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LoganCrews (2861 KP) rated Pulse (2006) in Movies
Sep 20, 2020
Offensively awful, legitimately reprehensible filmmaking. I challenge anyone to find a worse American remake of Japanese horror than this. Not at all shocking how mercilessly they unceremoniously gutted the original of any sense of breadth, nuance, emotion, horror, intelligence, memorability, you know - all of that stuff that actually makes a half-decent horror film because apparently us dumb Yanks just couldn't handle any ounce of it... but by God did it have to look like moldy garbage too? This may be the worst looking film I've ever seen, whoever color-coded this to look like a chemical reaction between bleach and rotting flesh better have been blacklisted from working in the film industry since. I had to stop somewhere around the halfway point (which still felt like a goddamn century even though this barely touches 90 minutes with credits) because I felt physically ill from stomaching these shit visuals for that long. Of course it's ineptly acted, too. Is this what they thought the original meant? Some doltish technophobic lecture about how cell phones are as evil as murderous demons which also doesn't have a single milliliter of character to its name? The kind of stuff that could feasibly be used in torture chambers to get information out of people. So ironic that it kept the name, because it honestly doesn't have any pulse to speak of. Needed a trigger warning for pure stupidity.
Ryan Hill (152 KP) rated The Last Samurai (2003) in Movies
Jun 23, 2019
" I will tell you, how he lived"
The honour and code of the samurai has always been enticing to a Western civilisation that is far removed from such customs, which perhaps makes The Last Samurai such an enticing, enigmatic film. Edward Zwick crafts quite an epic adventure rich in mythology & thematic resonance that while traditionally Hollywood in its construction still manages to exist a cut above many such movies of its ilk, a touch of class surrounding how the story of Captain Nathan Algren is put together, based as it is on several real life legendary American figures who played key roles in the Satsuma Rebellion in Japan during the late 19th century. This isn't a direct re-telling of those events but serves as a leaping off point to construct a tale about a stranger in a strange land, of a man haunted by fighting an unjust war who rediscovers his honour & place in the world through a dying culture. Zwick's film is slick, sweeping, beautifully shot and frequently involving, backed up by a strong performance by Tom Cruise in one of those roles that remind you just what a good actor he can be.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light. Cruise takes Algren on a traditional voyage of discovery, first pitted against the samurai code & eventually becoming consumed by it, consumed by the similarity of the way of the warrior between both cultures - and Ken Watanabe's dignified samurai 'rebel' Katsumoto learns from him, as well as the other way around, with Cruise remaining stoic & only getting flashes of a chance to display the usual Cruise charm, but that's OK - Algren isn't the kind of character to benefit from that, Cruise's natural magnetism is enough here. Wit is provided thankfully through, albeit briefly, Billy Connolly as a tough old Irish veteran & chiefly Timothy Spall as our portly 'narrator' of sorts, who serves to help mythologise Algren & the legend itself. Zwick is most concerned with that, you see, the idea of legends and how men become them, exploring that concept alongside digging into the cultural rituals and practises of a changing Japan.
Algren's story is placed at a time when the old ways of Japan were shifting, under the pressures of global politics & business; the Emperor here is a naive young man, sitting on an empty throne, looking to Watanabe for validation as his advisor's push to quash a rebellion fighting to preserve the old ways, preserve Japanese interests as America knocks on the door. That's why Cruise's role here is so interesting, his character learning of the samurai code & helping those around him remember their history, and Zwick explores well the concept of national identity alongside personal ideas of myth, legend & destiny. It all boils together in a careful script, never overblown, which neatly develops the relationships involved & helps you fully believe Algren's transformation into the eponymous 'last samurai'. Along the way, Zwick doesn't forget theatrics - staging plenty of well staged & intense fight scenes which utilise the strong Japanese production design, before building to a quite epic war climax with army pitted against army, with personal stakes cutting through it, backed up indeed by another superlative score by Hans Zimmer. It becomes more than just a historical swords & armour film, reaching deeper on several levels.
What could have been a slow paced, potentially ponderous movie is avoided well by Edward Zwick, who with The Last Samurai delivers one of the stronger historical adventure epics of recent years. Beautifully shot in many places, with some excellent cinematography & production standards, not to mention an impressive script well acted in particular by Tom Cruise & Ken Watanabe, Zwick creates a recognisably Hollywood picture but for once a movie that doesn't dumb down, doesn't pander and ultimately serves as an often involving, often damn well made story. Especially one to check out if you love the way of the samurai.
Daniel Boyd (1066 KP) rated the PlayStation 4 version of The Evil Within 2 in Video Games
Mar 5, 2018 (Updated Mar 5, 2018)
Gameplay mechanics (2 more)
Horrifically beautiful graphics
A fantastic antagonist
Some odd voice acting (1 more)
Some duff lines of dialogue
A Gruesomely Good Time
Contains spoilers, click to show
I was a fan of the first Evil Within game, which I felt was criminally underrated. However, I must admit I slept on this game. This was due to all of the fantastic games that were released in 2017 that I was trying to catch up on at the time of this game's release.
4 months after the game's initial release, I finally got my hands on it and I loved the time I spent in this insane world.
The Evil Within 2 does what all great sequels should aim to do, which is to take the best concepts and systems from the first game and expand on them, while adding in some fresh concepts and discarding a lot of the excess fat that dragged the first game down.
This game is a much more streamlined action-horror adventure than the first entry and while it starts out with some creepy and uneasy moments, it focuses more on the action element than the horror side of things in comparison with the first game. I do however feel that the game finds a nice equal balance of horror and action, in a way that feels reminiscent of the modern classic, Resident Evil 4. Even though Shinji Mikami didn't direct this game as he did the first entry, this one actually feels more like a traditional Shinji Mikami game.
The villain that torments you for the first third of the game is brilliant, he is engaging, threatening and over the top in all of the best possible ways. The one issue I have with him is, (SPOILERS,) they kill him off far too early and replace him with a more bland, less entertaining villain.
There is also some ropey voice acting present, they changed the actor playing Kidman and the new VO artist isn't as engaging in her performance. The actor playing the protagonist's daughter Lily, is also, quite awkward and stilted sounding. There are also some strange lines of dialogue that don't feel very natural and come across a bit pantomime, but you must remember that this is a Japanese game, written in Japanese and then translated into English. I did experience some technical issues whilst playing through the final third of the game, mostly to do with the use of the radio transmitter and I experienced one slight hiccup with the in-game physics. Unfortunately, although these weren't game-breaking issues, they are still present 4 months after the game's initial release, meaning I am forced to knock a point off of my overall score.
Overall though, this is a damn good time for any horror fan out there. The fact that this game is a great deal easier than the first may bother some hardcore gamers out there, but for me it was fine as I was mostly playing for the story anyway rather than the challenge. The optional first person mode is also a nice addition and adds a cool incentive to play through the New Game Plus.
4 months after the game's initial release, I finally got my hands on it and I loved the time I spent in this insane world.
The Evil Within 2 does what all great sequels should aim to do, which is to take the best concepts and systems from the first game and expand on them, while adding in some fresh concepts and discarding a lot of the excess fat that dragged the first game down.
This game is a much more streamlined action-horror adventure than the first entry and while it starts out with some creepy and uneasy moments, it focuses more on the action element than the horror side of things in comparison with the first game. I do however feel that the game finds a nice equal balance of horror and action, in a way that feels reminiscent of the modern classic, Resident Evil 4. Even though Shinji Mikami didn't direct this game as he did the first entry, this one actually feels more like a traditional Shinji Mikami game.
The villain that torments you for the first third of the game is brilliant, he is engaging, threatening and over the top in all of the best possible ways. The one issue I have with him is, (SPOILERS,) they kill him off far too early and replace him with a more bland, less entertaining villain.
There is also some ropey voice acting present, they changed the actor playing Kidman and the new VO artist isn't as engaging in her performance. The actor playing the protagonist's daughter Lily, is also, quite awkward and stilted sounding. There are also some strange lines of dialogue that don't feel very natural and come across a bit pantomime, but you must remember that this is a Japanese game, written in Japanese and then translated into English. I did experience some technical issues whilst playing through the final third of the game, mostly to do with the use of the radio transmitter and I experienced one slight hiccup with the in-game physics. Unfortunately, although these weren't game-breaking issues, they are still present 4 months after the game's initial release, meaning I am forced to knock a point off of my overall score.
Overall though, this is a damn good time for any horror fan out there. The fact that this game is a great deal easier than the first may bother some hardcore gamers out there, but for me it was fine as I was mostly playing for the story anyway rather than the challenge. The optional first person mode is also a nice addition and adds a cool incentive to play through the New Game Plus.
Gareth von Kallenbach (971 KP) rated Godzilla (2014) in Movies
Jun 19, 2019
Adapting a cultural film icon that is held sacred by a nation and legions of fans is a daunting task. Roland Emerich attempted to do so, and created a film widely panned that ended his run of blockbuster hits.
Gareth Edwards is the latest director bold enough to bring the legendary Godzilla to the screen and has done so with cutting edge visual effects and 3D.
When Joe Brody (Bryan Cranston), becomes unsettled about some unusual tremors around the Japanese nuclear plant he works at, little does he know that the pending accident and tragedy will have long-term consequences.
Flash forward 15 years and his son Ford (Aaron Taylor Johnson), is an ordinance disposal expert in the military who is returning to his San Francisco home after a deployment to see his wife and young son.
No sooner does Ford get home than he is summed to Japan to retrieve his father who has been arrested for venturing into a restricted area located by his former residence and place of work.
Joe is convinced that a massive cover up is place behind the disaster that left him a widow and turned his life upside down.
When the mysterious tremors return, Joe is vindicated and learns that a massive threat is responsible for what has previously transpired, but this is nothing compared to the damage that is unleashed when the creature escapes.
In a race against time, Ford, the Navy, and a team of scientists attempt to prevent massive destruction and loss of life from an enemy they are not prepared for and do not understand.
While the film does have some great visuals, it unfolds in a very plodding manner and the action sequences are few and far between until the end and even that is for the most part anti-climatic.
The dialogue in the film is filled with groans and unintentionally laughable moments that really make it difficult for the characters to really connect with one another and the audience and as such it is very hard to really care what happens to them.
Another big surprise was how little screen time the title characters actually appears in the film. I spent much of the film wondering how such a larger than life character could be reduced to a supporting part in a film that bears his name.
It has been reported that Japanese audiences have not been thrilled with the new film stating that the creature looked “fat “and “slow”. I would not go that far as from a visually standpoint, the film obtained nothing but high marks from me.
However, I had to ask if we really needed to have this film made. We have had so many giant creature movies in recent years including “King Kong”, “Colverfield”, and “Pacific Rim”; one has to wonder what new material there is to show an audience.
While it is not as bad as I expected, it is pretty much a guilty pleasure that you can enjoy in parts and then quickly forget as this film is not likely to enhance the legendary status of Godzilla.
http://sknr.net/2014/05/14/godzilla/
Gareth Edwards is the latest director bold enough to bring the legendary Godzilla to the screen and has done so with cutting edge visual effects and 3D.
When Joe Brody (Bryan Cranston), becomes unsettled about some unusual tremors around the Japanese nuclear plant he works at, little does he know that the pending accident and tragedy will have long-term consequences.
Flash forward 15 years and his son Ford (Aaron Taylor Johnson), is an ordinance disposal expert in the military who is returning to his San Francisco home after a deployment to see his wife and young son.
No sooner does Ford get home than he is summed to Japan to retrieve his father who has been arrested for venturing into a restricted area located by his former residence and place of work.
Joe is convinced that a massive cover up is place behind the disaster that left him a widow and turned his life upside down.
When the mysterious tremors return, Joe is vindicated and learns that a massive threat is responsible for what has previously transpired, but this is nothing compared to the damage that is unleashed when the creature escapes.
In a race against time, Ford, the Navy, and a team of scientists attempt to prevent massive destruction and loss of life from an enemy they are not prepared for and do not understand.
While the film does have some great visuals, it unfolds in a very plodding manner and the action sequences are few and far between until the end and even that is for the most part anti-climatic.
The dialogue in the film is filled with groans and unintentionally laughable moments that really make it difficult for the characters to really connect with one another and the audience and as such it is very hard to really care what happens to them.
Another big surprise was how little screen time the title characters actually appears in the film. I spent much of the film wondering how such a larger than life character could be reduced to a supporting part in a film that bears his name.
It has been reported that Japanese audiences have not been thrilled with the new film stating that the creature looked “fat “and “slow”. I would not go that far as from a visually standpoint, the film obtained nothing but high marks from me.
However, I had to ask if we really needed to have this film made. We have had so many giant creature movies in recent years including “King Kong”, “Colverfield”, and “Pacific Rim”; one has to wonder what new material there is to show an audience.
While it is not as bad as I expected, it is pretty much a guilty pleasure that you can enjoy in parts and then quickly forget as this film is not likely to enhance the legendary status of Godzilla.
http://sknr.net/2014/05/14/godzilla/
Acanthea Grimscythe (300 KP) rated Death Note (2017) in Movies
May 12, 2018
Netflix has done a damn good job with its house produced movies and shows – except for Death Note. This movie is complete and utter trash. For those of you that don’t know, I ran a site that focused largely on anime for several years. The site was called Project Otaku and served as a press outlet as well (I was able to attend Japan Expo as press and one of my writers attended NYCC). So naturally, I’ve seen the anime and I had high expectations.
First, it should be noted that with this film, Netflix joined the ranks of the Hollywood studios that have white-washed and bastardized several remakes of Asian horror films. From Oldboy to The Grudge to Ghost in the Shell (and countless others), it’s like these companies have an aversion to actually remaining faithful in any degree to the source material. (There’s rumors that my favorite Japanese horror flick, Audition, will soon fall prey to this too.) Honestly, they should just stop.
This version of Death Note takes place in Seattle, thus localizing it to the US. There is also no second notebook, which in the anime and manga are used to misdirect law enforcement. Because there’s only one notebook, there’s no Shinigami Rem, either. There are plot holes out the wazoo in Netflix’s adaptation, including modification of rules for no apparent reason (such as the days the Death Note can be lost).
Overall, I regret watching this. It was a waste of my time.
First, it should be noted that with this film, Netflix joined the ranks of the Hollywood studios that have white-washed and bastardized several remakes of Asian horror films. From Oldboy to The Grudge to Ghost in the Shell (and countless others), it’s like these companies have an aversion to actually remaining faithful in any degree to the source material. (There’s rumors that my favorite Japanese horror flick, Audition, will soon fall prey to this too.) Honestly, they should just stop.
This version of Death Note takes place in Seattle, thus localizing it to the US. There is also no second notebook, which in the anime and manga are used to misdirect law enforcement. Because there’s only one notebook, there’s no Shinigami Rem, either. There are plot holes out the wazoo in Netflix’s adaptation, including modification of rules for no apparent reason (such as the days the Death Note can be lost).
Overall, I regret watching this. It was a waste of my time.
Dianne Robbins (1738 KP) rated Adrift (2018) in Movies
May 25, 2019
Confusing (1 more)
Grim
Contains spoilers, click to show
You are immediately thrown into the action of Tami coming to after being tossed about below deck from the hurricane. Had I not been reading a play-by-play on IMDB, I might have been more confused than I was but I was intrigued by what I read so I wanted to see how it all played out onscreen. I would have preferred to see the hurricane shown because I'm a fan of disaster films, but instead, we are shown the aftermath and flashbacks of the couple's first meeting and the romance that followed. I would also have liked to see more of the actual rescue and her telling her story to the Japanese sailors and/or people in Hawaii when she was taken to the island instead of brief and vague glimpses of it.
The doldrums of trying to survive aboard a broken vessel and all the boredom of hours upon hours of being adrift is shown.
The acting is decent enough.
There is very little excitement to hold one's interest. I was disappointed that in the movie but it wasn't my story to tell. This is based on the true story of Tami Oldham Ashcraft, who is listed as one of the writers and is shown briefly at the end of the movie.
It's not great. Reading about the actual story online is more satisfying. I am curious about Ashcraft's book but it's probably as boring as the movie.
The doldrums of trying to survive aboard a broken vessel and all the boredom of hours upon hours of being adrift is shown.
The acting is decent enough.
There is very little excitement to hold one's interest. I was disappointed that in the movie but it wasn't my story to tell. This is based on the true story of Tami Oldham Ashcraft, who is listed as one of the writers and is shown briefly at the end of the movie.
It's not great. Reading about the actual story online is more satisfying. I am curious about Ashcraft's book but it's probably as boring as the movie.
Lou Grande (148 KP) rated The Perfect Whore in Books
Jun 12, 2018
Fanfiction is usually free. You can find better stuff there
Once upon a time, I read Star Wars slash fanfiction. That was a lot better than this. I don't quite know what the author was going for here, as the story leans too far into plot and exposition to be a "romance" novel (not a bad thing, if the plot wasn't just a vehicle for the romance), and the erotica was less than erotic. I've read female authors who could write believable gay characters, but this isn't one of them. These characters interact more like men in Japanese yaoi, which is to say, you could sub one of the men with a woman and have the same story. I would be more generous (considering one character is a shapeshifting alien with no true gender) but her author's bio specifically states she writes gay erotica. So let's be clear: this is gay erotica for women. So if you're a lady who fetishizes gay men, this is in your wheelhouse. If you're a gay man, probably avoid this one, unless you really have a thing for sci-fi and lizardmen.
Circling back around, of course the title is attention grabbing. And the story is short enough to be fun. Both characters are obnoxious, but not so much that you can't sit two or three hours with them. The story employs standard tropes, including using rape as a dramatic crutch. If that's your thing, you'll probably enjoy this and also what's wrong with you?
Circling back around, of course the title is attention grabbing. And the story is short enough to be fun. Both characters are obnoxious, but not so much that you can't sit two or three hours with them. The story employs standard tropes, including using rape as a dramatic crutch. If that's your thing, you'll probably enjoy this and also what's wrong with you?
ClareR (5589 KP) rated Miss Benson's Beetle in Books
Dec 5, 2020
Miss Benson’s Beetle is an absolute delight, and completely unexpected! I have other Rachel Joyce books on my bookshelf, but I haven’t read them yet (this will be remedied!), so I wasn’t expecting the quirky, moving book that I listened to on Audible.
It must have been very unusual for a woman in 1950 to up sticks and travel to the other side of the world, searching for a beetle that might not even exist. And the fact that she does this with no prior travel experience, not knowing the language at her destination, and with very basic equipment, made me feel that Margery Benson was even more courageous. I loved her companion, Enid Pretty, too - although I think Margery really struggles with her huge personality (despite her diminutive size) for a large part of the book. Enid is confident where Margery is unsure, loud where Margery is quiet - and she teaches Margery the importance of female friendship.
In the wings is an ex-prisoner of war who had been held captive by the Japanese. He suffers from PTSD and a tropical disease, and there is a feeling of constant unease that he will do something to harm Margery or Enid. I felt so sorry for him though. He really wasn’t in a good place mentally or physically throughout.
This book is a story of courage, trials and tribulations, tragedy, and joy in the small things in life (not just beetles!) and I loved it. It’s a book with a lot of laughter and a good helping of tears.
It must have been very unusual for a woman in 1950 to up sticks and travel to the other side of the world, searching for a beetle that might not even exist. And the fact that she does this with no prior travel experience, not knowing the language at her destination, and with very basic equipment, made me feel that Margery Benson was even more courageous. I loved her companion, Enid Pretty, too - although I think Margery really struggles with her huge personality (despite her diminutive size) for a large part of the book. Enid is confident where Margery is unsure, loud where Margery is quiet - and she teaches Margery the importance of female friendship.
In the wings is an ex-prisoner of war who had been held captive by the Japanese. He suffers from PTSD and a tropical disease, and there is a feeling of constant unease that he will do something to harm Margery or Enid. I felt so sorry for him though. He really wasn’t in a good place mentally or physically throughout.
This book is a story of courage, trials and tribulations, tragedy, and joy in the small things in life (not just beetles!) and I loved it. It’s a book with a lot of laughter and a good helping of tears.
Kirk Bage (1775 KP) rated Late Spring (1949) in Movies
Jan 28, 2021
As elegant, patient, polite and deliberately still as a side of civilised Japanese life that existed both at the time and for decades before and after. Difficult for our modern western sensibilities to readjust to. It is just so slow and seemingly eventless. It concerns the life of 27 year old Noriko, played by Ozu’s muse Setsuko Hara, with whom he made many of his best loved films. She is constantly hassled by family members and friends to get married, but is much more concerned by her relationship with her sick father, who she is content to care for. The more she is pushed the more her polite smile becomes a rictus of hidden sadness and anxiety. Small meetings, quiet words and subtle gestures take on larger meanings, and the story becomes more tragic the more you engage with Hara’s lovely performance.
I did find it hard to relate to, and couldn’t quite find the stillness within myself to just go with it. Its pace made me jittery to do something more exciting, and it wasn’t quite as transcendingly beautiful as I’d been led to believe. Saying that, I appreciated the skill of Ozu’s camera work, in framing and capturing delicate scenes and moments. I also learned the phrase “tatami cam”, which describes the low angle he often uses to demonstrate humility and respect. A gentle tale with great resonance regarding our responsibilities to others and our own repressed desires. Most interesting in how it contrasts with western cinema of the same time.
I did find it hard to relate to, and couldn’t quite find the stillness within myself to just go with it. Its pace made me jittery to do something more exciting, and it wasn’t quite as transcendingly beautiful as I’d been led to believe. Saying that, I appreciated the skill of Ozu’s camera work, in framing and capturing delicate scenes and moments. I also learned the phrase “tatami cam”, which describes the low angle he often uses to demonstrate humility and respect. A gentle tale with great resonance regarding our responsibilities to others and our own repressed desires. Most interesting in how it contrasts with western cinema of the same time.
ClareR (5589 KP) rated Atomic Love in Books
Mar 10, 2022
I have to admit that I wasn’t expecting to enjoy Atomic Love as much as I did. This book does tick a lot of my boxes though: historical fiction, a bit of espionage, a real sense and feeling of the time and place, and a little bit of romance.
I haven’t read much historical fiction set in America in the 1950’s, so it was interesting to see that the women who had worked in important roles during the war, had been moved out to be replaced by the men returning from war - just the same as pretty much everywhere else.
Rosalind’s reasons for not working in Atomic Research are a little different. Her ex-lover, Weaver, had her removed after he wrote a report damning her ability and suitability. So, Rosalind finds herself working on a jewellery counter, doubting her abilities as a scientist. She’s lonely, struggling to make ends meet when two men suddenly turn up in her life: Thomas Weaver (her ex), and an FBI agent called Charlie Szydlo.
Charlie, an ex-Japanese prisoner of war, believes Weaver is spying for the Russians and feeding them important information in their own Atomic research. Charlie asks Rosalind to help him find out for sure if that’s what he’s doing. So against her better judgement, she does.
There’s a lot of tension running through this, both the dangerous and romantic kinds. It’s a great book that would have slipped under my radar if not for The Pigeonhole!
I haven’t read much historical fiction set in America in the 1950’s, so it was interesting to see that the women who had worked in important roles during the war, had been moved out to be replaced by the men returning from war - just the same as pretty much everywhere else.
Rosalind’s reasons for not working in Atomic Research are a little different. Her ex-lover, Weaver, had her removed after he wrote a report damning her ability and suitability. So, Rosalind finds herself working on a jewellery counter, doubting her abilities as a scientist. She’s lonely, struggling to make ends meet when two men suddenly turn up in her life: Thomas Weaver (her ex), and an FBI agent called Charlie Szydlo.
Charlie, an ex-Japanese prisoner of war, believes Weaver is spying for the Russians and feeding them important information in their own Atomic research. Charlie asks Rosalind to help him find out for sure if that’s what he’s doing. So against her better judgement, she does.
There’s a lot of tension running through this, both the dangerous and romantic kinds. It’s a great book that would have slipped under my radar if not for The Pigeonhole!