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Worth the Wait (Worth It #1)
8.0
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It was never over. It was just waiting. Nathan Carter didn’t return to Worthbridge looking for...
Contemporary MM Romance Second Chance Romantic Suspense
The Counsel of the Cunning (Roger Viceroy #2)
Book
Author of Give Place to Wrath—Killer Nashville Silver Falchion Award Finalist & American Book Fest...
Mystery
Heather Cranmer (2721 KP) created a post
Nov 14, 2022 (Updated Nov 14, 2022)
Book Mate
8.0
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I’d had a hard start in life, but now things were finally going my way. That is until the front...
Contemporary Time Travel Erotica Interracial
Safe Shores (Semper Fidelis)
7.5
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A rescue swimmer for the Coast Guard. A fisherman who came out later in life. Will a violent gale...
MM Military Contemporary Romance
Mark @ Carstairs Considers (2579 KP) rated The Blessing Way (Leaphorn & Chee, #1) in Books
Nov 22, 2023
Interesting Debut
Anthropology professor Bergen McKee is going to spend the summer on the Navajo Reservation working on his book on witches in the Navajo culture. That means reconnecting with his college friend Joe Leaphorn, who is a Navajo Tribal Police Lieutenant. Leaphorn is trying to track down a young man who is hiding on the reservation, and he uses taking McKee around to try to learn the man’s location. Then the young man turns up dead miles from here Leaphorn thought he was. Meanwhile, McKee finds danger he never imagined while conducting his research. Is everything connected?
I’d been interested in starting this series for a while, and I’m glad I finally did. It took a bit to get fully immersed in the book, especially since it didn’t unfold like I thought it would. McKee is more of the main character and the better developed of the two, although I did like Leaphorn and want to learn more about him. The plot also seemed a little disjointed at first, although it came into focus before too much time had passed. Once I did get invested, I was truly hooked with plenty of suspense to keep me interested. I enjoyed learning a bit more about Navajo culture. While definitely a cross between a police procedural and a thriller, it still doesn’t have much of the content I would associate with the genres. The book came out in 1970, so keep that in mind when you go to start it. I’m glad I finally started the series, and I’m looking forward to getting to know Leaphorn better as the series goes along.
I’d been interested in starting this series for a while, and I’m glad I finally did. It took a bit to get fully immersed in the book, especially since it didn’t unfold like I thought it would. McKee is more of the main character and the better developed of the two, although I did like Leaphorn and want to learn more about him. The plot also seemed a little disjointed at first, although it came into focus before too much time had passed. Once I did get invested, I was truly hooked with plenty of suspense to keep me interested. I enjoyed learning a bit more about Navajo culture. While definitely a cross between a police procedural and a thriller, it still doesn’t have much of the content I would associate with the genres. The book came out in 1970, so keep that in mind when you go to start it. I’m glad I finally started the series, and I’m looking forward to getting to know Leaphorn better as the series goes along.
Daylight Robbery (Aspen Falls #6)
10.0
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It was supposed to be a seamless robbery. In and out without a trace. But then Police Chief Marks...
Contemporary Romantic Suspense
The Survivors
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Jane Harper is one of Australia's most loved and successful authors and The Survivors is her latest...
Merissa (14030 KP) rated Fractured Hearts in Books
May 23, 2023
Charlie has her heart broken at a young age and decided that it would never happen again. She threw herself into her studies and becomes a new resident vet. Whilst out one night with her friend, she sees a sexy cowboy who she would like to know more about. He seems to feel the same way and they dance together, feeling the sparks fly. However, when it appears that his friend is the one who broke her heart years previously, Charlie makes a run for it, unwilling to see the disgust in his eyes when he realises who she is.
Now, to be honest, that's the one part that confused me. I could understand her not wanting to see him, to be wary of his reaction, but I just don't know why he would have had disgust in his eyes. Anyway, that's a distraction from the story, which I thoroughly enjoyed!
The scenes between these three as they learn to have a relationship with each other, and how it changes, are very well-written. There is a lot to read and it is written in a way that draws you in, letting you see events from every perspective. The bedroom scenes are smokin' and will leave you wanting more.
With an intricate love story, action and suspense, this is a brilliant story that I would definitely recommend. Brilliant.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 25, 2016
Now, to be honest, that's the one part that confused me. I could understand her not wanting to see him, to be wary of his reaction, but I just don't know why he would have had disgust in his eyes. Anyway, that's a distraction from the story, which I thoroughly enjoyed!
The scenes between these three as they learn to have a relationship with each other, and how it changes, are very well-written. There is a lot to read and it is written in a way that draws you in, letting you see events from every perspective. The bedroom scenes are smokin' and will leave you wanting more.
With an intricate love story, action and suspense, this is a brilliant story that I would definitely recommend. Brilliant.
* A copy of this book was provided to me with no requirements for a review. I voluntarily read this book, and the comments here are my honest opinion. *
Merissa
Archaeolibrarian - I Dig Good Books!
Feb 25, 2016
BankofMarquis (1832 KP) rated Psycho (1960) in Movies
Oct 29, 2018
An all-time great performance by Anthony Perkins
I'm sure all of you have (at least) heard of the 1960 Alfred Hitchcock film, PSYCHO. And I'm sure most of you have seen (at least in part) the famous "shower scene". But when was the last time you really sat down and watched this film? It had been awhile for me and I walked away with the following impression:
PSYCHO is not all that scary, but it is suspenseful as heck with strong Direction by the "Master of Suspense" and very strong performances anchoring the front and back end of the film.
PSYCHO was billed when it came out as a "Janet Leigh Film". So, to give this review context, let's look at who Janet Leigh was at the time. Before shooting PSYCHO, Leigh was generally cast as the ingenue and/or love interest in mainstream fair such as LITTLE WOMEN, ANGELS IN THE OUTFIELD and HOUDINI (a modern "comp" to her might be someone like Anne Hathaway before she started doing "edgier" work). Leigh did show that there was more to her than just being an ingenue when she played the morally ambiguous wife of Charlton Heston's character in Orson Welles' TOUCH OF EVIL. This film (probably) gave Hitchcock the idea to cast Leigh in PSYCHO.
When 1960's audiences first saw Leigh on screen in PSYCHO, I'm sure that most of them were shocked for, instead of being the pure and wholesome ingenue and wife, she plays the entire first scene in a bra and slip. Her character, Marion Crane, is not morally ambiguous, she is morally corrupt - and when Leigh's character has a chance to act on her moral corruptness, she jumps at the chance. The rest of the first half of this film is Leigh trying to get away with her "crime". She is quite good in this part of the film and was nominated for an Oscar for Best Supporting Actress (deservedly so).
And then...Anthony Perkins shows up.
We are about 45 minutes into the 1 hour and 49 minute film when Perkins' Norman Bates first appears on screen and an interesting thing happened - I couldn't take my eyes off of him. I was enjoying Leigh's performance but instantly pushed her aside (and to the background) when Perkins shows up. Without giving plot away, let me say that there is much, much going behind Norman's eyes and the performance by Perkins strongly suggests this, without going over-the-top or being melodramatic. It is a perfect blend of actor, character and performance and I was shocked that he was not even NOMINATED for an Oscar (Peter Ustinov would win for SPARTACUS). Perkins performance is one of the all-time greats with one of the most interesting and unusual characters - and portrayals - of all time.
Much of the credit for Perkins' and Leigh's strong performances have to go to Director Hitchcock who was at the height of his Directing powers (and power). From the "get go", you can feel the Director's hand in this film, building suspense from scene to scene and shot to shot, first with Leigh's character and, later, with Perkins. Both characters are trying to get away with something and Hitchcock pulls his camera in close to make a point - from a distance all seems good, but when you get up close, you can tell that things are very bad, indeed.
The filming of the famous "shower scene" is well documented and is a Master Class in film and editing. It is worth the price of admission on it's own - as is a scene on a staircase with Private Detective Arbogast, played by Martin Balsam. Hitchcock chooses to heighten the realism in this scene on the staircase by going a more esoteric route (rather than traditional filming of the events) and, one can argue, it doesn't belong in this film. Until, that is, you think about it and then it makes great sense and absolutely, positively has to be in this film in that way.
Another aspect of this film that begs to be mentioned is the Film Score by the great Bernard Herrmann - Hitchcock's regular collaborator. The music in this film punctuates the action on the screen - from the persistent beat and pacing of the opening credits music - driving the audience forward into the action - that does not let go, reaching it's peak and crescendo in the shower scene and then floating down gently like an animal catching it's breath after great activity.
Does the entire film hold up almost 60 years later? Almost...but not quite. Most annoying to me was the "wrap-up" scene at the end where a character spells out everything for the audience. As if we are not smart enough to "get it" - and perhaps the audiences in 1960 weren't.
But that is a quibble for a film that is a classic and is one that, if you have not seen (or seen for awhile), begs to be seen. Check out this film, not for the scares, but rather, the suspense that is generated by Hitchcock and his performers throughout. A GREAT entree into the world of Alfred Hitchcock films.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)
PSYCHO is not all that scary, but it is suspenseful as heck with strong Direction by the "Master of Suspense" and very strong performances anchoring the front and back end of the film.
PSYCHO was billed when it came out as a "Janet Leigh Film". So, to give this review context, let's look at who Janet Leigh was at the time. Before shooting PSYCHO, Leigh was generally cast as the ingenue and/or love interest in mainstream fair such as LITTLE WOMEN, ANGELS IN THE OUTFIELD and HOUDINI (a modern "comp" to her might be someone like Anne Hathaway before she started doing "edgier" work). Leigh did show that there was more to her than just being an ingenue when she played the morally ambiguous wife of Charlton Heston's character in Orson Welles' TOUCH OF EVIL. This film (probably) gave Hitchcock the idea to cast Leigh in PSYCHO.
When 1960's audiences first saw Leigh on screen in PSYCHO, I'm sure that most of them were shocked for, instead of being the pure and wholesome ingenue and wife, she plays the entire first scene in a bra and slip. Her character, Marion Crane, is not morally ambiguous, she is morally corrupt - and when Leigh's character has a chance to act on her moral corruptness, she jumps at the chance. The rest of the first half of this film is Leigh trying to get away with her "crime". She is quite good in this part of the film and was nominated for an Oscar for Best Supporting Actress (deservedly so).
And then...Anthony Perkins shows up.
We are about 45 minutes into the 1 hour and 49 minute film when Perkins' Norman Bates first appears on screen and an interesting thing happened - I couldn't take my eyes off of him. I was enjoying Leigh's performance but instantly pushed her aside (and to the background) when Perkins shows up. Without giving plot away, let me say that there is much, much going behind Norman's eyes and the performance by Perkins strongly suggests this, without going over-the-top or being melodramatic. It is a perfect blend of actor, character and performance and I was shocked that he was not even NOMINATED for an Oscar (Peter Ustinov would win for SPARTACUS). Perkins performance is one of the all-time greats with one of the most interesting and unusual characters - and portrayals - of all time.
Much of the credit for Perkins' and Leigh's strong performances have to go to Director Hitchcock who was at the height of his Directing powers (and power). From the "get go", you can feel the Director's hand in this film, building suspense from scene to scene and shot to shot, first with Leigh's character and, later, with Perkins. Both characters are trying to get away with something and Hitchcock pulls his camera in close to make a point - from a distance all seems good, but when you get up close, you can tell that things are very bad, indeed.
The filming of the famous "shower scene" is well documented and is a Master Class in film and editing. It is worth the price of admission on it's own - as is a scene on a staircase with Private Detective Arbogast, played by Martin Balsam. Hitchcock chooses to heighten the realism in this scene on the staircase by going a more esoteric route (rather than traditional filming of the events) and, one can argue, it doesn't belong in this film. Until, that is, you think about it and then it makes great sense and absolutely, positively has to be in this film in that way.
Another aspect of this film that begs to be mentioned is the Film Score by the great Bernard Herrmann - Hitchcock's regular collaborator. The music in this film punctuates the action on the screen - from the persistent beat and pacing of the opening credits music - driving the audience forward into the action - that does not let go, reaching it's peak and crescendo in the shower scene and then floating down gently like an animal catching it's breath after great activity.
Does the entire film hold up almost 60 years later? Almost...but not quite. Most annoying to me was the "wrap-up" scene at the end where a character spells out everything for the audience. As if we are not smart enough to "get it" - and perhaps the audiences in 1960 weren't.
But that is a quibble for a film that is a classic and is one that, if you have not seen (or seen for awhile), begs to be seen. Check out this film, not for the scares, but rather, the suspense that is generated by Hitchcock and his performers throughout. A GREAT entree into the world of Alfred Hitchcock films.
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank (ofMarquis)