The Fence: A Police Cover-up Along Boston's Racial Divide Reviews & OpinionsSubmit The Fence: A Police Cover-up Along Boston's Racial Divide review or read customer reviews:
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Being former law enforcement myself, this book was really disturbing to say the least. I know this occurred in the mid and late 90's but I do question why decided to trace the harassment and phony 911 calls if the Feds were helping him with his case.
This is a great book. A tale of police corruption, intelligently and suspensefully retold by Lehr, which, frighteningly enough, is all true. If you like the urban noir of Richard Price's fiction, or the pace of Jonathan Harr's nonfiction "A Civil Action" - this book, as well as Lehr's previous "Black Mass," are "must-reads"! Stephanie Albano Weston, MA
I know this sounds cliche but it's true, I literally could not put this book down. I finished it in 2 days, even delayed my weekend trip to [email protected]#$%!! This book is so well written and riveting, I was on the edge of my seat feeling like I couldn't read it fast enough. So much was revealed in this book that unfortunately (for Kenny Conley especially) wasn't revealed at trial, which many people need to understand exposes the many flaws in our "justice" system. Fortunately for Kenny, he had connections especially because he was a police officer, but what about Joe Citizen? It's clear that if you don't have a lot of money to buy justice (because you can't get it without money), your next best bet is to have lots of friends in high places. Most of us don't dly, I live in the Boston area, although I know this issue is a national one, but the race issue is far from over, is quite likely worse than ever now. My significant other is Black and was a victim of police testilying 4 years ago (overwhelming evidence proves it, but he didn't have the means to get good counsel), arrested and jailed for over 3 years. He's not gone to trial yet but as you will read in this book, testilying is so pervasive you could say that it's almost impossible to trust any police officer. This means, our lives and words (especially if you are a person of color) are up against this large well-paid and well-connected "fraternity," and its extension into the DA's office and even courts, that are more likely to lie to WIN (yeah, it's a big game) regardless of guilt. Yet the public in general is unknowingly more likely to believe a police officer simply because he/she believes police officers all uphold the law (thanks to shows like Law and Order). But in real life, most do not, this book reveals that fact, studies cited prove it overwhelmingly, as well as numerous other studies not mentioned. This is not about a few bad apples. Granted there are some good police officers but when an entire department sees itself as a "fraternity," the good ones have no choice but to turn a blind's eye or simply join the crowd, thus turning the whole bunch rotten.
My name's Merrick. I'm United States Marshal here. Along the Great Divide is directed by Raoul Walsh and written by Walter Doniger and Lewis Meltzer. It stars Kirk Douglas, Virginia Mayo, John Agar, Walter Brennan, Ray Teal, James Anderson and Morris Ankrum. Music is by David Buttolph and cinematography by Sidney Hickox. U.S. Marshall Len Merrick (Douglas) and two deputies rescue suspected murderer Tim Keith (Brennan) from a lynch mob led by a local cattle baron who is convinced that Keith killed his son. The lawmen embark on a hazardous journey across the rugged terrains, determined to get Keith to Santa Loma for a fair trial... Kirk Douglas' first Western is something of an undervalued treat. It was a film he didn't enjoy making, where working out in the desert with Raoul Walsh proved something of a cross to bear. Yet the director got a very good turn out of Douglas, allowing the actor to put down a marker in the genre that would serve him well throughout his career. It sits very much in the psychological Western realm, a fact that some critics of the time failed to grasp - since complaints about not being a standard Oater were floated about! It really shouldn't have surprised anyone given that Douglas had already made a handful of superb film noir pictures, he was surely cast for this pic on the strength of his noir characters. There's big father issues abound in the whole film, the various strands keeping the narrative edgy. Merrick is a damaged man, and his companions that make up the group will all test his metal to the max. Not just for father issues, and a lack of water, but also via the presence of Keith's daughter, Ann (Mayo), who mercifully isn't just a token female dressage character (she's feisty with believable emotional outpourings). It's a fraught journey for many reasons and Walsh, notwithstanding cheesing Douglas off, keeps it deftly wound tight. The surroundings offer more troublesome discord to envelope the characters. Shot in gorgeous black and white by Hickox, the Alabama Hills and Mojave Desert locales provide barren landscapes that are juxtaposed with threatening looking rock formations. This often at times feels like an Anthony Mann/James Stewart landscape, which is high praise indeed. While the cast can't be faulted as they bring the drama to life, benefiting from the fine research of writers Doniger and Meltzer. Undeniably the film's major drawback is the lack of whodunit worth. The pic unfortunately plays its hand far too early in this respect, meaning we know who the killer is. This could have lessened the excitement at story end, damagingly so, but we are never sure if we are going to be party to an Ox-Bow Incident or otherwise. This is well worth seeking out for fans of psychological Westerns, the many Oedipal themes and the scorching landscapes ensure it's a tasty little number. 8/10
DONT HIIIITTT THHEE BAACCK BUTTON!! spent a hour and a half on my cover art ( not by my studio ) and thought it was awesome only for it all to be thrown away by the back button accidentally getting pressed when I was showing someone :/ five stars if you simply add the "are you sure you want to quit" pop up 😂
Two Masks. Deep Cover is directed by Bill Duke and written by Michael Tolkin and Henry Bean. It stars Larry Fishburne, Jeff Goldblum, Charles Martin Smith, Victoria Dillard and Gregory Sierra. Music is by Michel Colombier and cinematography by Bojan Bazelli. Traumatised as a youngster by the death of his junkie father, Russell Stevens (Fishburne) becomes a police officer. Passing an interview with DEA Agent Gerald Carver (Smith), Stevens goes undercover to bust a major drug gang that has links to high places. But the closer he gets in with the targets, the deeper he gets involved - emotionally and psychologically. A splendid slice of gritty neo-noir, Deep Cover follows a classic film noir theme of a man descending into a world he really shouldn't be part of. This is a shifty and grungy Los Angeles, awash with blood money, single parents prepared to sell their kids, where kids in their early teens mule for the dealers and get killed in the process. A place of dimly lighted bars and pool halls, of dank streets and scrap yards, and of course of violence and misery. The look and tone of the picture is as intense as the characterisations on show. Duke (A Rage in Harlem) knows some tricks to imbue psychological distortion, canted angles, step-print framing, slow angled lensing, jump cuts and sweaty close ups. Bazelli photographs with a deliberate urban feel, making red prominent and black a lurking menace. While the musical accompaniments flit in between hip-hop thunder and jazzy blues lightning. Fishburne provides a narration that works exceptionally well, harking back to classic noirs of yesteryear. As this grim tale unfolds, his distressingly down-beat tone goes hand in hand with the narrative's sharp edges. The screenplay is always smart and cutting, mixing political hog-wash and social commentary with the harsh realities of lives dominated by drugs - the users - the sellers - the cartel, and the cop going deeper underground... Great performances from the leading players seal the deal here (Goldblum is not miscast he's the perfect opposite foil for Fishburne's broody fire), and while some clichés are within the play, the production as mounted, with the narrative devices of identification destruction (hello 2 masks) and that violence begets violence, marks this out as one the neo-noir crowd should note down as a must see. 8/10
Impressive procedural skin crawler. It's a very impressive film from start to finish, the cast are excellent, George Kennedy & Henry Fonda portray the men pursuing the culprit with much believability, with enough moments of frustration and revulsion brought to life with style. Of course this is Tony Curtis's show all the way, though, he is all bulked up and nothing like the handsome icon that people had grown accustomed to. He is convincingly menacing and handles the dual personality confusion scenes adroitly. One of the films' chief plus points is that the first hour only shows us the aftermath of the murders, it shows the desperate panic it creates among the people of Boston, and of course we get to know the detectives following this miserable trail. At the hour mark we are introduced to Tony Curtis as Albert De Salvo, here he is in his family home, his daughter all radiant around her father, it's a masterstroke from director Richard Fleischer, and it creates maximum impact. The use of multi screens to show various aspects of scenes is deft and manages to make the film seem all too real, which of course is given weight of impact since it is based on actual events. Smashing film that gnaws away at the skin some time after the silent credits have rolled. 9/10
You think you're the only one in the world ever got a raw deal... There's a lot of people in this world who've had a tougher time than you or me. Run for Cover is directed by Nicholas Ray and adapted to screenplay by Winston Miller from a story by Harriet Frank Jr. and Irving Ravetch. It stars James Cagney, Viveca Lindfors, John Derek, Jean Hersholt, Grant Withers, Jack Lambert, Ray Teal and Ernest Borgnine. A Technicolor/VistaVison production, with music by Howard Jackson and cinematography by Daniel Fapp. When Matt Dow (Cagney) and Davey Bishop (Derek) meet up they quickly become friends, but events conspire to see them wrongly suspected of robbing the train heading for Madison. Hunted down by a Madison posse, Bishop, a Madison resident, is severely injured and Dow taken to town for possible lynching. What unfolds is the truth comes out and the two men end up working as the law in town, but there is many more secrets to be unearthed in this part of New Mexico... Nicholas Ray brings a meditative state to the picture, ensuring the thematics of surrogate families, generation conflicts, mob justice and the corruption of youth, are all delicately handled by the great director, even dealing in Freudian textures for the key character relationship. There's a whiff of High Noon in how Matt will inevitably have to stand alone, and he will also have to fight inner turmoil about injustices and cope with disappointments as things refuse to go to plan under Madison's glaring sun. But this is a skilled character piece able to stand on its own terms. As a looker the film is quite simply stunning. Filmed out of Durango, Silverton and Aztec (the latter providing the finale set in the Aztec Ruins), the scenery is breath taking, Ray and Fapp surrounding the story with an imposing beauty that is hard to take your eyes from. Cast are led superbly by a restrained and reflective Cagney, who can say so much with just one glance of his eyes, and while Lindfors as Cagney's love interest is a bit wooden, she's at least given some decent scripting to work with. Elsewhere nobody fails in bringing their respective characters to life. Absolutely lovely Oater, one that may not break new ground with its formula of plotting, but comes out roaring regardless. It makes you wish Cagney had made more Westerns, Nicholas Ray also, while Fapp's photography here is alone worthy enough to consider catching this on any potential Blu-ray release. 7.5/10
That was so crazy short. I need more and not whatever this was. It's like when you go to a restaurant and order appetizers to come all at once but the waitress keeps bringing them one at a time exciting you and making you think 'this is it, I'm gonna get all the appetizers then I can start the main course' but then you realize you have to keep waiting and the hunger is slowly starting to drive you at's what waiting for this comic feels like. AHAHAHAHA
When I heard C.S Pacat (aka author of the captive prince trilogy, one of my top favorite series ever) AND drawn by one of my favorite artists, well then it was a must e art is gorgeous and the character designs are nice and smooth and also very dynamic. I like Nicholas so far. Seiji is interesting enough and the hook at the end had me excited to see what happened next. Right now it all seems like a very cliche sport anime trope. Two rivals, one a prodigy and the other a rookie, who grow closer due to their desire to beat the other. At least this one is promised to be queer and not like the really intense male bromances that permeate sports manga.I honestly had to knock off a star for how short it was. I wish we could have gotten more pages so I could connect more with our main characters. It was only 27 pages and not enough to even get my feet wet. And at the price, it didn't seem like I was getting enough. Not to say that the art isn't worth the price because it totally is, but I wish the publishers could have bundled in volume two and three coming out soon so it would feel more complete. I don't really have that much to even talk about.I feel like this is a great buy, but if you're impatient, maybe wait a bit before purchasing and getting into the series. I also hope that Pacat doesn't stick to all the usual tropes and shakes them up in some way. I don't want to read a by the books sports manga because I know her writing is better than that. But for now I'm going to give her the benefit of the doubt because I've loved her other work so much.
It's the first chapter so I know I should go easy but there are glaring faults that should have been picked up in editing.1/ The 180 degree rule. It's a film-making term but it applies equally to anime/manga. (Google it if you don't understand) You just don't ever cross the line. This would be ESPECIALLY important if both characters are identically dressed, except for a pair of shoes.2/ Be consistent with how each character looks. Especially in the early stages. I won't say any more because to explain would be spoilery. I was left scratching my head while saying "What?".Yes, I got it, but I shouldn't need a magnifying glass to identify a ly, I'm really sorry to be critical but I was left with a vague sense of disappointment. I love CS Pacat's work & I'll read the next instalment because I KNOW the story will be great. That's a given. The author is a genius storyteller. I just wish this had been twice as long and a bit clearer.
I understand that most of the criticism is from people more used to novels and other long-form fiction, but 27 pages is actually pretty long for a comic book issue. If that seems a bit short to you, reading this later once the five issue run comes out might be more your ne? Good. Now, for the comic itself. You'd never know that C.S. Pacat or Joanna the Mad had never done a full length comic before, let alone a professional one. The quality is top-notch, surpassing industry stalwarts who have been in the game for years. This is a first issue, so by necessity of pacing, it's mostly setup. But it gives you a taste of the personalities involved, shows you the stakes and fleshes out the main character's motivation and background in a few deft images that are striking and as clear as can be. Now, with that done, I can't wait to find out what happens once it hits full speed in the second issue!
The storytelling and art are superb, five star quality--on par with Pacat and Johanna's other works. However like other reviewers, I had to take a point off for the length. 27 pages is painfully short. I read it in a commercial break. I seem to remember there is going to be six issues, with the option of more in the future (based on something Pacat said), however I feel it will be a struggle to get a satisfying story in just six issues if they are all this short.I suspect this is going to be a case of supply not being able to keep up with demand. I recommend everyone support the comic and buy all the editions so it can be a success and continue, however I am concerned we'll all become invested, only to be left out in the cold when the author, artist or publisher decide it's not generating enough interest to continue. I pray wholeheartedly I will be proved wrong and can give issue #109 a glowing 5 star review.
I've been eagerly awaiting this, so much so that even after ordering a physical comic and a variant cover comic of issue 1, I still couldn't wait and got the digital too, and it was worth it. I'm very excited to read more. I know almost nothing about fencing, but like Check, Please, I'm thinking this will teach me as we go. The two leads are both so intriguing and in completely different ways. I've always had a soft spot for poor but determined kids with talent, and Nicholas is exactly that. Likewise, I love mysterious, conceited types whose true personality you discover over time. Not to compare the two canons, but their first confrontation reminded me a lot of Kirk and Spock in the 2009 Trek film.
‘Fence’ is a new young adult comic series from Boom! Box, written by C.S. Pacat and illustrated by Johanna the Mad. It launched in November and only two issues have been released so far – but it is going to be a once-a-month schedule, with the first Volume of issues 1-5 due for July 2018 rst of all – Boom! Box (or, Boom Studios) is hella smart. They are the publisher behind what feels like a new wave of comic books – ones that are more diverse, inclusive and directly aimed at a young generation who weren’t previously swayed by the offerings of Marvel and DC. Boom is responsible for such groundbreaking and popular series as 'Giant Days', 'Goldie Vance', 'Misfit City' and perhaps most popular of all among certain fandom’s - 'Lumberjanes'.Boom are also part of a new era in comic books fusing with fiction writers like never before, and especially those who have appeal to younger (teen, mostly) readers – such as Rainbow Rowell partnering with First Second Books for a graphic novel called 'Pumpkinheads', to be illustrated by Faith Erin Hicks and releasing in m inviting C.S. Pacat to create her own YA comic book was a bold, and smart move. Given that Pacat didn’t launch her career (into the stratosphere!) with a YA series, rather her debut ‘Captive Prince’ trilogy was LGBT fantasy romance (some would say erotica, at times) that found a huge teen fanbase because it started life as an online serial of original fiction that went viral, before being acquired by traditional publisher Penguin Random House. In any case – Pacat’s series became huge, particularly in the ways it highlighted and proved young people’s craving for more LGBT stories across all her the reigns to develop her own comic series at the height of this popularity is pure genius – and it pays off (tenfold) in ‘Fence’. Set at the prestigious Kings Row boarding school and following a group of boys trying to come together as an elite fencing team to take out the top-ranked competitors. The series is focused on rivals, teammates and roommates Nicholas Cox and Seiji o issues in and this world already feels so full and vibrant (a testament to this is how it’s already impressively sparked Tumblr imaginations). There’s a huge focus on rivalries and love affairs, skeletons in the closet and backstabbing afoot. The series has echoes of 2001 film ‘Lost and Delirious’ for me, maybe with a little ‘One Tree Hill’ and a feel of something like ‘Kids on the Slope’ or ‘From Up on Poppy Hill‘ thrown in. But honestly, ‘Fence’ is so wholly original it’s hard to quite put your finger on all that it evokes. Except to say it’s building a wonderfully full cast of characters, based in a small student community and with so much room for drama and emotional action – I’m already salivating at the possibilities!Illustrations by Johanna the Mad make me crave this being turned into an animated-series, even though it would work equally well as live-action drama there’s just something about the art that sumptuously fits the whole unique story.If you haven’t already, do start collecting all the ‘Fence’ issues and jump on this series bandwagon – I guarantee that even these two issues will fuel your imagination for what’s to come, and if that’s the case you can easily tap into an already very full and vibrant fandom that’s emerged in the wake of its decadent genius.
It was so short. I could hardly even call it a chapter. It's set up like a sports manga, and I'm not sure how I feel about that. I was also not very impressed by the art which surprised me. I'll read the next book, but unless it's longer I don't see the story progessing
She has nice legs as well! Trouble Along the Way is directed by Michael Curtiz and collectively written by Melville Shavelson, Jack Rose, Douglas Morrow and Robert Hardy Andrews. It stars John Wayne, Donna Reed, Charles Coburn, Tom Tully, Sherry Jackson, Marie Windsor, Tom Helmore, Dabbs Greer and Leif Erickson. Music is by Max Steiner and cinematography by Archie Stout. A church run college faces closure so turns to one time football coach Steve Williams (Wayne) to coach their failing team. Steve is facing a custody battle to keep his young daughter so he accepts the position. Can he win his battles? He uses his cunning know how to hopefully do just that, but his methods on the pitch and off it aren't exactly conventional. Aside from the fact it is by definition a heart warmer, Trouble Along the Way has a lot going on. It pitches up with strong observations on single fatherhood, with Wayne's character having an interesting approach to life with his delightful daughter. It also gets in tight as to the role of a football coach, stripping bare educational advancements via sport. There's religious angles here as well, which although a touch heavy at times, they also make for an interesting thematic thread. Ultimately though, we want cheer, swagger, fun and love, and this has it in spades. Cast perfs are excellent, with Wayne's chemistry with both Reed and young Jackson an absolute treasure. Dialogue is sharp and funny, the court scenes especially providing laugh out loud moments, and of course the pic takes us exactly where we expect and want to go. A delightful comedy - cum romance - cum drama that escapes the threat of mawkishness with wit, intelligence and a big heart. 7/10