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Reporter Who Knew Too Much
Book
Was What's My Line TV Star, media icon, and crack investigative reporter and journalist Dorothy...
The Infiltrator: Undercover in the World of Drug Barons and Dirty Banks
Book
Robert Mazur spent five years undercover infiltrating the criminal hierarchy of Colombia's drug...
Baseball's Power Shift: How the Players Union, the Fans, and the Media Changed American Sports Culture
Book
Baseball fans and the media pinch hit for the players. From Major League Baseball's inception in the...
TN
Time, Narrative, and Emotion in Early Modern England
Book
Exploiting a link between early modern concepts of the medical and the literary, David Houston Wood...
Mark @ Carstairs Considers (2200 KP) rated Dead Body Language in Books
Jul 24, 2020
Unexpected Body in the Cemetery
Connor Westphal has moved from San Francisco to the town of Flat Skunk in California’s gold country, where she is running the weekly paper she inherited from her grandparents. When Lacy Penzance comes in to place an ad to track down her long-lost sister, Connor readily agrees. Then Lacy takes back her ad. The next morning, Lacy is found dead. The sheriff doesn’t think it is the suicide it was staged to look like. Under the guise of writing an article about Lacy, Connor begins to investigate. Will she find the killer?
What I haven’t mentioned so far is that Connor is deaf. I found this character trait to be an interesting addition to the mystery, and it really added suspense to the climax. Connor is an all-around strong character, and I enjoyed getting to meet her friends here as well. The plot is strong, although I have a couple niggles about who the killer turned out to be. Even so, I have to admire the strong plotting; I missed several major clues. I did find there to be a few more four-letter words than I was expecting, and I think there were timeline issues, although I might have added an extra day in there somewhere as I was reading. I originally read this book close to when it was originally released in 1997, but I never read the rest of the series. I’m looking forward to fixing that soon.
What I haven’t mentioned so far is that Connor is deaf. I found this character trait to be an interesting addition to the mystery, and it really added suspense to the climax. Connor is an all-around strong character, and I enjoyed getting to meet her friends here as well. The plot is strong, although I have a couple niggles about who the killer turned out to be. Even so, I have to admire the strong plotting; I missed several major clues. I did find there to be a few more four-letter words than I was expecting, and I think there were timeline issues, although I might have added an extra day in there somewhere as I was reading. I originally read this book close to when it was originally released in 1997, but I never read the rest of the series. I’m looking forward to fixing that soon.
Lee Ronaldo recommended The Ascension by Glenn Branca in Music (curated)
Kirk Bage (1775 KP) rated The Battle of Algiers (1966) in Movies
Jan 28, 2021
This film-maker was unknown to me entirely before I decided to watch this film. In fact, I had only heard of the film itself quite recently from seeing it mentioned as one of the best films in the genre as a commentary on political insurgency and civil unrest. It is so well regarded that even the US military used it to prepare troops for entering Iraq. The main actors are largely unknown and many of the supporting cast and extras are not actors at all. The camera is allowed to wander and wobble, and such is the feel of random chaos at times you’d be forgiven for thinking this was a documentary. Nominated for 3 Oscars, and faultless in achieving its goal of humanising both sides of an argument, you can see the influence on Oliver Stone and Paul Greengrass, to name but two better known directors with a political edge.
It’s not a film I would feel the need to go back to, unless demonstrating to someone how to make something staged feel entirely real. I admire this film very much, but wouldn’t exactly call it entertaining or even rewarding as a story. Its purpose is to reinforce the tragedy of a people facing oppression and to realise the lengths both sides will go to in protecting their ideals and relative freedoms. The excellent hand held photography and score by the always inspirational Ennio Moricone are other reasons to watch it. As a history lesson of North Africa post WWII it also has a lot to offer.
It’s not a film I would feel the need to go back to, unless demonstrating to someone how to make something staged feel entirely real. I admire this film very much, but wouldn’t exactly call it entertaining or even rewarding as a story. Its purpose is to reinforce the tragedy of a people facing oppression and to realise the lengths both sides will go to in protecting their ideals and relative freedoms. The excellent hand held photography and score by the always inspirational Ennio Moricone are other reasons to watch it. As a history lesson of North Africa post WWII it also has a lot to offer.
Gareth von Kallenbach (980 KP) rated Split (2016) in Movies
Jul 12, 2019
M. Night Shyamalan once again has audiences very excited for absolutely no reason. The trailer portrays an interesting psychological thriller of a man (James McAvoy) subjected to many different forms of consciousness, as the plot tells he is one of the first to openly portray over twenty different personalities.
He even takes on different physical characteristics down to a metabolic level as he switches from persona to persona. This combined with the character of a doctor (Betty Buckley) who is thrilled to perhaps have discovered the missing link to understanding the unused portion of the human mind, sounds like it makes for a great sci-fi thriller.
Unfortunately rather quickly the plot devolves after the disturbed man’s abduction of three teenage girls turns over the top hokey and stereotypical. Nothing can be said that will make up for the impending disappointment of viewers as yet again Mr. Shyamalan has an idea that sounds quite intriguing, yet falls completely flat and leaves viewers feeling as if they are the brunt of the joke.
As the psychotic killer develops into a character audiences could really be scared of, a turn for the worst happens when he is transformed by his own mind into an animal. Reaching beyond anything physically possible in a much staged way, he becomes a superhuman creature who rampages until he is caught.
Even with skilled acting at his disposal Shyamalan has managed to make another very poor quality film. At each step of the way, the suspense almost grabs you but is completely predictable. It’s too bad but this one earns
He even takes on different physical characteristics down to a metabolic level as he switches from persona to persona. This combined with the character of a doctor (Betty Buckley) who is thrilled to perhaps have discovered the missing link to understanding the unused portion of the human mind, sounds like it makes for a great sci-fi thriller.
Unfortunately rather quickly the plot devolves after the disturbed man’s abduction of three teenage girls turns over the top hokey and stereotypical. Nothing can be said that will make up for the impending disappointment of viewers as yet again Mr. Shyamalan has an idea that sounds quite intriguing, yet falls completely flat and leaves viewers feeling as if they are the brunt of the joke.
As the psychotic killer develops into a character audiences could really be scared of, a turn for the worst happens when he is transformed by his own mind into an animal. Reaching beyond anything physically possible in a much staged way, he becomes a superhuman creature who rampages until he is caught.
Even with skilled acting at his disposal Shyamalan has managed to make another very poor quality film. At each step of the way, the suspense almost grabs you but is completely predictable. It’s too bad but this one earns
Super Fantasy Brawl
Tabletop Game
In the land of Fabulosa, powerful magics have rendered war obsolete. With nothing else to compete...
LoganCrews (2861 KP) rated Lesson of the Evil (2012) in Movies
Nov 15, 2021
*Big band music playing loudly in the background*
Takashi Miike's 𝘛𝘩𝘦 𝘎𝘶𝘦𝘴𝘵 - which, yes, is every bit as messy and overstuffed as that sounds; though I fear that if this were leaner you could miss out on the finer details like the weird German folklore stuff or the fleshy gun with the talking eyeball. The third act here is better than anything in even 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘗𝘴𝘺𝘤𝘩𝘰, probably the greatest thing Miike has ever done - just as demented, tasteless, and perfectly staged as reported plus it lasts around a solid, uninterrupted 45 minutes. Simultaneously fun and hard to watch in the sense that you can't believe that not only are they actually going for this, but they're going for it *hard* (given the director, I'd expect no less). I'm confident in saying this has the most straight-up brutal use of the shotgun in film history that I've seen. Hideaki Ito is flawless as this fucked-up closet psychopath who just bleeds raw antihero charisma, this kind of character can tire so easily but him and Miike sell it in full - partly because (and this is one of the things I love most about Miike) there's zero pretension to be found here. The precise type of ethically repugnantly, formally playful, feverish trashy thrills you'd expect out of this are exactly what you get - no clichéd moral handwringing or bullshit pulled punches you see in a lot of Western cinema for this genre. This is the real shit, another bonafide cult classic from one of the masters. Plus it's generally bizarre as hell, too.
Takashi Miike's 𝘛𝘩𝘦 𝘎𝘶𝘦𝘴𝘵 - which, yes, is every bit as messy and overstuffed as that sounds; though I fear that if this were leaner you could miss out on the finer details like the weird German folklore stuff or the fleshy gun with the talking eyeball. The third act here is better than anything in even 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘗𝘴𝘺𝘤𝘩𝘰, probably the greatest thing Miike has ever done - just as demented, tasteless, and perfectly staged as reported plus it lasts around a solid, uninterrupted 45 minutes. Simultaneously fun and hard to watch in the sense that you can't believe that not only are they actually going for this, but they're going for it *hard* (given the director, I'd expect no less). I'm confident in saying this has the most straight-up brutal use of the shotgun in film history that I've seen. Hideaki Ito is flawless as this fucked-up closet psychopath who just bleeds raw antihero charisma, this kind of character can tire so easily but him and Miike sell it in full - partly because (and this is one of the things I love most about Miike) there's zero pretension to be found here. The precise type of ethically repugnantly, formally playful, feverish trashy thrills you'd expect out of this are exactly what you get - no clichéd moral handwringing or bullshit pulled punches you see in a lot of Western cinema for this genre. This is the real shit, another bonafide cult classic from one of the masters. Plus it's generally bizarre as hell, too.