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Gavin Maxwell: A Life
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Gavin Maxwell was a romantic, self-destructive adventurer, brave and handsome, with a deep sympathy...
Granny Smith
Games and Entertainment
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"Granny Smith feels like the climactic chase scene of a Wallace & Gromit cartoon" [slide to Play] ...
Asphalt 6: Adrenaline
Games and Entertainment
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Feel the thrill of racing like never before in the newest adrenaline-pumping edition of the Asphalt...
Tell Me Lies
9.0
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Book
FBI special agent Max Carter is on the hunt – he’ll stop at nothing to catch a kidnapper with a...
Kingdom of Ash (Throne of Glass #7)
9.4
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Book
Years in the making, Sarah J. Maas’s #1 New York Times bestselling Throne of Glass series draws to...
Mark @ Carstairs Considers (2395 KP) rated The Turncoat's Widow in Books
Jan 20, 2022
Spies and Mystery During the Revolutionary War
It’s been six months since Rebecca Parcell lost her husband on a British prison ship, and the rumors in town that she is the one who turned him in to the British are only growing stronger. So when she gets an offer from General Washington, she is quick to listen. It seems that her husband was spying for whoever would pay him the most money, and Washington wants to know about his network, including the British spies he was going to identify. In order to help Washington, Rebecca travels to New York City with Daniel Alloway, a man she barely knows but who was on the ship with her late husband. Will they be able to find the network of spies in time to stop a plot?
This is definitely a shade darker than the cozies I typically read, but it is only just a shade darker. I was delighted to find a mystery set during the Revolutionary War, and the book does a great job of bringing that time period to life. The plot starts out well and only gets stronger as it goes. By the end, I was racing to find out what would happen next. I did find the romance between Rebecca and Daniel to be the weak point of the book, but that was minor. The characters, real and fictional, are strong, and using both Rebecca and Daniel to tell the story is a real asset. I’m glad I found this series, and I can’t wait to find out where the characters go next.
This is definitely a shade darker than the cozies I typically read, but it is only just a shade darker. I was delighted to find a mystery set during the Revolutionary War, and the book does a great job of bringing that time period to life. The plot starts out well and only gets stronger as it goes. By the end, I was racing to find out what would happen next. I did find the romance between Rebecca and Daniel to be the weak point of the book, but that was minor. The characters, real and fictional, are strong, and using both Rebecca and Daniel to tell the story is a real asset. I’m glad I found this series, and I can’t wait to find out where the characters go next.
Mark @ Carstairs Considers (2395 KP) rated Tall Tales in Books
Oct 17, 2022 (Updated Oct 17, 2022)
Racing to Stop the Darkness
It’s been a few weeks since the battle where Lena proved herself as a giant despite her small size. However, the Golden King is still out to control the entire world via shadow magic, and it soon becomes clear that Lena and genie in training Jin are the only ones who will be able to stop him. However, to do that, they will have to enter areas controlled by shadow magic. The fairy queens have told Lena she will have some tasks to accomplish to prove she is worthy of defeating the Golden King. Will she be successful? Or will she and Jin fall to the shadow magic before they even reach her first test?
This book has the unenviable job of bridging the gap between the beginning and the end of the trilogy while telling an entertaining story. And it succeeds wonderfully. There are plenty of twists and lots of action to make the pages fly by. This really is Lena and Jin’s story equally, and we get to watch it unfold from both of their points of view. We don’t see much of the other characters introduced in the first book, but we get some fun new characters to replace them. Then there’s the humor, including some fun meta moments, which help keep the book from getting too dark. There are some references to the events of author James Riley’s earlier Half Upon a Time trilogy, so this will leave you wanting to read those books if you haven’t yet. You’ll also be anxiously waiting for the final book in this trilogy to come out. I know I am.
This book has the unenviable job of bridging the gap between the beginning and the end of the trilogy while telling an entertaining story. And it succeeds wonderfully. There are plenty of twists and lots of action to make the pages fly by. This really is Lena and Jin’s story equally, and we get to watch it unfold from both of their points of view. We don’t see much of the other characters introduced in the first book, but we get some fun new characters to replace them. Then there’s the humor, including some fun meta moments, which help keep the book from getting too dark. There are some references to the events of author James Riley’s earlier Half Upon a Time trilogy, so this will leave you wanting to read those books if you haven’t yet. You’ll also be anxiously waiting for the final book in this trilogy to come out. I know I am.
David McK (3600 KP) rated Battle Ground in Books
Apr 3, 2022
Cue the sound of my jaw hitting the floor, at roughly around the halfway mark ...
Entry number 17 (!) in Jim Butcher's 'Dresden Files' urban fantasy series, although - like many other reviewers/readers - I feel it is only fair to point out that this is, in essence, the 'back half' of the previous (Peace Talks).
By which I mean it picks up almost instantly after the ending of the previous - which, correct me if I'm wrong, is also the first time Butcher has done so? - with Harry, Karrin, Lara and co racing back to Chicage from Demonreach island just as the Fomor launch their all-out invasion.
Cue roughly 300 pages dedicated solely to how that plays out. And I mean 300 pages of action scene after action scene, with all the drivers for the plot laid back in Peace Talks. The other 100 pages or so are the aftermath of this; the fallout, if you will.
Truth be told, you do tend to get a bit punch drunk after a while, which is why I haven't rated this as highly as I usually would for a Dresden Files story.
Well, that, and there's also a shocking event round about the halfway mark, which nearly had my jaw hit the floor ...
I think Jim Butcher had used the title 'Changes' previously, for book number 12 in the series. If that title hadn't already been taken, and if he had been looking for another title for this, it would have fitted like a glove.
By which I mean it picks up almost instantly after the ending of the previous - which, correct me if I'm wrong, is also the first time Butcher has done so? - with Harry, Karrin, Lara and co racing back to Chicage from Demonreach island just as the Fomor launch their all-out invasion.
Cue roughly 300 pages dedicated solely to how that plays out. And I mean 300 pages of action scene after action scene, with all the drivers for the plot laid back in Peace Talks. The other 100 pages or so are the aftermath of this; the fallout, if you will.
Truth be told, you do tend to get a bit punch drunk after a while, which is why I haven't rated this as highly as I usually would for a Dresden Files story.
Well, that, and there's also a shocking event round about the halfway mark, which nearly had my jaw hit the floor ...
I think Jim Butcher had used the title 'Changes' previously, for book number 12 in the series. If that title hadn't already been taken, and if he had been looking for another title for this, it would have fitted like a glove.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
