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Low Sugar, So Simple: 100 Delicious Low-Sugar, Low-Carb, Gluten-Free Recipes for Eating Clean and Living Healthy
8.7
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Low Sugar, So Simple will get the sugar off your plate for good with 100 recipes free of the sugars...
Brotherhood
8.0
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This nail-biting new thriller series will have you on the edge of your seat! Perfect for fans of Lee...
Of Spice and Men (A Pancake House Mystery Book 3)
2.0
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Lights. Camera. Murder? Wildwood Cove’s star turn is soured by a sneaky killer in this delicious...
cozy mystery romance romantic mystery adult fiction
ClareR (5674 KP) rated The Rain Heron in Books
Aug 23, 2021
The Rain Heron has a dreamlike, fairytale quality to it that I loved. In fact, the first part of the novel is exactly like a fairytale: an unlucky farmer is rewarded by becoming more prosperous, but in remembering the hard times that they had, the farmer shares their wealth. However, a jealous neighbour soon makes their feelings felt, and no one comes out of the situation well.
Further away, near the sea, another mans jealousy of nature has terrible consequences, causing poverty and abandonment of a seaside village.
These threads of story are interwoven with that of a woman who lives alone in the mountains in order to escape the effects of a military coup. But the soldiers come looking for her - and for the Rain Heron.
This is a book about mans need to control nature and their inability to. The more man tries to control it, the more damage is done.
I loved the feel of this novel. It’s a fable of our modern times, about how our actions are having a lasting and devastating effect on our climate and nature.
I would most definitely recommend this book, and Arnott’s previous book as well, Flames, if you haven’t read it. Both are masterpieces in magical realism. Rain Heron is a timely book as we come to realise just what an impact climate change is having on our world, and comes highly recommended from me!
Further away, near the sea, another mans jealousy of nature has terrible consequences, causing poverty and abandonment of a seaside village.
These threads of story are interwoven with that of a woman who lives alone in the mountains in order to escape the effects of a military coup. But the soldiers come looking for her - and for the Rain Heron.
This is a book about mans need to control nature and their inability to. The more man tries to control it, the more damage is done.
I loved the feel of this novel. It’s a fable of our modern times, about how our actions are having a lasting and devastating effect on our climate and nature.
I would most definitely recommend this book, and Arnott’s previous book as well, Flames, if you haven’t read it. Both are masterpieces in magical realism. Rain Heron is a timely book as we come to realise just what an impact climate change is having on our world, and comes highly recommended from me!
LoganCrews (2861 KP) rated One Missed Call (2003) in Movies
Oct 28, 2021
Ah, okay - so it's like 𝘗𝘶𝘭𝘴𝘦 without any of the themes (or at least more reductive ones in their place) or terrifically written characters, trying to cash in on the exact same story premise/structure as 𝘙𝘪𝘯𝘨𝘶 and 𝘑𝘶-𝘰𝘯: 𝘛𝘩𝘦 𝘎𝘳𝘶𝘥𝘨𝘦. Seemed doomed from the start, but enter reliable workhorse Takashi Miike - who manages to make this a terrifying masterclass in what a good horror movie should look and sound like. My fifth film of his down in my ill-fated quest to watch as many films from his gargantuan filmography that can reasonably be acquired on physical media, and stylistically it's my favorite by a mile thus far. Even his better films I confess tend to look a little flat to me but this is just *drenched* in dread: unnerving music, ripper practical effects, and gripping cinematography among many other positives. The opening ten minutes are flawless and the entire last act (end credits included) is fucking outstanding, had me glued to my seat begging for more. Stuff in the middle rocks too, go figure (the third death in particular is not only perfectly anticipated, but a real screamer too). Like a lot of Miike, scenes here can go on for a little too long - but when the final product is otherwise put together this expertly it's impossible to argue with. I'm sure the American remake sucks ass as much as this kicks it.
LeftSideCut (3778 KP) rated Hellraiser: Bloodline (1996) in Movies
Mar 22, 2022
Honestly, I can't help but admire just how much batshit-crazy content is crammed into this film. The established lore from the first two movies is more or less out of the window by now, with the narrative concentrating on the guy who originally invented the lament configuration in the 1700s, and then subsequent members of his bloodline trying to stop hell on earth once in 1996, and then again in the distant future aboard a space station. Like I said, batshit.
It also happens to be stupidly entertaining. It never threatens to get boring at any point. Pinhead has been scaled back once again to a more menacing presence as opposed to his pantomime villain from Hellraiser III, and the new cenobites looks suitably evil and gross. Angelique (Valentina Vargas) is a great new villain to stand alongside Doug Bradley, and goes someway to making sure Bloodlines has its own identity. Hats off to Bruce Ramsay as well for effectively playing three separate characters. There's liberal splashings of decent and practically done gore, and the CG effects for the space station still hold up for the most part. There's really not a huge amount to complain about in my opinion, and I can't quite comprehend where the general disdain comes from.
Hellraiser IV is certainly not a perfect movie, and doesn't reach the lofty heights of the first two, but it does enough different to ensure its a memorable entry into the franchise.
It also happens to be stupidly entertaining. It never threatens to get boring at any point. Pinhead has been scaled back once again to a more menacing presence as opposed to his pantomime villain from Hellraiser III, and the new cenobites looks suitably evil and gross. Angelique (Valentina Vargas) is a great new villain to stand alongside Doug Bradley, and goes someway to making sure Bloodlines has its own identity. Hats off to Bruce Ramsay as well for effectively playing three separate characters. There's liberal splashings of decent and practically done gore, and the CG effects for the space station still hold up for the most part. There's really not a huge amount to complain about in my opinion, and I can't quite comprehend where the general disdain comes from.
Hellraiser IV is certainly not a perfect movie, and doesn't reach the lofty heights of the first two, but it does enough different to ensure its a memorable entry into the franchise.
LeftSideCut (3778 KP) rated Army of Darkness (1992) in Movies
May 29, 2022
I love The Evil Dead. It's gritty, low budget, scary as fuck. I love Evil Dead 2 for its perfect marriage of horror and slapstick comedy. I love Army of Darkness for just how fucking silly it is. The original three films of this franchise all have their own identity, and stand out as very different chapters of the same story. AoD is arguably the weirdest of the bunch, dropping all of the gore in favour of a medieval gateway-horror comedy, and it works a treat, thanks in no small part to some fantastic practical effects, and of course, Bruce Campbell. Campbells physical comedy chops are one of the highlights of Evil Dead 2, and those skills are put front and centre here. There are multiple sequences that are just brazenly ridiculous, and simply wouldn't work anywhere near as well if it was any other actor in the drivers seat. His commitment to the bit is wholly admirable. The practical work looks great for the most part, especially the army of skeletons that are introduced in the final third. Some signature style from Sam Raimi occasionally butts in to remind us that this is still an Evil Dead film, and there are some memorable monster and deadite designs to keep its foot firmly in the horror genre. Above all, AoD is just a whole load of fun that knows exactly what it is. Hail to the King baby.
Malicious Intent
10.0
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World-renowned Attorney Alexandra Phillips has a knack for turning open and shut cases for the...
medical thriller thriller
Go Tell the Bees that I am Gone
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Jamie Fraser and Claire Randall were torn apart by the Jacobite Rising in 1746, and it took them...
RəX Regent (349 KP) rated Hell's Angels (1930) in Movies
Feb 19, 2019
Big budget, elaborate air combat scenes which resulted in several deaths and Gimmick after gimmick… This has to be the Howard Hughes’ World War 1 epic, Hell’s Angels.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.