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Kristy H (1252 KP) rated The Invited in Books
Jun 21, 2019
Helen and Nate have a nice, settled life as teachers at a private school in Connecticut. But they also have aspirations for a simpler life. So using their savings and an inheritance, they buy 40+ acres in the tiny village of Hartsboro, Vermont and decide to build their own dream house themselves. Helen, a history teacher, wants a house and land with history--and she gets her wish when she discovers the story of Hattie Breckenridge, a woman who apparently lived (and died) on their property over a hundred years ago. Marked by the villagers as a witch, Hattie was killed, leaving behind her young daughter, Jane. Helen becomes fascinated with Hattie's past and begins trying to find out what happened to her--and her family members. But a series of more and more weird events start happening once they move in. Is it just the people of Hartsboro, who don't like outsiders? Or is it Hattie? And are Helen and Nate in danger?
I just love Jennifer McMahon's books and she's someone whom I will read anything they write. This was such a good book that drew me from the very beginning. I started it while on vacation in Vermont, so I was really excited that it happened to take place in Vermont--a place I'd never been until this year. McMahon's descriptive language makes it so easy to visualize her (often eerie) settings, as well as her characters.
Along with Helen and Nate, our slightly hippyish couple, we have Olive, a teenage girl from Hartsboro, and her dad and aunt, plus various Hartsboro townsfolk. Olive was a very compelling character; she's been abandoned by her mother and is teased and bullied terribly by her schoolmates, since the town all believes her mom ran off with another man. Her bereft father isn't much help, leaving her to raise herself or rely on her aunt. She has one friend, Mike, who is a good guy, but annoys our feisty heroine with his wimpy-ness. It's hard not to fall for Olive, believe me. Even Helen will grow on you, too. And no matter what, they are so easy to picture.
The novel is told from a variety of points of view, but mainly Olive and Helen. We learn a lot about each of them. As I said, it drew me in from the beginning and kept me reading. As with most of McMahon's books, it's layered with that creepy, mysterious edge. In many ways, it's a proper ghost story. But she always manages to write it so that instead of rolling your eyes, you feel a little creeped out, or find yourself looking over your shoulder at night. Hattie herself plays a really strong role in this book, and I liked how well the story set up the idea of how much people (and small towns) fear what they don't know.
"What people don't understand, they destroy."
It's funny, I could guess where a lot of this book was leading, yet it in no way diminished my enjoyment of it. I could see how that might annoy some, but it didn't bother me in the least. I was completely immersed in the characters, the eerie ghost story, and trying to piece together all the plot pieces. Hattie's story--and that of her descendants--is fascinating. There was just something about this book that I loved: that intangible piece that makes you a part of the story, keeps you flipping the pages, and makes you feel both sad and amazed when you finish the book. 4.5 stars.
I just love Jennifer McMahon's books and she's someone whom I will read anything they write. This was such a good book that drew me from the very beginning. I started it while on vacation in Vermont, so I was really excited that it happened to take place in Vermont--a place I'd never been until this year. McMahon's descriptive language makes it so easy to visualize her (often eerie) settings, as well as her characters.
Along with Helen and Nate, our slightly hippyish couple, we have Olive, a teenage girl from Hartsboro, and her dad and aunt, plus various Hartsboro townsfolk. Olive was a very compelling character; she's been abandoned by her mother and is teased and bullied terribly by her schoolmates, since the town all believes her mom ran off with another man. Her bereft father isn't much help, leaving her to raise herself or rely on her aunt. She has one friend, Mike, who is a good guy, but annoys our feisty heroine with his wimpy-ness. It's hard not to fall for Olive, believe me. Even Helen will grow on you, too. And no matter what, they are so easy to picture.
The novel is told from a variety of points of view, but mainly Olive and Helen. We learn a lot about each of them. As I said, it drew me in from the beginning and kept me reading. As with most of McMahon's books, it's layered with that creepy, mysterious edge. In many ways, it's a proper ghost story. But she always manages to write it so that instead of rolling your eyes, you feel a little creeped out, or find yourself looking over your shoulder at night. Hattie herself plays a really strong role in this book, and I liked how well the story set up the idea of how much people (and small towns) fear what they don't know.
"What people don't understand, they destroy."
It's funny, I could guess where a lot of this book was leading, yet it in no way diminished my enjoyment of it. I could see how that might annoy some, but it didn't bother me in the least. I was completely immersed in the characters, the eerie ghost story, and trying to piece together all the plot pieces. Hattie's story--and that of her descendants--is fascinating. There was just something about this book that I loved: that intangible piece that makes you a part of the story, keeps you flipping the pages, and makes you feel both sad and amazed when you finish the book. 4.5 stars.
Gareth von Kallenbach (980 KP) rated Trumbo (2016) in Movies
Aug 6, 2019
What is it that makes, not a great, but even a good biopic? It is certainly no enviable task, trying to condense decades of a person’s life into a mere two hours. Choosing what to keep and what to leave, stringing events together so that they feel as though they are one complete narrative opposed to a series of vignettes. And then there are the inevitable purists who will write off the entire product based on a single detail either left out or composited due to running time or budgetary restrictions. Over the years, I have found myself wrestling with my opinion of Braveheart. Do I enjoy it for its epic qualities, or do I cast it aside as the wretched historical inaccuracies fly in the face of what is one of the most important times in a country’s past?
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
The answer is simply, and stolen from another great historical epic, are you not entertained? Film can and should be powerful and informative. It can and should influence our thinking and encourage an emotional response, but above all, it should entertain. Trumbo does all of the above, ticks all the necessary boxes on the list of what makes a great biopic and whatever historical inaccuracies lie within be damned. Director Jay Roach, writer John McNamara and an ensemble so good it has to be seen to be believed have made, if not the best biopic of the year (that distinction still stays with Steve Jobs for now), then certainly the most enjoyable.
Where I find myself in reviewing Trumbo is trying not to sound monotonous in singing its high praises. Whether you’re interested in a message or not, because there is a good one in there, it’s a film that demands to be seen just on the strength of the cohesiveness that comes from the writing, the acting and (I still can’t believe I’m about to write this about the man who made all three Austin Powers movies) the directing.
I could prattle on endlessly about how overwhelmingly good this cast is, but the names speak for themselves. Bryan Cranston showcases that he is not just the best thing on television, but also a big-screen powerhouse. Helen Mirren, in her inimitable fashion and with beautiful understatement, is a force to be reckoned with, seething venom and self-righteousness. Louis C.K. finally breaks out of his stand-up comic persona to give a truly heartfelt performance played with surprisingly restrained vulnerability. The chemistry between him and Bryan Cranston will no doubt leave you wanting more. And John Goodman… well, it’s John Goodman. He continues to prove that no matter how small a part he has to play, it will stay with you long after you’ve left the theater. Hands down, and these are only four out of a dozen terrific performances, there hasn’t been an ensemble this stunning since L.A. Confidential.
It should also be mentioned that Michael Stuhlbarg, David James Elliott and Dean O’Gorman, who portray Edward G. Robinson, John Wayne and Kirk Douglas respectively, are unquestionably destined to go down as the unsung heroes of Trumbo. Their efforts, not just to imitate but to fully realize these Hollywood stars of a by-gone era, are a further complement to inspired casting and commitment to honoring the lives of the people portrayed on screen.
In short (and well done for making it this far through monotonous and truly well-deserved praise), if you have to see one film this Thanksgiving season that doesn’t star Tom Hardy as England’s notorious Kray brothers, see Trumbo.
Debbiereadsbook (1444 KP) rated Heated Beat in Books
Nov 12, 2020
wonderful books/narration!
Independent reviewer for Archaeolibrarian, I was gifted the audio version of this book.
My Mate Jack (book 1)
Don't you just love a friends to lovers book? With lots of misunderstandings and mix-ups along the way? Nothing else, just these two friends, one with a crush on his straight best friend? Made even better by some awesome narration??
This book right here!
Will has been in love with Jack forever, but Jack likes girls and Will doesn't. When Jack asks Will about kissing, then about having sex with men, Will allows Jack to get close. Then Jack goes to Ibiza and Will goes to uni and things are said, done, implied and the fall out is massive.
I want to be a bit picky here, cos, you know, I can, its my review but the only thing that would have made this book any better was if Jack had much more of a say. Apart from the epilogue, Jack doesn't get a say and I wanted him to, I so DESPERATELY wanted him to. I needed to know what was going through HIS mind when he kisses Jack, when they do what they do before they go their ways, and I don't get it. Had he been given a bigger say, I would be raving about this book! Oh, don't get me wrong, I LOVED this as it was but Jack? He would have been the icing on a pretty special cake.
Dan Calley narrates. Mr Calley is fast becoming a favourite. His voice carries a very British accent, and his reading voice is deep and even. His voices are amazing, and he hits the accents to a tee. He gets across all of Will's feelings about Jack. His reactions to what they do, to what comes after and to what he does when Jack fianlly, FINALLY, tells Will what he really wants. Or rather Who.
It's not a very long read/listen (108 pages/3 hours) but it packs a powerful punch. I didn't quite manage to listen to it in one go, cos that darn dayjob got in the way, but I very nearly did.
Apart from not getting enough of Jack, I cannot fault the book nor the narration so...
5 full and shiny stars for the book AND the narration.
~~same worded review will appear elsewhere~
Lucky Man (book 2)
This is book 2 in the Heated Beat series, and while it's not NECESSARY to read/listen to book one, My Mate Jack, I think you SHOULD, cos , you know, I said so! Jack and Will pop up a lot, since Jack lives with Finn, but it's not needed to have their story before this one. But you know, THAT book was a 5 star listen too!
Danny has drooled over Finn on stage for some time. Meeting him, going home with him, gave him the best night of his life. But Finn has a secret and Danny has a stressful job. Can they make it work?
This is a much darker, dirtier, deadly listen than book one, but I loved it just as much, maybe a tad more.
There is powerful and instant chemistry between Finn and Danny, and it carries right through the book. Its hot and steamy, but equally, deeply emotional, for both Finn and Danny. Finn's health issues, and what that meant in his previous relationships, are his primary concern. Danny is dealing with a murderer who has been on a spree across the country.
Danny reaction to Finn's health issues were not what Finn was expecting, but still, Danny struggled with Finn a couple of times, especially when he had an episode (is that the correct term? ) but Danny rode it out, and did his best to understand. Some serious research into Finn's condition has been done for this book, I'm not saying what that is, because spoilers, but the level of research into treatments and how people suffering this condition cope shows here.
I LOVED that this book is set in Nottingham. As a Nottingham gal, I got all the places that were mentioned, and loved that the shortened, locally used names for places like The Queens Medical Centre (big hospital!) are used. Loved the references to local towns, and how far they are away from Nottingham and the correct distances/times are used. Proper made my day!
I did get the murderer all wrong. I had a fairly close to Finn character pegged as the bad guy, but that all went belly up on me, so well played!
Both Finn and Danny have a say here, and I am SOOOOOOOOOOOOOOOOOOOOOOOOOO glad they do! I think this one, especially, would have suffered had we not got them both, so thank you Garrett Leigh, for making my day twice in this book!
Dan Calley narrates again, and again, he knocks it out the park!
His voices for Will and Jack are spot on from book to book, but Danny and Finn's voices are perfect too. He gets over all of Danny's concern about the relationship, given that he isn't out at work. He gets over all of his concern about Finn when he has an episode, and how he deals with the aftermath. Calley gets over all of Finn's insecurities, and what's going on in his brain. I felt for Finn, listening to him have internal conversations with himself about Danny and his feelings for Danny, and where their relationship was going.
Mr Calley NAILS it, he really does.
5 full and shiny stars for the book AND narration
**same worded review will appear elsewhere**
My Mate Jack (book 1)
Don't you just love a friends to lovers book? With lots of misunderstandings and mix-ups along the way? Nothing else, just these two friends, one with a crush on his straight best friend? Made even better by some awesome narration??
This book right here!
Will has been in love with Jack forever, but Jack likes girls and Will doesn't. When Jack asks Will about kissing, then about having sex with men, Will allows Jack to get close. Then Jack goes to Ibiza and Will goes to uni and things are said, done, implied and the fall out is massive.
I want to be a bit picky here, cos, you know, I can, its my review but the only thing that would have made this book any better was if Jack had much more of a say. Apart from the epilogue, Jack doesn't get a say and I wanted him to, I so DESPERATELY wanted him to. I needed to know what was going through HIS mind when he kisses Jack, when they do what they do before they go their ways, and I don't get it. Had he been given a bigger say, I would be raving about this book! Oh, don't get me wrong, I LOVED this as it was but Jack? He would have been the icing on a pretty special cake.
Dan Calley narrates. Mr Calley is fast becoming a favourite. His voice carries a very British accent, and his reading voice is deep and even. His voices are amazing, and he hits the accents to a tee. He gets across all of Will's feelings about Jack. His reactions to what they do, to what comes after and to what he does when Jack fianlly, FINALLY, tells Will what he really wants. Or rather Who.
It's not a very long read/listen (108 pages/3 hours) but it packs a powerful punch. I didn't quite manage to listen to it in one go, cos that darn dayjob got in the way, but I very nearly did.
Apart from not getting enough of Jack, I cannot fault the book nor the narration so...
5 full and shiny stars for the book AND the narration.
~~same worded review will appear elsewhere~
Lucky Man (book 2)
This is book 2 in the Heated Beat series, and while it's not NECESSARY to read/listen to book one, My Mate Jack, I think you SHOULD, cos , you know, I said so! Jack and Will pop up a lot, since Jack lives with Finn, but it's not needed to have their story before this one. But you know, THAT book was a 5 star listen too!
Danny has drooled over Finn on stage for some time. Meeting him, going home with him, gave him the best night of his life. But Finn has a secret and Danny has a stressful job. Can they make it work?
This is a much darker, dirtier, deadly listen than book one, but I loved it just as much, maybe a tad more.
There is powerful and instant chemistry between Finn and Danny, and it carries right through the book. Its hot and steamy, but equally, deeply emotional, for both Finn and Danny. Finn's health issues, and what that meant in his previous relationships, are his primary concern. Danny is dealing with a murderer who has been on a spree across the country.
Danny reaction to Finn's health issues were not what Finn was expecting, but still, Danny struggled with Finn a couple of times, especially when he had an episode (is that the correct term? ) but Danny rode it out, and did his best to understand. Some serious research into Finn's condition has been done for this book, I'm not saying what that is, because spoilers, but the level of research into treatments and how people suffering this condition cope shows here.
I LOVED that this book is set in Nottingham. As a Nottingham gal, I got all the places that were mentioned, and loved that the shortened, locally used names for places like The Queens Medical Centre (big hospital!) are used. Loved the references to local towns, and how far they are away from Nottingham and the correct distances/times are used. Proper made my day!
I did get the murderer all wrong. I had a fairly close to Finn character pegged as the bad guy, but that all went belly up on me, so well played!
Both Finn and Danny have a say here, and I am SOOOOOOOOOOOOOOOOOOOOOOOOOO glad they do! I think this one, especially, would have suffered had we not got them both, so thank you Garrett Leigh, for making my day twice in this book!
Dan Calley narrates again, and again, he knocks it out the park!
His voices for Will and Jack are spot on from book to book, but Danny and Finn's voices are perfect too. He gets over all of Danny's concern about the relationship, given that he isn't out at work. He gets over all of his concern about Finn when he has an episode, and how he deals with the aftermath. Calley gets over all of Finn's insecurities, and what's going on in his brain. I felt for Finn, listening to him have internal conversations with himself about Danny and his feelings for Danny, and where their relationship was going.
Mr Calley NAILS it, he really does.
5 full and shiny stars for the book AND narration
**same worded review will appear elsewhere**
Annie Chanse (15 KP) rated Shadows & Dreams in Books
Dec 19, 2017
Review** spoiler alert ** *Warning: contains spoilers, bad words, and quite a long rant*
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
To be honest, I was very disappointed in this book. It had a great premise, which meant it had the potential to be a really good story, but the writing style of the author just completely ruined this book for me.
The basic idea behind the story is that Kate Kane, a paranormal PI, sets off on a case to find the brother of a woman she slept with once, and during this investigation, she runs into ALL MANNER OF TROUBLE. There are vampires and werewolves and ex-girlfriends around every corner, just lurking and waiting to pounce on Miss Kane. It's a very busy and involved story, and if it had been better written, I would have easily given it four stars at least, but there was just TOO much about this book -- style-wise -- that drove me insane.
For instance:
1. The plot, itself, is actually fairly well thought out and developed and is nowhere NEAR as cheesy as it sounds when you hear, "Vampires fighting werewolves," -- which, let's be honest, these days is so trite and overdone that it is scoffed at on a regular basis. However, there IS a good story in this novel. But the way Hall writes the not-cheesy story is so cheesy that it makes you THINK the story is cheesy. A lot of cheese, huh? A little confusing? Well then, let me give you an example.
Page 7-8: "Truth be told it was a little bit awkward, but my social weirdness threshold has gone way up since my girlfriend tried to murder my ex-girlfriend because her ex-girlfriend tried to murder her."
Okay... a bit ridiculous, especially seven/eight pages in, but I can roll with it. However, at the bottom of page eight:
Kane asks, "Who saw him last?"
Her assistant -- who is actually a statue brought to life and gifted to Kate by a group of rats who are apparently all seeing and all knowing God-types -- says, "I don't know. [...] Probably somebody at the hospital."
Kane asks, "Which one?"
And the assistant replies with this fantastic line: "The Whittington. He broke his leg changing a light bulb. Because he was standing on a swivel chair because he's an idiot."
Okay, I concede that maybe this line is supposed to sound ridiculous and funny, so I can even let that one slide. But then, three pages later, Hall completely turns me off to the book with this:
"Well, fuck. I was about to be hired by a woman I'd very nearly slept with to find her missing brother who was working for the woman who'd left me for a tech startup at the tech startup she left me for."
Wh-wh-what?! Are you kidding me? Could that sentence BE anymore convoluted or that plot-point any more ridiculously stereotypical?
And what is truly awful is that the story itself REALLY WASN'T THAT BAD. I mean, the writing was awful, which, overall, meant that the novel was -- in my opinion, of course -- bad, but the way the story progressed WAS interesting. It was nowhere near as bad as these 'recaps' by the main character make it sound, but the problem is that Hall throws in these inner-monologues for Kane ALL throughout the book, and they are terrible! Which, in turn, decreases the value of the entire story.
Another example falls right on the heels of the page 11 jewel.
Page 14: "I really really hoped this wasn't going to be another zombie plague. There'd been an outbreak when I'd taken Eve up to Lake Windermere for our third anniversary, and we'd spent the whole weekend under siege in the hotel, making molotovs from the minibar and clubbing re-animated tourists to death with souvenir walking sticks."
Really? Zombies now? On top of the vampires, witches, and werewolves? Can we POSSIBLY fit anymore para into this normal?
Enough with that.
Now on to point number 2. The girl on girl sex scenes in this book between sexy, snarky PI and her vampire girlfriend, the Prince (yes, Prince) of Cups, should be hot, right? No. They are forced, fake, and ridiculous. Halfway through the first one, I thought, "Jesus. This isn't lesbian sex. This is lesbian sex if it was written by a man who WISHES he could see some lesbian sex." That was the point at which I decided to look up more info on Alexis Hall, and I found out that he is, in fact, a man, which at least explains the sex scenes.
#3. Speaking of sex scenes, Hall also has this really irritating -- and distracting -- habit of throwing in random, explicitly sexual thoughts at TOTALLY inappropriate times. Right in the middle of the most stressful situations -- being locked up, about to be killed, thrown in prison/on trial -- Kate Kane begins inner-monologuing with herself about how much she'd like to fuck whatever female happens to be standing in front of her. RIDICULOUS! And annoying. Hated it.
4. One of the MOST annoying things about this book, however, was that it was in DESPERATE need of a SERIOUS case of editing. All throughout the book there were glaring errors that any first year college student should have caught while reading. I'm willing to discount SOME of these "errors" as simply being lost in translation, as the book is written with a British tone, and I am very much American. However, SOME of these errors simply CANNOT be due to anything other than careless editing.
For instance, page 113: "It's main distinguishing feature, right, was that was it was blue."
WAS that WAS it WAS blue? What does that even mean? Oh, yes, it means that no one bothered editing this beast before printing.
Page 141: "Piercing the heart will paralyse, but it won't kill, and anything will do, it doesn't have to wood."
Okay, so maybe the "paralyse" is simply British, but surely the "doesn't have to wood" bit needs a "be" in there somewhere, right?
Page 157: "Have we have achieved case closed, Miss Kane?"
Yes, yes have we have.
There are several -- SEVERAL -- more examples of these type errors, but I'm not about to point them all out. If you read the book, I'm sure you'll easily catch them on your own.
5. Another thing that drove me NUTS was the repetition. The awful thing is I'm fairly certain that Hall used these repetitious lines PURPOSELY to create some kind of effect -- humor, maybe? Whatever the desired result, it failed to do anything other than annoy me.
For instance, page 163: "'Hi. So. Look.' I tried to find a way to express the fact I had some good news and some bad news that wasn't I've got some good news and some bad news. 'I've got some good news and some bad news.'"
...blink... ...falls over...
Page 177: "All the more reason to tell them. [...] If they know that we know that she has returned, then they will not be tempted to conspire against us out of the false belief that we do not know. Of course, they may already know, but at present, we have no way to know what they know. If we tell them, we will know what they know, and all we will not know is how long they have known it."
Oh. Jumping. Jesus. On. A. Pogo. Stick. Please tell me you aren't serious.
And there was this one thing that repeated over and over again throughout the book. The first time, it was actually pretty clever. The second time, even, was okay. But by the time I'd read it nine times -- yes, NINE TIMES, no exaggeration whatsoever -- I was ready to never EVER read anything like it ever again.
This particular phrase was something Kate Kane internalized or muttered aloud to herself each time she decided to do something stupid OR she felt her life was in danger. The basic format went something like this:
"Here lies Kate Kane, died peacefully in her sleep aged 94. Beloved daughter."
The "Here lies Kate Kane" part remained constant, as did the "Beloved daughter." It was only the middle part that changed, for instance, "Here lies Kate Kate. Should have minded her own business. Beloved daughter." Or perhaps, "Here lies Kate Kane. She made a difference to dozens. Beloved daughter."
This continued NINE TIMES. It is not cute, funny, or clever after about the second time, definitely after the third. BUT NINE TIMES?! Come on!
And finally, my last complaint.
6. Several of the items, scenes, quotes, etc. in this book seemed waaaaaaaaaay too close to things from other books for my taste. Perhaps it is simply a coincidence and the author did not intentionally siphon plot points and details from other authors -- except, of course, when he obviously did in his quotations, such as his use of "Not all those who wander are lost" and "As old as my tongue, a little bit older than my teeth" which are DIRECTLY taken from other books, but I'm hoping those were intentional and not attempted-to-get-away-with-it plagiarism.
But there are several things in this novel that could have been taken from Jim Butcher's "Dresden Files", Lewis' "Narnia" chronicles, and Tolkien's "Lord of the Rings" series. I'm hoping, however, that they weren't, but they were very, very similar.
All in all, I'm disappointed to say that I was not a fan of this book at all, and I will most likely not be reading anymore Kate Kane books.
TheDefunctDiva (304 KP) rated Bohemian Rhapsody (2018) in Movies
Feb 17, 2019 (Updated Feb 17, 2019)
I want it all. I want it all. I want it all. And I want it now
Contains spoilers, click to show
“I want it all. I want it all. I want it all. And I want it now.”
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
“I Want It All,” Queen, The Miracle, 1989
I am hating having to write this review though I feel compelled to do so. I bought this movie knowing I would like it. I didn’t have much money left in my checking account, but I thought, yes, this would be worth what little I had left to spend. I gifted it to my kiddo for Valentine’s Day knowing she would surely love it, too.
I didn’t love it. I didn’t even really like it.
I haven’t made a mistake this bad since the much-renowned Lost in Translation. Why the ire? Because Bohemian Rhapsody taught me some things, but not enough. Not what I wanted to know. I wanted to learn more than what a rudimentary Google search would have taught me about the band. Instead, I obtained only basic information about the band’s success. I think to really do the band justice you would need a series. Maybe that is my problem. The film had too much general information crammed into it, and I needed MORE, PEOPLE.
I should have liked this film because it revolved around Queen’s music. The best thing about this film is the soundtrack. I think contemplating some of Queen’s lyrics throughout would have really enhanced the film, though. They talked about the poetry but didn’t examine it. And I was disappointed.
Malek’s Mercury just didn’t do it for me though I admire his dedication to the craft. I do think he did an excellent job, but there was something missing that I can’t put my finger on. It felt very much like pretending. And I can’t even adequately explain why. I did love the costuming though. Especially the hair. The transformation of Mercury from boy to man was impressive. It made me want to grow a mustache.
The supporting characters were stereotypical. The supporting cast members might have been cardboard cutouts for all of the attachment I felt to them. The film also didn’t undertake the concept of what it meant to be LGBT in that era. Therefore, it didn’t fully explore the ramifications of the risks that Mercury was taking both professionally and personally. Conflicts just didn’t resonate with the high drama I felt they should have especially considering the in-your-face elements of Mercury’s personality. The passion just wasn’t there. And a real miracle would have been adequately examining the collaboration between the musicians.
I also felt the film was generally stilted by the writing, which seemed comprised of the most overused clichés in the English language.
Bohemian Rhapsody didn’t delve into the AIDS crisis deep enough to evoke much of an emotional response in me. I appreciate that Freddie Mercury didn’t want his life to be a “cautionary tale.” I get that. But the tragedy of his death seemed really downplayed to me for some reason. I wasn’t expecting the emotional response you would get from a film like Philadelphia. But something close would have been nice. Maybe I’ve seen too many films that focus on tragedy and expected to be weeping by the end of the film. Or the beginning of the film, or at any point during the film. But I was left feeling hollow.
The crowd scene from Live Aid and the Live Aid performance rightfully stole what remained of this show. The looks on the faces of the crowd. The expanse of the crowd. The scene reflected what it must have felt like to be a performer or a fan in such a large venue. Malek was awesome in this scene and deserves his due. It might be what earns him the Oscar.
I hate to say it, but I liked Mark Wahlberg and Rock Star (2001) better than I liked this movie. I just felt they could have done a better job with it. It didn’t live up to the hype.
And now I’ve touched upon the real issue. I could never get enough of this band, or of Mercury, and DAMNIT. The experience they provided fans around the world was just gone too soon.
And I just don’t feel the movie did the band or Mercury’s life justice.
I spent my Saturday listening to music in my car, wondering what a septuagenarian Mercury would have thought of today’s saturated music market. I imagine he would have been like my late father, fascinated by both the popular and the underground.
Ok, NOW I’m crying.
But touch my tears, with your lips
Touch my world, with your fingertips.
And we can have forever
And we can love forever
Forever is our today…
Queen, “Who Wants to Live Forever,” It’s Kind of Magic, 1986
For the Love of Sauntress: A Forty-Year Affair
Book
"I wonder if you can help me." "Maybe I could, or maybe I couldn't," was the very Welsh reply. "What...
Charlie Cobra Reviews (1840 KP) rated Angel Has Fallen (2019) in Movies
Jul 7, 2020
Not The Best In The Series But A Good Farewell
Angel Has Fallen is a 2019 action/thriller movie directed by Ric Roman Waugh with screenplay written by Waugh, Robert Mark Kamen and Matt Cook from story by Creighton Rothenberger and Katrin Benedikt. Producers on the film included Gerard Butler, Alan Siegel, Matt O'Toole, John Thompson, Les Weldon, and Yariv Lerner. It was produced by Millennium Media, G-Base and distributed by Lionsgate. The film stars Gerard Butler, Morgan Freeman, Jada Pinkett Smith, Piper Perabo, and Lance Reddick.
Undergoing training at a private military facility, Secret Service agent Mike Banning (Gerard Butler) finds himself hiding the fact that he's suffering from migraines, insomnia and self-medicating to deal with severe back pain. He is nominated by the President Alan Trumbull (Morgan Freeman), for the position of Secret Service Director to replace retiring Director David Gentry (Lance Reddick). An assassination attempt occurs during the President's fishing trip and his security detail is killed by armed drones, leaving only himself and Banning the sole survivors. Banning is arrested by FBI Agent Helen Thompson (Jada Pinkett Smith) after finding substantial evidence that Banning is responsible for the attack. After escaping from his captors Banning must evade his own agency and the FBI to find the real threat to the President. To save the country from imminent danger he must turn to unlikely allies and uncover the truth to clear his name.
This movie was all over the place but it was good. I think i liked it better than the last one which was London Has Fallen, but not as much as the original movie Olympus Has Fallen. It was refreshing to see Gerard Butler's character Mike Banning humanized a bit in this film. The plot was a little predictable but I enjoyed the whole man on the run while trying to still do his job angle to it. Like I said the movie was kind of all over the place and didn't have the action scenes as tight as in the other films especially in the middle of the movie but it didn't matter too much overall. Fairly entertaining, it was a good movie to end the summer action movies off with. I give it a 7/10.
Undergoing training at a private military facility, Secret Service agent Mike Banning (Gerard Butler) finds himself hiding the fact that he's suffering from migraines, insomnia and self-medicating to deal with severe back pain. He is nominated by the President Alan Trumbull (Morgan Freeman), for the position of Secret Service Director to replace retiring Director David Gentry (Lance Reddick). An assassination attempt occurs during the President's fishing trip and his security detail is killed by armed drones, leaving only himself and Banning the sole survivors. Banning is arrested by FBI Agent Helen Thompson (Jada Pinkett Smith) after finding substantial evidence that Banning is responsible for the attack. After escaping from his captors Banning must evade his own agency and the FBI to find the real threat to the President. To save the country from imminent danger he must turn to unlikely allies and uncover the truth to clear his name.
This movie was all over the place but it was good. I think i liked it better than the last one which was London Has Fallen, but not as much as the original movie Olympus Has Fallen. It was refreshing to see Gerard Butler's character Mike Banning humanized a bit in this film. The plot was a little predictable but I enjoyed the whole man on the run while trying to still do his job angle to it. Like I said the movie was kind of all over the place and didn't have the action scenes as tight as in the other films especially in the middle of the movie but it didn't matter too much overall. Fairly entertaining, it was a good movie to end the summer action movies off with. I give it a 7/10.
LeftSideCut (3776 KP) rated Alita: Battle Angel (2019) in Movies
May 26, 2020 (Updated Jun 18, 2020)
Alita: Battle Angel is great. Is there a good helping of sci-fi dumbfuckery to be found? Of course. But the positives far outweigh any negatives in this instance.
Based on a Manga series and subsequent Anime from the early nineties, Alita brings the signature Japanese comic style to life in style, as a whole heap of (mostly) decent digital effects collides with real-life.
The world of A:BA is really well realised, with the film taking place in the 26th Century, a future that sees man and cyborg live side by side. The plot takes place in The Iron City on the ground, eclipsed by the floating city of Zalem above. It's a striking aesthetic that reminded me of something from a Final Fantasy game. The main narrative follows Dr. Ido (Christoph Waltz) who finds the remains of a deactivated cyborg in a trash heap. He gives the cyborg a new body and a new life, and gives her the name Alita. She has no memory of who she was before, but as she begins to explore the world, her memories slowly return. Alita (Rosa Salazar) is a stupidly likable protagonist. She's a fiery, lethal weapon who has a child like innocence. The motion capture combined with Salazar's performance work really well. In fact, the whole cast is great. Christoph Waltz, Mahershala Ali, Jennifer Connelly, Jackie Earl-Hailey - it's a stellar line up. The only cast member I couldn't get on with was Hugo (Keean Johnson) who mainly serves as Alita's love interest. I didn't particularly like his character and as a result didn't fully buy their romance side plot.
The main issue I had was the pacing. The plot is trying to pack so much into 2 hours, that it moved forward at breakneck speed at times. Some plot points become a bit lost in the whole thing, and a few of the characters seemed inconsequential as a result.
It does go a bit CGI overload at times but that's to be expected by the very nature of what A:BA is. The effects on some of the other cyborg characters are ropey as well, but honestly, these are small gripes against a film that I found myself really enjoying.
I sincerely hope a sequel gets green lit as I for one want more of this world to be explored.
Based on a Manga series and subsequent Anime from the early nineties, Alita brings the signature Japanese comic style to life in style, as a whole heap of (mostly) decent digital effects collides with real-life.
The world of A:BA is really well realised, with the film taking place in the 26th Century, a future that sees man and cyborg live side by side. The plot takes place in The Iron City on the ground, eclipsed by the floating city of Zalem above. It's a striking aesthetic that reminded me of something from a Final Fantasy game. The main narrative follows Dr. Ido (Christoph Waltz) who finds the remains of a deactivated cyborg in a trash heap. He gives the cyborg a new body and a new life, and gives her the name Alita. She has no memory of who she was before, but as she begins to explore the world, her memories slowly return. Alita (Rosa Salazar) is a stupidly likable protagonist. She's a fiery, lethal weapon who has a child like innocence. The motion capture combined with Salazar's performance work really well. In fact, the whole cast is great. Christoph Waltz, Mahershala Ali, Jennifer Connelly, Jackie Earl-Hailey - it's a stellar line up. The only cast member I couldn't get on with was Hugo (Keean Johnson) who mainly serves as Alita's love interest. I didn't particularly like his character and as a result didn't fully buy their romance side plot.
The main issue I had was the pacing. The plot is trying to pack so much into 2 hours, that it moved forward at breakneck speed at times. Some plot points become a bit lost in the whole thing, and a few of the characters seemed inconsequential as a result.
It does go a bit CGI overload at times but that's to be expected by the very nature of what A:BA is. The effects on some of the other cyborg characters are ropey as well, but honestly, these are small gripes against a film that I found myself really enjoying.
I sincerely hope a sequel gets green lit as I for one want more of this world to be explored.
Louis Theroux’s Weird Weekends - Series 2
8.1
Rate It
TV Show
Documentaries by writer and presenter Louis Theroux which delve into the weirder fringes of American...
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.