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Alice (12 KP) rated Red Sister in Books
Jul 3, 2018
<i>Many thanks to Mark for providing me a copy of this book in exchange for an honest review </i>
Original review can be found on my blog Raptureinbooks <a href="http://wp.me/p5y0lX-1I9">here</a href>
<blockquote>It is important, when killing a nun, to bring an army of sufficient size.</blockquote>
I know they say to never judge a book by its cover but first impressions are everything. The above quote is the first line written in <i>Red Sister</i> - Mark Lawrence's newest masterpiece. I don't use the term lightly.
For those of you who haven't read his work before - know this: it will change how you read fantasy for the better. There's a really apt line in this book for this sentiment:
<blockquote>...a book is as dangerous as any journey you might take. The person who closes the back cover may not be the same one that opened the front one. </blockquote>
For those of you who have, you know his main characters are the ultimate in anti-heroes. All male, all rough, all the epitome of badassery. <i>Red Sister</i> is the first with a strong - and I mean strong -all female cast.
From the first instance you know this book is going to be top of the scale of epicness, <i>Red Sister</i> will draw you in within moments of opening the pages.
It follows the story of Nona Grey- an eight year old girl saved from the noose by an unlikely saviour - a nun - Abbess Glass, leader of the Sweet Mercy Convent. Nona becomes a novice nun and begins her journey to becoming a Red Sister- a nun skilled in combat. At first the book can feel a little like you've stepped backwards in time to where children are bought and sold on the road, where the Church has almost absolute power and where little girls do not become killer nuns; however as the story progresses and Nona's back story is revealed to us piece by piece I found my original thoughts to be utter bullshit because frankly the plot is outstanding.
I'll hold my hand up and say I've never read a book about nuns before but Red Sister has ruined me for any other.
As signature with Mark's work, Red Sister has the perfect balance between seriousness and humour with some brilliant descriptions of the most simplest of things:
<blockquote>...and a quill. This latter gave the impression that the bird from which it was taken had died of some wasting disease, falling from its perch into a dirty puddle before being run over by several carts and finally thoroughly chewed by a hungry cat.</blockquote>
The dialogue was witty and the right tone for what is ultimately a group of girls in boarding school who both love and hate each other and what they do on a daily basis. The friendships made at Sweet Mercy are friendships built to last through the toughest of scenarios, literally through thick and thin. Nona's past catches up with her frequently and she is tested to her highest limits and on occasion shoved over that limit.
<blockquote>"Trust is the most insidious of poisons." </blockquote>
There are some harsh lessons to be learned in <i>Red Sister</i> and not just the physical ones - of which there are many. The plot is thick with action, betrayal, uncanny abilities and supernatural old world bloodlines that show through in current generations that haven't been seen since the first tribes settled in Abeth; with prophecies galore and the odd psycho, bare knuckle fighting in the pits and justice is wrought.
The revelations are spectacular and revealed in unexpected ways that have totally done them justice. The writing style of Mark Lawrence is once more on point with the right amount of length for each chapter; the supernatural demon element was written in a great way. Overall, it was a masterpiece of the genre and deserves all the stars.
<i>Red Sister</i> has been one of the highlights of my year so far and it is outstanding. I've tried not to give anything away which is hard cause I want to give all the spoilers! I'll leave you with a parting quote that sums up the book nicely.
<blockquote>"Words are steps along a path: The important thing is to get where you're going."</blockquote>
Original review can be found on my blog Raptureinbooks <a href="http://wp.me/p5y0lX-1I9">here</a href>
<blockquote>It is important, when killing a nun, to bring an army of sufficient size.</blockquote>
I know they say to never judge a book by its cover but first impressions are everything. The above quote is the first line written in <i>Red Sister</i> - Mark Lawrence's newest masterpiece. I don't use the term lightly.
For those of you who haven't read his work before - know this: it will change how you read fantasy for the better. There's a really apt line in this book for this sentiment:
<blockquote>...a book is as dangerous as any journey you might take. The person who closes the back cover may not be the same one that opened the front one. </blockquote>
For those of you who have, you know his main characters are the ultimate in anti-heroes. All male, all rough, all the epitome of badassery. <i>Red Sister</i> is the first with a strong - and I mean strong -all female cast.
From the first instance you know this book is going to be top of the scale of epicness, <i>Red Sister</i> will draw you in within moments of opening the pages.
It follows the story of Nona Grey- an eight year old girl saved from the noose by an unlikely saviour - a nun - Abbess Glass, leader of the Sweet Mercy Convent. Nona becomes a novice nun and begins her journey to becoming a Red Sister- a nun skilled in combat. At first the book can feel a little like you've stepped backwards in time to where children are bought and sold on the road, where the Church has almost absolute power and where little girls do not become killer nuns; however as the story progresses and Nona's back story is revealed to us piece by piece I found my original thoughts to be utter bullshit because frankly the plot is outstanding.
I'll hold my hand up and say I've never read a book about nuns before but Red Sister has ruined me for any other.
As signature with Mark's work, Red Sister has the perfect balance between seriousness and humour with some brilliant descriptions of the most simplest of things:
<blockquote>...and a quill. This latter gave the impression that the bird from which it was taken had died of some wasting disease, falling from its perch into a dirty puddle before being run over by several carts and finally thoroughly chewed by a hungry cat.</blockquote>
The dialogue was witty and the right tone for what is ultimately a group of girls in boarding school who both love and hate each other and what they do on a daily basis. The friendships made at Sweet Mercy are friendships built to last through the toughest of scenarios, literally through thick and thin. Nona's past catches up with her frequently and she is tested to her highest limits and on occasion shoved over that limit.
<blockquote>"Trust is the most insidious of poisons." </blockquote>
There are some harsh lessons to be learned in <i>Red Sister</i> and not just the physical ones - of which there are many. The plot is thick with action, betrayal, uncanny abilities and supernatural old world bloodlines that show through in current generations that haven't been seen since the first tribes settled in Abeth; with prophecies galore and the odd psycho, bare knuckle fighting in the pits and justice is wrought.
The revelations are spectacular and revealed in unexpected ways that have totally done them justice. The writing style of Mark Lawrence is once more on point with the right amount of length for each chapter; the supernatural demon element was written in a great way. Overall, it was a masterpiece of the genre and deserves all the stars.
<i>Red Sister</i> has been one of the highlights of my year so far and it is outstanding. I've tried not to give anything away which is hard cause I want to give all the spoilers! I'll leave you with a parting quote that sums up the book nicely.
<blockquote>"Words are steps along a path: The important thing is to get where you're going."</blockquote>
Piper (13 KP) rated Strangers: Prey at Night (2018) in Movies
Nov 27, 2019
Real-feeling Characters (2 more)
Escalating Tension
Some Excellent Scenes
Some Naff Shots (1 more)
Hammy Acting
Contains spoilers, click to show
I’ve heard a lot of trash about this movie, and only some of it is right. Don’t get me wrong - it has its downfalls. We’ll get to those. But it’s a genuinely fun horror movie and, considering the predictability of the slasher genre, it’s fairly terrifying: the suspense doesn’t let up from damn near the beginning. For full disclosure, I haven’t seen the original Strangers movie, and I’ve heard it’s a whole lot better than this 2018 sequel. But the fact that Prey at Night stands successfully alone as a movie means it doesn’t matter which order you watch them in - all I’d say is that it’s probably best not to pay much attention to the reviews on this one (as sefl-destructive as a comment like that might be). It’s impressive in its own right, and if this apparently-subpar sequel is anything to go by, the original must be worthwhile. I’ll let you know once I’ve actually seen it.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.
Now, onto the juicy stuff. There really isn’t a whole lot of bad to this movie, and what there is is fairly standard for modern horror movies. The plot is fairly predictable: people with knives hunt down people without (the good guys do have a single gun between them, and in a display that makes you genuinely shout at your television it never gets used); a dysfunctional American family gets torn completely apart; every single time you think the evil nasty villain man is dead, he stands up, just a little out of our good guy’s eyeline. It’s fairly repetitive - how much story can you get out of some knives and masks and a little bit of running? - and while it nicely strays from the standard twisty ending, there’s a hint of danger at the end that a) doesn’t make sense, b) doesn’t mean anything, and c) isn’t explored or explained so falls very short of what it’s trying to do. And that’s nearly all the bad out of the way, but I’d like to give an honourable mention to some very corny Raimi-esque camera zooms that, momentarily, take the viewer completely out of the film and just look terrible.
Having said that, most of the camerawork is good - shaky where it needs to be, dead straight when it works. There are some claustrophobic close-ups that leave you wondering just what the director’s hiding out of frame. And while watching a creepily-masked figure loom silently into frame can get a little less scary every time, it’s certainly well-shot. Despite the pitfalls, most of which are just so easy to slip into, the good parts to this movie mostly fall into the categories of character work and nice, understated gore. The bloody parts are suitably bloody, but they don’t become unrealistic. In fact, there are gory moments that seem meticulously well-crafted and you can almost feel the pain. The characters are annoying at times, they all have their own quirks and tightly-wound baggage, and there are places where their obviously set-up arcs just don’t get the resolution they need - hang on, why do I think this is a good film?
Here’s why. Because it’s real. People don’t always get resolution (okay, it isn’t always because one of the conflicting characters dies about five minutes into the experience, but we don’t always get closure, we don’t always get to fix relationships before it’s too late). The characters in this film are, despite everything, quite likeable once you get to know them, and there’s a truly heartbreaking moment fairly early on that can’t be shunned. The injuries these characters sustain throughout don’t just go away - they stick around, for the most part, slow them down, make them vulnerable. The setting is unassuming until you realise this family are literally the only characters in the film that aren’t dead (and quite beautifully mutilated) or wielding a knife/axe/pickup truck - and if you dare make the connection between a spooky trailer park and a certain Camp Crystal Lake, it makes sense. The slashers themselves are fairly unoriginal (I’m really trying not to stray into the negatives again) but they’re human. They can die. Their motives are revealed in a simple, nicely-put “Why not?” and it’s clear they don’t need a reason, this is just fun for them. The masks, obviously, add a little layer of creep, and there’s a swimming pool scene that really is quite beautifully done. Watching people get murdered to a corny, cheerful eighties soundtrack might get irritating, if it wasn’t established that that’s just a chilling preference of the primary slasher character. The popping-up-out-of-nowhere gimmick might get a little annoying if it wasn’t established that really, this is just that kind of movie. The fact that we never find out what Kenzie did to get her shipped off to boarding school, or who Tamara was (should I have seen the first movie? I’ll have to watch it soon or I just might be lambasted for my ignorance) didn't put us too out-of-place, because there are enough wonderful gore and inventive set-piece-driven slasher moments to remind you that, hang on, you don't really need to know. The tension builds, and it builds, and oh it keeps on building right until the end, and it’s the one thing about this film that's masterfully done.
At the end of the day, this isn’t a great movie. It’s certainly not perfect. But it’s good. It feels real, and it feels, in places, genuinely terrifying. It’s a fun watch and it hasn’t been ridiculously drawn-out like some recent films (I’m looking at you, Chapter Two) so it’s quick, it’s choppy, and there’s a half-decent scare every now and then. Will it scar you for life? Depends how you feel about Kim Wilde.