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ClareR (5879 KP) rated Dead Animals in Books
May 26, 2024
Dead Animals by Phoebe Stuckes tells of an unnamed young woman who wakes up the morning after a party, covered in bruises. Over a period of time, she realises that she was sexually assaulted. Whilst trying to deal with the repercussions of this, we learn that she’s a zero hours waitress in an upmarket restaurant, specialising in offal - and she’s a vegetarian. She’s bullied because she doesn’t eat meat, and is tricked into eating it on a couple of occasions (they’re really unpleasant people).
She lives in a tiny flat that appears to be plagued with mould that only worsens after the attack. Whether this is real mould or a physical manifestation of her inner turmoil and distress is uncertain, but when she meets Hélène, a fellow sufferer of her attacker, she takes her up on the offer of moving in with her.
Hélène seems perfect at first, but the main character takes her unease and weird occurrences with her to the new flat. Hélène comes across as manipulative and controlling. In fact there’s a feel of the main character having no control of her own life at any point in this story - right up to the devastating end.
This was a really tense, creepy audiobook, read so well by Anna Burnett - her narration increased the feeling of unease!
A short but really hard-hitting listen.
She lives in a tiny flat that appears to be plagued with mould that only worsens after the attack. Whether this is real mould or a physical manifestation of her inner turmoil and distress is uncertain, but when she meets Hélène, a fellow sufferer of her attacker, she takes her up on the offer of moving in with her.
Hélène seems perfect at first, but the main character takes her unease and weird occurrences with her to the new flat. Hélène comes across as manipulative and controlling. In fact there’s a feel of the main character having no control of her own life at any point in this story - right up to the devastating end.
This was a really tense, creepy audiobook, read so well by Anna Burnett - her narration increased the feeling of unease!
A short but really hard-hitting listen.

Eilidh G Clark (177 KP) rated A Portable Shelter in Books
May 13, 2017
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
‘…there’s no other way to give you the truth except to hide it in a story and let you find your own way inside.’
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015
Kirsty Logan’s first collection of short stories, The Rental Heart and Other Fairytales, published by Salt in 2014, won the Polari First Book Prize in 2015. A Portable Shelter is her second collection. Set in a small cottage in the rural north coast of Scotland, Ruth and Liska are expecting their first child. The couple believe that their unborn baby will have a better chance of survival away from the harshness of suburban life. They make a pact with one another, that they will only ever tell their child the truth. Yet while Liska is asleep or Ruth is at work, each whispers secret stories to their unborn child. Delving into fantastical tales about people from their past and re-telling stories that span from generation to generation, the couple unfold the horrors of the real world. Whilst these tales, laced in myth and legend, and fattened with the magic of the imagination, demonstrate the art of oral storytelling, Logan reaches further to show the reader why storytelling is important.
While this book is primarily a collection of short stories, its novel like structure frames each story with a preceding monologue from either Ruth or Liska. The monologues offer delightful morsels of description that bring the harshness of Mother Nature into the safety of the couple’s bedroom, “right now our home is speaking to you. The walls creak their approval in the wind. The rain applauds on the roof. The lighthouse beam swoops, swoops, swoops. The tide breathes loud and slow like a giant. If you listen carefully, perhaps you can even hear the moon hum.” The pace of these sentences, combined with the delicacy of language demonstrates Logan’s skill at describing the sublime spirit of the natural world, which brings the narrative to life.
Most impressive though, is Logan’s poetic language and carefully crafted sentences which create the most beautiful imagery. In ‘Flinch,’ for example – James is a fisherman struggling with his identity, yet his affiliation with the land is locked into his first-person point of view where the reader gets to closely experience what he sees, “The sky is pinkish-grey like the insides of shells. Speckled bonxies wheel overhead. Seals loll on the rocks, fat as kings. The rising mist is cool and milky.” Any of these lines could easily be arranged into a poem and with sentences that are squeezed tight; they create a wonderful poetic rhythm. Logan uses this technique throughout her novel, demonstrating the precision and craft in her work. There are definite similarities in her writing style to fellow Scottish novelist and poet Jenni Fagan. Both authors use rich language, which is well crafted and smattered with vernacular. Furthermore, combining this with the reoccurring theme of identity, the oral storytelling tradition, landscape, folklore, and myth, it is clear to see why these authors contribute to the growing canon in Scottish literature.
This is a book that I will read over and over again because I know that in each reading, I will find something new. A Portable Shelter, I feel, deserves a place on my ‘keep’ book shelf.
A Portable Shelter, Kirsty Logan, London: Vintage, 2015

LilyLovesIndie (123 KP) rated A Tumble Through Time in Books
Nov 5, 2018
A Tumble Through Time is a wonderful frolic in the Wild West. When everything is going wrong for Anna, she suddenly finds herself in Kansas, 1870. A slow burning love for the town Marshal, Wes, develops and before you know it, it's love, but for how long?
I was provided a complimentary copy of this book by the author in return for an honest review, and I'm pretty certain Callie Hutton is going to be pretty pleased with it! But firstly, I must thank her for offering me this book to read as it was an absolute delight from start to finish.
Let's start with the plot, time travel meets romance, meets a bit of tragedy, meets a lovely ending. Hutton is spot on with her pace, plot development, writing style and story. It ambles at a lovely easy read pace, and has the feel of a book that you can easily slip in and out of, just like a pair of old jeans! But at times, the drama in the story picks up the pace and makes for irresistible reading. However, for me, the most important point to make is how familiar it feels when you return to the book after a short reading break (and believe me when I say short!) as it feels like you never put the book down. As someone who is frequently interrupted whilst reading, that's a really important thing for me.
Next, we have the characters. Anna and Wes are a delight to read, their love isn't cheesy or over the top, and the sex scenes are incredibly well written. The characters are believable and that makes it so easy to invest your emotions and time into reading about their lives, even if Anna is a bit of a 'modern woman', it's just lovely to see the contrast of times and upbringing completely demolished by their love for each other. In fact, if anything, it made me feel 'loved up' because I was bathed in their happy glow.
One of the final things I feel needs to be pointed out is how historically accurate the book is. This area of history is one of great interest to me, and I like my books to be accurate. Whether it's 'Indian Territory' or Kansas, it's clear how much effort has gone into researching this story, especially the accents. The dialects are fantastically well written, and it was easy to find yourself actually hearing the cowboys and little familiar ditties you've all heard in the classic Wild West movies, and it all adds to how believable the tale is, developing the atmosphere to such an extent you actually think you're there in Denton.
Finally, I suppose there's nothing else to say apart from go and get yourself a copy of this book. It's a delight from cover to cover, and I cannot honestly recommend it highly enough. If you like a bit of romance, a bit of action, a bit of time travel or even just something nice and easy to read sat by the poolside on your holiday then look no further. Callie Hutton is a fantastic and very talented author and I look forward to reading more of her work.
I was provided a complimentary copy of this book by the author in return for an honest review, and I'm pretty certain Callie Hutton is going to be pretty pleased with it! But firstly, I must thank her for offering me this book to read as it was an absolute delight from start to finish.
Let's start with the plot, time travel meets romance, meets a bit of tragedy, meets a lovely ending. Hutton is spot on with her pace, plot development, writing style and story. It ambles at a lovely easy read pace, and has the feel of a book that you can easily slip in and out of, just like a pair of old jeans! But at times, the drama in the story picks up the pace and makes for irresistible reading. However, for me, the most important point to make is how familiar it feels when you return to the book after a short reading break (and believe me when I say short!) as it feels like you never put the book down. As someone who is frequently interrupted whilst reading, that's a really important thing for me.
Next, we have the characters. Anna and Wes are a delight to read, their love isn't cheesy or over the top, and the sex scenes are incredibly well written. The characters are believable and that makes it so easy to invest your emotions and time into reading about their lives, even if Anna is a bit of a 'modern woman', it's just lovely to see the contrast of times and upbringing completely demolished by their love for each other. In fact, if anything, it made me feel 'loved up' because I was bathed in their happy glow.
One of the final things I feel needs to be pointed out is how historically accurate the book is. This area of history is one of great interest to me, and I like my books to be accurate. Whether it's 'Indian Territory' or Kansas, it's clear how much effort has gone into researching this story, especially the accents. The dialects are fantastically well written, and it was easy to find yourself actually hearing the cowboys and little familiar ditties you've all heard in the classic Wild West movies, and it all adds to how believable the tale is, developing the atmosphere to such an extent you actually think you're there in Denton.
Finally, I suppose there's nothing else to say apart from go and get yourself a copy of this book. It's a delight from cover to cover, and I cannot honestly recommend it highly enough. If you like a bit of romance, a bit of action, a bit of time travel or even just something nice and easy to read sat by the poolside on your holiday then look no further. Callie Hutton is a fantastic and very talented author and I look forward to reading more of her work.

LeftSideCut (3776 KP) rated Doctor Sleep (2019) in Movies
Nov 5, 2019 (Updated Nov 24, 2019)
Contains spoilers, click to show
Doctor Sleep certainly has some big footprints to follow. Nearly 40 years after the release of the hugely beloved The Shining, Director Mike Flanagan has the rather complicated task of adapting Stephen King's follow up sequel novel, whilst also attempting to deliver a solid follow up to Stanley Kubrick's original film. And he pulls it off pretty damn well.
The narrative follows a now adult Danny Torrance (Ewan McGregor), as he struggles with alcoholism. As he begins to put his life back together, he is thrown into a friendship with Abra Stone (Kyliegh Curran), a young girl who has similar powers to Danny, and who is being pursued by a cult who feed on the life force of those who possess 'The Shining'.
This new story is a really tight and fantastic thriller story in its own right. Flanagan takes a leaf from Kubrick's book and provides us with and unsettling atmosphere, complete with a Shining-esque creepy string music score, instead of relying on jump scares and other horror tropes.
It's effective, and engaging. A big part of this is down to the cast. Danny and Abra are both very likable protagonists.
The cult is lead by Rose the Hat, played by Rebecca Ferguson, who is both charming and sinister, and a big highlight of Doctor Sleep. Her and her followers fight for survival shows they will not even stop short of child sacrifice to get what they need, and it makes for a band of genuinely scary villains
The scenery is beautiful throughout, the the effects work on some of the more trippy scenes are decent, and the film toes the line in regards to relying on The Shining nostalgia too much, that is until the final act.
HUGE SPOILERS FOR DOCTOR SLEEP INCOMING
The last 30 minutes are undeniably fun, and a genuinely great climax, to a genuinely great film, but it does just about go overboard with it's 'look at this, remember this?' style of nostalgia. The sad thing is, it probably amounts to about 10 seconds of screentime that slightly sours the experience.
When Danny is at the bar, it's clear that he is talking to Jack before we even see the side of his face. His side profile is fine - absolutely no need to show his full face. Similarly a bit later, a recreated shot of Jack Torrance walking up the stairs towards his wife, didn't need to be there, nor did the shot of Rose the Hat seeing blood pouring from the elevator doors.
The film stops just short of having Ewan McGregor axe his way through a door panel thankfully, and it's only a small criticism of an otherwise nicely executed sequence.
Elsewhere tells a different story - The opening scene of The Shining is recreated, complete with the same iconic score, as overhead shots show us Danny driving up the mountain, towards the Overlook Hotel. It gave me goosebumps and the
scenes near the start of the film which follow directly on from The Shining are great, especially Carl Lumbly, who plays a spot on Mr. Hallorann.
END OF SPOILERS
All in all though, I thoroughly enjoyed Doctor Sleep. The Shining is not an easy shadow to step out from, but Mike Flanagan has created something here which stands on its own two feet.
It's dark, it's fun, it's unnerving, everything you could want from a horror in this day and age, and I genuinely can't wait to watch it again soon.
The narrative follows a now adult Danny Torrance (Ewan McGregor), as he struggles with alcoholism. As he begins to put his life back together, he is thrown into a friendship with Abra Stone (Kyliegh Curran), a young girl who has similar powers to Danny, and who is being pursued by a cult who feed on the life force of those who possess 'The Shining'.
This new story is a really tight and fantastic thriller story in its own right. Flanagan takes a leaf from Kubrick's book and provides us with and unsettling atmosphere, complete with a Shining-esque creepy string music score, instead of relying on jump scares and other horror tropes.
It's effective, and engaging. A big part of this is down to the cast. Danny and Abra are both very likable protagonists.
The cult is lead by Rose the Hat, played by Rebecca Ferguson, who is both charming and sinister, and a big highlight of Doctor Sleep. Her and her followers fight for survival shows they will not even stop short of child sacrifice to get what they need, and it makes for a band of genuinely scary villains
The scenery is beautiful throughout, the the effects work on some of the more trippy scenes are decent, and the film toes the line in regards to relying on The Shining nostalgia too much, that is until the final act.
HUGE SPOILERS FOR DOCTOR SLEEP INCOMING
The last 30 minutes are undeniably fun, and a genuinely great climax, to a genuinely great film, but it does just about go overboard with it's 'look at this, remember this?' style of nostalgia. The sad thing is, it probably amounts to about 10 seconds of screentime that slightly sours the experience.
When Danny is at the bar, it's clear that he is talking to Jack before we even see the side of his face. His side profile is fine - absolutely no need to show his full face. Similarly a bit later, a recreated shot of Jack Torrance walking up the stairs towards his wife, didn't need to be there, nor did the shot of Rose the Hat seeing blood pouring from the elevator doors.
The film stops just short of having Ewan McGregor axe his way through a door panel thankfully, and it's only a small criticism of an otherwise nicely executed sequence.
Elsewhere tells a different story - The opening scene of The Shining is recreated, complete with the same iconic score, as overhead shots show us Danny driving up the mountain, towards the Overlook Hotel. It gave me goosebumps and the
scenes near the start of the film which follow directly on from The Shining are great, especially Carl Lumbly, who plays a spot on Mr. Hallorann.
END OF SPOILERS
All in all though, I thoroughly enjoyed Doctor Sleep. The Shining is not an easy shadow to step out from, but Mike Flanagan has created something here which stands on its own two feet.
It's dark, it's fun, it's unnerving, everything you could want from a horror in this day and age, and I genuinely can't wait to watch it again soon.

The Bandersnatch (199 KP) rated The High Lord (Black Magician Trilogy, #3) in Books
Nov 7, 2019
Contains spoilers, click to show
Released in 2003 The High Lord is the penultimate ending to Sonea's story......starting a year after beating a bully in a fight. Sonea has received the respect she deserves but still faces the challenge of her guardian and the High Lord of the guild Akkarin. After being Surprised by Akkarin with a book on Black Magic Sonea is pulled into learning black magic and attempting to protect the city and the country from a group known as the Icani. After going through hell and being thrown out of the guild and being exiled the pair return and aid their fellow magicians in the attack......resulting in may magicians dead including Akkarin and Sonea pregnant with his child.
My opinion of this book was that of a decent conclusion to a good storyline. I do think however that the love storyline between Sonea and Akkarin is a little cliché. Otherwise It was a decent book. I have to admit the fighting between magicians would make a decent movie montage.
Born in Kew, Melbourne Australia on October 23rd 1969 Trudi Canavan spent her formative years being extremely creative in the suburb of Ferntree Gully. Canavan decided to become a professional artist and went to the Melbourne college of Decoration achieving an advanced certificate in promotional display as well as an award for the highest aggregate mark in art subjects in 1988.
During the early 1990's Canavan worked for the Australian magazine Aurealis (a magazine for Australian science-fiction and fantasy work) as well as starting her own business The Telltale art which specialised in graphical design services. By working for Aurealis Canavan was able to write in her spare time.
In 1999 Canavan managed to win the Aurealis award for best fantasy short story with whispers of the mist children and cementing her work further with the release of the Magicians Guild in 2001 (book one of The Black Magician trilogy) the successive books The Novice (2002) and The Black Magician (2003) brought Canavan both widespread acclaim and nominations for both the Aurealis best Fantasy novel and Best Novel Ditmar Category. All three books ended up in the top ten Science Fiction books for Australia.
Canavan's second Trilogy Age of Five was also well received with the first book reaching No3 in the Sunday Times hardback fiction best sellers list and staying in the top ten for six weeks. Canavan went on to write a prequel/sequel to the black magician trilogy known as the magicians apprentice in 2009 this was followed by the traitor spy trilogy which was released between 2010 and 2012. Trudi Canavan now holds a vast array of written works under her belt which can be split into three book series and a group of short stories.
My opinion of Trudi Canavan is that she is a very dedicated writer. Excellent with detail and writing a strong character and story. I definitely respect her work ethic since she is both a writer and a graphic designer. I definitely would love to talk with her and have a discussion about books and writing in general. She is up there with Prof J. R. R. Tolkien, George R. R. Martin and Lewis Carroll in my books.
And there you have it a book for all the ages, definitely under the banner of Quality reading, I am positive this trilogy could end up being the NEXT it thing if they were ever made into a Movie Trilogy.
My opinion of this book was that of a decent conclusion to a good storyline. I do think however that the love storyline between Sonea and Akkarin is a little cliché. Otherwise It was a decent book. I have to admit the fighting between magicians would make a decent movie montage.
Born in Kew, Melbourne Australia on October 23rd 1969 Trudi Canavan spent her formative years being extremely creative in the suburb of Ferntree Gully. Canavan decided to become a professional artist and went to the Melbourne college of Decoration achieving an advanced certificate in promotional display as well as an award for the highest aggregate mark in art subjects in 1988.
During the early 1990's Canavan worked for the Australian magazine Aurealis (a magazine for Australian science-fiction and fantasy work) as well as starting her own business The Telltale art which specialised in graphical design services. By working for Aurealis Canavan was able to write in her spare time.
In 1999 Canavan managed to win the Aurealis award for best fantasy short story with whispers of the mist children and cementing her work further with the release of the Magicians Guild in 2001 (book one of The Black Magician trilogy) the successive books The Novice (2002) and The Black Magician (2003) brought Canavan both widespread acclaim and nominations for both the Aurealis best Fantasy novel and Best Novel Ditmar Category. All three books ended up in the top ten Science Fiction books for Australia.
Canavan's second Trilogy Age of Five was also well received with the first book reaching No3 in the Sunday Times hardback fiction best sellers list and staying in the top ten for six weeks. Canavan went on to write a prequel/sequel to the black magician trilogy known as the magicians apprentice in 2009 this was followed by the traitor spy trilogy which was released between 2010 and 2012. Trudi Canavan now holds a vast array of written works under her belt which can be split into three book series and a group of short stories.
My opinion of Trudi Canavan is that she is a very dedicated writer. Excellent with detail and writing a strong character and story. I definitely respect her work ethic since she is both a writer and a graphic designer. I definitely would love to talk with her and have a discussion about books and writing in general. She is up there with Prof J. R. R. Tolkien, George R. R. Martin and Lewis Carroll in my books.
And there you have it a book for all the ages, definitely under the banner of Quality reading, I am positive this trilogy could end up being the NEXT it thing if they were ever made into a Movie Trilogy.

JT (287 KP) rated Mama (2013) in Movies
Mar 10, 2020
When a film is presented by a well-known director it initially has a certain weight to it that will place it above the shoulders of others. In the case of horror/thriller Mama it has the backing of Spanish director Guillermo del Toro which is a certain plus point for any one who is a fan.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.
However, any big name attachment is probably there to push the marketing of the film, sadly this one doesn’t quite do itself much justice and falls some way short of achieving any greatness.
It’s a film of two halves, which as the second and third acts take shape becomes more and more ridiculous.
The film is brought to the big screen by director by Andrés Muschietti who also helmed the short three minute piece. It follows the story of two girls Lily and Victoria who are taken away by their father Jeffrey after he goes a bit doolally and offs his co-workers and wife.
When the car they are travelling in crashes they take shelter in a house deep in the forest, riddled with guilt Jeffrey then decides to enter into murder suicide, but something supernatural stops him and the girls are left to fend for themselves.
Move ahead five years and Jeffrey’s brother Lucas continues his search for the girls hiring a couple of hicks to trail the forest looking for the derelict cabin. When they are finally found the girls are practically feral and need psychiatric supervision as they are welcomed back into society.
Lucas and his grunge girlfriend Annabel are given custody as well as a nice new house for them to live in, all under the watchful eye of Dr. Dreyfuss. Once inside the house its clear to see that the girls have brought something back with them, something that doesn’t want to let them go.
Mama starts well enough, with a frenetic opening that glimpses the supernatural entity through blurred vision it moves from eerie strength to strength building tension and then unleashing it in small doses not giving the audience long enough to draw breath.
Of course it sticks quite closely to now tried and tested horror clichés, with things lurking in the shadows, children talking to imaginary nothingness and the so old “what’s in the closet” routine?
Then the director, whether bored with just giving us tit bits of the mother like antagonist, decides to reveal ‘it’ in all its glory. It then moves from scare mongering horror to poorly constructed ghost story in the space of a few minutes.
The acting is nothing to write home about, Jessica Chastain while so dominant in Zero Dark Thirty is flat and a little off the mark here, why the need for the grunge look is beyond me. Maybe it was in keeping with the Gothic back story?
The young girls do well, sweet and innocent yet dependable when needed, the rest of the cast pretty much fall by the wayside. The ending was for me beyond ridiculous and undid most if not all of the good work the start gave us, although saying that it was pretty much on the decline when Mama herself becomes much more of a central character.
It’s not as main stream a horror as you would expect, but the protagonist shadows the central figure that graced the god awful Darkness Falls and that is one supernatural entity well worth staying away from.

KalJ95 (25 KP) rated Resident Evil 3 (Remake) in Video Games
Apr 10, 2020
Nemesis. Oh, Nemesis. (1 more)
An action focused plot works more for Jill's experience in Racoon City.
Unbelievably short campaign. (2 more)
Cut corners for both the narrative and Nemesis.
Feels like downloadable content for RE2.
Nemesis of their own making.
RE3 is an enigma. After last years remake for RE2, I think the bar was set very high for RE3 to be on par, if not even better due to the introduction of the ultimate weapon in Nemesis. And although the action is amped up significantly, the horror is still here in buckets. So, this is another Resident Evil classic, revamped from the ground up, a classic for the current generation, right?
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.
No, not in the slightest.
RE3 feels rushed, as if Capcom listened to fans begging for their next slice of nostalgia, and wanted to capitalise on the success of RE2. While RE2 felt like a continuous flow of Leon/Claire's story, RE3 feels like segments, all separated within cutscenes. This is more evident when you keep flitting between Jill and Carlos, both of whom don't have as much charisma or emotional weight as Claire or Leon. The opening is a blast of adrenaline and bullets, all contained within the beautifully burning remains of Racoon City. There is just enough exploration, puzzles and zombies to keep you satisfied. That is until Nemesis enters the game. As soon as the indestructible behemoth appears for a second time, the cat and mouse chase begins. Reminiscent of Mr X but on steroids, he simply never lets up, constantly on your back, looking to kill Jill whatever it takes. It's utterly relentless, thrilling, heart-pounding. This section was everything I expected RE3 to be.
Then everything collapsed under sections of nothing more than point and shoot. I know, this is RE, but the fear feels drained from the experience. Nemesis himself becomes a background character, simply added to the story just for boss battles. His pursuit of Jill doesn't feel spontaneous, but scripted, exactly the opposite of Mr X. The realisation of how disappointed I felt towards RE3 was when I discovered sections of the game were simply reused from RE2. The creativity that went into RE2 was so meticulous, crafted and positioned for the players experience. When I entered the Police Station with Carlos, a mass onslaught of zombies gathered in one section, only meant for me to rain bullets upon them. And this is the issue with the entire experience. Its nothing more than a five hour storm of sections of shooting monsters.
I do hate this game though. RE3 is fun, and anything remotely like last years experience I will play and enjoy. The story of Jill's residency in Racoon City being turned upside down over the space of a few days is excellent, and the new sections are all well fleshed out and great to explore, especially Racoon City and the Hospital. Its extremely short, and for a full retail price I think its absolutely scandalous, but there's so much replay value here.
If I had to end the review here, I want to end it on a message solely centred at Capcom. Why, in the name of God did you focus your time on the multiplayer mode, Resistance, rather than properly making RE3 a full experience? The past tells you Resident Evil doesn't work well mixed with multiplayer. For as much fun I had within my four hours and thirty two minute playthrough, this game is nothing more than DLC for RE2. And that hurts.

BankofMarquis (1832 KP) rated The Laundromat (2019) in Movies
Aug 1, 2021
Fun and Interesting
Do remember the Oscar nominated film THE BIG SHORT from 2015, where Director Adam McKay would make sense out of a dry subject (the financial crisis of 2008) by breaking the 4th wall and speaking directly to the audience, while also wrapping in a very strong emotional drama?
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Well…Director Steven Soderbergh (ERIN BROCKOVICH) has taken that recipe and attached it to another dry subject (this time money laundering through off-shore “Shell Companies”) and has turned in a very good and interesting (though not quite as intense) film that got lost in the shuffle in 2019.
Starring Meryl Streep as a widow who is trying to get her Insurance Company to pay off after the death of her husband, THE LAUNDROMAT follows the trail through shell company after shell company as the money is Laundered by 2 unscrupulous Bankers (Gary Oldman and Antonio Banderas) in a series of vignettes.
While THE LAUNDROMAT doesn’t pack the punch of THE BIG SHORT (where the real life consequences of what happened impacted many, many people throughout the world), THE LAUNDROMAT falls just short in that only Meryl Streep’s character really suffers the consequences (though many unscrupulous players do get theirs in the end).
Soderbergh is a Director who’s work I have really, really liked throughout his career as he has a tendency to focus on the people, rather than spectacle, when telling a story, and it works well in this film. He gets the audience to care about the victims of the scheming money men and root like crazy for the “bad guys” to get theirs.
As for the acting, Meryl Streep (of course) is marvelous as Ellen Martin, the widow who’s tragic experience (the death of her husband - played by the great James Cromwell) sets off the course of events in this film.
Oldman and Banderas are equally as good as the narrators and antagonists of this piece. They play their roles with a slight wink in their eyes and a “devil-may-care” attitude which makes them charming, but does take a notch (or so) off of the drama of the piece.
Soderbergh, as he is want to do, fills this film with many memorable actors/characters in what amounts to extended cameos - Jeffrey Wright, Robert Patrick, David Schwimmer, Will Forte, Chris Parnell, Larry Wilmore and even Sharon Stone stop by for a moment to bring other characters into play and they all work well.
To be fair, some of the vignettes work better than the others, but all-in-all Soderbergh has crafted an interesting, fun and IMPORTANT film that will teach it’s audience about the inner workings of a system that most of us have heard about but never really looked into.
Check out THE LAUNDROMAT the next time you are scrolling through Netflix looking for something good to watch.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)

Glass Road
Games
App
Glass Road is the official digital version of Uwe Rosenberg's Glass Road board game. STORY: The...

KalJ95 (25 KP) rated the PlayStation 4 version of STAR WARS Battlefront II in Video Games
Jun 10, 2020
Star Wars Immersion At Its Finest. (2 more)
Multiplayer Is Feels Fluid, Bouncy And Satisfying.
Frequent Updates Have Saved The Game.
Sometimes Buggy. (1 more)
Campaign Is Short, Bare and Repetitive.
Can EA Redeem Themselves? (2020 Update Review)
I will begin this by telling you a story. Back in 2016, I bought EA and DICE's STAR WARS Battlefront for £25, feeling like a got a pretty good bargain. Little did I know at the time that this was an EA project, I had very high hopes after spending hundreds of hours of my childhood playing the original, Battlefront and Battlefront II, on my original XBOX. To me, along with KOTOR and Rogue Squadron II: Rogue Leader, were the pinnacle of how good a STAR WARS game could be. I played four hours of this remake, and realised how much of a mistake I had made. I subsequently put the game on eBay, with the description, “Please take this abomination from me before I throw it at the wall!”. It sold for £9. Worth it.
Once I discovered EA and DICE were doing a sequel, I knew this was to be avoided at all costs. Upon launch, Battlefront II was slammed by critics and fans for various reasons, including a loot based system that gave a player a clear advantage over another, and a story which was so short and bare boned it barely even passed four hours. A complete disaster all round. Yet, a new hope arose. Frequent updates have come since then, and all updates have been free for players as a sorry for all the mistakes both companies have made with the property. So, with all this information in the past, I received Battlefront II as a free game with PlayStation Plus for June. A what a treat it is.
STAR WARS Battlefront II is a well improved shooter over its 2015 release, and an all round excellent game, and this is down to its updates being made free to all its players. Battlefront II must be broken up into parts in order to properly get a fair review, so let’s start with the campaign.
Narrative:
The story follows Iden Versio, an Empire Commander who’s morals are tested and sides are divided once she discovers the truth behind her allegiances as the story goes on. The campaign is the weakest part of the package, roughly taking around four to five hours to complete, and the missions feel the same; go to objective, kill enemies, find other objectives etc. The formula gets mixed a few times to introduce iconic heroes and villains through this timeline of STAR WARS history. Average would be the perfect word to describe this aspect, it doesn’t try anything new or experiment, and thats a shame because they introduce some new ideas that could of shaken up the story a little. They did add an expansion called Resurrection, following on some years after the campaign. Again, its too short for any real substance or replay value. Arcade mode is fun enough too, pitting you against different tasks for the Light and Dark side. Each one puts you with different Heroes, Villains or Soldiers, as you fight against a numbered amount of enemies. It all is enough to satisfy for a couple of hours, but if you're buying Battlefront for single-player purposes, don't bother.
Multiplayer:
The Multiplayer is fantastic, immersion filled experience fans of STAR WARS will love. I’ve recently lost a lot of love for the franchise, but this game has made me remember why I loved it as a child. The combination of John William’s score, the fluid gunplay that bounces with every successful hit, mixed with the amazing environments of each world and excellent sound effects. This makes it absolutely flawless. It features various different game modes to choose from, my personal favourite being Co-op missions, all your standard multiplayer shooter modes. Unlike before, where you had to buy the STAR WARS characters you want to play as, you now have to earn points during battle to play as them. The system works as you feel you’ve earned the way to play as, for example, Luke or Han. Sometimes it feels a little buggy in places, especially in modes with forty players, but it never ruins the overall game.
The issues, which they’re are many, occur in multiplayer frequently. The Galactic Assault is messy, and frustrating most of the time due to wonky controls. It feels like the controller doesn’t work for the ships, but works perfectly for the on-ground assaults. I did try this mode a number of times, and the same things happened again and again.
The package is finely finished with some great customisation options for your troopers and also the main characters of the franchise. The sheer number of characters in the roster is staggering. Some choices, like BB-8, feel a little shoehorned, but weirdly they all feel different, with their own unique perks. As a whole, it feels like for once EA has decided to put the consumer first with their product, rather than thinking of the money. They’ve taken the time to issue an apology for the awful services they’ve been providing, by putting a product they know the fans will love. I never thought I would say it, but props to DICE and EA. You’ve redeemed yourselves, for now.
Once I discovered EA and DICE were doing a sequel, I knew this was to be avoided at all costs. Upon launch, Battlefront II was slammed by critics and fans for various reasons, including a loot based system that gave a player a clear advantage over another, and a story which was so short and bare boned it barely even passed four hours. A complete disaster all round. Yet, a new hope arose. Frequent updates have come since then, and all updates have been free for players as a sorry for all the mistakes both companies have made with the property. So, with all this information in the past, I received Battlefront II as a free game with PlayStation Plus for June. A what a treat it is.
STAR WARS Battlefront II is a well improved shooter over its 2015 release, and an all round excellent game, and this is down to its updates being made free to all its players. Battlefront II must be broken up into parts in order to properly get a fair review, so let’s start with the campaign.
Narrative:
The story follows Iden Versio, an Empire Commander who’s morals are tested and sides are divided once she discovers the truth behind her allegiances as the story goes on. The campaign is the weakest part of the package, roughly taking around four to five hours to complete, and the missions feel the same; go to objective, kill enemies, find other objectives etc. The formula gets mixed a few times to introduce iconic heroes and villains through this timeline of STAR WARS history. Average would be the perfect word to describe this aspect, it doesn’t try anything new or experiment, and thats a shame because they introduce some new ideas that could of shaken up the story a little. They did add an expansion called Resurrection, following on some years after the campaign. Again, its too short for any real substance or replay value. Arcade mode is fun enough too, pitting you against different tasks for the Light and Dark side. Each one puts you with different Heroes, Villains or Soldiers, as you fight against a numbered amount of enemies. It all is enough to satisfy for a couple of hours, but if you're buying Battlefront for single-player purposes, don't bother.
Multiplayer:
The Multiplayer is fantastic, immersion filled experience fans of STAR WARS will love. I’ve recently lost a lot of love for the franchise, but this game has made me remember why I loved it as a child. The combination of John William’s score, the fluid gunplay that bounces with every successful hit, mixed with the amazing environments of each world and excellent sound effects. This makes it absolutely flawless. It features various different game modes to choose from, my personal favourite being Co-op missions, all your standard multiplayer shooter modes. Unlike before, where you had to buy the STAR WARS characters you want to play as, you now have to earn points during battle to play as them. The system works as you feel you’ve earned the way to play as, for example, Luke or Han. Sometimes it feels a little buggy in places, especially in modes with forty players, but it never ruins the overall game.
The issues, which they’re are many, occur in multiplayer frequently. The Galactic Assault is messy, and frustrating most of the time due to wonky controls. It feels like the controller doesn’t work for the ships, but works perfectly for the on-ground assaults. I did try this mode a number of times, and the same things happened again and again.
The package is finely finished with some great customisation options for your troopers and also the main characters of the franchise. The sheer number of characters in the roster is staggering. Some choices, like BB-8, feel a little shoehorned, but weirdly they all feel different, with their own unique perks. As a whole, it feels like for once EA has decided to put the consumer first with their product, rather than thinking of the money. They’ve taken the time to issue an apology for the awful services they’ve been providing, by putting a product they know the fans will love. I never thought I would say it, but props to DICE and EA. You’ve redeemed yourselves, for now.