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Say No More (Jane Ryland, #5)
8
8.0 (1 Ratings)
Book Rating
When Jane witnesses a hit and run on her way to interview a source, she becomes embroiled in a case much bigger than she thinks she will be. Meanwhile, her story on campus rape is heating up. And her boyfriend, cop Jake Brogan, is working on the case of a suspicious death when an adjunct professor dies in a swimming pool.

And once again we are off on a fantastic ride. We get the story from a total of five points of view, and it is always fun to switch back to other characters and see how they are progressing. While Jane trying to get out of testifying really bothered me (especially trying to hide behind the fact that she’s a reporter), I did like the growth it brought to her character. The new cast is strong, and the arcs for the viewpoint characters are wonderful. The story moves quickly wish so much going on that it is almost impossible to put the book down.

Read my full review at <a href="http://carstairsconsiders.blogspot.com/2017/03/book-review-say-no-more-by-hank.html">Carstairs Considers</a>.
  
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Edgar Wright recommended Walkabout (1971) in Movies (curated)

 
Walkabout (1971)
Walkabout (1971)
1971 |
(0 Ratings)
Movie Favorite

"I am a huge Nicolas Roeg fan and consider this and his 1973 masterpiece Don’t Look Now to feature some of the best editing of all time, with visual and audio juxtapositions that wow even now. Walkabout is cinema as poetry. Images rhyme with one another in a truly hypnotic fashion. Scenes are as vivid and intense as they are unreal and lyrical. There’s a phantasmagorical array of images, but also a rigorous, genius sense of structure. Both this film and Don’t Look Now open with sequences that encapsulate the movie like thematic overtures. Walkabout’s first five minutes tell you everything while saying nothing: images of the city overlaid with aboriginal music, breathing exercises at a girls’ school that complement the native sounds, an oasis of parkland in the urban sprawl, a lone tree in a concrete square, a patch of swimming-pool blue in an apartment block contrasted with the white-hot nothingness of the outback. It’s a completely stunning collage, one of the greatest openings in all of cinema. And what’s even better? The rest of the movie lives up to it."

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