Thirty years ago there was a victim. A victim of unbearably cruel actions who never saw justice. Now there's a serial killer on the loose.
DCI Jack Hawksworth doesn't know any of this when he is assigned the case. Jack is young for his rank and good-looking which makes him interesting to the media. He's also the subject of considerable interest and speculation amongst his female colleagues which doesn't help.
In separate parts of England two bodies have been found - both of them horribly mutilated, ritually humiliated... but strangely, it seems, most of the worst of the atrocities are committed after the men were heavily drugged. Aside from the method, which indicates a single killer, there's precious little obvious connection between these two victims, and Scotland Yard is called in to take over the investigation. DCI Jack Hawksworth is put in charge of the investigation, despite an horrendous outcome in his last case. He puts together a team of investigators - many of whom he has worked with before. DI Kate Carter is smart, ambitious, attractive and excited to be included in that team. Sure she has always found herself attracted to Hawk, but they have worked together before, and she's now engaged and planning her wedding. Surely they can work together. Meanwhile the killer they seek is after vengeance for crimes past and it is not until Hawk and his team can work that out, that they have a chance of stopping the deaths.
BYE BYE BABY is the first crime novel by well-known Australian Fantasy author Fiona McIntosh, which makes the reading of this supposedly debut novel make a lot more sense. There's an aplomb about the structure of the story and accomplishment to the writing that can sometimes be less obvious in a debut novel. There's also some elements in BYE BYE BABY that did stand out as the mark of a debut crime novelist. This dichotomy makes reviewing this book quite a challenge. There's a bit of tweaking of common crime fiction cliches in BYE BYE BABY. Jack Hawksworth is the gorgeous, much coveted DCI - haunted by romantic attachments in the past and the death of a policeman in his last case - these events still threaten his career. He is counseled by his senior officers to take care in his relationships with his new team - especially put together to track down this killer. Kate Carter is attractive in her own right, but she's finding herself questioning her own marriage plans and increasingly feeling attracted to Jack and cannot control jealous reactions when he is encouraging of the younger, female DS in their team. There's also the source of the original crime - the event that triggered this killer's reactions and the killer themselves. Suffice to say there's a twist in there that you can see coming pretty early in the book. There are quite a few elements to the plot that are revealed to the reader much earlier than the police come across the detail which sort of gives the reader a bit of a pantomime feeling - you sort of find yourself wanting to yell "he's behind you" - or the literary equivalent at points throughout the book. There is also some interesting characterisations going on - there are points in this book that I sincerely disliked every single person - police, victims, killer, families and all. There were other points when it was possible to empathise, to understand - but most of the time you weren't too sure whose side you were on.
What's really interesting was that you'd think that some the clunky plot elements, some of the romantic tension, the angst over personal lives, the almost voyeuristic feeling that the reader has in knowing what's going on a long time before the police work it out - would detract considerably from the book. But it doesn't totally turn you off. The aplomb of the writing, the tension of the story and the plot, the compassion you can feel for the killer keeps the reader occupied and engaged and just ever so slightly conflicted about what is really justice. The final twist ending was, to tell the truth, hard to decide on. Was it intriguing, and in a strange way, a form of ultimate justice, or was it a convenient cop-out - a desire by the author to throw that final massive twist the reader's way. It's one of those endings that some readers are going to hate, and others are going to like.
FRANTIC - Katherine Howell
Sophie Phillips is a paramedic based in the central Sydney area. Her husband, Chris, is a police officer. Both are besotted with their ten month old son, Lachlan. Life is perfect for Sophie until Chris is seriously assaulted one night while on duty. He hasn’t been the same since. He’s become introspective and short-tempered and Sophie is beginning to worry about whether their marriage has a future.
Sophie Phillips is a paramedic and her husband Chris is a cop. When Sophie and her paramedic partner are called to a premature labour case, the results of the early labour are tragic, and despite Sophie and Mick being very sure they have done the right thing, the baby's father - Boyd Sawyer is grief stricken and irrational - and he goes out of his way to threaten Sophie and Mick. Meanwhile Sophie and Chris's previously happy marriage has been fading recently. Chris was badly assaulted during a recent arrest and ever since then he's been increasingly moody and distant. Whilst all of this is going on, there is a band of armed robbers raiding banks throughout Sydney and they are becoming increasingly violent, with the latest raid a bank guard is shot dead.
How would you cope if you're doing your job, and things go desperately wrong. If you're suddenly threatened, how would you react when your own ten-month-old son Lachlan is kidnapped from your house and your husband is shot in the head - lucky to be still alive. Would you blame yourself and wonder if those threats are behind your son's disappearance? Would you blame your husband who has been acting oddly, and with the stench of police corruption all around you? Worse still, would both of you be able to sort out your own fears and guilt and work together to find your son?
FRANTIC takes the reader down some unexpected pathways. For a start there's a police procedural element with Detective Ella Marconi working on trying to find baby Lachlan with the police team assigned to the case. But equally in the readers focus is the experience of the paramedic within the confines of a crime, accident or simply human misadventure or misery. Sophie's own reactions to the kidnapping of her son, her own pursuit, her frantic (hence the name of the novel) attempts to find her boy, to deal with the shooting of her husband, to cope with her guilt are stark and well drawn. She thinks the most likely kidnapper for her son is the father from the earlier, disastrous ambulance call-out. She's also feeling very guilty about a one night stand with the man that she's turned to for help in finding Lachlan - her husband Chris's police partner Angus. Chris is dealing with his own feelings of guilt - he wakes up in hospital after surgery to remove a bullet from his head, and he is worried, very very worried, that the reason for Lachlan's kidnapping is connected to something corrupt in the police force that he knows a lot more about than he's let on.
The author of FRANTIC is a paramedic herself, and that perspective of a crime scene, an accident scene, an investigation is very unique - and it's written in a very accessible manner. It brings a refreshing perspective from the participants, at the same time that FRANTIC covers the reaction of a family or victim to the events that surround that crime. And there's definitely a distinct feeling of frenzy about FRANTIC. The pace of the book starts from page one and it doesn't let up until the end - mirroring the life of a paramedic firstly where they move case by case at breakneck speed, then the reaction of a frantic mother, desperate to find her son, unable to sit and wait.
Combine the unusual and well handled perspective of the paramedic, with a fast paced, tightly told thriller, and a brave and well executed finale to the story and FRANTIC was a great book - you know you're onto something good when you start a book on Saturday afternoon, finish it on Sunday night and feel somewhat disappointed that the next book - PANIC - won't be available until 2008.
VODKA DOESN'T FREEZE - Leah Giarratano
When a middle-aged man is brutally murdered in the dunes overlooking a children's pool, it's immediately clear to Sergeant Jill Jackson that this was no ordinary victim: someone has stopped a dangerous paeodophile in his tracks. Knowing first-hand the impact of such men on their prey, Jill is ambivalent about pursing the killer, but when more men die - all known to the police as child sex offenders - she is forced to face the fact that a serial killer is on the loose.
Nobody could possibly call reading VODKA DOESN'T FREEZE a pleasure - it's an absolutely heartbreaking and very discomforting book. The author is a trauma psychologist who works with victims, and victims are very much the focus of VODKA DOESN'T FREEZE.
A young girl, victim of sexual abuse kills herself. Her psychologist Mercy treats patients who have suffered trauma, but Mercy seems to be very close to breaking in her own right. A middle-aged man is beaten to death in his hiding spot in the scrub, overlooking a children's pool. This is not a victim for whom anybody feels much compassion - a paedophile who, it turns out, has connections to a major paedophile ring. The main investigator on the case, Sargeant Jill Jackson daily fights her own demons, the legacy of being kidnapped and repeatedly raped by paeodophiles as a young girl, she manages her ongoing trauma via a series of her own obsessions - exercise, control of her environment, 100% concentration. Soon Jill, and her partner Scotty, have more murders to solve - but the victims are all paeodophiles and really - does anybody care? As the investigation continues, a ring of paedophiles, many of them successful businessmen, leaders and the privileged in society, is revealed and Jill's own past is brought more and more into the present.
There is absolutely no doubt that the central theme of this book is the damage that is done by sexual abuse. The author has provided a dense, complex concentration on human damage and the ways that various victims try to cope with their own lives - VODKA DOESN'T FREEZE is a harrowing book because of it. All of the central characters of this book have been damaged, hurt, are struggling to cope with their pasts, the methods that they choose to cope starkly drawn and discomfortingly believable. There are some parts of this book that many readers will find distressing, the grooming of young children, the kidnap of a young boy....
This harrowing and detailed concentration on the victim is what could make VODKA DOESN'T FREEZE potentially difficult for the average reader. The damage and suffering of the victims is undoubted, the experience of the psychologist and other support personnel who work to help these people must be appalling, but the concentration on the abuse itself made the plot of the murder disappear and VODKA DOESN'T FREEZE became less of a crime fiction book and more an analysis of the affects of crime on a victim. Sometimes the shape shifting of expectation in a category - such as crime fiction - is a good thing, it can refresh, provide the reader with a different viewpoint, a different consideration, challenge the readers expectations and drag you out of your comfort zone to consider the unconsidered. VODKA DOESN'T FREEZE is perhaps too heavy handed, too harrowing, too hard, too peopled with damage and suffering, too distressing for many readers, which would be a pity as the message is obviously important. There is a second book in the works, and I'll be reading that one as well when it comes out, as there is something being said by this author.
THE DEAD POOL - Sue Walker
Kirstin Rutherford returns to Edinburgh after two years. Five months ago her beloved father-in-law Jamie drowned in The Cauldron - a deep pool in the Water of Leith, only nobody had told Kirstin. Divorced from Ross, she finds that Ross has not told her about Jamie's death or his funeral for some strange reason. Even more distressing than not being told, it seems that everyone thinks that Jamie's death was either a tragic accident or suicide, but Kirstin refuses to believe that the man she knew could possibly have committed suicide. Ross is not so sure, positive his father had changed in the months before his death.
The only person who may know the truth is Morag. In the months before Jamie's death he had been working as a volunteer river guide and self-appointed park ranger, and Morag and her crowd of friends were residents along the same part of the river. Their activities - parties, games, drinking and playing hard on the banks of the river had brought them into direct confrontation with Jamie. Despite all his best efforts he wasn't able to curb their behaviour, but when two of that crowd are murdered at the Cauldron - just a few months before Jamie's own death, Morag is accused but finally released from jail due to lack of evidence. Convinced Morag is the key to the truth behind Jamie's death, Kirstin befriends her, but Kirstin soon discovers that Morag is unpredictable to say the least.
According to the bio that came with THE DEAD POOL, Sue Walker is a journalist who has specialised in miscarriage of justice cases and THE DEAD POOL follows that vein of investigation - the testing of evidence and events around the death of all three people - the two murder victims and Kirstin's father-in-law. The author is obviously deeply interested in the subject of how people can seem to be guilty of things even though there is very little actual fact behind the perception. THE DEAD POOL covers the question of whether or not Morag is guilty and if not, who else could possibly be involved. The question of Jamie's death is central to Kirstin's obsession, she desperately wants to understand what happened to her much loved father-in-law, both before he died and how he died.
The other interesting component of THE DEAD POOL was the author's choice to populate the book with a lot of difficult characters. Those of the crowd in which Morag mixed that were still around were mostly unpleasant, over the top, self-involved. This gave an interesting twist to their possible involvement in any of the deaths as even Morag was very hard to sympathise with or even like for that matter. Jamie's son Ross seems almost too good to be true, and a weird sort of user, an uncomfortable character to be around, whilst Kirstin, the central character of the book, was equally disconcerting in many ways. Ultimately the true killer wasn't that hard to pick fairly early on, and whilst a number of the side considerations of possible motives or the vague possibility of collaboration were dangled at points, the resolution with a little bit too much rushing around in the rain without the much longed for mobile telephone gave the book a bit of a flat ending.
THE LAST TESTAMENT - Sam Bourne
The blurb for THE LAST TESTAMENT reads along the lines of "The Biggest Challenger to Dan Brown's Crown" and "A brilliant new high-concept religious conspiracy theory thriller", which might put some readers off, or at the very least set you up with some pre-conceived conceptions about the book. Ignore all of that and you'll be getting a fast paced, believable thriller which sets itself within a current day conflict in a very realistic manner.
In the dying days of the regime in Iraq, the Baghdad Museum of Antiquities is looted. A young boy takes an ancient clay tablet, hidden away in a forgotten vault.
At a rally for the signing of an historical peace agreement between Israel and the Palestinians, Israeli security forces shoot dead a Jewish man, pushing his way through the crowd towards the Israeli Prime Minister. Instead of a gun, the man they thought was an assassin held a blood-stained note, addressed to his old friend the Prime Minister.
The peace negotiations falter as a series of tit for tat killings start up in both the Palestinian and Jewish territories. Washington takes the rather unusual step of calling in once star negotiator Maggie Costello, despite the fact that her last involvement in official negotiation ended in semi-disgrace. Costello arrives in Jerusalem and is instantly plunged into a mystery rooted in the last unsolved riddle of the Bible, with extremists on both sides not afraid to kill and menace to push the negotiations in the direction that they want.
THE LAST TESTAMENT is a thriller with a certain level of suspension of disbelief required from the start. Early on the reader is really wondering why on earth Maggie would be called back to work as a negotiator - her personal life and her previous entanglements in other negotiations would seem to make her a bit of a liability! On the other hand, when she arrives in Jerusalem and basically heads off out of the negotiation arena, on her own private quest to solve a riddle, you're really wondering what on earth is going on for a while. But, ultimately, if the test of a good thriller is whether or not you're more than happy to let some of the niggling inconsistencies roll whilst the story drags you along, then THE LAST TESTAMENT delivers in spades.
Sure there's a premise at the base of THE LAST TESTAMENT that has the potential to cause religious debate and maybe even controversy, making it another potential entrant in the "stirring up religious debate" category of thrillers that have been doing the rounds recently. Whether or not that's a category of book that suits you will be very dependent on each individual reader.
Maggie's not a bad character - she's a bit flawed, a bit insecure, a bit useless when it comes to sorting out her own life - but she knows it and she's not self-pitying about it. The other main character, Uri - son of the murdered suspected assassin is a bit ethereal in the book - there's a little of his background, enough to flesh him out a bit, but not enough to ever really let the reader inside his head too far and that's a bit tantalising. There are some other secondary characters that are interesting, some that are perhaps a little too predictable, but they fit within the general persona of the novel and the location it is set in.
Where THE LAST TESTAMENT appealed was in the realistic feel of the location of the story, and the way that the events moved rapidly. There are some twists and turns at the end, some of which were predictable and some were not. Even the more predictable elements weren't bland though, there were some nice gotcha moments that gave them some spark and interest.
BROKEN SKIN - Stuart MacBride
There's something immensely satisfying about reading a book that tackles some very tricky subject matter head-on, with enough of the gory details to illustrate rather than titivate and just the right level of gallows humour. BROKEN SKIN is the third book featuring DS Logan McRae and it's as good as the first two.
It's February and it's raining again. McRae is on DI Steel's team and they are most definitely not at home to her favourite term for a complete disaster, particularly as DI Insch is well on the outer. There's also an awful lot going on. There's a vicious, nasty and cruel rapist - slicing up his victim's faces with a knife, but while PC Jackie Watson is taking that particular investigation very very personally, in the early morning, the blood-drenched, horribly injured body of a man is dumped outside A&E at the local hospital. There's also a massive upswing in burglaries and a major drug investigation.
The dead man is only identified when one of the PC Rickard says that he's recognised a distinctive tattoo in explicit sex films that could be connected to the death. Unfortunately for his sense of gravitas, Rickard also seems to have very direct connections to the local bondage community and, from the victim's injuries, it's very likely so did he.
Most of the characters from MacBride's two earlier books, Cold Granite and Dying Light are back - all behaving very much to type and all getting in each other's road and up each other's noses in equal measure. The twist in the focus for this book is that both DI's have equal exposure, they are both forefront and not liking each other's presence one little bit. McRae and Watson's personal relationship is ongoing but is, in a beautiful touch, going nowhere happily. All the other members of the investigation team endure just the right amount of success, failure and merciless ribbing.
As well as those characters, the taut storytelling in BROKEN SKIN carries you along the manic multiple threads, with a really realistic feeling of a cold, wet, miserable city full of cold, wet and miserable criminals and equally cold, wet and miserable police officers. The humour is again dark, savage and thoroughly engaging - DI Steel has got to be one of the all time great offensive women, and this reader in particular, thinks she's marvellous.
Being the third book in the series, the characters are now very well established. Reading the first two books will certainly give you the background for many of the relationships and the antagonisms. Whilst that will definitely help with some of the minor threads going on, it's probably not 100% necessary, particularly if you are the sort of reader that can just accept that there's some tension and not want the details of what lead to that.
If you're a fan of the no holds barred, character driven Police Procedural, then you should definitely read BROKEN SKIN and both earlier books if they've somehow passed you by. Gruesome subject matter delivered with deftness is the mark of this author's books. Savage, dry humour is the other common factor. Logan McRae's one of those characters that you certainly wouldn't want to work with - the pace that this book maintains would kill a normal human being - but he's the sort of character you'd like to have a beer with, provided you could handle the quantities.
SUCKED IN - Shane Maloney
Now pushing fifty, Murray Whelan is spinning his wheels in parliament - a toothless cog in Labor's stalled political machine.
I happily went out earlier this week and bought a copy of Sucked In and it took me roughly one day to finish it - and that was an unfair delay - I could have sat down and read it in one sitting. Needless to say the 6th book in the Murray Whelan series (for which we've all been waiting an absolute age), lives up to the expectations of the long wait!
Murray is older, slightly wiser and just that little bit more cunning. A member of the Upper House of the Victorian Parliament, he and a number of other "pollies" are "doing the rounds" in Country Victoria, when Murray's long time mentor and friend, Charlie Talbot, dies from a heart attack in the middle of the dining room of the Grand Hotel in Mildura.
It's an interesting coincidence that the day before Charlie's untimely demise, the remains of (allegedly) a long-lost union official are discovered in the mud of drought stressed Lake Nillahcootie. Merv Cutlett had gone overboard from a fishing boat during a trip to the Union "Shack" on the banks of the Lake many years before with Charlie and other union luminaries including (now) Senator Barry Quinlan.
All of this is of slight interest to Murray, up to his elbows in Labor Party machinations over pre-selection for Charlie's very safe seat in Federal Parliament. When a well-known local journalist starts to hear rumours about Merv's cause of death, and these rumours trickle through to the power brokers in the Labor Party, pre-selection battles now have to fight for attention with a bit of very overdue Union "housekeeping". All of this whilst Murray tries to teach Red how to drive, resurrect his slumbering love life, extract himself from a risky sex life, learn Greek and finagle himself into something resembling re-charged enthusiasm for the "Cause".
A slightly older Murray Whelan is something that causes pause for consideration - how long can he keep up these gymnastics - both mental and physical! But aside from that sneaking concern, SUCKED IN really delivers on a number of fronts. The "investigation" of the death weaves it's way in and out of the ongoing business of being a Politician in pre-Millennium Victoria, in a Labor Party struggling to hold a caucus meeting that would stretch the accommodations of a telephone booth. There's something really realistic about the way that things just roll along, balanced delicately on the edge of the precipice - with a lot of day to day darting around just trying to keep ahead. The political swipes are, as always, hilarious. That slightly jaundiced, True Believer view of the political system that Maloney specialises in has a particularly accuracy in SUCKED IN that you just can't help but roll around in laughter with. There are also more than just a few characters in SUCKED IN that you can pick out of the local crowd. But again, regardless of the "spot who that is" games that we locals can play, SUCKED IN is going to appeal to lots of readers, regardless of where they come from. A touch of humour, a touch of poignancy, a bloke who eventually sort of gets his man, and looks like he might just have a vague chance of getting the girl, and overall you've got one entertaining reading ride.
AMONGST THE DEAD - Robert Gott
Failed Shakesperean actor and would-be private investigator Will Power's unique detective skills are, once again, in demand. The Japanese army is rampaging through the islands of the South Pacific and Australia's front line of defence is a top-secret, crack division of men embedded deep in the tropical wilderness of northern Australia. But something is threatening their vital, covert mission: one of this elite corps is a murderer, preying on his comrades, one by one.
AMONGST THE DEAD is the third novel in Robert Gott's William Power series. William is an "aspirational" but failed Shakespearean actor, turned Private Investigator who finds himself in very unusual circumstances in the Top End of Australia during World War II in AMONGST THE DEAD.
William and his brother Brian are called upon by Australian Military Intelligence to find out the truth behind the suspicious deaths in a crack, very secret squad. William, of course, thinks, that they need him for his superior powers of detection, and because they are to be infiltrated into the squad as part of an entertainment troupe. The North Australia Observer Unit (or Nackaroo's) are a small group of soldiers and their Aboriginal assistants who patrol the Top End of the country, watching for any sign of the Japanese invasion from the Islands of the South Pacific into the Australian Mainland. Intelligence believes that the deaths of three Nackaroo's were highly suspicious, but the level of secrecy of the NAOU means that they cannot trust the investigation to just anybody, and when it comes to somebody stroking his ego, William will volunteer for just about anything.
William is not sure if it helps or complicates the investigation when they discover their third brother - Fulton - is a member of the suspect squad. The inclusion of the entertainment troupe is further complicated by the fact that William's Shakespearean recitation is not exactly the entertainment most appreciated by the troops and that doesn't help William's overall mood, somewhat strained already by the persistent rain, mould, heat, mud, long days walking through the Top End bush, encounters with Crocodiles, Dengue Fever, and murder.
AMONGST THE DEAD has a lovely comic twist with William Power undoubtedly being one of the most over-developed "theatrical" egos doing the rounds. He is, unfortunately, also a bit of a twit, which means that his concept of solving the deaths of the soldiers and two more deaths in the squad after he and Brian arrive, seems to involve a lot of blundering around, an awful lot of shooting his mouth off at the most inappropriate times and an enormous chunk of the investigation feeling well sorry for himself. He also, alas, can't see the woods for the trees, and when he is ultimately accused of killing the two men who died after he arrived, rather than see the wood for what it is, he's too busy feeling righteously indignant followed by madly accusing everyone else around him, to really see what's going on.
Of course, the point of AMONGST THE DEAD is that William doesn't really solve anything - he's the method by which other people sort out a mess that has to be sorted out. But the book doesn't suffer at all from this variance from the norm in crime fiction - if anything it adds a different dimension. In William you have a "hero" that you can truly laugh at - that you just want to sidle up to and whisper "dear me, old chap, put down the Shakespeare script, have a peek over the chip on your shoulder and I suspect you'll see something to your advantage". Having said that - he's marvelously awful - you just can't disagree with Shane Maloney's quotation on the press release. "Literature has had its share of heroes, heroes of many kinds: classic heroes, super heroes, accidental heroes, flawed heroes, anti-heroes. And now, at last, it has a dickhead hero".
THE SACRED BONES - Michael Byrnes
THE SACRED BONES is another entry in the recently well-populated field of confrontational religious themed thrillers. When a well armed, well organised small group break through the walls of the mosque in the Temple Mount in Jerusalem they appear to have been very well informed. Blowing a hole in the wall in exactly the right place to reveal an unknown burial crypt, they move straight past a number of ossuaries taking only the one deepest in the chamber. Their escape, facilitated by a stolen Israeli helicopter, leaves Palestinians outraged over the desecration of sacred ground and Israeli's equally outraged over the deaths of thirteen soldiers during the resulting fire-fight.
In the meantime Italian anthropologist Giovanni Bersei and American geneticist Charlotte Hennesey have been summoned to Vatican City to analyse a mysterious archaeological treasure that could prove to be one of the greatest secrets, the ossuary contains a human skeleton, approximately 2,000 years old, obvious speared, obviously crucified. Forces within Vatican City are very troubled over the existence of the skeleton and the implications to the very foundations of belief.
Starting out reading THE SACRED BONES it was very very hard to shake the feeling that if you can manage to offend 3 major worldwide religions then you've got the possibility of a run away best seller. Fortunately the story helps a little in dispelling that fear as, frankly, there's some points of supposed scientific revelation in here that were impossible for this reader (no doctor / geneticist granted) to swallow. Maybe part of the reason for that was some credibility gaps for the main "experts", who seemed to ask questions and make statements that just didn't stack up, maybe part of the reason was that the story had elements that were just too way out to be feasible and hence, the book read as an outrageous over the top thriller.
And as an over the top thriller there were some really funny elements - two of the main characters in severe danger of dying in a hail of sniper bullets, and the scenes around the destruction of the car they were driving were laid out in such detail it was hilarious. The time it takes for the two experts to eventually have the discussion about "whose bones do you think they could be" - the reader can have a wonderful time playing "go on ... say it .. I dare you" games. The sinister security consultant for the Vatican "lurking" around in the shadows everywhere that Charlotte goes, who then conveniently leaves doors open for discoveries to be made. The much commented on loveliness of Charlotte - more homely geneticists obviously would not qualify for this particular task. The Irish (yes Irish) priest, with the murderous background who manages to kill a lurking, dangerous killer in the middle of Rome with seemingly nobody noticing. All great over the top stuff.
THE SACRED BONES might not make it as an entrant in the encouraging controversy stakes but for a totally over the top, really silly bit of light entertainment, it was good fun to play spot the cliché in.