Search
Search results
Mark @ Carstairs Considers (2432 KP) rated Christmas Cocoa Murder in Books
Nov 8, 2022
Drowning in Hot Chocolate
This story finds Siobhan O’Sullivan, the main character in the popular Irish Village Mysteries, a few weeks from joining the local police department in her small Irish village. Even though she’s not supposed to officially join until after the first of the year, she finds herself getting involved in a case just before Christmas. First, her family’s dog goes missing. Then the intermission entertainment at the holiday panto goes horribly wrong. Paddy O’Shea, the village Santa, has been obsessed over how to top the Santa from the neighboring village, and he’s come up with what he thinks is the perfect way. He’s had a custom-built dunk tank made, and he’s going to challenge people to dunk him in hot chocolate. However, before the show is over, Paddy is found floating face down in the hot chocolate. Who killed Santa?
This was my introduction to the characters, and I did struggle a bit keeping Siobhan’s family straight, and there are some references to things going on in her personal life that I didn’t get. However, these were very minor issues in an overall fun story and easy enough to ignore. As you might have guessed from the description of the story, there is some humor involved in the events, but it does have plenty of serious moments as well. These were balanced perfectly. I really enjoyed getting to know Siobhan and the suspects were all strong enough to be believable as the killer. The plot kept me engaged until we reached the great climax.
NOTE: This story is a novella, roughly 100 pages, and was originally part of the novella collection Christmas Cocoa Murder. If you have that book, there is no need to buy this ebook. If you haven’t read the story, now is the time to sit back and enjoy this Christmas mystery.
This was my introduction to the characters, and I did struggle a bit keeping Siobhan’s family straight, and there are some references to things going on in her personal life that I didn’t get. However, these were very minor issues in an overall fun story and easy enough to ignore. As you might have guessed from the description of the story, there is some humor involved in the events, but it does have plenty of serious moments as well. These were balanced perfectly. I really enjoyed getting to know Siobhan and the suspects were all strong enough to be believable as the killer. The plot kept me engaged until we reached the great climax.
NOTE: This story is a novella, roughly 100 pages, and was originally part of the novella collection Christmas Cocoa Murder. If you have that book, there is no need to buy this ebook. If you haven’t read the story, now is the time to sit back and enjoy this Christmas mystery.
Kirk Bage (1775 KP) rated Call Me by Your Name (2017) in Movies
Mar 3, 2020
There are a swathe of European film-makers like Luca Guadagnino and Paolo Sorrentino that have the skill to make every image they print to film look like a work of art, giving you the feeling you are on the most idyllic holiday you ever had. Watching a largely silent image of a beautiful lake or a tree in the breeze, or an al fresco dinner where family and friends talk freely whilst the wine and olive oil flow is a treat I am not immune to.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Ivana A. | Diary of Difference (1171 KP) rated My Trip to Adele in Books
Oct 5, 2020
My Trip To Adele is a book unlike any other. We are introduced to three different life stories, all of them connected to Adele in a wonderful way, and every one of them will teach us many lessons, bring tears or laughs on our faces and remind us who we are and why we exist in this world. This is a book of how a singer or a song can connect so many people and touch so many hearts in a way no one else could. A book about keeping traditions and breaking them, a book about love, bravery and most of all - HOPE.
Let’s meet Elias. A Moroccan man that has lived in Rome long enough to believe he is Italian, with a Moroccan dust left in his soul. Through Elias, we will find out about how many years ago, he paid a prostitute for her services and fell in love. His love for Malika is undescribable. While other men would pay hundreds to only have her body, he would pay thousands more to have her soul, even for just one night. He would never touch her body, but they would spend hours and hours talking about meaningful and meaningless things, about what it is like outside this city, outside this country, what can the world offer…
Malika has so many wishes and hopes, she sells her body so one day she would be able to leave this town, leave her family, and explore the world. Get married and have children, and be successful, and learn the English language. When life parts them from each other for eight years, Elias goes back to the same old city to look for her, and Malika has already left town. Sharing one special singer, there is only one place where he can find her - an Adele concert in Rome.
In Las Vegas, we have Yaser and Mariam, a married couple that lost its sparkle many years ago. Both are surgeons and spend a lot of time at work. And when they come home to the kids - everything is a routine. Yaser pretends to enjoy his TV Show evenings and the Prayers that Mariam wants to attend. He pretends to believe in God just to please his wife. They are not a happy family inside the house, but Mariam makes it sound perfect on the outside - they have the perfect social media photos, and they go to the most expensive places on a holiday, what could be so bad? He feels trapped inside a routine and wants to escape, but he also believes in saving his marriage, and following his marriage counselor, they are trying to revive their happiest memories, and that is when they decide to go to an Adele concert in Rome.
On the other side of the world we will meet Nadia and her son Waleed. Nadia is a strong woman that has been coping with her now ex-husband’s betrayals. She raised her son oh her own, and the love she feels for him is indescribable. Only a mother knows how much she adores her son. When her son gets hurt on her ex husband’s third wedding - Nadia decides that she would fight for her and her son, she will no longer be trapped, and she will finally enjoy a lovely holiday with her son - going to Adele’s concert in Rome.
This book is written in an amazing, fast pace, and you will never notice how you have scrolled through the pages and hours have passed. There were times where the character's description was basic, and sometimes Adele’s presence would be too exposed, but all the characters are different in their own way, and every story has its purpose and its lesson.
Let’s meet Elias. A Moroccan man that has lived in Rome long enough to believe he is Italian, with a Moroccan dust left in his soul. Through Elias, we will find out about how many years ago, he paid a prostitute for her services and fell in love. His love for Malika is undescribable. While other men would pay hundreds to only have her body, he would pay thousands more to have her soul, even for just one night. He would never touch her body, but they would spend hours and hours talking about meaningful and meaningless things, about what it is like outside this city, outside this country, what can the world offer…
Malika has so many wishes and hopes, she sells her body so one day she would be able to leave this town, leave her family, and explore the world. Get married and have children, and be successful, and learn the English language. When life parts them from each other for eight years, Elias goes back to the same old city to look for her, and Malika has already left town. Sharing one special singer, there is only one place where he can find her - an Adele concert in Rome.
In Las Vegas, we have Yaser and Mariam, a married couple that lost its sparkle many years ago. Both are surgeons and spend a lot of time at work. And when they come home to the kids - everything is a routine. Yaser pretends to enjoy his TV Show evenings and the Prayers that Mariam wants to attend. He pretends to believe in God just to please his wife. They are not a happy family inside the house, but Mariam makes it sound perfect on the outside - they have the perfect social media photos, and they go to the most expensive places on a holiday, what could be so bad? He feels trapped inside a routine and wants to escape, but he also believes in saving his marriage, and following his marriage counselor, they are trying to revive their happiest memories, and that is when they decide to go to an Adele concert in Rome.
On the other side of the world we will meet Nadia and her son Waleed. Nadia is a strong woman that has been coping with her now ex-husband’s betrayals. She raised her son oh her own, and the love she feels for him is indescribable. Only a mother knows how much she adores her son. When her son gets hurt on her ex husband’s third wedding - Nadia decides that she would fight for her and her son, she will no longer be trapped, and she will finally enjoy a lovely holiday with her son - going to Adele’s concert in Rome.
This book is written in an amazing, fast pace, and you will never notice how you have scrolled through the pages and hours have passed. There were times where the character's description was basic, and sometimes Adele’s presence would be too exposed, but all the characters are different in their own way, and every story has its purpose and its lesson.
Awesome Calendar - Personal Planner
Productivity and Lifestyle
App
Now you can automatically sync with all iPhone calendars, write your todo list, create notes with...
Tricount - Split group bills
Finance and Utilities
App
Almost 1.500.000 users already use Tricount, the simple solution to share bills with friends and...
CHEERZ: Photo Printing
Photo & Video and Entertainment
5.0
Rate It
App
Cheerz: Photo albums, photo prints, canvas, photo frames… Print the best photos from your iPhone! ...
StudentLife Organizer
Productivity and Education
App
--TRY STUDENTLIFE TODAY FOR FREE-- StudentLife is the calendar application and organizer designed...
Papa's Taco Mia To Go!
Games
App
It's a flavor fiesta in this new version of Papa's Taco Mia, with gameplay and controls reimagined...
Bob Mann (459 KP) rated Sweetheart (2021) in Movies
Sep 20, 2021
Great ensemble cast (1 more)
Sensitive and moving writing by Marley Morrison
A Gregory's Girl for the 21st Century
When I was in my late teen's, Bill Forsyth's "Gregory's Girl" perfectly epitomised the angst of the school years' emotions I'd left behind me. And I was very much heterosexual. With "Sweetheart", Marley Morrison in an astonishing feature debut delivers a "Gregory's Girl" for today's much more sexually fluid times.
Positives:
- What a great ensemble cast! It's all headed up by Nell Barlow, amazingly in her feature debut. Nell manages to perfectly deliver the hair-pullingly frustrating unpredictability of a teenage girl: always planning to go off doing something worthy like "knitting jumpers for elephants in Indonesia". But she manages to keep the portrayal just the right side of parody, not straying into 'Kevin and Perry' territory. "What's wrong with you?" asks her mother. "I'm 17. Everything's wrong with me" she replies. It's an immaculate performance for someone so young.
- Jo Hartley is also fabulous as A. J.'s mum, a lost soul struggling with her own worries, without having those of AJ to add to them. It's not portrayed as a typical 'Mum v Teen' battle, but beautifully nuanced. "Just because you're a lesbian now, it doesn't mean you have to dress like a boy" she pleads with A. J.
- If you're trying to place her, Ella Rae-Smith was the striking girl in the baseball cap in Netflix's "The Stranger". She is also wonderful here, as the 'hot girl' who you think has it all but is underneath deeply troubled and conflicted. A sex scene (beautifully lit and filmed by Emily Almond Barr and Matthew Wicks) manages to show absolutely nothing but is deliciously erotic as a result.
- The writing by Marley Morrison feels very autobiographical. And, as I found through reading this Guardian article about Morrison's gender-journey, there is a lot of personal experience in here. It's clever that the film is claustrophobically set in the remote holiday park (actually the real Freshwater Beach Holiday Park near Bridport on the Dorset coast). If it had been set in a big city like London, AJ could have constantly fled from her feelings, never resolving them. Here, she is constantly running into Isla.... there is no escape.
- I also very much liked the relationship written between A. J. and Steve. Steve is almost the safety valve on the pressure cooker, always helpfully allowing some steam to escape. It adds warmth to the story.
- For such an indie picture, there's a range of great tunes on the soundtrack: mostly from bands I have never heard of (probably making it affordable). I'm not sure if there's to be a soundtrack album released, but it's worth a listen if so.
Negatives:
- I wasn't fond of the sound mix on the film. Some of the dialogue was indistinct.
- A. J. gives us an occasional running commentary of her thoughts as a voiceover. Regular readers of my blog will know my thoughts on this subject! I'm not sure if it added much to the story: a 'show-not-tell' approach would have been my preference.
Summary Thoughts on "Sweetheart": I likened this film to 1980's "Gregory's Girl", and that's a great compliment. That movie made stars out of John Gordon Sinclair and Clare Grogan. I'd predict similar great things for Nell Barlow, Ella Rae-Smith and particularly for writer/director Marley Morrison. I'll very much look forward to Marley's future projects.
It's a cracking little British film. It deserves a major cinema release, but I suspect this is one that you might need to hunt out at your less mainstream cinemas. But please do so - it's well worth it. Very much recommended.
(For the full graphical review and video, check out #onemannsmovies on the web, Facebook and Tiktok. Thanks.)
Positives:
- What a great ensemble cast! It's all headed up by Nell Barlow, amazingly in her feature debut. Nell manages to perfectly deliver the hair-pullingly frustrating unpredictability of a teenage girl: always planning to go off doing something worthy like "knitting jumpers for elephants in Indonesia". But she manages to keep the portrayal just the right side of parody, not straying into 'Kevin and Perry' territory. "What's wrong with you?" asks her mother. "I'm 17. Everything's wrong with me" she replies. It's an immaculate performance for someone so young.
- Jo Hartley is also fabulous as A. J.'s mum, a lost soul struggling with her own worries, without having those of AJ to add to them. It's not portrayed as a typical 'Mum v Teen' battle, but beautifully nuanced. "Just because you're a lesbian now, it doesn't mean you have to dress like a boy" she pleads with A. J.
- If you're trying to place her, Ella Rae-Smith was the striking girl in the baseball cap in Netflix's "The Stranger". She is also wonderful here, as the 'hot girl' who you think has it all but is underneath deeply troubled and conflicted. A sex scene (beautifully lit and filmed by Emily Almond Barr and Matthew Wicks) manages to show absolutely nothing but is deliciously erotic as a result.
- The writing by Marley Morrison feels very autobiographical. And, as I found through reading this Guardian article about Morrison's gender-journey, there is a lot of personal experience in here. It's clever that the film is claustrophobically set in the remote holiday park (actually the real Freshwater Beach Holiday Park near Bridport on the Dorset coast). If it had been set in a big city like London, AJ could have constantly fled from her feelings, never resolving them. Here, she is constantly running into Isla.... there is no escape.
- I also very much liked the relationship written between A. J. and Steve. Steve is almost the safety valve on the pressure cooker, always helpfully allowing some steam to escape. It adds warmth to the story.
- For such an indie picture, there's a range of great tunes on the soundtrack: mostly from bands I have never heard of (probably making it affordable). I'm not sure if there's to be a soundtrack album released, but it's worth a listen if so.
Negatives:
- I wasn't fond of the sound mix on the film. Some of the dialogue was indistinct.
- A. J. gives us an occasional running commentary of her thoughts as a voiceover. Regular readers of my blog will know my thoughts on this subject! I'm not sure if it added much to the story: a 'show-not-tell' approach would have been my preference.
Summary Thoughts on "Sweetheart": I likened this film to 1980's "Gregory's Girl", and that's a great compliment. That movie made stars out of John Gordon Sinclair and Clare Grogan. I'd predict similar great things for Nell Barlow, Ella Rae-Smith and particularly for writer/director Marley Morrison. I'll very much look forward to Marley's future projects.
It's a cracking little British film. It deserves a major cinema release, but I suspect this is one that you might need to hunt out at your less mainstream cinemas. But please do so - it's well worth it. Very much recommended.
(For the full graphical review and video, check out #onemannsmovies on the web, Facebook and Tiktok. Thanks.)
