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Bob Mann (459 KP) rated Censor (2021) in Movies
Sep 3, 2021
Niamh Algar is fabulous (1 more)
Novel story and great direction
A genuinely original story (at last!)
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
Bob Mann (459 KP) rated The Death Of Stalin (2017) in Movies
Sep 29, 2021
Death…. Torture…. Child Abuse…. LOL??
Armando Iannucci is most familiar to TV audiences on both sides of the pond for his cutting political satire of the likes of “Veep” and “The Thick of It”, with his only previous foray into directing movies being “In the Loop”: a spin-off of the latter series. Lovers of his work will know that he sails very close to the wind on many occasions, such that watching can be more of a squirm-fest than enjoyment.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Rupert Friend (centre) tries to deliver a eulogy to his father against winged opposition. With (from left to right) Michael Palin, Jeffrey Tambor, Steve Buscemi and Simon Russell Beale.
It should come as no surprise then that his new film – “The Death of Stalin” – follows that same pattern, but transposed into the anarchic and violent world of 1950’s Russia. Based on a French comic strip, the film tells the farcical goings on surrounding the last days of the great dictator in 1953. Stalin keeps distributing his “lists” of undesirables, most of who will meet unpleasant ends before the end of the night. But as Stalin suddenly shuffles off his mortal coil, the race is on among his fellow commissariat members as to who will ultimately succeed him.
Stalin…. Going… but not forgotten.
The constitution dictates that Georgy Malenkov (an excellently vacillating Jeffrey Tambor) secedes but, as a weak man, the job is clearly soon going to become vacant again and spy-chief Lavrentiy Beria (Simon Russell Beale) and Nikita Khrushchev (Steve Buscemi) are jostling for position. (No spoilers, but you’ll never guess who wins!). Colleagues including Molotov (Michael Palin) and Mikoyan (Paul Whitehouse) need to decide who to side with as the machinations around Stalin’s funeral become more and more desperate.
The film starts extremely strongly with the ever-excellent Paddy Considine (“Pride”) playing a Radio Russia producer tasked with recording a classical concert, featuring piano virtuoso Maria Yudina (Olga Kurylenko, “Quantum of Solace”). A definition of paranoia in action!
Great fingering. Olga Kurylenko as Yudina, with more than a hand in the way the evening’s events will unfold.
We then descend into the chaos of Stalin’s Russia, with mass torture and execution colouring the comedy from dark-grey to charcoal-black in turns. There is definitely comedy gold in there: Khrushchev’s translation of his drunken scribblings from the night before (of things that Stalin found funny and – more importantly – things he didn’t) being a high point for me. Stalin’s children Svetlana (Andrea Riseborough, “Nocturnal Animals”) and Vasily (Rupert Friend, “Homeland”) add knockabout humour to offset the darker elements, and army chief Georgy Zhukov (Jason Isaacs, “Harry Potter”) is a riot with a no-nonsense North-of-England accent.
Brass Eye: Jason Isaacs as the army chief from somewhere just north of Wigan.
Production values are universally excellent, with great locations, great sets and a screen populated with enough extras to make the crowd scenes all appear realistic.
Another broad Yorkshire accent: (the almost unknown) Adrian McLoughlin delivers an hysterical speaking voice as Stalin.
The film absolutely held my interest and was thorougly entertaining, but the comedy is just so dark in places it leaves you on edge throughout. The writing is also patchy at times, with some of the lines falling to the ground as heavily as the dispatched Gulag residents.
It’s not going to be for everyone, with significant violence and gruesome scenes, but go along with the black comic theme and this is a film that delivers rewards.
Chronicles of Crime: 2400
9.0
Rate It
Tabletop Game
“You are Kalia Lavel. You’ve always wanted to fight crime like your famous ancestors, so you...
LeftSideCut (3776 KP) rated Prey (2022) in Movies
Aug 8, 2022
It's no secret that since the original and beloved Predator hit cinemas back in 1987, the franchise has seen a steady decline in quality, with each subsequent entry somehow managing to be less palatable than the one before. Not even IP crossovers could save it (although I'm still holding out hope for an Archie Vs Predator adaption someday.) It's a series that had been in dire need of a shake up for a long time, and that's exactly what Prey is. It swaps the modern settings we're used to, placing the action in the Comanche Nation in the early 1700s, it doubles down on the horror elements that have always bubbled beneath the surface, and most importantly, gives us the best and most memorable protagonist yet.
Naru, played by a truly fantastic Amber Midthunder, is a character who has something to prove. She falls down but doesn't accept defeat. She's relatable, determined, and ultimately, a perfect match for her enemy. One wonders who the prey that the title refers to truly is in this scenario. As such, the narrative plays out as a genuinely tense cat-and-mouse game between two abled warriors, both on the hunt, both trying to survive, and it's a joy to watch unfold.
The first third is a bit of a slow burn, allowing the audience to acclimate to the setting and culture. It gives everything a chance to breathe, and basks in some stunning vistas and beautiful cinematography. The vast majority of Prey was filmed on location in the Stoney Nakoda Nation in Canada. This gives the overall aesthetic a feeling of authenticity and wonder. The somewhat tepid pacing of the first third never gets boring, and remains engaging until things really kick off.
The first encounter the predator has with the human characters marks the start of something special, and from here on, the pedal is to the floor until the credits roll. The action scenes are as thrilling as they are brutal. This predator in particular feels more dangerous and ruthless than before, making minced meat of it's victims. The gore is impactful and the kills are creative. Some great sound editing ensures that even when the camera cuts away now and again, the violence is still felt in full. This is all complimented by the design of the predator. It's mask is more primitive than what we've seen in the past, meaning that even with all of it's high tech gadgets, the predator doesn't feel out of place. Everything climaxes in a hugely entertaining finale that would make Dutch proud. There are moments where Prey apes the original a bit, but it's all executed well, and never feels like it's grasping at nostalgic straws like some of the later sequels have done.
It's clear that there an abundance of positives exuded by Prey, a prequel that no one was chomping at the bit for, but a film that absolutely blows it's predecessors out of the water. Dan Trachtenberg has proven that he can step into a franchise and give us something new before with 10 Cloverfield Lane, and this just cements that claim. Prey is a well realised, and well put together project that is arguably the best entry in the entire Predator franchise, and one can only hope that any future installments are handled in the same way.
Naru, played by a truly fantastic Amber Midthunder, is a character who has something to prove. She falls down but doesn't accept defeat. She's relatable, determined, and ultimately, a perfect match for her enemy. One wonders who the prey that the title refers to truly is in this scenario. As such, the narrative plays out as a genuinely tense cat-and-mouse game between two abled warriors, both on the hunt, both trying to survive, and it's a joy to watch unfold.
The first third is a bit of a slow burn, allowing the audience to acclimate to the setting and culture. It gives everything a chance to breathe, and basks in some stunning vistas and beautiful cinematography. The vast majority of Prey was filmed on location in the Stoney Nakoda Nation in Canada. This gives the overall aesthetic a feeling of authenticity and wonder. The somewhat tepid pacing of the first third never gets boring, and remains engaging until things really kick off.
The first encounter the predator has with the human characters marks the start of something special, and from here on, the pedal is to the floor until the credits roll. The action scenes are as thrilling as they are brutal. This predator in particular feels more dangerous and ruthless than before, making minced meat of it's victims. The gore is impactful and the kills are creative. Some great sound editing ensures that even when the camera cuts away now and again, the violence is still felt in full. This is all complimented by the design of the predator. It's mask is more primitive than what we've seen in the past, meaning that even with all of it's high tech gadgets, the predator doesn't feel out of place. Everything climaxes in a hugely entertaining finale that would make Dutch proud. There are moments where Prey apes the original a bit, but it's all executed well, and never feels like it's grasping at nostalgic straws like some of the later sequels have done.
It's clear that there an abundance of positives exuded by Prey, a prequel that no one was chomping at the bit for, but a film that absolutely blows it's predecessors out of the water. Dan Trachtenberg has proven that he can step into a franchise and give us something new before with 10 Cloverfield Lane, and this just cements that claim. Prey is a well realised, and well put together project that is arguably the best entry in the entire Predator franchise, and one can only hope that any future installments are handled in the same way.
Abandoned Things
10.0
Rate It
Book
Frankie is a fifth-year college student with a secret. He's the writer and creator of the popular...
MM Science Fiction Fantasy Enemies to Lovers Romance
Heather Cranmer (2721 KP) rated The Book of Cold Cases in Books
May 5, 2022
I love a thriller that involves a chilling ghost story, so when I heard about The Book of Cold Cases by Simone St. James, I knew I had to read it. (Plus, I loved her other book The Broken Girls.) I was heavily immersed in this novel from the beginning!
I was sucked into the plot of The Book of Cold Cases right away. St. James gets right down to the nitty-gritty in the very first chapter. This book instantly grabs you and doesn't let go until the very last page. I was instantly transported to this small town in Oregon where I was right with the characters. As with her previous books, Simone St. James tells the story from more than one characters' point of view. We are told the story from Beth's, Shea's, and Lily's viewpoint. There was plenty of action and mystery to keep me intrigued throughout my reading journey. My favorite scenes in the book were the ones that involved the supernatural. I loved reading about how Greer mansion was haunted and about what supernatural activities were happening there. I also enjoyed the semi-big plot twist towards the middle of the book. However, I kept expecting an even bigger plot twist towards the end that never came which left me feeling a bit disappointed. However, this didn't really take away from the overall story that much. Something I could have done without was the romance in the book. It wasn't a major thing, but I just felt like there wasn't really a need for it. Other than that, I truly enjoyed this novel. Everything fit together really well (minus the romance), and the story was all tied together by the very end.
I felt that all the characters in The Book of Cold Cases were fleshed out enough to feel realistic whilst reading. I really liked Shea's interest in true crime since I can relate to that. I admired Shea's thirst for knowledge and how far she'd go to find out the truth of things she wanted to know. (I guess we both need closure!) I did feel like she got over her phobia a little too conveniently and quickly though. Beth was a wildcard for me throughout the book. I couldn't tell if she was guilty like many people believed or if she actually was a guilty party. I did like Beth though, and I loved her attitude she had when accused of murder. Lily was fabulously written, and I enjoyed reading about her too. I won't go into much more detail about her due to spoilers, but her part in The Book of Cold Cases was written well. The only character that kind of bothered me was Michael. I just felt like he was thrown in there as an easy way out. We're introduced to him from the beginning, and I kept waiting for some plot twist to happen involving him, but I was sadly disappointed. I just felt as if the book could have done without him.
Trigger warnings for The Book of Cold Cases include violence, murder, profanity, sexual abuse of a minor (not graphic), and kidnapping.
Overall, The Book of Cold Cases is a thrilling read with a fantastically chilling plot. With a spooky ghost story and an intriguing mystery, St. James has a real winner on her hands. I would definitely recommend The Book of Cold Cases by Simone St. James to those aged 17+ who love being scared and intrigued at the same time. You won't be disappointed.
I was sucked into the plot of The Book of Cold Cases right away. St. James gets right down to the nitty-gritty in the very first chapter. This book instantly grabs you and doesn't let go until the very last page. I was instantly transported to this small town in Oregon where I was right with the characters. As with her previous books, Simone St. James tells the story from more than one characters' point of view. We are told the story from Beth's, Shea's, and Lily's viewpoint. There was plenty of action and mystery to keep me intrigued throughout my reading journey. My favorite scenes in the book were the ones that involved the supernatural. I loved reading about how Greer mansion was haunted and about what supernatural activities were happening there. I also enjoyed the semi-big plot twist towards the middle of the book. However, I kept expecting an even bigger plot twist towards the end that never came which left me feeling a bit disappointed. However, this didn't really take away from the overall story that much. Something I could have done without was the romance in the book. It wasn't a major thing, but I just felt like there wasn't really a need for it. Other than that, I truly enjoyed this novel. Everything fit together really well (minus the romance), and the story was all tied together by the very end.
I felt that all the characters in The Book of Cold Cases were fleshed out enough to feel realistic whilst reading. I really liked Shea's interest in true crime since I can relate to that. I admired Shea's thirst for knowledge and how far she'd go to find out the truth of things she wanted to know. (I guess we both need closure!) I did feel like she got over her phobia a little too conveniently and quickly though. Beth was a wildcard for me throughout the book. I couldn't tell if she was guilty like many people believed or if she actually was a guilty party. I did like Beth though, and I loved her attitude she had when accused of murder. Lily was fabulously written, and I enjoyed reading about her too. I won't go into much more detail about her due to spoilers, but her part in The Book of Cold Cases was written well. The only character that kind of bothered me was Michael. I just felt like he was thrown in there as an easy way out. We're introduced to him from the beginning, and I kept waiting for some plot twist to happen involving him, but I was sadly disappointed. I just felt as if the book could have done without him.
Trigger warnings for The Book of Cold Cases include violence, murder, profanity, sexual abuse of a minor (not graphic), and kidnapping.
Overall, The Book of Cold Cases is a thrilling read with a fantastically chilling plot. With a spooky ghost story and an intriguing mystery, St. James has a real winner on her hands. I would definitely recommend The Book of Cold Cases by Simone St. James to those aged 17+ who love being scared and intrigued at the same time. You won't be disappointed.
Debbiereadsbook (1487 KP) rated Shadow Healer (Blood Shadows #3) in Books
Aug 22, 2023
I don't want it to end!
Independent reviewer for Book Sirens, I was gifted my copy of this book.
This is third book in the Blood Shadows trilogy and it CANNOT be read as a stand alone. You need to know what happened before, what James has done, and how he came to be in the mess of his making. And you know, cos I SAID SO!! Both books one and 2 were 5 star reads, and this one did not disappoint!
James knows what has happened before is entirely his fault. He trusted Gordon and look what happened. He lost the woman he loved, his friends, and his Shadows. Riley loved James, but she never actually voiced the words. Finding him again was bittersweet, though, given what he did and what has to happen now. They need to trust each other, but can they forgive?
Quoting from my review for book one, Shadow Guardian: James would be good, as the third in the Triad but that would mean he comes out of this mess. And if he does, he will be deeply damaged in many ways. Oh, he's gonna break my heart, I know he is! (Assuming he gets a book! *looks pleadingly at Ms Roberts!
And he did! James broke my heart, big time! But Riley as well. They had so much before, but neither had actually said what they felt, or where they wanted it to go, then Gordon came along and wrecked everything. Both of them suffered, deeply, in very different ways. It takes time for them to even speak to each other, but they need to reconnect to actually get one over on Gordon.
Gordon, the power tripping head of the council, makes his plans far more clearer here and it's not just the Norms of this world that will suffer if he gets his way. The Shadow Weavers will suffer, badly, if he gets his feet under the table and gets his way. One suffers here, and it wasn't easy to read, being Shadow stripped.
I think it does have a higher level of violence than the other books, but it really was needed. What Gordon did to James, and the others meant Gordon needed to be stopped at all costs. And it DOES cost, deeply, but it really was needed.
While heavy on the emotional side for James and Riley, I found it a little less explicit than the other books. The emotions are rife for Elizabeth and David too.
AND! The bad guy gets a say! Oh I love it when we hear from the bad guy! Now, I can't actually recall if we did before, cos I don't mention it, and ya;ll know how much I love getting the bad guy so I will always mention it, and we get Gordon in all his world dominating glory and I freaking loved it!
Writing this, even though it was an amazing third instalment, is making me sad. because it is the FINAL part of the trilogy and don't wanna leave them!
I can't wait to see what Roberts comes up with next. I'm really loving her mind and how she gets things across.
5 full and shiny stars, casting wonderfulyl coloured Shadows around!
*same worded review will appear elsewhere
This is third book in the Blood Shadows trilogy and it CANNOT be read as a stand alone. You need to know what happened before, what James has done, and how he came to be in the mess of his making. And you know, cos I SAID SO!! Both books one and 2 were 5 star reads, and this one did not disappoint!
James knows what has happened before is entirely his fault. He trusted Gordon and look what happened. He lost the woman he loved, his friends, and his Shadows. Riley loved James, but she never actually voiced the words. Finding him again was bittersweet, though, given what he did and what has to happen now. They need to trust each other, but can they forgive?
Quoting from my review for book one, Shadow Guardian: James would be good, as the third in the Triad but that would mean he comes out of this mess. And if he does, he will be deeply damaged in many ways. Oh, he's gonna break my heart, I know he is! (Assuming he gets a book! *looks pleadingly at Ms Roberts!
And he did! James broke my heart, big time! But Riley as well. They had so much before, but neither had actually said what they felt, or where they wanted it to go, then Gordon came along and wrecked everything. Both of them suffered, deeply, in very different ways. It takes time for them to even speak to each other, but they need to reconnect to actually get one over on Gordon.
Gordon, the power tripping head of the council, makes his plans far more clearer here and it's not just the Norms of this world that will suffer if he gets his way. The Shadow Weavers will suffer, badly, if he gets his feet under the table and gets his way. One suffers here, and it wasn't easy to read, being Shadow stripped.
I think it does have a higher level of violence than the other books, but it really was needed. What Gordon did to James, and the others meant Gordon needed to be stopped at all costs. And it DOES cost, deeply, but it really was needed.
While heavy on the emotional side for James and Riley, I found it a little less explicit than the other books. The emotions are rife for Elizabeth and David too.
AND! The bad guy gets a say! Oh I love it when we hear from the bad guy! Now, I can't actually recall if we did before, cos I don't mention it, and ya;ll know how much I love getting the bad guy so I will always mention it, and we get Gordon in all his world dominating glory and I freaking loved it!
Writing this, even though it was an amazing third instalment, is making me sad. because it is the FINAL part of the trilogy and don't wanna leave them!
I can't wait to see what Roberts comes up with next. I'm really loving her mind and how she gets things across.
5 full and shiny stars, casting wonderfulyl coloured Shadows around!
*same worded review will appear elsewhere
Heather Cranmer (2721 KP) rated The Children on the Hill in Books
Jul 28, 2022
I read Jennifer McMahon's book The Invited and liked it, so when I read the synopsis for her new book, The Children on the Hill, I was well intrigued. I decided to give it a read and ended up liking it.
The plot of The Children on the Hill definitely piqued my interest. The book switches between two different years. I was drawn into each time frame. I felt like I was right beside each narrator as their story was being told. Most of the story takes place in Vermont, and I felt that through McMahon's writing, I was transported to each location in Vermont. I was interested in Vi's and Eric's monsters. I also was rooting for Vi to solve Lily's mystery of where she came from. I wanted to know what Gran's secret was for being super successful. I had to know more. This book left no cliff hangars, and I was glad that all my questions were answered. I would have liked to know more about certain characters such as where they came from, but I understand why the author didn't include it in the book. There are a couple of big plot twists in The Children on the Hill. I guessed one right before it was mentioned, but I really didn't see the other one coming. (Kudos to Jennifer McMahon on that!) As for the pacing, there were times that it slowed down to the point where I would get a little bored and take a break. However, the pacing would quickly pick back up. In the last quarter or so of the book, the pacing is done brilliantly, and I didn't want to put the book down at all!
I enjoyed the characters from The Children on the Hill. McMahon did a fabulous job with making each and every character feel realistic instead of make believe. Violet was such a vibrant child, and I enjoyed reading about her quest for knowledge no matter the cost. She was definitely quite the detective! Lily was an enigma that I couldn't figure out at first, but I really liked reading about her. It was interesting to watch her grow each day around Vi and Eric. Lizzy was also a likeable character, and I admired how determined she was to find her sister and solve the mysteries of the missing girls. Gran/Dr. Hildreth came across as a sweet old woman, but I always suspected she was up to something. I had my reservations about her, so I enjoyed reading to find out if my suspicions were correct. McMahon did an excellent job presenting Gran/Dr. Hildreth as a sweet grandmotherly type to Eric and Vi.
Trigger warnings for The Children on the Hill include some profanity, murder, violence, torture, kidnapping, and gaslighting.
All in all, The Children on the Hill is a book with a solid plot featuring a small cast of characters that are interesting to read about and how far they'll go for their cause. The plot will leave you guessing as you try to make it all make sense (though everything will be explained by the end of the book). I would absolutely recommend The Children on the Hill by Jennifer McMahon to those aged 17+ who love trying to figure out a thrilling mystery. This is one book you'll definitely want to pick up!
The plot of The Children on the Hill definitely piqued my interest. The book switches between two different years. I was drawn into each time frame. I felt like I was right beside each narrator as their story was being told. Most of the story takes place in Vermont, and I felt that through McMahon's writing, I was transported to each location in Vermont. I was interested in Vi's and Eric's monsters. I also was rooting for Vi to solve Lily's mystery of where she came from. I wanted to know what Gran's secret was for being super successful. I had to know more. This book left no cliff hangars, and I was glad that all my questions were answered. I would have liked to know more about certain characters such as where they came from, but I understand why the author didn't include it in the book. There are a couple of big plot twists in The Children on the Hill. I guessed one right before it was mentioned, but I really didn't see the other one coming. (Kudos to Jennifer McMahon on that!) As for the pacing, there were times that it slowed down to the point where I would get a little bored and take a break. However, the pacing would quickly pick back up. In the last quarter or so of the book, the pacing is done brilliantly, and I didn't want to put the book down at all!
I enjoyed the characters from The Children on the Hill. McMahon did a fabulous job with making each and every character feel realistic instead of make believe. Violet was such a vibrant child, and I enjoyed reading about her quest for knowledge no matter the cost. She was definitely quite the detective! Lily was an enigma that I couldn't figure out at first, but I really liked reading about her. It was interesting to watch her grow each day around Vi and Eric. Lizzy was also a likeable character, and I admired how determined she was to find her sister and solve the mysteries of the missing girls. Gran/Dr. Hildreth came across as a sweet old woman, but I always suspected she was up to something. I had my reservations about her, so I enjoyed reading to find out if my suspicions were correct. McMahon did an excellent job presenting Gran/Dr. Hildreth as a sweet grandmotherly type to Eric and Vi.
Trigger warnings for The Children on the Hill include some profanity, murder, violence, torture, kidnapping, and gaslighting.
All in all, The Children on the Hill is a book with a solid plot featuring a small cast of characters that are interesting to read about and how far they'll go for their cause. The plot will leave you guessing as you try to make it all make sense (though everything will be explained by the end of the book). I would absolutely recommend The Children on the Hill by Jennifer McMahon to those aged 17+ who love trying to figure out a thrilling mystery. This is one book you'll definitely want to pick up!