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    lux radio theatre

    lux radio theatre

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    Podcast

    Lux Radio Theatre 1934-1955 This was one of few sixty-minute broadcasts and was the most...

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Cori June (3033 KP) rated The Dirty Streets Of Heaven (Bobby Dollar #1) in Books

Apr 28, 2021  
The Dirty Streets Of Heaven (Bobby Dollar #1)
The Dirty Streets Of Heaven (Bobby Dollar #1)
Tad Williams | 2012 | Mystery, Paranormal, Science Fiction/Fantasy
9
9.0 (1 Ratings)
Book Rating
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Bobby Dollar AKA Doloriel is a snarky, stubborn, cynical, jazz loving, wiseass of an angel. As an angel of the Third Circle his job is that of an Advocate Angel. He's on your side to argue for your soul to get into heaven. When souls start disappearing Bobby is on the hook and finds himself in the middle of a conspiracy that has Heaven and Hell in a tizzy.
This book is a supernatural noir type, Set in Heaven and San Judas, California-named after the patron saint of the hopeless, the unloved, and other lost causes. Told in a first person narrator pov. (Think similar to Brust. The narrator is talking to 'you personally'). The characters are phenomenal and the descriptions are great. As this is not his normal writing style it shows and can be a bit rough at some places.
This fast paced mystery is a delight with its unique show of how heaven and hell could work it makes you think. Even though it is about angels it isn't overly religious it also isn't anti-God. There is drinking, cussing, and violence. Yep the angels drink, some even to the point of drinking their Earthly bodies to death.
Heaven's most problematic angel is figuring out how he can survive being stuck in the middle of this ancient battle.
  
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Olivier Assayas recommended Rififi (1955) in Movies (curated)

 
Rififi (1955)
Rififi (1955)
1955 | Crime, Drama, Thriller
(0 Ratings)
Movie Favorite

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."

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Olivier Assayas recommended Thief (1981) in Movies (curated)

 
Thief (1981)
Thief (1981)
1981 | Action, Drama, Mystery
(0 Ratings)
Movie Favorite

"Rififi is a strange animal, based on a novel by a typically French crime writer, Auguste Le Breton, and shot in Paris as the first foreign-language film by a great American filmmaker at the height of his powers, whose career had been broken by McCarthyism. Jules Dassin’s previous film, made in London five years earlier, Night and the City, is his masterpiece. This inspired hybrid of French and American noir—which I discovered as a child on French TV—has constantly impressed me with its violence, its despair, its darkness, and its beauty. It has also been hugely influential, not only on Melville—so much of his work derives from Rififi—but also on a lot of minor figures of French genre. Dassin reinvented the whole syntax, and the after-effects have been felt for a long time. I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief, his first feature, you have echoes of Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann’s fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Antonioni—explicitly so in the last scenes of Heat."

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    Photoscape

    Photoscape

    Photo & Video and Utilities

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    Photoscape 
"This surely blows Instagram out of the water!" - PhotoApps 

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