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Black Cake
8.5
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In this moving debut novel, two estranged siblings must set aside their differences to deal with...
Lyndsey Gollogly (2893 KP) rated The Liars Daughter in Books
Nov 7, 2022
‼️ Trigger warning abuse ‼️
203 of 230
Book
The Liars Daughter
By claire Allan
⭐️⭐️⭐️⭐️⭐️
Every family has it’s secrets…
Joe McKee – pillar of the Derry community – is dead. As arrangements are made for the traditional Irish wake, friends and family are left reeling at how cancer could have taken this much-loved man so soon.
But grief is the last thing that Joe’s daughter Ciara and step-daughter Heidi feel. For they knew the real Joe – the man who was supposed to protect them and did anything but.
As the mourners gather, the police do too, with doubt being cast over whether Joe’s death was due to natural causes. Because the lies that Joe told won’t be taken to the grave after all – and the truth gives his daughters the best possible motive for killing him…
A gripping suspense novel about deadly secrets and lies. The perfect read for fans of Clare Mackintosh.
I don’t know where to begin I couldn’t put it down. It deals with a very hard sensitive issue and in my opinion was so well done. It hit so many triggers and buttons but not once did I find it too much to handle or insensitive. It gives in a way 3 different accounts of abuse and survival of women who have gone through and still are suffering. So heartbreaking to read and gives a little hope!
203 of 230
Book
The Liars Daughter
By claire Allan
⭐️⭐️⭐️⭐️⭐️
Every family has it’s secrets…
Joe McKee – pillar of the Derry community – is dead. As arrangements are made for the traditional Irish wake, friends and family are left reeling at how cancer could have taken this much-loved man so soon.
But grief is the last thing that Joe’s daughter Ciara and step-daughter Heidi feel. For they knew the real Joe – the man who was supposed to protect them and did anything but.
As the mourners gather, the police do too, with doubt being cast over whether Joe’s death was due to natural causes. Because the lies that Joe told won’t be taken to the grave after all – and the truth gives his daughters the best possible motive for killing him…
A gripping suspense novel about deadly secrets and lies. The perfect read for fans of Clare Mackintosh.
I don’t know where to begin I couldn’t put it down. It deals with a very hard sensitive issue and in my opinion was so well done. It hit so many triggers and buttons but not once did I find it too much to handle or insensitive. It gives in a way 3 different accounts of abuse and survival of women who have gone through and still are suffering. So heartbreaking to read and gives a little hope!
Mark @ Carstairs Considers (2357 KP) rated The Right Sort of Man in Books
Sep 29, 2023 (Updated Sep 29, 2023)
Match Made for Murder
Its 1946 London, and people are looking to get back to normal after the end of World War II. Miss Iris Sparks and Mrs. Gwendolyn Bainbridge and formed an unlikely partnership in a marriage bureau, both of them looking for something new in their lives. They’ve been opened a few months and are beginning to see some successes, but all that is threatened when one of their clients is murdered and the man they’d matched her with is arrested for the crime. With their personal and professional reputations on the line, they set about trying to prove he is innocent. Can they do it?
When I first heard about this series, I was drawn to the time in history and the premise. I truly appreciated how that time in history is brought to life. I did find the book hard to get into, but once I did, I was hooked. The mystery is good, with some surprises along the way to the suspenseful climax. The characters grow on you, and the sub-plots both of the leads get make them into fully developed characters. What I wasn’t expecting was the humor, which had me laughing as I read. This is more a traditional mystery due to some of the content, but it is still mild. I will definitely be back to see what happens to these characters next.
When I first heard about this series, I was drawn to the time in history and the premise. I truly appreciated how that time in history is brought to life. I did find the book hard to get into, but once I did, I was hooked. The mystery is good, with some surprises along the way to the suspenseful climax. The characters grow on you, and the sub-plots both of the leads get make them into fully developed characters. What I wasn’t expecting was the humor, which had me laughing as I read. This is more a traditional mystery due to some of the content, but it is still mild. I will definitely be back to see what happens to these characters next.
Kirk Bage (1775 KP) rated The Lighthouse (2019) in Movies
Jan 22, 2021
Robert Eggers made a striking introduction for himself in 2015 with the moody and disconcerting The Witch, bringing a future star to the world’s attention in Anya Taylor-Joy in the process. You could argue after seeing his sophomore effort, The Lighthouse, that in terms of creating deliberately nauseating landscapes his work is the third cog in the arthouse revival of intellectual “horror”, after Ari Aster (Hereditary / Midsommar) and Jordan Peele (Get Out / Us). The group actually sits quite well together, as there is an obvious social commentary by metaphor crossover going on here, as well as just a little bit of “crazy”.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
The point of difference up front with Eggars seems to be an earthiness. He likes dirt, and straw and rain and holes in the ground, and a sense of temperature in a scene (usually very cold). He also loves to frame an image and hold it there simply for the bizarre beauty of it, much as David Lynch has done unapologetically and without explanation his whole career.
As perfect as Tayor-Joy was in The Witch for her innocent otherworldly qualities, so Willem Dafoe is also as a craggy, sweaty-toothed old man of the sea in this. Whatever else you take, or don’t take from The Lighthouse, it is hard to deny the absolute cinematic purity of Dafoe’s face! It alone will guarantee this film’s cult status (and his) forever. And I do mean forever; the very best images of this film are worthy to be frozen, framed and wondered at alongside the most enduring black and white iconography in the entire history of the art form. And most often the best images involve Dafoe.
He is just so damn interesting to look at, all the time, no matter what. His range as an actor over the years just gets more and more impressive the more you think about it. He is capable of being heartbreakingly vulnerable and tender, but can also be terrifying on demand. His streak of dark humour can not be underestimated either – consider the genius of his introduction here, where the simple touch of his pipe being upside down tells you everything you need to know about this man and where this film is going.
Except, we don’t know where it is going. Ever. It is a very odd experience in terms of a satisfying narrative. It never seems to settle or fit into a genre comfortably, which is fine if all elements sublimate magically, but I don’t think they quite do. Is it a horror, a comedy, a psychological thriller, a study of loneliness and isolation, a metaphor for… something? The closest I can get is to say it is as if Lynch remade Young Frankenstein with just Igor and Dr Frankenstein, at a lighthouse, but forgot to make it funny or cohere into a real story. Of course, the things that I am reaching for as shortcomings may be exactly what others see as strengths. There is something to be said for being taken on a journey you can’t define or easily explain.
Quite often on this journey we are teased and fed details that seem to go nowhere, and avenues that may have proved interesting to explore are closed with a bang, in favour of another drinking scene and another fight – which are great the first few times, but become repetitive to a baffling degree later on. Mythology and dreams of the sea are played with, but also not fully approached; we are only given brief flashes of Mermaids and Krakens, nightmares and visions only, before returning to the mundanity and drudgery of the job of a lighthouse keeper. You are often left wondering who is going more mad, the men in the film or you watching it. I definitely recommend the best way to watch this is a little or a lot drunk, very late at night… it demands it, somehow.
It is difficult for all these reasons to say with any true certainty then, after just one viewing, if I think it is any good… I don’t know yet, I will have to watch it again some time to find out, is my best answer. For sure the photography is 100% first rate and instantly unforgettable – Jarin Blaschke was deservedly Oscar nominated for the extremely fine work – and the design and feel of the whole thing is quite masterful. I really want to like it more than I do, and perhaps if I was still in my wide-eyed twenties I would be enthusing about it endlessly, but now… I can see a touch of the Emperor’s new clothes about it, so am cautious of praising it too much.
One other element that is impressive, however, that I have yet to touch on, is the continued rise of Mr Robert Pattinson as an actor of serious note. As I have already touched on recently in other reviews, I did not see this coming, that it would be him that I was naming as one of the most promising talents of his age group working in film today! But you just can’t deny his versatility and understanding of genre and character. He puts in another very solid effort here, full of interesting choices and nuance; he is certainly an exciting prospect for the decade ahead.
In summary. See it. Unless you absolutely hate things that don’t tie the strings up nice and neatly, and decide for yourself. Some people will hate it, and I get that. It is a film-lovers film, for sure. Mesmerising and Meticulous, as one critic put it. Admire it for the craft involved, and experience it with an open mind. Just don’t go in expecting traditional horror, or traditional drama, or traditional comedy, or even traditional surrealism… The Lighthouse, for all it’s debatable flaws is unique! I suggest you let it be that way by not over-reaching to define it.
Purple Phoenix Games (2266 KP) rated Hanamikoji in Tabletop Games
Jun 12, 2019
You own a restaurant located on Hanamikoji Street in one of Japan’s most famous Geisha districts. As a way to drum up business, you have begun to hire Geishas as entertainment for your patrons. Skilled in traditional music, dance, and art, Geishas are highly respected entertainers in Japan. However, a rival restaurateur is trying to hire the same Geishas as you! In an attempt to win the favor (and talents) of these elegant women, you begin collecting items related to their chosen art forms with the hope that these gifts will keep them at your establishment!
Hanamikoji is a 2-player game where players are competing to win the favor of the 7 Geishas. In a game of literal give-and-take played over several rounds, you and your opponent will alternate taking 4 actions to play and trade cards. The first player to win the favor of 4 Geishas, or to earn at least 11 Charm points, is the winner!
For as simple as it seems, Hanamikoji requires a lot of strategy. The cards in your hand are hidden from your opponent, but half of the actions taken each round require you to reveal cards from your hand and allow your opponent to take a certain number to their side – a traditional “I split, you choose” mechanic. You have to strategize which cards you can afford to give up, at the risk of letting your opponent win a Geisha, with the goal of winning a higher-valued Geisha instead. At the same time, your opponent will be revealing cards from their hand for you to take to your side. Your strategy is always changing based on not only the cards in your hand, but the cards that your opponent reveals to you.
One thing I really like about this game is that winning the favor of a Geisha in one round is not final. If I win a Geisha in one round, but in the next round my opponent has the majority for that specific Geisha, I lose her favor and she goes back to neutral. So not only am I trying to win over more Geishas each round, I have to actively be protecting those I have already won. The same can be said for the reverse – even if my opponent wins a Geisha in one round, I can negate that in the next round. The favor of the Geishas does not reset at the end of each round, nor is it unchangeable in future rounds. Anything can happen, and that makes for a surprisingly exciting game.
Although this is a competitive game, I find it to be kind of calming to play. It is simple, yet strategic, and the artwork is beautiful. In my experience, once you understand the gameplay and actions, it plays quickly and quietly. If you’re looking for a quality 2-player game, give Hanamikoji a try! Purple Phoenix Games rates it a graceful 10 / 12 (Bryan and Josh have not yet played it).
https://purplephoenixgames.wordpress.com/2019/02/13/hanamikoji-review/
Hanamikoji is a 2-player game where players are competing to win the favor of the 7 Geishas. In a game of literal give-and-take played over several rounds, you and your opponent will alternate taking 4 actions to play and trade cards. The first player to win the favor of 4 Geishas, or to earn at least 11 Charm points, is the winner!
For as simple as it seems, Hanamikoji requires a lot of strategy. The cards in your hand are hidden from your opponent, but half of the actions taken each round require you to reveal cards from your hand and allow your opponent to take a certain number to their side – a traditional “I split, you choose” mechanic. You have to strategize which cards you can afford to give up, at the risk of letting your opponent win a Geisha, with the goal of winning a higher-valued Geisha instead. At the same time, your opponent will be revealing cards from their hand for you to take to your side. Your strategy is always changing based on not only the cards in your hand, but the cards that your opponent reveals to you.
One thing I really like about this game is that winning the favor of a Geisha in one round is not final. If I win a Geisha in one round, but in the next round my opponent has the majority for that specific Geisha, I lose her favor and she goes back to neutral. So not only am I trying to win over more Geishas each round, I have to actively be protecting those I have already won. The same can be said for the reverse – even if my opponent wins a Geisha in one round, I can negate that in the next round. The favor of the Geishas does not reset at the end of each round, nor is it unchangeable in future rounds. Anything can happen, and that makes for a surprisingly exciting game.
Although this is a competitive game, I find it to be kind of calming to play. It is simple, yet strategic, and the artwork is beautiful. In my experience, once you understand the gameplay and actions, it plays quickly and quietly. If you’re looking for a quality 2-player game, give Hanamikoji a try! Purple Phoenix Games rates it a graceful 10 / 12 (Bryan and Josh have not yet played it).
https://purplephoenixgames.wordpress.com/2019/02/13/hanamikoji-review/
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