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BankofMarquis (1832 KP) rated Edward Scissorhands (1990) in Movies
Apr 23, 2020
Has more heart than later Burton/Depp collaborations
There have been many actor/director long term collaborations through the years - John Ford/John Wayne, Martin Scorcese/Robert DeNiro and Alfred Hitchock/Jimmy Stewart all come to mind. Another interesting collaboration is the unique one between Tim Burton and Johnny Depp. The films these 2 have made have shown an "outsider" being introduced into an environment - usually in a quirky and gothic dark manner. So it was interesting to go back to the film that started it all - 1990's EDWARD SCISSORHANDS.
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Interestingly enough, this film works because of the lack of weight of previous Burton/Depp collaborations.
Let me explain...
If you were to hear today that Tim Burton and Johnny Depp were to collaborate on a film, what expectations would you have? Quirky, dark and gothic comes to mind. With EDWARD SCISSORHANDS, none of these expectations were in place. You can see the purity in the beginning of this collaboration with these 2 artists finding there footing together in a film that is...yes...quirky, dark and gothic.
It is also, unexpectedly, light, airy, funny and poignant - traits that I think get lost in later Burton/Depp collaborations....collaborations where the focus seemed to be on the design and look and less on the emotion.
Set in a timeless, stylized world that is part '50's, part '60's, part 80's and part "everything else", EDWARD SCISSORHANDS is Burton's loose retelling of the Frankenstein story, where an isolated inventor (in this case Vincent Price) creates life (Depp)...with scissors for hands (you'll have to see the film to see why). When a local resident (and door to door cosmetic saleslady) discovers Edward living alone, she invites him into her house - and into the lives of the the neighborhood that exists below.
Depp owns this character - and owns it well. He brings an innocence and integrity to this character that rides a fine line well. His character is naive - but not simpleminded. He is longing to please - and to be loved - but has his own mind. In Depp's performance, you see an actor coming into his own.
He is joined - wonderfully - by Diane Wiest as the lady that invites him into her home. Winona Ryder (who turned down Godfather 3 to appear in this film) as Wiest's daughter (and object of Edward's affections) and the great Alan Arkin as the patriarch of the family who is a fun stereo-type of the Suburban dad.
All of this is packaged - uniquely - by Burton with an "8 crayon" color palate that exaggerates the various styles of the time. It is an expert job of combining styles into a unique vision that works very, very well.
I also have to give Burton credit for casting the iconic horror movie veteran Vincent Price (in his last film role) as the inventor of Edward Scissorhands.
I was taken under the spell of this film - and not just because of the interesting visuals - it has a heart and soul (because of Depp's work) that, I think both Depp and Burton lose in some of their later collaborations.
If you haven't seen this film in awhile - check it out - I think you'll like it.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
A(
Afterlife (Afterlife Saga, #1)
10.0
Rate It
Book
Afterlife… just some gothic nightclub where gossip is fuelled by the presence of a rich and...
Luke (12 KP) rated Bloodborne in Video Games
Oct 2, 2017
Strategic, challenging, and rewarding combat (6 more)
Excellent orchestrated soundtrack
Great aesthetic and visual design
Cool boss designs
Old Hunters expansion adds extra challenge
30-40 hour campaign with loads of content
Lovecraftian horror at its finest
Bloodborne is an action RPG developed by From Software and directed by Hidetaka Miyazaki, creator of the Dark Souls series. Bloodborne takes elements from the Dark Souls games and mixes in elements of Gothic and Lovecraftian horror to make one truly unique experience exclusively for the Playstation 4.
You play as a Hunter and you have come to the city of Yharnam on the night of the Hunt where the lines between man and beast are blurred. Initially, your goal is quite simple: just go out and kill some beasts of all manner. Everything from werewolves to madmen to even other NPC Hunters. But as you progress through the game, you begin to unravel a conspiracy involving ancient gods from the cosmos coming down to incite this madness upon the townsfolk. Souls games aren't really known for their stories. Most of the game's backstory can often be found in item descriptions. However, Bloodborne differentiates itself by having one of the most fleshed out and intriguing plots of the entire Soulsborne series.
The presentation here is breathtaking. It evokes the style of olden Gothic horror tales from days long past. Towering spires line the horizon clearly inspired by Victorian and Gothic style architecture of Romania and this is reflected in the games level design. Blood spills out in a vibrant crimson color. Most of the game is completely silent save for the excellent sound design. The soundtrack only kicks in during boss fights and other key moments in the game making it even more special.
If you are familiar with any of the Dark Souls games, then you pretty much know what to expect from Bloodborne's combat. Bloodborne emphasizes speed and aggression with its combat system, but it is still quite strategic and very challenging. Don't go in thinking you can just rush through this in a weekend. This game takes patience and effort from the player to be rewarded. The weapon variety is significantly smaller than that of the Dark Souls games, but that's not necessarily a bad thing. Each weapon feels unique, and each one will cater to a specific play style. And since you can transform almost all the weapons in the game, they almost feel like two weapons in one. For example, a shortsword can be transformed into a greatsword and so on. Instead of giving you a shield, Bloodborne instead gives you a wide variety of firearms, from pistols and shotguns, to a flamesprayer and a cannon. You can use these guns on enemies to riposte and perform a visceral attack for massive damage, even on some of the bosses. Armor sets are all really cool, reflecting the games Gothic design. The good thing is that you don't need to worry about upgrading armor sets like in previous Souls games. And the boss designs here are great, some of the hardest and most challenging fights in any game. You have to learn and figure out the timings of their attacks in order to know when best to strike. And if you ever feel like you're getting stuck, you can always bring in a friend with the game's co-op system. The side characters are also great, some of them giving you optional quests that you can carry out if you choose to do so.
There are optional chalice dungeons that you can complete should you choose to do so. The good thing is that they aren't required to finish the game. The bad thing is that these aren't designed as well as the main game. These dungeons are randomly generated and it certainly feels that way as rooms are often copy pasted together to the point where you feel like you're going in circles. Enemy designs are also lazy as hell here, some of them being reused as bosses. It feels like these chalice dungeons were thrown in at the last minute to offer some kind of replay value when they clearly weren't needed in the first place. I'm baffled by their inclusion as some trophies are linked to the completion of these optional missions. But since these are completely optional, they don't take away from the overall score.
There are also a few more minor gripes that I have with Bloodborne. The camera can often get in the way of the surrounding architecture at times. The framerate dips during some instances, even after several patches. Fortunately, these things don't happen all that often. And why can't I warp between lanterns? This doesn't make much sense as if you want to get to a new area, you have to warp to the hub zone and then warp to the area you want to go to. I feel like this would save a lot of load times if you are going back and forth for farming runs. Oh well.
Bloodborne is never impossibly hard. It does have a high learning curve for new players, but if you keep at it and if you are patient enough, you will discover just how rewarding this experience can be. This was my first foray into the Souls series and I am so looking forward to going back in to Bloodborne to try out new builds, new play styles, new weapons, and even greater challenge in New Game Plus mode. Bloodborne is now one of my all time favorite games ever made.
You play as a Hunter and you have come to the city of Yharnam on the night of the Hunt where the lines between man and beast are blurred. Initially, your goal is quite simple: just go out and kill some beasts of all manner. Everything from werewolves to madmen to even other NPC Hunters. But as you progress through the game, you begin to unravel a conspiracy involving ancient gods from the cosmos coming down to incite this madness upon the townsfolk. Souls games aren't really known for their stories. Most of the game's backstory can often be found in item descriptions. However, Bloodborne differentiates itself by having one of the most fleshed out and intriguing plots of the entire Soulsborne series.
The presentation here is breathtaking. It evokes the style of olden Gothic horror tales from days long past. Towering spires line the horizon clearly inspired by Victorian and Gothic style architecture of Romania and this is reflected in the games level design. Blood spills out in a vibrant crimson color. Most of the game is completely silent save for the excellent sound design. The soundtrack only kicks in during boss fights and other key moments in the game making it even more special.
If you are familiar with any of the Dark Souls games, then you pretty much know what to expect from Bloodborne's combat. Bloodborne emphasizes speed and aggression with its combat system, but it is still quite strategic and very challenging. Don't go in thinking you can just rush through this in a weekend. This game takes patience and effort from the player to be rewarded. The weapon variety is significantly smaller than that of the Dark Souls games, but that's not necessarily a bad thing. Each weapon feels unique, and each one will cater to a specific play style. And since you can transform almost all the weapons in the game, they almost feel like two weapons in one. For example, a shortsword can be transformed into a greatsword and so on. Instead of giving you a shield, Bloodborne instead gives you a wide variety of firearms, from pistols and shotguns, to a flamesprayer and a cannon. You can use these guns on enemies to riposte and perform a visceral attack for massive damage, even on some of the bosses. Armor sets are all really cool, reflecting the games Gothic design. The good thing is that you don't need to worry about upgrading armor sets like in previous Souls games. And the boss designs here are great, some of the hardest and most challenging fights in any game. You have to learn and figure out the timings of their attacks in order to know when best to strike. And if you ever feel like you're getting stuck, you can always bring in a friend with the game's co-op system. The side characters are also great, some of them giving you optional quests that you can carry out if you choose to do so.
There are optional chalice dungeons that you can complete should you choose to do so. The good thing is that they aren't required to finish the game. The bad thing is that these aren't designed as well as the main game. These dungeons are randomly generated and it certainly feels that way as rooms are often copy pasted together to the point where you feel like you're going in circles. Enemy designs are also lazy as hell here, some of them being reused as bosses. It feels like these chalice dungeons were thrown in at the last minute to offer some kind of replay value when they clearly weren't needed in the first place. I'm baffled by their inclusion as some trophies are linked to the completion of these optional missions. But since these are completely optional, they don't take away from the overall score.
There are also a few more minor gripes that I have with Bloodborne. The camera can often get in the way of the surrounding architecture at times. The framerate dips during some instances, even after several patches. Fortunately, these things don't happen all that often. And why can't I warp between lanterns? This doesn't make much sense as if you want to get to a new area, you have to warp to the hub zone and then warp to the area you want to go to. I feel like this would save a lot of load times if you are going back and forth for farming runs. Oh well.
Bloodborne is never impossibly hard. It does have a high learning curve for new players, but if you keep at it and if you are patient enough, you will discover just how rewarding this experience can be. This was my first foray into the Souls series and I am so looking forward to going back in to Bloodborne to try out new builds, new play styles, new weapons, and even greater challenge in New Game Plus mode. Bloodborne is now one of my all time favorite games ever made.
JT (287 KP) rated The Possession of Hannah Grace (2018) in Movies
Mar 10, 2020
If there was ever somewhere befitting of a horror film it’s in a morgue. But unlike the terrifying Autopsy of Jane Doe which, uses the location in a dark and gothic manner, The Possession of Hannah Grace feels overworked and desperate to please.
When an exorcism goes horribly wrong the body ends up within the confines of a Boston hospital morgue three months later. There, ex-cop Megan (Shay Mitchell) who is recovering from her own personal trauma, takes a job working the graveyard shift. The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.
As Megan walks about with not much to do until the eventual arrival of Hannah Grace’s disfigured corpse, she spends the time familiarising herself with the creepy surroundings. Megan’s backstory is far more interesting. Suffering from PTSD after watching her partner get gunned down, she battles an addiction to pills and now has the thankless task of having to battle a demon – hardly job satisfaction.
The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.
In fairness to director Diederik Van Rooijen, he has chosen a tried and tested subgenre. And he isn’t helped by Brian Sieve‘s poor script. There is the odd positive moment, mainly when Hannah’s twisted body offers a glimpse at something more sinister lurking inside her. But that’s about it.
“When you die, you die. End of story,” says Megan – and after 85 minutes we’re pleased it did.
When an exorcism goes horribly wrong the body ends up within the confines of a Boston hospital morgue three months later. There, ex-cop Megan (Shay Mitchell) who is recovering from her own personal trauma, takes a job working the graveyard shift. The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.
As Megan walks about with not much to do until the eventual arrival of Hannah Grace’s disfigured corpse, she spends the time familiarising herself with the creepy surroundings. Megan’s backstory is far more interesting. Suffering from PTSD after watching her partner get gunned down, she battles an addiction to pills and now has the thankless task of having to battle a demon – hardly job satisfaction.
The setting had so much potential it’s annoying that the film just saunters along, relying on cheap jump scares to capture audience attention.
In fairness to director Diederik Van Rooijen, he has chosen a tried and tested subgenre. And he isn’t helped by Brian Sieve‘s poor script. There is the odd positive moment, mainly when Hannah’s twisted body offers a glimpse at something more sinister lurking inside her. But that’s about it.
“When you die, you die. End of story,” says Megan – and after 85 minutes we’re pleased it did.
Don't Look Now
Book
Don't Look Now, released in 1973, confirmed director Nicolas Roeg as one of the most stylish and...
Catacomb (Asylum, #3)
8.0
Rate It
Book
The heart-stopping third book in the New York Times bestselling Asylum series follows three teens as...
Lyndsey Gollogly (2893 KP) rated Gallant in Books
Oct 5, 2023
140 of 235
Book
Gallant
By V.E. Schwab
⭐️⭐️⭐️⭐️
Sixteen- year-old Olivia Prior is missing three things: a mother, a father, and a voice. Her mother vanished all at once, and her father by degrees, and her voice was a thing she never had to start with. She grew up at Merilance School for Girls. Now, nearing the end of her time there, Olivia receives a letter from an uncle she's never met, her father's older brother, summoning her to his estate, a place called Gallant. But when she arrives, she discovers that the letter she received was several years old. Her uncle is dead. The estate is empty, save for the servants. Olivia is permitted to remain, but must follow two rules: don't go out after dusk, and always stay on the right side of a wall that runs along the estate's western edge. Beyond it is another realm, ancient and magical, which calls to Olivia through her blood…
At first I was unsure it took a few chapters for me to get comfortable with it but once I was I just didn’t want to put it down. I’m really liking the gothic horror feel at the minute and this was done so well. A 16 year old non verbal girl just looking for a home and family to call her own. Abandoned by her mother and brought up in an awful place to find she has a family with a dark history. Loved it!!!!
Book
Gallant
By V.E. Schwab
⭐️⭐️⭐️⭐️
Sixteen- year-old Olivia Prior is missing three things: a mother, a father, and a voice. Her mother vanished all at once, and her father by degrees, and her voice was a thing she never had to start with. She grew up at Merilance School for Girls. Now, nearing the end of her time there, Olivia receives a letter from an uncle she's never met, her father's older brother, summoning her to his estate, a place called Gallant. But when she arrives, she discovers that the letter she received was several years old. Her uncle is dead. The estate is empty, save for the servants. Olivia is permitted to remain, but must follow two rules: don't go out after dusk, and always stay on the right side of a wall that runs along the estate's western edge. Beyond it is another realm, ancient and magical, which calls to Olivia through her blood…
At first I was unsure it took a few chapters for me to get comfortable with it but once I was I just didn’t want to put it down. I’m really liking the gothic horror feel at the minute and this was done so well. A 16 year old non verbal girl just looking for a home and family to call her own. Abandoned by her mother and brought up in an awful place to find she has a family with a dark history. Loved it!!!!
LeftSideCut (3778 KP) rated Sleepy Hollow (1999) in Movies
Apr 20, 2020 (Updated Apr 20, 2020)
Sleepy Hollow is one of those films that I will always love. I first saw it when I was 13, when DVDs were still pretty new, and I would watch it over and over again.
It's just about creepy enough to offer itself to horror fans, and has the right amount of Tim Burton campiness to still appeal to younger audiences (not too young mind, plenty of blood flying about).
Johnny Depp plays Ichabod Crane, a constable sent from New York to the small town of Sleepy Hollow to investigate a series of bizarre murders, at the tail end of the 1700s.
The townsfolk are gripped with fear, convinced that the murders are the work of the fabled Headless Horseman, but Ichabod is certain that there's a less supernatural involvement behind the scenes.
The 18th Century setting is perfect for Burton's gothic style. The whole film is draped in a misty asthethic, lending it a cold and dreary atmosphere.
This is further complimented by Danny Elfman's incredible church-organ-heavy score.
The Horseman himself looks ghostly and makes for some unforgettable shots as he chases down and decapitates his way through the cast.
Said cast is a heavy duty one as well. Johnny Depp is front and centre, pretty much just being typical Johnny Depp, but it works wonders with Ichabod's almost mad-scientist character.
The rest of the cast boasts the likes of Christina Ricci, Michael Gambon, Christopher Walken, Miranda Richardson, Ian McDiarmid, Michael Gough, Richard Griffiths, Christopher Lee, Jeffrey Jones... It's an impressive list.
Some of the acting is a bit overboard at times (looking at you Christopher Walken) but it kind of adds a bit of surrealism to the whole affair.
The effects are pretty solid as well. Burton's approach to using a large amount of practical effects is admirable, and what CGI is used is subtle enough to not show the films age.
Despite it cheesyness, Sleepy Hollow manages to be both a dark and fun horror adventure, that I always enjoy watching and remains a highlight in Tim Burton's resume.
It's just about creepy enough to offer itself to horror fans, and has the right amount of Tim Burton campiness to still appeal to younger audiences (not too young mind, plenty of blood flying about).
Johnny Depp plays Ichabod Crane, a constable sent from New York to the small town of Sleepy Hollow to investigate a series of bizarre murders, at the tail end of the 1700s.
The townsfolk are gripped with fear, convinced that the murders are the work of the fabled Headless Horseman, but Ichabod is certain that there's a less supernatural involvement behind the scenes.
The 18th Century setting is perfect for Burton's gothic style. The whole film is draped in a misty asthethic, lending it a cold and dreary atmosphere.
This is further complimented by Danny Elfman's incredible church-organ-heavy score.
The Horseman himself looks ghostly and makes for some unforgettable shots as he chases down and decapitates his way through the cast.
Said cast is a heavy duty one as well. Johnny Depp is front and centre, pretty much just being typical Johnny Depp, but it works wonders with Ichabod's almost mad-scientist character.
The rest of the cast boasts the likes of Christina Ricci, Michael Gambon, Christopher Walken, Miranda Richardson, Ian McDiarmid, Michael Gough, Richard Griffiths, Christopher Lee, Jeffrey Jones... It's an impressive list.
Some of the acting is a bit overboard at times (looking at you Christopher Walken) but it kind of adds a bit of surrealism to the whole affair.
The effects are pretty solid as well. Burton's approach to using a large amount of practical effects is admirable, and what CGI is used is subtle enough to not show the films age.
Despite it cheesyness, Sleepy Hollow manages to be both a dark and fun horror adventure, that I always enjoy watching and remains a highlight in Tim Burton's resume.
JT (287 KP) rated Mama (2013) in Movies
Mar 10, 2020
When a film is presented by a well-known director it initially has a certain weight to it that will place it above the shoulders of others. In the case of horror/thriller Mama it has the backing of Spanish director Guillermo del Toro which is a certain plus point for any one who is a fan.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.
Heather Cranmer (2721 KP) rated Between the Devil and the Deep Blue Sea (Between, #1) in Books
Jun 6, 2018
(This review can be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.com/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
This is a book I'd been wanting to read for awhile. The whole gothic horror thing really piqued my interest. While this wasn't my favorite horror story, it was still a good read. I've also seen some reviews saying that this book was a lot like the Twilight series by Stephenie Meyer but I didn't think it was.
I must admit that the title is what caught my attention first. I love it, and I find that it's a very fitting title for the book.
The cover is the next thing that caught my attention, and while I don't think it really fits in with the story, it's still an interesting cover.
I enjoyed the world building very much. However, a majority of characters in this book had really peculiar names like Violet White, River West, True White, Sunshine, etc. Maybe it was just a coincidence, but I still found it strange that they all had extraordinary names. I loved the back story of everything which helped to set up the world building very nicely. The one thing that kind of annoyed me was the insta-love between River and Violet.
The pacing did start off a bit slow, but I hung in there. By about the third chapter, the book reeled me in, and my attention was focused solely on finding out what was going to happen and if River was truly a bad boy or just misunderstood.
I felt that the plot had some originality to it. River moves in to Violet's guest house and suddenly a bunch of weird things start happening. I really want to elaborate more on the plot, but I also don't want to give anything away. Let's just say the plot deals with the paranormal and romance. There is a plot twist. There's also a sort of cliff hanger ending since there's a second book in the series.
As for the characters, I thought they were alright even if they did seem a bit older than their actual ages of 16 and 17. I liked how Violet wasn't ashamed to be different. She was odd, yes, but that's what I loved about her. She seemed, for the most part, to be comfortable in her own skin. I didn't really know what to make of River. He was very mysterious and he lied...a lot! This made me not trust him at all, yet Violet was perfectly happy to trust River. (Okay, so Violet had one annoying trait). I liked Luke, and I didn't feel that he was as mean to Violet as what Violet led us to believe. In fact, I thought he was quite nice and caring. He was a bit of a ladies man, but the kid is 17 years old after all. I liked how Neely was like the protector of everyone. He did have a bit of a temper, but he was willing to do whatever it took to protect his friends and family. The character I really had a problem with was Brodie. He's such a stereotypical Texan, and that's what really made me upset. He came across as an uneducated hillbilly. I really did feel offended by the author for her portrayal of Texans.
The dialogue sounds more fitting for an adult novel as the teenagers in the book speak like they are much older than their 16 and 17 years. As I stated in the above paragraph, I was offended by the character of Brodie. His speech was so stereotypical and offensive. I've never even heard anyone from Texas speak the way Brodie spoke, and I was born and raised here in Texas! I think the author should've done a bit more research about the dialogue and dialect of Texas instead of just stereotyping. Other than that, the dialogue flowed smoothly and freely. The book is fairly violent, and there are some mild sexual situations. There is some swearing as well.
Overall, Between the Devil and the Deep Blue Sea is an intriguing read with a great plot. The world building is interesting, and the characters are likable even if one was extremely offensive.
I'd recommend this book to those aged 16+ who are fans of gothic horror or just horror in general.
<b>I'd give Between the Devil and the Deep Blue Sea by April Genevieve Tucholke a 3.75 out of 5.</b>
(I purchased a hardcover copy of this book with my own money from Amazon. No review was required).
This is a book I'd been wanting to read for awhile. The whole gothic horror thing really piqued my interest. While this wasn't my favorite horror story, it was still a good read. I've also seen some reviews saying that this book was a lot like the Twilight series by Stephenie Meyer but I didn't think it was.
I must admit that the title is what caught my attention first. I love it, and I find that it's a very fitting title for the book.
The cover is the next thing that caught my attention, and while I don't think it really fits in with the story, it's still an interesting cover.
I enjoyed the world building very much. However, a majority of characters in this book had really peculiar names like Violet White, River West, True White, Sunshine, etc. Maybe it was just a coincidence, but I still found it strange that they all had extraordinary names. I loved the back story of everything which helped to set up the world building very nicely. The one thing that kind of annoyed me was the insta-love between River and Violet.
The pacing did start off a bit slow, but I hung in there. By about the third chapter, the book reeled me in, and my attention was focused solely on finding out what was going to happen and if River was truly a bad boy or just misunderstood.
I felt that the plot had some originality to it. River moves in to Violet's guest house and suddenly a bunch of weird things start happening. I really want to elaborate more on the plot, but I also don't want to give anything away. Let's just say the plot deals with the paranormal and romance. There is a plot twist. There's also a sort of cliff hanger ending since there's a second book in the series.
As for the characters, I thought they were alright even if they did seem a bit older than their actual ages of 16 and 17. I liked how Violet wasn't ashamed to be different. She was odd, yes, but that's what I loved about her. She seemed, for the most part, to be comfortable in her own skin. I didn't really know what to make of River. He was very mysterious and he lied...a lot! This made me not trust him at all, yet Violet was perfectly happy to trust River. (Okay, so Violet had one annoying trait). I liked Luke, and I didn't feel that he was as mean to Violet as what Violet led us to believe. In fact, I thought he was quite nice and caring. He was a bit of a ladies man, but the kid is 17 years old after all. I liked how Neely was like the protector of everyone. He did have a bit of a temper, but he was willing to do whatever it took to protect his friends and family. The character I really had a problem with was Brodie. He's such a stereotypical Texan, and that's what really made me upset. He came across as an uneducated hillbilly. I really did feel offended by the author for her portrayal of Texans.
The dialogue sounds more fitting for an adult novel as the teenagers in the book speak like they are much older than their 16 and 17 years. As I stated in the above paragraph, I was offended by the character of Brodie. His speech was so stereotypical and offensive. I've never even heard anyone from Texas speak the way Brodie spoke, and I was born and raised here in Texas! I think the author should've done a bit more research about the dialogue and dialect of Texas instead of just stereotyping. Other than that, the dialogue flowed smoothly and freely. The book is fairly violent, and there are some mild sexual situations. There is some swearing as well.
Overall, Between the Devil and the Deep Blue Sea is an intriguing read with a great plot. The world building is interesting, and the characters are likable even if one was extremely offensive.
I'd recommend this book to those aged 16+ who are fans of gothic horror or just horror in general.
<b>I'd give Between the Devil and the Deep Blue Sea by April Genevieve Tucholke a 3.75 out of 5.</b>
(I purchased a hardcover copy of this book with my own money from Amazon. No review was required).