Faith by Peter James

4.5 stars

Plot
Plastic surgeon Ross Ransome likes everything to be just so - a habit that stems from his childhood, when his abusive father blamed him for his mother’s desertion. But when his long suffering wife grows weary of his pedantic ways and overpowering personality and begins to turn her back on both her husband and his profession as she faces a battle against Lendt’s disease, he realises he must do everything in his power to stop his life slipping out of his control - and he won’t let anyone get in his way…


Review
Wow. What can be said about this absolutely fantastic novel, with its fast pacing and heart stopping moments, where you find yourself with only slithers of nails left on your fingers?

James’ provides us with strong, believable characters in this gritty novel: the terrifying, deeply disturbed Ross, the loveable Oliver, the humble Faith… In fact, aside from a few irritating individuals (chiefly minion Spider, whose spectacular dying moments more than make up for his less than appealing nature), even the minors such as Maddy Williams, who dies before the story even begins, manage to capture you interest. Such is the intensity of the novel that you actually find yourself quietly praying the protagonist will pull through, whilst screeching “Don’t you dare!” at the baddies.

It can get a bit uncomfortable at times, but if you can stomach it, it’s a great read. There’s no denying James’ ability to create tension and keep us in suspense, and what makes it all the more poignant is that there are probably thousands of real life Rosses out there for every helpless, trapped Faith, and not every story has a happy ending.

The only thing which stops this being a five star book is the poorly executed ending which follows an unoriginal, predictable climax and a weak break out scene. And then there’s James’ tendency to overuse commas, some sentences would have sounded a lot better broken down into shorter ones, it’s just plain annoying, kinda reminiscent of a typical adolescent who, like, feels the need to, like, insert the word “like”, like, twenty three times into every, like, sentence, because it’s so totally awesome! You get the picture…

Inkheart (2008)

3.5 stars

My main qualm about Inkheart when it was first released (the book, not the film) was that although it was a children's book, the wording was a little dense at times. However, the magical tale comes to life on the big screen, proving stories really do sometimes Newcomer Eliza Bennett shines in her role as the headstrong Meggie, who is puzzled by her father's odd behaviour, whilst old favourites play their parts with enthusiam - in particular, Helen Mirren provides laughs-a-plenty as grumpy Elinor. Unfortunately, the same can't be said for Brendan Fraser, who ill fits his role as Mo Folchart in this adaption of Corenlia Funke's novel about a man who can read objects and charactres out of books. Okay, the plot may not seem terribly appealing on paper, but kids will lap this charming fantasy yarn. The special effects are incredible, providing a trove of mythical creatures - a unicorn and the Minotaur, to name a few - for Capricon's kingdom, and adding volume to the spectacularly powerful finale. Having said that, fans of Funke's bestseller will be left reeling by the drastic plot changes (especially towards the end, paving an uneven path towards the sequel) and the depiction of the villains as comic characters, whilst non fans will struggle to follow the immensely complex plot.

Macbeth (1971)

2 stars

Director: Roman Polanski, Running Time: 140 minutes

For Scottish noble Macbeth (Jon Finch), resisting the temptation of power proves too difficult. But even after murdering the king (Nicholas Selby), having been persauded by his forceful wife (Francesca Annis), his thirst is not satisfied and he begins to grow paranoid and concerned about the safety of his crown. But the more he meddles with fate, the more he becomes entangled in the web of tyranny and treachery he has spun. Will he stop at nothing to get what he wants?

The action - or lack thereof - is just one of the many under whelming qualities that strikes you about this disappointing film, which gets off to a bad start when much of the opening battle scenes are blocked out by the murky, misty credits. Polanski fails to make Macbeth the exciting picture it could be, and the desaturated tone of the film does nothing to revive the sleepiness and sluggishness of this lacklustre movie. The emptiness is only amplified by slow manner in which the majority of the actors deliver their lines and the long silences that ensue the scarce spells of music.

The three witches (Maisie MacFarquhar, Elsie Taylor and Noelle Rimmington) have a rather odd, disturbing “dotty granny”-esque air about them, with much of their lines mumbled with none of the fluency and acidity that should subtly break its way through. Their few scenes lack the eeriness which should accompany their presence - instead, they look like no more than a trio of lunatics who have been left to run amok with the dressing up box, their appearances hideously caricatured. In addition, Polanski seems to have an overwhelming desire to thrust the human anatomy into the audience’s faces at every opportunity, with Lady Macbeth’s (Annis) notorious sleepwalking scene controversially done in the nude.

But the film’s not all bad - Finch performs brilliantly in the lead role, although it’s hard to see Annis’s Lady Macbeth as the vicious, manipulative character people have come to know as Macbeth‘s wife - she seems much more at home playing the doting wife with the pretty dresses rather than the dominatrix who helps her husband get away with murder. The twist at the end provides a welcome change to the normal, boring, predictable happy ending and adds more depth to Donalbain’s (Paul Shelley) character, who is rarely seen in the traditional version of the Shakespearean play.

However, this substandard film is no rival to the likes of The Lord of the Rings and The Brothers Grimm when it comes to special effects; having been produced, computer-less, in the 1970s, regular cinema goers shouldn’t look for the spectacular effects we are used to seeing on the big screens today - the fighting is forced, mutilation of certain characters unrealistic, and the conjuring of the three apparitions one big yawn-fest. Presumably, the look of shock on our poor protagonist’s face when his head is detached from his already lifeless body and rolls down the stairs in an almost comical fashion is down to the surprise of having finally been given the chance to escape this dreary rendition.

Verdict: Although a highly authentic picture led by brilliant actors, this dull take on the famous Shakespearean tragedy will fail to impress those wishing to see the bloodshed, drama and intensity normally associated with the Scottish play.

The Posion Apples

2 stars

If they can be our evil stepmothers, then we can be their evil stepdaughters!

This book follows the adventures of Alice, Reena and Molly, three girls brought together by their mutual hatred of stepmothers. They plot to get revenge and decide to carry out their plans during Thanksgving. Except they don't. And their stepmothers can hardlybe classed as "evil". In fact, they're just like most people, throwing a few spiteful comments here and there but never actually doing anything particularly malicious, like posioning someone or stealing their secret supply of chocolate. In fact, one of them even adopts a baby penguin.

This quirky, offbeat modern fairytale could be so much more, but it is let down by a slow start and a disappoining ending. None of the girls manage to get rid of their stepmothers, after going soft, or get the happy ending they crave. They realise that their stepmothers aren't evil, something which Ganesh the penguin could have picked up in about two minutes, and neither girl's situation has changed much by the end of the story, aside from the fact the three teenagers form a strong, predictable friendship. What's interesting is that although they hold grudges against their stepmothers, if their fathers had never remarried in the first place, then neither of them would have met. Which is probably a good thing.

Don't get me wrong, the main characters are realistic and Archer's style manages to capture and mimic that of a teenager, making it more easy for the reader to get into the story, but the plot leaves a lot to be desired, and gets too silly at times - getting locked in a room with the penguin you were trying to kidnap is hardly credible. The Poison Apples will fail to satisfy the more sophisticated reader's thirst for literature and is not the dazzling tale it could be. Maybe it would be better if the girls were older and not still in school, leaving more scope for a more exciting climax, rather than the anticlimax Archer gives. Better luck next time is all I can say.

"Long Life" Has Just Developed a New Meaning

No knows what the future holds, but what if life in 2140 really does turn out to be as Malley describes? Would you want to live forever? In my opinion, although I can see why immortality is so appealing, my honest answer to that question is no.

Of course it would be tempting to never have to face the prospect of dying - even now, I wonder what happens in the after;ife (supposing it actually exists). Does the body just shut down completely? And if it does, how is that possible? How can a whole mind, a library of thoguhts and memories, a whole person disappear just like that? Does the soul live on? Is there a Heaven and a Hell? I think I can safely say many people would welcome Longevity, if only to avoid these terrifying potential situations, and to give their mind a moment's rest.

But while I can see the benefits of being protected from all life threatening diseases, never having to cope with the loss of a loved one, feeling safer now only older generations have been left on the earth and crime levels have gone down, never having to see another person under the age ten again - I've never been a fan of little children - there's a part of me which can't help but question whether the utopia depicted in The Declaration is really all that great.For one, Longevity doesn't guarantee lifelong youth - Anna says of Mrs Sharpe: "her skin sagged disconsolately around her frame, hanging off her flesh as if it were waterlogged or had simply lost the will to hold itself up any longer" - and I think I speak for the antion - a self conscious one at that - when I say having the repulsing sight of my saggy body would do nothing for my self esteem.

Futhermore, I can't help thinking the world Malley has created seems like a nanny state gone mad, a Big Brother-esque environment where every move is watched, where everything you do, every choice you make is laid out for you by the restricting rules set by the Authorities. The no children rule screams out "control freak" and being a creative person, I can't imagine a world without colour, where "flowers [are] an Indulgence and frowned upon by the Authorities". Thus certainly gives the impression of much bleaker, greyer world, where self expression and diversity is pretty much non existent.The Authorities behave appallingly throughout the book. Being the main supplier of the Longevity drug, theyfeed on the nation's fear of death and use it to manipulate people. Even poor Mrs Sharpe, who was brave enough to help runaway Surpluses Anna and Peter, was forced to agree to betray for the sake of having her supply of the drug cut off. And I'd hate to think how I would react of the Catchers came into my home and threatened to cut my finger off.

As I've said before, I'm not a big fan of children, but that doesn't mean to say I have no compassion. The way the Surpluses at Grange Hall are treated is unacceptable. How can Mrs Pincent and the other adults there justify their actions?

Of course, everyone is given the option to Opt Out of Longevity, but those who do become pariahs. When it comes to the crunch, I don't think I would be one of those people who enjoy being immortal. I suppose I'd like the cowardly idea of conquering death, but eventually, the novelty would wear off, and I'd lose interest in my monotonous life altogether, becoming severely depressed at the sight of my hideous appearance, and who knows? I might develop a maternal instinct later in life, become broody, and wish I could have my own family. As stated in Harry Potter and the Philosopher's Stone, death would be "the next adventure" and be "like going to sleep at the end of a very long day". And as Anna says: "But Mother Nature likes new things, doesn't she? Old leaves fall off trees, don't they? Why should the old humans stay and the new ones not be allowed? It that really what Mother Nature wants?"

However, the sad fact is, I don't think I'd be brave enough to Opt Out; I'd be swayed by Peer Pressure. I'd find it difficult to cope with deterioration, especially when those perfect faces around me watch with disapproving eyes, like statues, always the same. Futhermore, I guess it would be pretty lonely up there in heaven (or hell).Malley says Longevity is created in 2030, which is not too far from now (in the long run, at least), so it will be interesting to see how the future pans out. Only time can tell, and as they say - whoever they"are - que sera sera - whatever will be, will be.

The Declaration

3.5 stars

"My name is Anna. My name is Anna and I shouldn’t be here. I shouldn’t exist. But I do. It’s not my fault I’m here. I didn’t ask to be born. But that doesn’t make it any better that I was. They caught me early, though, which bodes well."

The year is 2140. Now that scientists have perfected the Longevity drug, the human race can live for eternity, safe from all forms of infection. Cancer is a thing of the past. But those who sign the Declaration must suffer the consequences - if they don’t want to live for ever, then they are permitted to have children unless they choose to sacrifice themselves. A life for a life, or the world will run out of room and resources, and then no one will survive.


But of course, there will always be those who break the rules, and Surpluses are created. Surpluses have no purpose. They are raised in Surplus halls, away from their criminal parents who broke the law, and taught to be Valuable Assets. Anna is a Surplus. She has lived in Grange Hall all her life and believes everything she hears about Surpluses only being fit to serve the Legals, to act as slaves. And then comes Peter, and at long last the wool is lifted from Anna’s eyes. Finally, she begins to realise that outside Grange Hall, freedom awaits.


Malley is not a well known author, but she deserves to be after this delightful piece of work. Admittedly, it sometimes becomes a little dodgy plot wise - some things are just too coincidental to be credible; what are the chances of there being a secret escape tunnel in the place where bad Surpluses are sent which has remained undiscovered for years? - but Malley’s imagination is extraordinary. The very idea of Longevity, the Declaration, all these new laws Malley had created… And yet still, she remains realistic (okay, as realistic as possible in this situation) by not trying to inject too much futurism into the story: she doesn’t suddenly decide that in 2140, robots and aliens and suchlike will be the norm. Global warming has not disappeared; Malley has introduced energy coupons to tackle this crisis. Aside from a few pieces of advanced technology, not much has been changed.


However, what’s interesting is that at times, society seems to have taken a step back, with Grange Hall reminiscent to an Oliver Twist workhouse. Evermore intriguing is that, just like in Oliver Twist, a piece of jewellery holds the key to a young boy’s quest to find the truth about his parentage. Perhaps the style of the novel influences this opinion, but there is also the reintroduction of rationing coupons, only his time it’s energy, not food being restricted.The level of detail and quality of the plot provided by Malley deserves a round of applause. It certainly takes a very talented writer to produce such an intricate, imaginative, thought provoking story as this, and I, for one, will be keeping an eye out for Malley’s work in the future. I can’t wait for the sequel to come out, and finger crossed for a film adaptation. The Declaration is most definitely not a Surplus.