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What Fools These Immortals Be (The Wild Hunt #1)
10.0
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I serve the Wild Hunt. I work alone. And neither of those things is going to change. Serving the...
MM Urban Fantasy Vampires Romance
Threads of Fate (Fated in the Stars #1)
9.0
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Destiny weaves a tale of unbreakable bonds. Nix’s life has been one quiet struggle after...
Mutli-partner Omegaverse MM Romance
Mark @ Carstairs Considers (2387 KP) rated Nemesis in Books
Jul 8, 2025 (Updated Jul 8, 2025)
Orphan Versus Friend
One of Evan’s few friends is Tommy, who also happens to be his weapons dealer. But after discovering some of Tommy’s weapons on an assassin that Evan was fighting, he is mad at his friend for not following Evan’s strict code. Their initial conversation doesn’t go well, but things get complicated with other assassins and a young man that Tommy is trying to help. Will the two be able to solve their differences? Or will they wind up killing each other?
This series is a definite break from my cozy diet, but one I usually love despite the rather graphic violence we get. In this case, the book has too many flaws. The entire plot could have been resolved with a couple of conversations. There are great stretches in the middle where nothing really happens – we’re just dealing with repetitive scenes that don’t go anywhere. Evan is more evil than usual. I get that it was supposed to lead to some growth, but it didn’t work for me. And the ending? I really felt like it let me down. We get some ripped from the headline politics in this book, but it leads to cliches and doesn’t feel like there is much point to it. I feel like the series is marking time in some ways since the initial arc was resolved, and this is worse than normal. The writing is still wonderful. Lots of others seem to still love it, but this one is best for only the diehard fans.
This series is a definite break from my cozy diet, but one I usually love despite the rather graphic violence we get. In this case, the book has too many flaws. The entire plot could have been resolved with a couple of conversations. There are great stretches in the middle where nothing really happens – we’re just dealing with repetitive scenes that don’t go anywhere. Evan is more evil than usual. I get that it was supposed to lead to some growth, but it didn’t work for me. And the ending? I really felt like it let me down. We get some ripped from the headline politics in this book, but it leads to cliches and doesn’t feel like there is much point to it. I feel like the series is marking time in some ways since the initial arc was resolved, and this is worse than normal. The writing is still wonderful. Lots of others seem to still love it, but this one is best for only the diehard fans.
Lottie disney bookworm (1056 KP) rated Cinderella is Dead in Books
Jun 6, 2020
Contains spoilers, click to show
Thank you to Netgalley and Kalynn Bayron for giving me the opportunity to read an advance copy of Cinderella is Dead in exchange for an honest review.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.
With such a strong title to a novel, it’s easy to predict that an author would struggle to maintain the sense of danger and mystery that is immediately evoked. However, as Kalynn Bayron opens on the revelation that Cinderella has been dead for 200 years and introduces us to two young women hiding from those who are sure to kill them, I think it is safe to say that she has the drama side of things covered!
The kingdom of Mersaille was once ruled by none other than Prince Charming and Cinderella. After her untimely death, Cinderella’s tale is held in almost biblical stature for generations, with young girls reciting it each night in preparation for their own chance to attend an annual ball once they turn 16 and wishing for their own fairy godmother to grant their happily ever after.
However, as the reader enters the town of Lille 200 years later, we witness that life within the kingdom is far from that of a fairytale. The balls that act as a tribute to Cinderella are mandatory meat markets with lecherous “suitors”, domestic violence and the suppression of women is commonplace and the ruler, Prince Manford, thrives on the power, fear and violence.
The reader witnesses this abysmal society through Bayron’s use of a first-person perspective: that of our protagonist Sophia. Sophia is everything a modern protagonist should be: she questions the unjust world around her and, having just turned 16 is preparing to attend her first ball, not with excitement, but with trepidation.
Sophia reveals to the reader that a girl only has three chances to be chosen by a suitor at the ball, after that she is considered forfeit, taken away from her family in disgrace and placed either into a workhouse or service. Men, however, are under no such conditions: they can attend balls when they wish and can choose a number of girls if they want to. Many girls’ singular hope is to be chosen by a good man at the ball, one who will not beat her, perhaps even one who will take them away from Lille. This is not enough for Sophia, she wants more for her life and, as she says herself:
“I don’t want to be saved by some knight in shining armor. I’d like to be the one in the armor, and I’d like to be the one doing the saving.”
At the beginning of the book, Sophia’s main gripe with the society she lives in is that it will not allow her to be with Erin, the girl she loves. As the book continues, the underlying theme of the rights and treatment of women strengthens, along with Sophia, but the first few pages at least are centered on the teenage relationship between Sophia and Erin.
What I absolutely adored about Bayron’s writing style here is the complete lack of shock or awe in this relationship: it is mentioned right from the start and at no point in this novel does Sophia “come out”, there is simply no need. All those around Sophia, who know her and care for her, are aware of her feelings for Erin and, although Sophia is occasionally referred to as “different”, the author chooses to abolish any unnecessary labels within her novel.
Unfortunately, Bayron does not have an easy ride in store for Sophia: reeling from a firm separation from Erin, Sophia is cast a lifeline, an “easy way out” in the form of a local boy who is also “different”. Sadly, this option is quickly and dramatically ripped away from her: forcing her to find her strength pretty damn quickly as she begins a life as an outlaw.
Along her path, Sophia meets two strong female characters: Constance and Amina. Although, wildly different, both these women play a significant role in Sophia’s self-discovery.
Amina is as far from the traditional fairy godmother image as you can get and, although she feels guilt for her previous actions, it takes meeting Sophia for her to recognise her previous denial and to help change the way of the world. Amina is a protector to Sophia right to the end, in her own unique way.
Constance, what can we say about Constance? I defy anyone to read this book and not fall in love with this girl! Constance possesses the strength that Sophia does not yet recognise within herself; she is fiery and, as a descendant of an “evil stepsister”, leads a resistance movement to uncover and publicise the truth about the real tale of Cinderella. Despite, technically saving Sophia towards the beginning of the story, Constance is not Sophia’s saviour: nor is Sophia the saviour; however, the power that they find together is monumental.
Constance is a complete juxtaposition to Erin: whereas Erin accepts the rules of society out of fear for herself and her family, Constance actively rebels against them. It is almost as if they represent the paths Sophia has to choose from. Nevertheless, along their adventure, Sophia and Constance’s relationship strengthens into love. This is no fairytale, love at first sight deal though! If anything, the slow-burning romance between the two made it more believable and I really appreciated that Sophia didn’t just rebound due to Erin’s choices: she had been burnt and she was still unsure of her own feelings never mind anyone else’s.
At the hands of Bayron, Sophia experiences heartbreak, friendship, murder, love and conspiracy: she is on the brink of danger too many times to count and is constantly second guessing who she can trust. Yet, it is clear that the author adores her main character: Sophia’s journey to realise that she is enough is incredible and the strength that she finds within herself is inspirational. Sophia is also surrounded by a cast of strong female characters: there are no Prince Charming’s in this novel that’s for sure!
I wasn’t that far into this book when I decided I need to read more of Kalynn Bayron’s work. I love how there are no chapters in this novel, we are taken on this relentless journey with Sophia: the reader is not given a chance to stop and take stock, reflect or rest until it is all over and this creates the tensest experience. Even we don’t know who to trust towards the end!
‘Cinderella is Dead’ is powerful, thought-provoking and is constantly leaving the reader guessing. On a basic level the novel deals with violence, love, politics and a little bit of necromancy thrown in there for good measure. However, the intelligent writing as well as the massive plot twist and the subjects of LGBTQ love, women’s rights and domestic violence lifts this novel from that basic level into, what I predict could be a bestseller.
BankofMarquis (1832 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 31, 2019
The film Tarantino was born to make
ONCE UPON A TIME...IN HOLLYWOOD is the film that Quentin Tarantino was born to make and it is his Masterpiece.
Your enjoyment of this film will be in direct correlation with how you reacted to the previous statement.
Lovingly set in Hollywood of the late 1960's, OUATIH tells the tale of 3 performers in LaLa Land who's stories are undercut by - and eventually intersect with - the growing dread of the Hippie CounterCulture of the time and, specifically, the Charles Manson cult that would erupt in violence.
Leonardo DiCaprio stars as fading Cowboy star Rick Dalton who has been relegated to guest starring villain roles on TV and is contemplating a move to Italian "Spaghetti" Westerns. This is DiCaprio's strongest acting job in (perhaps) his career and one that showcases his range as a performer - and he nails it. His Rick Dalton is a real human being. Sometimes confident, often times at odds with himself, and filled with self doubt. It is a bravura performance, one that I am confident we will be hearing a lot more of come Awards season.
Ably counterbalancing him - and providing the strong core to this film - is Brad Pitt's Cliff Booth, Rick Dalton's stunt double, who is just trying to live day to day. He is the quintessential Hollywood/California "whatever" dude who blows with wherever the wind blows him - including into questionable places. This is Pitt's strongest performance in (perhaps) his career as well - and if Pitt wasn't there to provide the strength and core to this film than DiCaprio's performance would be seen as cartoonish and over-the-top, but this counterbalance is there, which strengthens both performances. I'm afraid that DiCaprio will win all the Acting Awards accolades (his part is much more flashy/flamboyant), but I think Pitt is every bit as good and I would LOVE to see his name called during Awards season.
There are many, many actors making extended cameos in this film, from members of the Tarantino "stock company" like Michael Madsen, Bruce Dern, Kurt Russell and Zoe Bell to newcomers Timothy Olyphant, Emile Hirsch, Margaret Qualley, Dakota Fanning and Al Pacino - all have a scene (or 2) that (I'm sure) each actor saw as "delicious" and their willingness to go along with whatever Tarantino wanted them to do is apparent on the screen.
Faring less well is Margot Robbie in the underwritten role of real-life actress Sharon Tate who met her death at the hands of the Manson cult (this isn't a spoiler, it's a footnote in history). Her role is tangential to the main story of the DiCaprio/Pitt characters and it feels...tangential. Robbie does what she can with the role, but she is under-served by the script and direction of Tarantino.
So let's talk about writer/director Quentin Tarantino. A self-described "movie buff", Tarantino spares no detail in showing the audience the sights and sounds of a bygone era - Hollywood in the days of transition from the studio system to a more "television-centric" system. His visuals are wonderful and you spend the first 2 1/2 hours of this 2 hour, 45 minute film meandering through scenes/scenarios/people that are filled with mood and atmosphere and REALLY, REALLY GREAT music, but don't really seem to go anywhere. I was (pleasantly) surprised by how little violence/blood is involved in this and I give Tarantino - the director - credit. For he plays with audiences expectations of him, this movie and the actual, real-life events of this time. While this film is an homage to specific time, it is undercut by an impending sense of doom that keeps you on edge. It is the journey, not the destination that is the joy of this part of the film.
But, when all these disparate storylines/scenerios/characters and events eventually collide, the final 15-20 minutes of this film is quintessential Tarantino - exploding in violence that is horrific, bloody - and damned funny. It is an auteur in full control of his faculties and he controls the items in his "play-set" superbly to bring this film to a very satisfying climax for me.
But...this film is not for everyone. Some will LOVE the first 2 1/2 hours and HATE the last 15-20 minutes while others will LOVE the last 15-20 minutes, but wonder why they had to suffer through the first 2 1/2 hours. For me, I LOVED IT ALL. It is one of the very best Writer/Directors of our time operating at the top of his game - driving some "A-List" actors to career-best performances.
And that's good enough for me.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Your enjoyment of this film will be in direct correlation with how you reacted to the previous statement.
Lovingly set in Hollywood of the late 1960's, OUATIH tells the tale of 3 performers in LaLa Land who's stories are undercut by - and eventually intersect with - the growing dread of the Hippie CounterCulture of the time and, specifically, the Charles Manson cult that would erupt in violence.
Leonardo DiCaprio stars as fading Cowboy star Rick Dalton who has been relegated to guest starring villain roles on TV and is contemplating a move to Italian "Spaghetti" Westerns. This is DiCaprio's strongest acting job in (perhaps) his career and one that showcases his range as a performer - and he nails it. His Rick Dalton is a real human being. Sometimes confident, often times at odds with himself, and filled with self doubt. It is a bravura performance, one that I am confident we will be hearing a lot more of come Awards season.
Ably counterbalancing him - and providing the strong core to this film - is Brad Pitt's Cliff Booth, Rick Dalton's stunt double, who is just trying to live day to day. He is the quintessential Hollywood/California "whatever" dude who blows with wherever the wind blows him - including into questionable places. This is Pitt's strongest performance in (perhaps) his career as well - and if Pitt wasn't there to provide the strength and core to this film than DiCaprio's performance would be seen as cartoonish and over-the-top, but this counterbalance is there, which strengthens both performances. I'm afraid that DiCaprio will win all the Acting Awards accolades (his part is much more flashy/flamboyant), but I think Pitt is every bit as good and I would LOVE to see his name called during Awards season.
There are many, many actors making extended cameos in this film, from members of the Tarantino "stock company" like Michael Madsen, Bruce Dern, Kurt Russell and Zoe Bell to newcomers Timothy Olyphant, Emile Hirsch, Margaret Qualley, Dakota Fanning and Al Pacino - all have a scene (or 2) that (I'm sure) each actor saw as "delicious" and their willingness to go along with whatever Tarantino wanted them to do is apparent on the screen.
Faring less well is Margot Robbie in the underwritten role of real-life actress Sharon Tate who met her death at the hands of the Manson cult (this isn't a spoiler, it's a footnote in history). Her role is tangential to the main story of the DiCaprio/Pitt characters and it feels...tangential. Robbie does what she can with the role, but she is under-served by the script and direction of Tarantino.
So let's talk about writer/director Quentin Tarantino. A self-described "movie buff", Tarantino spares no detail in showing the audience the sights and sounds of a bygone era - Hollywood in the days of transition from the studio system to a more "television-centric" system. His visuals are wonderful and you spend the first 2 1/2 hours of this 2 hour, 45 minute film meandering through scenes/scenarios/people that are filled with mood and atmosphere and REALLY, REALLY GREAT music, but don't really seem to go anywhere. I was (pleasantly) surprised by how little violence/blood is involved in this and I give Tarantino - the director - credit. For he plays with audiences expectations of him, this movie and the actual, real-life events of this time. While this film is an homage to specific time, it is undercut by an impending sense of doom that keeps you on edge. It is the journey, not the destination that is the joy of this part of the film.
But, when all these disparate storylines/scenerios/characters and events eventually collide, the final 15-20 minutes of this film is quintessential Tarantino - exploding in violence that is horrific, bloody - and damned funny. It is an auteur in full control of his faculties and he controls the items in his "play-set" superbly to bring this film to a very satisfying climax for me.
But...this film is not for everyone. Some will LOVE the first 2 1/2 hours and HATE the last 15-20 minutes while others will LOVE the last 15-20 minutes, but wonder why they had to suffer through the first 2 1/2 hours. For me, I LOVED IT ALL. It is one of the very best Writer/Directors of our time operating at the top of his game - driving some "A-List" actors to career-best performances.
And that's good enough for me.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Kristy H (1252 KP) rated The Good Daughter in Books
Feb 1, 2018
Charlie and Sam grew up in Pikeville, Georgia, with anything but an idyllic childhood. When the girls were teens, they were part of a brutal assault at their family's farmhouse. The attack left their mother, "Gamma," dead and profoundly affected their father, a prominent local attorney. Years later, Charlie remains in Pikeville, a lawyer like her father, and trying to keep the past behind her. All that changes when the town witnesses violence yet again--and Charlie is right in the thick of it. Suddenly, she's forced to confront so many of the emotions she's buried for years and to fully deal with exactly what happened to her family so many years ago.
Slaughter's latest novel starts quickly out of the gate--with a brutal, graphic, and spell-binding description of the assault and attack on Charlie, Sam, and Gamma--and it never lets up from there. <i>Seriously, this book never lets you take a breath or a break: it's just constant action and second guessing. </i>
Told from the points of view of both Charlie and Sam, including their varying memories of the incident at the farmhouse, we are forced to see all the events and violence through the eyes of the two sisters alone. As I mentioned, this keeps you guessing--and reading. I completely put down the other novel I was reading at the time (FINAL GIRLS) to read this: I had to know how it ended.
All the characters in this book are entwined, and Slaughter does a great job of depicting the small town of Pikeville. It's a mystery at its core, sure, but it also goes deeper with commentary on race, class, and how modern society deals with mass tragedy. The characters are well-drawn: I immediately found myself intrigued by Sam, Charlie, their father (Rusty), the descriptions of Gamma, and by a slew of small-town folk, including Rusty's secretary Lenore, and Charlie's estranged husband, Ben. Slaughter is excellent with the details.
Indeed, <i>she's great at doling out those "whoa" moments.</I> The plot never lets down; in fact, it continues to pick up as the novel continues on. I truly gasped a couple of times and found myself going "wow"! That's not easy to do once, let alone consistently.
This is a beautiful book at times--the way the plot and characters weave together. It even makes you laugh at moments, despite some truly somber subject matter. I found myself a bit irked at times by Charlie and Sam's fighting (I've read a lot of books with sisters fighting as of late), but if that's my only nitpick, that's not bad at all.
Overall, a great mystery that keeps you guessing and surprised to the very end. Excellent, fascinating, and deep characters. Definitely worth a read.
I received a copy of this novel from the publisher and Edelweiss (thank you!); it is available everywhere as of 08/22/2017.
You can read my review of Slaughter's novel PRETTY GIRLS <a href="https://www.goodreads.com/review/show/1374683896?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
Slaughter's latest novel starts quickly out of the gate--with a brutal, graphic, and spell-binding description of the assault and attack on Charlie, Sam, and Gamma--and it never lets up from there. <i>Seriously, this book never lets you take a breath or a break: it's just constant action and second guessing. </i>
Told from the points of view of both Charlie and Sam, including their varying memories of the incident at the farmhouse, we are forced to see all the events and violence through the eyes of the two sisters alone. As I mentioned, this keeps you guessing--and reading. I completely put down the other novel I was reading at the time (FINAL GIRLS) to read this: I had to know how it ended.
All the characters in this book are entwined, and Slaughter does a great job of depicting the small town of Pikeville. It's a mystery at its core, sure, but it also goes deeper with commentary on race, class, and how modern society deals with mass tragedy. The characters are well-drawn: I immediately found myself intrigued by Sam, Charlie, their father (Rusty), the descriptions of Gamma, and by a slew of small-town folk, including Rusty's secretary Lenore, and Charlie's estranged husband, Ben. Slaughter is excellent with the details.
Indeed, <i>she's great at doling out those "whoa" moments.</I> The plot never lets down; in fact, it continues to pick up as the novel continues on. I truly gasped a couple of times and found myself going "wow"! That's not easy to do once, let alone consistently.
This is a beautiful book at times--the way the plot and characters weave together. It even makes you laugh at moments, despite some truly somber subject matter. I found myself a bit irked at times by Charlie and Sam's fighting (I've read a lot of books with sisters fighting as of late), but if that's my only nitpick, that's not bad at all.
Overall, a great mystery that keeps you guessing and surprised to the very end. Excellent, fascinating, and deep characters. Definitely worth a read.
I received a copy of this novel from the publisher and Edelweiss (thank you!); it is available everywhere as of 08/22/2017.
You can read my review of Slaughter's novel PRETTY GIRLS <a href="https://www.goodreads.com/review/show/1374683896?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
Hazel (1853 KP) rated Saint Death in Books
Dec 17, 2018
<i>This ARC was provided by the publisher via NetGalley in exchange for an honest review </i>
What must life be like living in a poor neighbourhood? Every night your sleep is disturbed by gunshots, the people you know slowly disappear each time a gang raids the town, you live in fear for your own life. This is the concept international award-winning author Marcus Sedgwick explores in his latest Young Adult novel. Set in Anapra, one of the poorest communities in Mexico, Sedgwick delivers a story of poverty, gang crime and greed.
A young man – presumably still in his teens – named Arturo is living in a falling down shack, surviving on the small amount he earns at the local garage. Having kept to himself for the past year in order to remain safe, he experiences mixed emotions when his long lost friend turns up on his door stop – if you can call it that – and asks him to win $1000 by gambling at cards to appease a brutal gang leader.
What follows is an intense game against dangerous criminals with only prayers to Santa Muerte – Saint Death – to help Arturo get by. However, in the same way that the gang leaders are obsessed with wealth, Arturo begins to be overcome with greed, putting both himself and his friend in mortal danger.
<i>Saint Death</i> is not a book to be <i>liked</i>, after all, who would be fond of death, pain and violence? Instead it is a story that introduces an alternative culture to the readers – presuming that most will be from the more typical western world. Sedgwick throws us right into the slums of Mexico where religion, superstition, law and safety have an entirely different meaning. We learn that life in these areas is mostly a war between power and poverty, with the wealthy naturally championing over the rest.
Unfortunately <i>Saint Death</i> is a difficult book to read. For a start, it is a little bit boring. Whilst the events may be realistic there is no thrill or enjoyment garnered from reading about them. Understandably, Sedgwick is trying to bring a sense of culture into his work, however there is barely anything that a Young Adult reader can relate to. We are never told Arturo’s age and only assume he his in his teens, however he acts like a much older adult. It is difficult to imagine and comprehend the poverty, gangs and violence when we have not been witness to it ourselves. Whilst attempting to shock, Sedgwick lacks on description making it a challenge to picture the scene in our heads.
Prior to this book, I had only read Sedgwick’s <i>My Sword Hand is Singing</i> (2006), therefore I was unsure what to expect with his latest novel. It was my understanding that he tends to write horror or paranormal novels, whereas <i>Saint Death</i> was a complete change of genre. Of course authors experiment with their writing style all the time; some are successful, others less so. In this instance I personally think Sedgwick fell short of his goal, trying too hard to copy other writers that had influenced him to make this conversion. Whether Sedgwick decides to continue along this theme or revert back to what he has already been successful with remains to be seen, but I am hoping for the latter.
What must life be like living in a poor neighbourhood? Every night your sleep is disturbed by gunshots, the people you know slowly disappear each time a gang raids the town, you live in fear for your own life. This is the concept international award-winning author Marcus Sedgwick explores in his latest Young Adult novel. Set in Anapra, one of the poorest communities in Mexico, Sedgwick delivers a story of poverty, gang crime and greed.
A young man – presumably still in his teens – named Arturo is living in a falling down shack, surviving on the small amount he earns at the local garage. Having kept to himself for the past year in order to remain safe, he experiences mixed emotions when his long lost friend turns up on his door stop – if you can call it that – and asks him to win $1000 by gambling at cards to appease a brutal gang leader.
What follows is an intense game against dangerous criminals with only prayers to Santa Muerte – Saint Death – to help Arturo get by. However, in the same way that the gang leaders are obsessed with wealth, Arturo begins to be overcome with greed, putting both himself and his friend in mortal danger.
<i>Saint Death</i> is not a book to be <i>liked</i>, after all, who would be fond of death, pain and violence? Instead it is a story that introduces an alternative culture to the readers – presuming that most will be from the more typical western world. Sedgwick throws us right into the slums of Mexico where religion, superstition, law and safety have an entirely different meaning. We learn that life in these areas is mostly a war between power and poverty, with the wealthy naturally championing over the rest.
Unfortunately <i>Saint Death</i> is a difficult book to read. For a start, it is a little bit boring. Whilst the events may be realistic there is no thrill or enjoyment garnered from reading about them. Understandably, Sedgwick is trying to bring a sense of culture into his work, however there is barely anything that a Young Adult reader can relate to. We are never told Arturo’s age and only assume he his in his teens, however he acts like a much older adult. It is difficult to imagine and comprehend the poverty, gangs and violence when we have not been witness to it ourselves. Whilst attempting to shock, Sedgwick lacks on description making it a challenge to picture the scene in our heads.
Prior to this book, I had only read Sedgwick’s <i>My Sword Hand is Singing</i> (2006), therefore I was unsure what to expect with his latest novel. It was my understanding that he tends to write horror or paranormal novels, whereas <i>Saint Death</i> was a complete change of genre. Of course authors experiment with their writing style all the time; some are successful, others less so. In this instance I personally think Sedgwick fell short of his goal, trying too hard to copy other writers that had influenced him to make this conversion. Whether Sedgwick decides to continue along this theme or revert back to what he has already been successful with remains to be seen, but I am hoping for the latter.
Gareth von Kallenbach (980 KP) rated Mr. & Mrs. Smith (2005) in Movies
Aug 14, 2019
Not since the film The War of the Roses has the silver screen portrayed marital discord in such as humorous and violent fashion as it does in Mr. and Mrs. Smith.
The film stars Brad Pitt and Angelina Jolie as the title characters who are approaching their sixth year of marriage, though Mr. Smith seems to be convinced it has only been five.
Tedium has set into their suburban lives, and the couple has entered counseling in an effort to help their lack of communication. The story of how they met and various aspects of their lives with one another paints the picture of how much the flame has dulled after such an explosive start for the couple.
As routine has their home lives have become, one thing that has not changed is their work. Unknown to each other, the Smiths are actually assassins for competing firms. Both Smiths are convinced that their spouse works in other fields and manage to complete most of their missions during the day or night under the guise of work for the cover careers.
Things change when both agents are assigned by their firms to a mission where they end up encountering each other from a distance. Unsure of whom the person they spotted is, they are ordered to eliminate the person in order to protect their cover.
This begins a rapid series of events that, as anyone who has seen the trailer will realize, the Smiths will figure out that the person they have been seeking is their very own spouse. While this destination is inevitable to the plot is not a surprise, the trip leading up to it, and the whirlwind of events that follows this discovery, is what really makes this film such an enjoyable ride.
Naturally when the two uncover their spouse’s true identity, the instincts of their professions as well as their pent up frustrations come out in an orgy of passion and violence that leaves a trail of devastation. The various encounters between the Smiths not only escalate on the violence scale, but due to issue such as pride, reputations, and betrayal, the objectivity and impersonal nature of their work are abandoned.
I think Shakespeare put it best when he said that “Hell hath no fury like a woman scorned”, as the scenes of Jane Smith unloading her pent up fury are almost as hysterical as the segments where John Smith takes his turn at the plate.
A prime example of the films ability to mix action and comedy to perfection is the classic dance scene where the two attempt to disarm one another in an effort to get the upper hand. Pitt and Jolie dance and exchanges barbs, as they keep the beat and discard the weapons they find, as they plot to gain the upper hand.
The film did lose a bit of its amazing momentum about a third of the way in, before regrouping and bringing the film to an action packed and very satisfying conclusion. The supporting work of Vince Vaughn is very funny, but sadly his presence is limited. The films works very well because the chemistry between the two leads is very strong, as are the action and humor sequences. Without a doubt one of the best movies of the summer and one not to be missed
The film stars Brad Pitt and Angelina Jolie as the title characters who are approaching their sixth year of marriage, though Mr. Smith seems to be convinced it has only been five.
Tedium has set into their suburban lives, and the couple has entered counseling in an effort to help their lack of communication. The story of how they met and various aspects of their lives with one another paints the picture of how much the flame has dulled after such an explosive start for the couple.
As routine has their home lives have become, one thing that has not changed is their work. Unknown to each other, the Smiths are actually assassins for competing firms. Both Smiths are convinced that their spouse works in other fields and manage to complete most of their missions during the day or night under the guise of work for the cover careers.
Things change when both agents are assigned by their firms to a mission where they end up encountering each other from a distance. Unsure of whom the person they spotted is, they are ordered to eliminate the person in order to protect their cover.
This begins a rapid series of events that, as anyone who has seen the trailer will realize, the Smiths will figure out that the person they have been seeking is their very own spouse. While this destination is inevitable to the plot is not a surprise, the trip leading up to it, and the whirlwind of events that follows this discovery, is what really makes this film such an enjoyable ride.
Naturally when the two uncover their spouse’s true identity, the instincts of their professions as well as their pent up frustrations come out in an orgy of passion and violence that leaves a trail of devastation. The various encounters between the Smiths not only escalate on the violence scale, but due to issue such as pride, reputations, and betrayal, the objectivity and impersonal nature of their work are abandoned.
I think Shakespeare put it best when he said that “Hell hath no fury like a woman scorned”, as the scenes of Jane Smith unloading her pent up fury are almost as hysterical as the segments where John Smith takes his turn at the plate.
A prime example of the films ability to mix action and comedy to perfection is the classic dance scene where the two attempt to disarm one another in an effort to get the upper hand. Pitt and Jolie dance and exchanges barbs, as they keep the beat and discard the weapons they find, as they plot to gain the upper hand.
The film did lose a bit of its amazing momentum about a third of the way in, before regrouping and bringing the film to an action packed and very satisfying conclusion. The supporting work of Vince Vaughn is very funny, but sadly his presence is limited. The films works very well because the chemistry between the two leads is very strong, as are the action and humor sequences. Without a doubt one of the best movies of the summer and one not to be missed
Kristy H (1252 KP) rated The Night Before in Books
Jun 21, 2019
Laura Lochner has returned to her hometown, a bit disgraced, after falling in love with the wrong man yet again. This is a pattern with Laura--always seeking the wrong guys. Her last breakup has hit her particularly hard, causing her to leave her job and apartment and return home to live with her sister, Rosie, Rosie's husband, Joe, and their young son, Mason. Rosie has worried about her sister since they were kids. Laura's always been a little angry and damaged. Both Rosie and Joe feel protective of Laura, especially as she leaves to go on a blind date with a man she "met" on a dating website. So when Laura isn't back the next morning and not responding to texts or calls, Rosie jumps to the worst conclusions. Rosie and Joe begin a frantic search to find Laura. Are they too late?
So this wasn't exactly what I was expecting, and I have to admit, it was a slightly strange and weird--almost trippy--read. The book alternates between Laura and Rosie's viewpoints, with Laura's leading up to and covering her blind date, while Rosie's cover the "after" period, when she searches for her sister. No matter what, I will emphasize that the book mainly held my interest, and while I didn't love it as much as many other reviewers, it was an interesting read, for sure. It's different, too, which is always fun and sometimes hard to find when it comes to thrillers. I just wasn't as "wowed" as I'd hoped, based on some of the reviews I'd read.
The premise here is that Laura has a horrible track record with men. And that she has a bit of a history with violence and unpredictability. The first part you will certainly get, as it's hammered over and over. And over. A bit too much for my taste. We get it. She has bad taste in men and makes poor choices. The second part--her unreliability and potential for violence--is a bit more intriguing. Instead of Rosie thinking that something might have happened to Laura, she almost fears Laura might have done something to her date. I liked this premise: it goes back to the fact that the book was different. A lot of this stemmed to Laura's past and a mysterious encounter with an old boyfriend, which was slowly revealed.
"It was in my hand. The weapon that killed him. But that night didn't change me. That night made me see what I've always been."
There are definitely some interesting twists in this one. Some, eh, while others were very unexpected. But, more in the far-fetched unexpected realm, versus whoa!, which led to a little bit of my letdown feeling. I wasn't particularly impressed with the big reveal of whodunnit and had no real attachment to any of the characters, including Laura, which was a bit disappointing.
Still, as I said, this one definitely held my interest, especially in the last 1/2 - 1/3 of the book. It's different and a little weird and dark. Some of the twists didn't really do it for me, but there are a ton of people who really liked this one, so take my review with a grain of salt. I'm still glad I read this book, and I will definitely continue to seek out Wendy Walker's books, as they are always a fun read. 3+ stars.
So this wasn't exactly what I was expecting, and I have to admit, it was a slightly strange and weird--almost trippy--read. The book alternates between Laura and Rosie's viewpoints, with Laura's leading up to and covering her blind date, while Rosie's cover the "after" period, when she searches for her sister. No matter what, I will emphasize that the book mainly held my interest, and while I didn't love it as much as many other reviewers, it was an interesting read, for sure. It's different, too, which is always fun and sometimes hard to find when it comes to thrillers. I just wasn't as "wowed" as I'd hoped, based on some of the reviews I'd read.
The premise here is that Laura has a horrible track record with men. And that she has a bit of a history with violence and unpredictability. The first part you will certainly get, as it's hammered over and over. And over. A bit too much for my taste. We get it. She has bad taste in men and makes poor choices. The second part--her unreliability and potential for violence--is a bit more intriguing. Instead of Rosie thinking that something might have happened to Laura, she almost fears Laura might have done something to her date. I liked this premise: it goes back to the fact that the book was different. A lot of this stemmed to Laura's past and a mysterious encounter with an old boyfriend, which was slowly revealed.
"It was in my hand. The weapon that killed him. But that night didn't change me. That night made me see what I've always been."
There are definitely some interesting twists in this one. Some, eh, while others were very unexpected. But, more in the far-fetched unexpected realm, versus whoa!, which led to a little bit of my letdown feeling. I wasn't particularly impressed with the big reveal of whodunnit and had no real attachment to any of the characters, including Laura, which was a bit disappointing.
Still, as I said, this one definitely held my interest, especially in the last 1/2 - 1/3 of the book. It's different and a little weird and dark. Some of the twists didn't really do it for me, but there are a ton of people who really liked this one, so take my review with a grain of salt. I'm still glad I read this book, and I will definitely continue to seek out Wendy Walker's books, as they are always a fun read. 3+ stars.
Neon's Nerd Nexus (360 KP) rated The Invisible Man (2020) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
See no evil
The Invisible Man is not a movie about an Invisible Man and certainly not the horror movie its being promoted as, instead its a tight little scifi esq thriller about domestic violence and the lingering effects domestic abuse can bring. Directed by the same director of the absolutley fantastic film Upgrade The invisible man could almost be a companion piece in a sense or even take place in the same world as Upgrade. From the titles its clear tension and impending dread is absolutely nailed here and as we look in on our lead character we can see just how extreme and unsafe her situation/relationship has become. Shes a victim trapped by an abusive and obsessive partner and before her life becomes any more at risk she escapes, but what she then leaves herself open to is a life of paraninoia, mental scaring, trauma, torture and living life in constant fear that her partner will come for her again. Shes never free from him and the way the film uses the invisible man as a metaphor is extremely clever as it shows her trying to live a normal life while clearly completely damaged by the hold one man had on her and by the echoes of the abuse she recived from him (in a sense its like hes still there constantly breathing over her shoulder). Everything is done well and the film really benefits from its slow pace as it helps us as a viewer really get invested into this character and shows just how damaged she has become from past events. Its score is phenomenal too helping ramp up the fear and tension with its intense futuristic droning and screeching. When violence hits its impactful, brutal and shocking as the long build up for it makes it seem like it comes out of nowhere preserving shock value perfectly. Fight scenes are filmed just like the ones from Upgrade full of energy/style and are just as unique/cool while making subtle nods to that film too. Acting is really good especially Elisabeth Moss watching her evolve as a character and in sense use the traits of the person she hates to become stronger is riviting and Eldis Hodge gives a great support role too. Its to bad at times the acting its hurt unnecessarily however by very exposition heavy dialog. If youve seen the trailer for this movie the invisible man reveal will have been spoilt for you as will too a crucial story point however overall as a film what Leigh Whannell has achieved here with this film is certainly very very brave and vastly diffrent from the way these films usually play out. Hes given a very clever and unique take on a character that has already been done to death in films and while it was predictable to a certain extent I applaud him for not going for the lazy done to death almost supernatural approach to this character. The Invisible man is a breath of fresh air amongst crap like fantasy island/the boy 2 and while by no means perfect its brave and realistic portrayals of the after effects of domestic abuse are shocking, well represented and tuff to watch at times. Invisible man is a pleasant surprise but will no doubt be far to slow and intelligent for those just looking for mere jump scares. That being said if this director keeps up this great track record I wouldnt be surprised if bigger film companies start seeking him out very soon.