and doesn't understand the looks he's now getting. Liz helps to put him on the right track, much to his disgust at the thought of girls wanting to make out with him! Enter Connor, the crush Emory had and shows no signs of dissipating.
This was a great story, full of sibling snark, and romance with the boy of his dreams. Luckily for Emory, Connor feels the same way, and seeing these two grow and develop their feelings was a warm and fuzzy moment for me. Connor is very protective, and with good reason, as Emory doesn't appear to realise just when he's in danger. I loved the supernatural element to the story, although the realtor wasn't much of a surprise! I'm also happy about Leland!!! I was worried about him.
I enjoyed the pacing of this story, the sweet times with Connor and Emory, the promise of the future, and the amazing supporting cast that helped them. A great addition to the Sara Dobie Bauer collection, and absolutely recommended by me.
** same worded review will appear elsewhere **
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Jun 4, 2021