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Sensitivemuse (246 KP) rated Silence for the Dead in Books
Mar 29, 2018
Good ghost story, slow dragged out ending
Anything to do with a horror ghost theme and an asylum has to be good right? Well, yes and no. The book was somewhat enjoyable to read but it had its’ moments.
The plot itself was good. It had the elements of a good gothic theme - not scary enough to make people read it in daytime (seriously?) but it had some good decent creep factor in it. It’s enough to set the mood and theme of the book but nothing to make the skin crawl. The element of mystery was also there and the ghost story aspect was good - nothing to blind side you - except perhaps for a little twist in the end (with where the ghost was and who was it manipulating etc etc). It’s pretty much a stable plot with all the main points closed (or is it? *queue creepy organ music*) so I’d have to say the gothic ghost story was what was in it for me.
Character wise. Kitty is likable. She’s resourceful, and a survivor from horrible abuse. Big applause for her for being strong and able to stand up and survive through various ordeals. Captain Mabry stood out for me because I enjoyed reading about his character. He seemed to be the strong stable silent type in the asylum where you have various patients with various issues (most were casualties of World War One) and there was a certain calmness about him that made him likable.
It’s pretty much obvious Kitty and Jack were to be together. The romance aspect in the book was all right. Necessary? I’m not sure perhaps. It’s not really for me. When their romance was more cemented was where the book was starting to take a slight turn downhill.
So near the ending when everything was revealed, all plot holes start to close. Sometimes, depending on the writing, you can stretch it out and make it interesting. Or you can make it drag. This one, unfortunately drags. We’re done with the ghosts, everything was answered, and the last 30 pages or so I just wanted the book to end. The romance of Kitty and Jack intensify and this is where intense eye rolling is also induced. Dear Lord, am I reading this just to see if there’s a scary twist at the end? Or am I wasting my time? Well sadly, I wasted my time. It was good to see what happened to characters like Mabry, and even Matron, but it just dragged way too much. Yeah okay we get it Kitty and Jack forever. Why do we need so many pages of this, am I suddenly reading a romance now?
Other than the ghost story in this book, the romance nearly killed it for me and a dragged out ending. Perhaps a nice twist in the ending would be nice. Or maybe skim the 30 pages and be done. I would say take it or leave it with this book. It was moderately enjoyable for me.
The plot itself was good. It had the elements of a good gothic theme - not scary enough to make people read it in daytime (seriously?) but it had some good decent creep factor in it. It’s enough to set the mood and theme of the book but nothing to make the skin crawl. The element of mystery was also there and the ghost story aspect was good - nothing to blind side you - except perhaps for a little twist in the end (with where the ghost was and who was it manipulating etc etc). It’s pretty much a stable plot with all the main points closed (or is it? *queue creepy organ music*) so I’d have to say the gothic ghost story was what was in it for me.
Character wise. Kitty is likable. She’s resourceful, and a survivor from horrible abuse. Big applause for her for being strong and able to stand up and survive through various ordeals. Captain Mabry stood out for me because I enjoyed reading about his character. He seemed to be the strong stable silent type in the asylum where you have various patients with various issues (most were casualties of World War One) and there was a certain calmness about him that made him likable.
It’s pretty much obvious Kitty and Jack were to be together. The romance aspect in the book was all right. Necessary? I’m not sure perhaps. It’s not really for me. When their romance was more cemented was where the book was starting to take a slight turn downhill.
So near the ending when everything was revealed, all plot holes start to close. Sometimes, depending on the writing, you can stretch it out and make it interesting. Or you can make it drag. This one, unfortunately drags. We’re done with the ghosts, everything was answered, and the last 30 pages or so I just wanted the book to end. The romance of Kitty and Jack intensify and this is where intense eye rolling is also induced. Dear Lord, am I reading this just to see if there’s a scary twist at the end? Or am I wasting my time? Well sadly, I wasted my time. It was good to see what happened to characters like Mabry, and even Matron, but it just dragged way too much. Yeah okay we get it Kitty and Jack forever. Why do we need so many pages of this, am I suddenly reading a romance now?
Other than the ghost story in this book, the romance nearly killed it for me and a dragged out ending. Perhaps a nice twist in the ending would be nice. Or maybe skim the 30 pages and be done. I would say take it or leave it with this book. It was moderately enjoyable for me.
Scarlett Mysteries: Cursed Child
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FANTASTIC HIDDEN OBJECT PUZZLE ADVENTURE GAME FROM THE CREATORS OF ENIGMATIS AND GRIM LEGENDS! ...
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This is a tale of two tragedies. At the heart of the first is Dr. Steven Hayne, a doctor the State...
Illeana Douglas recommended Rosemary's Baby (1968) in Movies (curated)
Cryptoriana: The Seductiveness of Decay by Cradle Of Filth
5.5
Rate It
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For the last quarter of a century, Cradle Of Filth have assumed the role of dark metal diarists,...
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Ivana A. | Diary of Difference (1171 KP) rated The Yellow Wallpaper and Selected Writings in Books
Dec 29, 2018
The Yellow Wallpaper - Charlotte Perkins Gilman [BOOK REVIEW]
Read this review and more on www.diaryofdifference.com
I haven’t read much classic reads this year, and a few days before the end of 2018, I decided to go for a classic short story, and I chose The Yellow Wallpaper by Charlotte Perkins Gilman.
This classic has been written by a woman in the 19th century. A time when women weren’t treated the same way as today. A difficult time, where women couldn’t express their opinion as they wished, but they were suppressed by the male authority in the family.
When The Yellow Wallpaper came out, it was considered a Gothic Horror Tale. It is hard to believe for me, knowing the world we live in today, and how we, as women can express our opinions openly. But back in the days, this is how it was. It wasn’t easy for the woman, and I am glad we have a lot of brave women from that time, that gathered the courage to tell stories for the next generations.
This is a story about a woman, who seems to suffer of post-partum depression (a type of mood disorder associated with childbirth). She has been forced by her husband and doctor to stay in her room until she is ”mentally capable” again to take care of her baby. I am not a mother, but I can imagine the pain and suffering of not being allowed to see and hold your unborn child. And people thought this was okay?
The woman is constantly staring at the yellow wallpaper and the window, constantly reassuring herself that this is all happening for her own good, and that the husband and doctor know best, until a point where we are not actually sure if she is in her right mind anymore.
She starts to see a woman inside the wallpaper, and believes the woman is struggling to break free. I loved the metaphor used, as her subconscious knows she is trapped, and the end is so painful to read, but oh, so powerful.
Even though such a short read, The Yellow Wallpaper is an impressive view on cultural traditions, and the position of women in the family. A classic and a must-have for every woman!
I haven’t read much classic reads this year, and a few days before the end of 2018, I decided to go for a classic short story, and I chose The Yellow Wallpaper by Charlotte Perkins Gilman.
This classic has been written by a woman in the 19th century. A time when women weren’t treated the same way as today. A difficult time, where women couldn’t express their opinion as they wished, but they were suppressed by the male authority in the family.
When The Yellow Wallpaper came out, it was considered a Gothic Horror Tale. It is hard to believe for me, knowing the world we live in today, and how we, as women can express our opinions openly. But back in the days, this is how it was. It wasn’t easy for the woman, and I am glad we have a lot of brave women from that time, that gathered the courage to tell stories for the next generations.
This is a story about a woman, who seems to suffer of post-partum depression (a type of mood disorder associated with childbirth). She has been forced by her husband and doctor to stay in her room until she is ”mentally capable” again to take care of her baby. I am not a mother, but I can imagine the pain and suffering of not being allowed to see and hold your unborn child. And people thought this was okay?
The woman is constantly staring at the yellow wallpaper and the window, constantly reassuring herself that this is all happening for her own good, and that the husband and doctor know best, until a point where we are not actually sure if she is in her right mind anymore.
She starts to see a woman inside the wallpaper, and believes the woman is struggling to break free. I loved the metaphor used, as her subconscious knows she is trapped, and the end is so painful to read, but oh, so powerful.
Even though such a short read, The Yellow Wallpaper is an impressive view on cultural traditions, and the position of women in the family. A classic and a must-have for every woman!
Louise (64 KP) rated The Mistletoe Bride and Other Haunting Tales in Books
Jul 2, 2018
I am not going to ramble on and on giving you a synopsis for all the stories but I will let you know some of the ones that I enjoyed the most out of this collection. I really wanted to start reading some more short stories so I have continuously made an effort in reading a collection per month. With each book there are obviously going to be some better than others. I think the hardest thing for the authors is to create a really good and atmospheric story that will truly grip you and Kate Mosse has certainly done that in some of these stories. Others were a bit weak and easily forgettable.
The stories included are:
The Mistletoe Bride – 4/5 stars
Duet – 3.5/5 stars
Red Letter day – 2.5/5 stars
The drowned village – 3/5 stars
The house on the hill – 3/5 stars
Why the yew tree lives so long -1.5/5stars
Sainte-Therese – 3/5 stars
The ship of the dead -4/5 stars
La Fille de Melisande -2/5 stars
The revenant -5/5 star – FAVOURITE
On Harting hill -3.5/5 stars
The princess Alice -3/5 stars
In the Theatre at night 2.5/5 stars
The yellow scarf -3.5/5 stars
Syrinx 1/5 stars
Each of these stories comes with an authors note as what inspired her to write them. There are also some black and white gothic illustrations before each of the stories drawn by Rohan Daniel Eason which sets the tone. The stories are set in Sussex, Brittany and Languedoc that are based on Folk tales ranging from the 1800’s to the present day.
I will admit as writing this review I had to check the stories again to see which ones were which as they are somewhat forgettable. The ones that have clearly stuck with me is ‘The Mistletoe Bride’, ‘Duet’ and ‘The Revenant’.
The revenant was the best story by far in the book, it was eerie and creepy and had me on the edge of my seat with my pulse racing as I was actually scared but couldn’t stop reading. It is probably one of the scariest short stories that I have read! Mosse manages to create an intense atmosphere and completely grips the reader. The writing style is very easy to read and flows beautifully.
I would recommend this to people who are looking to read some short-stories that have historical fiction with supernatural elements and a bit of horror.
Overall I rated this 3.5/5 stars
The stories included are:
The Mistletoe Bride – 4/5 stars
Duet – 3.5/5 stars
Red Letter day – 2.5/5 stars
The drowned village – 3/5 stars
The house on the hill – 3/5 stars
Why the yew tree lives so long -1.5/5stars
Sainte-Therese – 3/5 stars
The ship of the dead -4/5 stars
La Fille de Melisande -2/5 stars
The revenant -5/5 star – FAVOURITE
On Harting hill -3.5/5 stars
The princess Alice -3/5 stars
In the Theatre at night 2.5/5 stars
The yellow scarf -3.5/5 stars
Syrinx 1/5 stars
Each of these stories comes with an authors note as what inspired her to write them. There are also some black and white gothic illustrations before each of the stories drawn by Rohan Daniel Eason which sets the tone. The stories are set in Sussex, Brittany and Languedoc that are based on Folk tales ranging from the 1800’s to the present day.
I will admit as writing this review I had to check the stories again to see which ones were which as they are somewhat forgettable. The ones that have clearly stuck with me is ‘The Mistletoe Bride’, ‘Duet’ and ‘The Revenant’.
The revenant was the best story by far in the book, it was eerie and creepy and had me on the edge of my seat with my pulse racing as I was actually scared but couldn’t stop reading. It is probably one of the scariest short stories that I have read! Mosse manages to create an intense atmosphere and completely grips the reader. The writing style is very easy to read and flows beautifully.
I would recommend this to people who are looking to read some short-stories that have historical fiction with supernatural elements and a bit of horror.
Overall I rated this 3.5/5 stars
Movie Metropolis (309 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Jun 10, 2019
A bold new era
“We’re not on an island anymore” barks Chris Pratt’s Owen Grady towards the finale of Jurassic World: Fallen Kingdom. And he’s not wrong, the fifth film in the Jurassic franchise says goodbye to Isla Nublar in rip-roaring fashion, transforming itself into a a family friendly gothic horror film in its last hour.
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/
Ok, ok, let’s start from the beginning. The Jurassic franchise has often been criticised for relying too heavily on the same story points to make a film. 2015’s Jurassic World, whilst becoming one of the highest-grossing films of all time, was lambasted for being a modern-day reimagining of 1993’s classic, Jurassic Park. And while some of that criticism was justified, it was still pure sugary, popcorn entertainment.
Now, three years later, director J.A. Bayona (The Impossible, A Monster Calls) takes over from Colin Trevorrow to bring us a film that starts out like we expect, but ends on a note that will transform the series beyond recognition. The question is, does it actually work?
Three years after the destruction of the Jurassic World theme park, Owen Grady (Pratt) and Claire Dearing (Bryce Dallas Howard) return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. They soon encounter terrifying new breeds of gigantic dinos while uncovering a conspiracy that threatens the entire planet and our own existence.
Fallen Kingdom begins with a pre-title card sequence situated in the lagoon of Isla Nublar that is up there with the best in the series. J.A. Bayona masterfully uses light and shadow to create a really compelling opening that is sure to be one of the summer’s best action scenes. And that is a trait that is brought to the rest of the film. Fallen Kingdom is absolutely beautiful.
The cinematography is exquisite and much better than the staid filming style of Bayona’s predecessor. There are scenes throughout this film that feel like they could be pulled straight from the screen and hung in your living room: it’s gorgeous.
Despite Bayona’s inexperience at creating a juggernaut film like this, his previous films are felt throughout. There’s a deep, earthy colour palatte that is the polar opposite of what we saw in Jurassic World. Where that was clinical and far too blue, Bayona’s colourings feel real, raw and grounded in reality.
The cast is also an incredibly strong part of the film. Pratt and Bryce Dallas Howard both sizzle with on-screen chemistry and there’s a cheeky nod to the backlash Howard faced after wearing high-heels for much of Jurassic World’s runtime. Newcomers Justice Smith and Daniella Pineda are terrific as a jumpy IT wiz and veterinary surgeon respectively. James Cromwell is nicely ret-conned into the story as John Hammond’s business partner, Benjamin, and adds a touch of class to proceedings.
Rafe Spall is excellent as the slimy assistant of Benjami, Eli and Toby Jones hams up the screen as an auctioneer. So far, so good then?
The first half of the film, situated on Isla Nublar as it pops into life is astounding and features some of the best destruction ever put to film. The CGI is leaps and bounds ahead of its predecessor and the dinosaurs feel absolutely real throughout. What I didn’t expect however, is poignancy. There are moments in Fallen Kingdom that have real emotional whack, especially as the rescue operation leaves the island. A lone Brachiosaur standing at the dock is heart-breaking and beautifully done.
J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series
Unfortunately, Fallen Kingdom’s biggest selling point is also its biggest downfall. In trying to do something new, the film stalls as we head to a gothic-esque mansion for the final hour. The confines of the house slow the pacing right down and despite the constant onslaught of action, it really does lag. The special effects and animatronics remain flawless and the action is thrilling, but the script lets them down.
Speaking of the script, this was Jurassic World’s biggest weakness and the same can be said here. Colin Trevorrow and Derek Connelly should be applauded for bringing this franchise back from the edge of extinction, but my god, they cannot write dialogue to save their lives. The characters often converse in what feels like speech bubbles and this can really bring you out of the moment.
There’s also a laughably poor plot twist that feels like it was written by a five-year-old to add some wow factor to the film’s final third. It fails miserably. Then there’s the film’s ‘villain’, the Indoraptor. This genetically modified beast is a sorely underdeveloped entity throughout the film. Sure, she’s menacing enough, but it feels shoehorned in. Trevorrow has stated that Fallen Kingdom will be the last Jurassic movie to feature hybrid dinosaurs: this is absolutely the right decision.
Trevorrow has said that his Jurassic vision is a new trilogy, but the ending of Fallen Kingdom feels like it simply can’t be fixed in one more film. It’s Planet of the Apes-esque in scale.
When we take a look at the score, it’s a story of two halves. Michael Giacchino is one of the greatest composers working today and his music for Jurassic World was absolutely sublime. Here, however, the music is unrecognisable as Jurassic in its construction. John Williams’ iconic theme is rendered to a few bars here and there and that’s a real shame. It’s a good score most definitely, but it could have been so much better.
Finally, we have to circle back around to the cast and the elephant in the room: Jeff Goldblum. His return as Dr Ian Malcolm in this film adds a nice bookend, beginning and end, but you have seen all but two or three lines of his dialogue in the trailer. A horrifically underused presence, but a nice cameo nonetheless.
Overall, Jurassic World: Fallen Kingdom is a solid addition to the ever-expanding series. J.A. Bayona utilises his horror roots beautifully and there is no denying it is the best-looking film in the series with superb set pieces, well-choreographed action and gorgeous cinematography. However, once again the film is let down by poor scriptwriting from Trevorrow and Connelly and a second half that struggles to keep pace with the stunning first.
Is it better than Jurassic World? Well that’s for you to decide, but comparing them is almost impossible.
https://moviemetropolis.net/2018/06/07/jurassic-world-fallen-kingdom-review-a-bold-new-era/
Connor Sheffield (293 KP) rated The Raven (2012) in Movies
Apr 27, 2017
A brilliant crime thriller (4 more)
Gory
Connections to the work of Edgar Allan Poe
Great Cast
Watchable over and over again
Would love to know what happens in the end (1 more)
Not as exhilirating after the first watch
Quote the Raven, Nevermore.
First of all let me say this;
I am a poet and a writer, and my biggest inspiration as a writer has always been Edgar Allan Poe. I love the gothic horror, the tragedy, the macabre, and everything that makes Edgar Allan Poe the legend he is today.
With that said, let me tell you why I love this movie. It involves connections to some of Poe's greatest work, and not his poetry necessarily, it's actually more about his stories. Telltale Heart, Pit and the Pendulum and others that are all combined into the twisted mind of our antagonist who uses these stories to commit his crimes and leave evidence behind that only Poe himself would be able to figure out.
It's a brilliant crime thriller that delves into the mind of someone who is essentially Poe's biggest fan, but in a very dark and twisted way that gives us a fictional story about what happened during Poe's last days before he was found dead on a park bench. It's a known fact that Poe's last days remain a mystery and so this film had the opportunity to really play with some great ideas and they were executed brilliantly.
Speaking of execution this film is very grim and gory. One scene involving the story of The Pit and the Pendulum has us watch as a Pendulum drops lower and lower before slicing through a man's stomach like a warm knife through butter. It doesn't leave a lot to the imagination which gives this film some charm and makes it stand out from the rest of the Poe Film adaptations.
John Cusack plays the lengend himself, Edgar Allan Poe and brings a very interesting performance, that seems to suggest Poe thought himself as a higher intelligence to those around him, and he isn't shy to announce it.
Sharing the screen with Cusack, includes names such as Luke Evans who portrays Detective Fields, the detective I mentioned earlier that seeks Poe's assistance in the murder case. Brendan Gleeson portrays a very protective father named Charles Hamilton, who despises Poe being anywhere near his daughter Emily Hamilton, portrayed by Alice Eve. However there differences are put aside as the hunt for the missing Emily continues.
The story transitions well from scene to scene and story to story as each clue leads to the next, and eventually we discover the culprit who I shall not name here because I wish to leave the tension and suspense for you as you watch this film.
I am a poet and a writer, and my biggest inspiration as a writer has always been Edgar Allan Poe. I love the gothic horror, the tragedy, the macabre, and everything that makes Edgar Allan Poe the legend he is today.
With that said, let me tell you why I love this movie. It involves connections to some of Poe's greatest work, and not his poetry necessarily, it's actually more about his stories. Telltale Heart, Pit and the Pendulum and others that are all combined into the twisted mind of our antagonist who uses these stories to commit his crimes and leave evidence behind that only Poe himself would be able to figure out.
It's a brilliant crime thriller that delves into the mind of someone who is essentially Poe's biggest fan, but in a very dark and twisted way that gives us a fictional story about what happened during Poe's last days before he was found dead on a park bench. It's a known fact that Poe's last days remain a mystery and so this film had the opportunity to really play with some great ideas and they were executed brilliantly.
Speaking of execution this film is very grim and gory. One scene involving the story of The Pit and the Pendulum has us watch as a Pendulum drops lower and lower before slicing through a man's stomach like a warm knife through butter. It doesn't leave a lot to the imagination which gives this film some charm and makes it stand out from the rest of the Poe Film adaptations.
John Cusack plays the lengend himself, Edgar Allan Poe and brings a very interesting performance, that seems to suggest Poe thought himself as a higher intelligence to those around him, and he isn't shy to announce it.
Sharing the screen with Cusack, includes names such as Luke Evans who portrays Detective Fields, the detective I mentioned earlier that seeks Poe's assistance in the murder case. Brendan Gleeson portrays a very protective father named Charles Hamilton, who despises Poe being anywhere near his daughter Emily Hamilton, portrayed by Alice Eve. However there differences are put aside as the hunt for the missing Emily continues.
The story transitions well from scene to scene and story to story as each clue leads to the next, and eventually we discover the culprit who I shall not name here because I wish to leave the tension and suspense for you as you watch this film.
JT (287 KP) rated The Raven (2012) in Movies
Mar 10, 2020
I've never really been a massive fan of John Cusack, I find him a bit tenuous and someone who slightly over acts. The Raven gives him the chance to over act to his heart’s content, as he plays poet Edgar Allan Poe who is drawn into the world and mind of a serial killer.
The film is set in 18th century Maryland where the flamboyant Edgar Allan Poe is busy churning out poems and gruesome stories that he desperately tries to get published in the local paper, although frustratingly as he experiences no one really knows or cares who he is?
This leads to large quantities of booze and lots of shouting and aggression at anyone who stands in his way. When a series of killings alert the local police, Detective Fields (Luke Evans) is called in to investigate, and when it’s discovered that the killings are in some way a copy of Poe’s illustrious work the man himself is tasked with assisting.
Visually the film is very good and is in keeping with the traditions of the 18th century, dark and slightly gothic it certainly gives the sense of a disturbed horror film. The killer is masked for the majority until the reveal, but clues are dropped as to the identity giving the viewer the chance to play detective. Although you probably don’t need to be Inspector Morse to figure it out.
When Poe’s beloved fiancé Emily Hamilton (Alice Eve) is kidnapped and buried alive it adds a whole new twist to the plot. The killer is making this a personal vendetta against Poe who seems at a loss to who could be targeting him in such a horrific way, it then becomes a race against time as the killer leaves clues on his victims for Poe to follow that will lead him to a theatrical conclusion.
The film echos Se7en, in that both Fields and Poe are being taunted by a sadistic killer who is clearly making a bold statement with his work, that involve a huge swinging blade, being buried into a wall and having your tongue cut out. Also a young beautiful woman is at the killers mercy, can Poe race against time to save her?
Cusack does an admirable job in fairness to him and his portrayal of Poe is an accurate reincarnation. Brendan Gleeson who despite limited screen time still manages to command a presence that has to be respected, and here as Emily’s father he gives off a burning sense of desperation.
The rest of the cast amble a long and certainly don’t set any fires alight It’s an OK film and it does have the thrills but nothing that is going to set pulses racing. When you turn it off you just let out one big long “Meh!”
The film is set in 18th century Maryland where the flamboyant Edgar Allan Poe is busy churning out poems and gruesome stories that he desperately tries to get published in the local paper, although frustratingly as he experiences no one really knows or cares who he is?
This leads to large quantities of booze and lots of shouting and aggression at anyone who stands in his way. When a series of killings alert the local police, Detective Fields (Luke Evans) is called in to investigate, and when it’s discovered that the killings are in some way a copy of Poe’s illustrious work the man himself is tasked with assisting.
Visually the film is very good and is in keeping with the traditions of the 18th century, dark and slightly gothic it certainly gives the sense of a disturbed horror film. The killer is masked for the majority until the reveal, but clues are dropped as to the identity giving the viewer the chance to play detective. Although you probably don’t need to be Inspector Morse to figure it out.
When Poe’s beloved fiancé Emily Hamilton (Alice Eve) is kidnapped and buried alive it adds a whole new twist to the plot. The killer is making this a personal vendetta against Poe who seems at a loss to who could be targeting him in such a horrific way, it then becomes a race against time as the killer leaves clues on his victims for Poe to follow that will lead him to a theatrical conclusion.
The film echos Se7en, in that both Fields and Poe are being taunted by a sadistic killer who is clearly making a bold statement with his work, that involve a huge swinging blade, being buried into a wall and having your tongue cut out. Also a young beautiful woman is at the killers mercy, can Poe race against time to save her?
Cusack does an admirable job in fairness to him and his portrayal of Poe is an accurate reincarnation. Brendan Gleeson who despite limited screen time still manages to command a presence that has to be respected, and here as Emily’s father he gives off a burning sense of desperation.
The rest of the cast amble a long and certainly don’t set any fires alight It’s an OK film and it does have the thrills but nothing that is going to set pulses racing. When you turn it off you just let out one big long “Meh!”