Search
Search results
One Perfect Lie
8.0
Rate It
Book
Enthralling and suspenseful, Lisa Scottoline's New York Times bestseller, One Perfect Lie, is an...
Blackwater
Book
THE NEW ESSEX-BASED CRIME SERIES FROM THE BESTSELLING AUTHOR OF THE DI JACK FROST PREQUELS. 'A...
Kirk Bage (1775 KP) rated M (Movie) (1931) in Movies
Jan 28, 2021
The maestro of dark shadows, Fritz Lang already had 14 feature films under his belt by 1931, including the much loved and much borrowed from Metropolis in 1927. It is said that he was such a slave driver with cast and crew alike that he had very few friends and was detested as a man. His work spoke for itself, however, and was always miles ahead of anything happening at the same time in Hollywood. Take the dark, sinister and serious M as an example. It tackles the subject of child abduction and murder, homelessness, crime in general and the punishment of a mob – subjects American cinema would never have touched in 1931, let alone done with such an exquisite non- melodramatic feel.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
Peter Lorre as the killer compelled by his own weakness and madness gives an unfeasably nuanced performance for the era also. He is mesmerically creepy and unforgettable. Images and motifs (such as the whistle that indicates the murderer is lurking) abound, creating a landscape of pure mood and disease. As a morality tale it touches on issues of vigilantism and true justice that still has some relevance today. It also works as an entertaining thriller, and there wasn’t a minute I felt bored or distracted. The only jarring element are the scenes where Lang cuts the sound entirely to create tension and focus – they feel like technical mistakes, not deliberate choices. Otherwise, I could not have been more impressed and pleasantly surprised by this Euro classic for all time. If I were making a list of the best films ever made that disregarded the limitations of the age, then M would definitely make the cut.
Mark @ Carstairs Considers (2099 KP) rated A Dangerous Man in Books
Sep 20, 2019
“We Know Your Secret.”
Joe Pike’s trip to the bank for a routine deposit ends when he witnesses two men try to kidnap his teller, Isabel Roland. Joe being Joe, he jumps into action and rescues her. However, when the kidnappers are released from jail, they are both murdered. Was kidnapping Isabel a crime of opportunity, or was she a target? Is she safe? Why would someone target her?
Those familiar with the series will notice a similar set up to a previous entry, but that’s where the similarity ends. This book takes off in some unexpected places, and author Robert Crais uses multiple viewpoints well to hook us as events unfold. This is a thriller that kept me glued the entire time. While we don’t learn much new about PI partners Elvis Cole or Joe Pike, it is wonderful to spend time with them and see them in action again. Most of the new characters are wonderful and fully developed, but a few very minor characters are very annoying. Likewise, I don’t find John Chen, a recurring character in the series, that funny. I’m sure the characters who annoy me are supposed to be comic relief, but I just don’t get it. While the book certainly has more language and violence than the cozies I normally read, I didn’t feel it was excessive here. Elvis and Joe have a huge following, and I’m sure there many fans will be thrilled with this book. Pick it up and hang on because it is going to be a very wild ride you won’t want to put down.
Those familiar with the series will notice a similar set up to a previous entry, but that’s where the similarity ends. This book takes off in some unexpected places, and author Robert Crais uses multiple viewpoints well to hook us as events unfold. This is a thriller that kept me glued the entire time. While we don’t learn much new about PI partners Elvis Cole or Joe Pike, it is wonderful to spend time with them and see them in action again. Most of the new characters are wonderful and fully developed, but a few very minor characters are very annoying. Likewise, I don’t find John Chen, a recurring character in the series, that funny. I’m sure the characters who annoy me are supposed to be comic relief, but I just don’t get it. While the book certainly has more language and violence than the cozies I normally read, I didn’t feel it was excessive here. Elvis and Joe have a huge following, and I’m sure there many fans will be thrilled with this book. Pick it up and hang on because it is going to be a very wild ride you won’t want to put down.
The Missing Ones
9.0
Rate It
Book
Hester Thursby has given up using her research skills to trace people who don’t want to be found....
The Bone Code
Book
THE NEW SUNDAY TIMES BESTSELLER IN THE TEMPERANCE BRENNAN SERIES 'I await the next Kathy Reichs'...
Kristy H (1252 KP) rated I Let You Go in Books
Feb 1, 2018
One rainy evening, an accident occurs on a quiet neighborhood street. Walking home from school with his mother, young Jacob is hit by a car, and killed. Even worse, the car quickly backs up and drives away, leaving Jacob's mother shattered and Detective Inspector Ray Stevens and his team, particularly eager young DC Kate, to seek out answers.
With her world ruined by the accident, Jenna Gray seeks refuge by the coast. She finds a small cottage, gets a dog, and tries to escape the nightmares of the accident that haunt both her dreams and waking hours. Meanwhile, Ray and Kate are forced to close Jacob's case, no closer to the suspect than when they started. But the two remain undaunted, working on the case in their off hours, and an anniversary plea one year after the accident turns up some potential leads. What exactly happened that rainy night? Will justice ever come for Jacob--and peace for Jenna?
This was an excellent thriller-- a real surprise, honestly. The beginning of the novel started out slow, and was so horrendously sad, what with Jacob's accident and his mother's terrible grief. It was one of several book's I'd read lately involving the death of a child, and I was so saddened that I almost set it aside. I'm glad I didn't though, because while the book is gut-wrenchingly sad, it's excellent, tense, and suspenseful. Divided into several parts, things pick up immensely at the end of the first part, when Mackintosh throws in an excellent plot twist (I shan't say anymore so as not to ruin it).
Mackintosh is excellent at conveying Jenna's anguish and the sadness that the accident causes. We also have a side-plot of Ray and his feelings toward his subordinate, Kate. Ray's home life is unbalanced: he's dealing with issues with his son, Tom, and his wife. These are a bit distracting at times, but serve to humanize him as well. The police subplot (watching them try to piece things together) is interesting, also. In fact, the book alternates in perspectives: we hear from Ray, Jenna, and one more character. In part 2, we go back in time for some of the characters, but remain in the present with Ray and Kate as they (much like us, the readers) try to solve this crime. It's an interesting technique and works surprisingly well. Jenna is a complicated character, but a well-drawn one.
Overall, I quite enjoyed this book. I won't spoil anything, but I will say that there is definitely a trigger for domestic abuse/violence, so please be forewarned for that. There's a character in the novel who reminds me of the husband in that creepy Julia Roberts' film "Sleeping with the Enemy" (I'm totally dating myself here). As such I was up late reading one night, completely creeped out. However, that's the sign of an excellent thriller in my opinion. I raced through the last 2/3 of the book and really wasn't disappointed. There are several more twists, but they actually are pretty believable, not outlandish like in many thrillers. Definitely recommend this one (with the abuse caveat thrown in). A unique psychological thriller that's worth your time, for sure.
I received an ARC of this novel from Netgalley - thank you! The U.S. edition is available everywhere on 5/3/16. You can find a review of this book and many more at my <a href="http://justacatandabookatherside.blogspot.com/">blog</a>;.
With her world ruined by the accident, Jenna Gray seeks refuge by the coast. She finds a small cottage, gets a dog, and tries to escape the nightmares of the accident that haunt both her dreams and waking hours. Meanwhile, Ray and Kate are forced to close Jacob's case, no closer to the suspect than when they started. But the two remain undaunted, working on the case in their off hours, and an anniversary plea one year after the accident turns up some potential leads. What exactly happened that rainy night? Will justice ever come for Jacob--and peace for Jenna?
This was an excellent thriller-- a real surprise, honestly. The beginning of the novel started out slow, and was so horrendously sad, what with Jacob's accident and his mother's terrible grief. It was one of several book's I'd read lately involving the death of a child, and I was so saddened that I almost set it aside. I'm glad I didn't though, because while the book is gut-wrenchingly sad, it's excellent, tense, and suspenseful. Divided into several parts, things pick up immensely at the end of the first part, when Mackintosh throws in an excellent plot twist (I shan't say anymore so as not to ruin it).
Mackintosh is excellent at conveying Jenna's anguish and the sadness that the accident causes. We also have a side-plot of Ray and his feelings toward his subordinate, Kate. Ray's home life is unbalanced: he's dealing with issues with his son, Tom, and his wife. These are a bit distracting at times, but serve to humanize him as well. The police subplot (watching them try to piece things together) is interesting, also. In fact, the book alternates in perspectives: we hear from Ray, Jenna, and one more character. In part 2, we go back in time for some of the characters, but remain in the present with Ray and Kate as they (much like us, the readers) try to solve this crime. It's an interesting technique and works surprisingly well. Jenna is a complicated character, but a well-drawn one.
Overall, I quite enjoyed this book. I won't spoil anything, but I will say that there is definitely a trigger for domestic abuse/violence, so please be forewarned for that. There's a character in the novel who reminds me of the husband in that creepy Julia Roberts' film "Sleeping with the Enemy" (I'm totally dating myself here). As such I was up late reading one night, completely creeped out. However, that's the sign of an excellent thriller in my opinion. I raced through the last 2/3 of the book and really wasn't disappointed. There are several more twists, but they actually are pretty believable, not outlandish like in many thrillers. Definitely recommend this one (with the abuse caveat thrown in). A unique psychological thriller that's worth your time, for sure.
I received an ARC of this novel from Netgalley - thank you! The U.S. edition is available everywhere on 5/3/16. You can find a review of this book and many more at my <a href="http://justacatandabookatherside.blogspot.com/">blog</a>;.
BookInspector (124 KP) rated The Chestnut Man in Books
Sep 24, 2020
I can’t decide one thing with this book, to put it in the “One of the best thrillers of 2018” because I read it this year, or to say that is “One of the best thrillers of 2019” because it is published next year. One thing for sure, it is an absolute treat!
The first thing that I really loved, was the cover. It looks quite simple, but the way that the chestnut man is portrayed gave me the feeling that it is going to be a great thriller, and it definitely didn’t disappoint me. I think, that in this book there are multiple protagonists- Thulin and Hess. They both play quite equal roles during the investigation, even though it might not feel so. There is a wide variety of characters in this novel, and all of them are very well nurtured and thought through. Their qualities are delivered slowly, and I loved how they opened up throughout the book. I really liked Thulin and Hess, they both are very complex individuals. They are quite different people, and when they work together, all the process feels messy, chaotic, but in the end, it provides results.
I don’t even know from where to begin with the praise for the plot. The whole narrative has multiple layers, and there are several cases combined in this book. We have the disappearance of a Minister’s daughter, which happened a while ago and shook the whole country, and at present, we have these new murders with the chestnut dolls at the crime scenes. These two things entwined with each other created more richness and action for the whole story. I loved that it was told from multiple perspectives, it not only allowed to get to know the characters better but also gave an insight into different minds. The author chose very intriguing topics for this novel, such as foster care; child abuse; social services and their work; politicians and their lives; different family relationships; discrimination at work and many more.
The writing style of this book is impeccable! Sveistrup is a very talented storyteller with a great eye for detail, and after reading this book, I am definitely his fan. I really loved the setting of this novel, it is set mainly in Copenhagen, during the autumn/winter season, which created a very gloomy and mysterious atmosphere to the whole novel. The author is not afraid to show disturbing (to some) killings with amputations or disgusting acts of humankind, so this book is not suitable for sensitive people. It might feel like a big book, but the chapters are really short and the whole plot and characters really absorbed me so, I just couldn’t put it down. I really liked the ending of this thriller, it is unexpected, unusual, but rounded this novel very beautifully!
So, to conclude, this book has everything what a great thriller needs. The characters are complex and intriguing, the mood, suspense and twists are very well developed, it is dark and can be disgusting at times, but overall it is a gripping novel and I can’t wait to read more from this author! I do strongly recommend it, and I hope you will enjoy it as much as I did.
The first thing that I really loved, was the cover. It looks quite simple, but the way that the chestnut man is portrayed gave me the feeling that it is going to be a great thriller, and it definitely didn’t disappoint me. I think, that in this book there are multiple protagonists- Thulin and Hess. They both play quite equal roles during the investigation, even though it might not feel so. There is a wide variety of characters in this novel, and all of them are very well nurtured and thought through. Their qualities are delivered slowly, and I loved how they opened up throughout the book. I really liked Thulin and Hess, they both are very complex individuals. They are quite different people, and when they work together, all the process feels messy, chaotic, but in the end, it provides results.
I don’t even know from where to begin with the praise for the plot. The whole narrative has multiple layers, and there are several cases combined in this book. We have the disappearance of a Minister’s daughter, which happened a while ago and shook the whole country, and at present, we have these new murders with the chestnut dolls at the crime scenes. These two things entwined with each other created more richness and action for the whole story. I loved that it was told from multiple perspectives, it not only allowed to get to know the characters better but also gave an insight into different minds. The author chose very intriguing topics for this novel, such as foster care; child abuse; social services and their work; politicians and their lives; different family relationships; discrimination at work and many more.
The writing style of this book is impeccable! Sveistrup is a very talented storyteller with a great eye for detail, and after reading this book, I am definitely his fan. I really loved the setting of this novel, it is set mainly in Copenhagen, during the autumn/winter season, which created a very gloomy and mysterious atmosphere to the whole novel. The author is not afraid to show disturbing (to some) killings with amputations or disgusting acts of humankind, so this book is not suitable for sensitive people. It might feel like a big book, but the chapters are really short and the whole plot and characters really absorbed me so, I just couldn’t put it down. I really liked the ending of this thriller, it is unexpected, unusual, but rounded this novel very beautifully!
So, to conclude, this book has everything what a great thriller needs. The characters are complex and intriguing, the mood, suspense and twists are very well developed, it is dark and can be disgusting at times, but overall it is a gripping novel and I can’t wait to read more from this author! I do strongly recommend it, and I hope you will enjoy it as much as I did.
James P. Sumner (65 KP) rated The Informer (2019) in Movies
Sep 10, 2019
A real hidden gem.
I went into this film knowing very little about it, other than the two-line blurb on my local cinema's website. Released to a muted fanfare, this twisty-turny crime drama is a surprisingly gripping and taut thriller, with some stand-out performances from the cast.
Joel Kinnaman plays Pete Koslow, an ex-con that we soon discover is working undercover for the FBI to help take down a mob boss in New York City. Not much is known (or, frustratingly, revealed) about Koslow's backstory, but Kinnaman plays the part very well. It's not as in-depth as maybe it could've been, but his personal arc is a fresh and original spin on a tried-and-tested formula, and it is, at times, compelling to watch.
Needless to say, Koslow's arrangement with the FBI goes sour before too long, and he's left alone in prison with multiple groups of enemies with their own agendas trying to kill him. The second half of the film, where the twists and turns and clever plotting flows more freely, reminded me of Will Smith's "Enemy of the State" and Liam Neeson's "A Walk Among The Tombstones", in terms of the complex approach and execution to resolving a seemingly inescapable situation.
The story was told to great effect, with the gritty tone and the deliberate pacing perfectly suiting this competent thriller.
Ana de Armas is terrific as Koslow's long-suffering and admiringly-loyal partner, Sofia. She has a look of naivety and innocence throughout, with her perma-watering wide eyes and youthful good looks, yet she is as tough as they come and the perfect match for Kinnaman's lead.
Clive Owen also deserves a mention for another consistent performance, despite him being woefully underused here. He steals every scene he's in, playing a menacing background antagonist incredibly well.
For me, this movie was let down by two things. First, its ending, which felt sudden and rushed, as if it stopped mid-sentence. It's not the kind of film that warrants a sequel, nor was it, I imagine, made with the intention of one. So to leave so many questions unanswered serves little purpose and ultimately leaves you disappointed after what was otherwise a very, very clever film.
Secondly, Rosamund Pike's performance left a lot to be desired. Because of her outstanding lack of on-screen charisma, you never truly connect with her character, Agent Wilcox. Her handling of Koslow's operation felt hollow. She showed no emotional range whatsoever, and wore the same expression throughout the entire film. Consequently, the journey of her character and the impact her decisions have on both other people, and the movie's eventual outcome, felt empty and pointless.
Despite that, this is a real hidden gem. As I noted earlier, this wasn't what you would call a "big" release. It came out under the radar and, as a result, was the subject of very few expectations. But what you have here is an intelligent thriller that provides an original take on a typical storyline that delivers in almost every way it intended to.
This is the film you stream off Netflix on a Friday night while eating a takeaway after a hard week at work.
Joel Kinnaman plays Pete Koslow, an ex-con that we soon discover is working undercover for the FBI to help take down a mob boss in New York City. Not much is known (or, frustratingly, revealed) about Koslow's backstory, but Kinnaman plays the part very well. It's not as in-depth as maybe it could've been, but his personal arc is a fresh and original spin on a tried-and-tested formula, and it is, at times, compelling to watch.
Needless to say, Koslow's arrangement with the FBI goes sour before too long, and he's left alone in prison with multiple groups of enemies with their own agendas trying to kill him. The second half of the film, where the twists and turns and clever plotting flows more freely, reminded me of Will Smith's "Enemy of the State" and Liam Neeson's "A Walk Among The Tombstones", in terms of the complex approach and execution to resolving a seemingly inescapable situation.
The story was told to great effect, with the gritty tone and the deliberate pacing perfectly suiting this competent thriller.
Ana de Armas is terrific as Koslow's long-suffering and admiringly-loyal partner, Sofia. She has a look of naivety and innocence throughout, with her perma-watering wide eyes and youthful good looks, yet she is as tough as they come and the perfect match for Kinnaman's lead.
Clive Owen also deserves a mention for another consistent performance, despite him being woefully underused here. He steals every scene he's in, playing a menacing background antagonist incredibly well.
For me, this movie was let down by two things. First, its ending, which felt sudden and rushed, as if it stopped mid-sentence. It's not the kind of film that warrants a sequel, nor was it, I imagine, made with the intention of one. So to leave so many questions unanswered serves little purpose and ultimately leaves you disappointed after what was otherwise a very, very clever film.
Secondly, Rosamund Pike's performance left a lot to be desired. Because of her outstanding lack of on-screen charisma, you never truly connect with her character, Agent Wilcox. Her handling of Koslow's operation felt hollow. She showed no emotional range whatsoever, and wore the same expression throughout the entire film. Consequently, the journey of her character and the impact her decisions have on both other people, and the movie's eventual outcome, felt empty and pointless.
Despite that, this is a real hidden gem. As I noted earlier, this wasn't what you would call a "big" release. It came out under the radar and, as a result, was the subject of very few expectations. But what you have here is an intelligent thriller that provides an original take on a typical storyline that delivers in almost every way it intended to.
This is the film you stream off Netflix on a Friday night while eating a takeaway after a hard week at work.
BankofMarquis (1832 KP) rated Nightmare Alley (2021) in Movies
Feb 4, 2022
Sum Does Not Add Up To The Total Of The Parts
If you ever want to understand the meaning of the term “the sum does not equal the total of the parts”, you need to look no further than the latest film from Guillermo Del Toro, the neo-noir thriller, NIGHTMARE ALLEY.
This film looked like it had all the right elements for a fantastic, adult film. A neo-noir thriller with a distinctive period look, helmed by a first rate director and featuring an A-List cast that are (for the most part) perfectly cast in their roles.
So why doesn’t this film rise above ordinary?
Ultimately, it is because this type of film, a neo-noir crime thriller where none of the characters are likeable or are easy to root for, is a tricky tightrope walk and, in this instance, Director del Toro opted to play it safe, focusing on mood and atmosphere, while strapping his talented cast with characters (and, ultimately, performances) that are middle-of-the road.
Bradley Cooper is the right performer in today’s world to play Stanton Carlisle, the drifter that becomes a carney that becomes a a con-man “Mentalist” who is drawn into a sinister plot by the mysterious Dr. Lilith Ritter (Cate Blanchett - also the right performer in today’s world to play this part). These 2 have decent (but not great) chemistry with each other, for you know (they way del Toro has Directed Blanchett’s performance) that she is up to something, thus keeping us at arm’s length.
But I am getting ahead of myself, for that is the 2nd half of this film, I haven’t even touched on the first half - which is part of the issue here as well.
The first hour of this 2 1/2 hour film is all set up as we follow Cooper’s character as he is introduced into a Circus sideshow of the 1940’s - and all of the characters therein. This is an interesting - if kind of slow - setup as we are treated to some interesting character building performances by some pretty terrific actors - Toni Colette, Ron Perlman, David Strathairn and, of course, the always good Willem DaFoe.
Oh, and I haven’t even mentioned Rooney Mara who is sort of the “through-line” between the 2 halves of this film, but her character is so vanilla, that one forgets her character event exists.
But…after an hour of setting up this world and these characters - the film pivots away from this area and goes to a whole different world…and a different plot. It is like a SuperHero Origin film where the first 1/2 of the film is the Origin and the 2nd half is the first adventure of said SuperHero.
And this just doesn’t work all that well in this film (even with a callback at the end), it is jarring and creates 2 different movies, neither of which rises above the average.
I lay the blame for all of this on Director Guillermo del Toro who appeared to be more interested in the look of this film (and the look is AMAZING) and just let the actors act, but not get in the way. The direction is bland, the performances are bland and the plot just doesn’t hold together.
Which is very disappointing, considering what “could have been”.
Letter Grade: B
7 stars out of 10 and you can take that to the Bank(ofMarquis)
This film looked like it had all the right elements for a fantastic, adult film. A neo-noir thriller with a distinctive period look, helmed by a first rate director and featuring an A-List cast that are (for the most part) perfectly cast in their roles.
So why doesn’t this film rise above ordinary?
Ultimately, it is because this type of film, a neo-noir crime thriller where none of the characters are likeable or are easy to root for, is a tricky tightrope walk and, in this instance, Director del Toro opted to play it safe, focusing on mood and atmosphere, while strapping his talented cast with characters (and, ultimately, performances) that are middle-of-the road.
Bradley Cooper is the right performer in today’s world to play Stanton Carlisle, the drifter that becomes a carney that becomes a a con-man “Mentalist” who is drawn into a sinister plot by the mysterious Dr. Lilith Ritter (Cate Blanchett - also the right performer in today’s world to play this part). These 2 have decent (but not great) chemistry with each other, for you know (they way del Toro has Directed Blanchett’s performance) that she is up to something, thus keeping us at arm’s length.
But I am getting ahead of myself, for that is the 2nd half of this film, I haven’t even touched on the first half - which is part of the issue here as well.
The first hour of this 2 1/2 hour film is all set up as we follow Cooper’s character as he is introduced into a Circus sideshow of the 1940’s - and all of the characters therein. This is an interesting - if kind of slow - setup as we are treated to some interesting character building performances by some pretty terrific actors - Toni Colette, Ron Perlman, David Strathairn and, of course, the always good Willem DaFoe.
Oh, and I haven’t even mentioned Rooney Mara who is sort of the “through-line” between the 2 halves of this film, but her character is so vanilla, that one forgets her character event exists.
But…after an hour of setting up this world and these characters - the film pivots away from this area and goes to a whole different world…and a different plot. It is like a SuperHero Origin film where the first 1/2 of the film is the Origin and the 2nd half is the first adventure of said SuperHero.
And this just doesn’t work all that well in this film (even with a callback at the end), it is jarring and creates 2 different movies, neither of which rises above the average.
I lay the blame for all of this on Director Guillermo del Toro who appeared to be more interested in the look of this film (and the look is AMAZING) and just let the actors act, but not get in the way. The direction is bland, the performances are bland and the plot just doesn’t hold together.
Which is very disappointing, considering what “could have been”.
Letter Grade: B
7 stars out of 10 and you can take that to the Bank(ofMarquis)