2001 Cross Stitch Designs: The Essential Reference Book (”Better Homes & Gardens“) -
90cm square straw target mat and wooden stand. Ideal for pistol crossbows and low poundage recurve bows and leisure kits . Pin any paper target faces to it. Set consists of 1 ‘Garden Archery Target Stand’ and 1 ‘Garden Archery Target - 90cm’
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Readers of John Berendt’s bestselling novel, Midnight in the Garden of Good and Evil, were bound to be at least somewhat disappointed by this big-screen adaptation, but despite mixed reaction from critics and audiences, there’s still plenty to admire about director Clint Eastwood’s take on the material. Readers will surely miss the rich atmosphere and societal detail that Berendt brought to his “Savannah story,” and the movie can only scratch the surface of Georgian history, tradition and wealthy decadence underlying Berendt’s fact-based murder mystery. Still, Eastwood maintains an assured focus on the wonderful eccentrics of Savannah, most notably a gay Savannah antiques dealer (superbly played by Kevin Spacey), who may or may not have killed his friend and alleged lover (Jude Law). John Cusack plays the Town & Country journalist who arrives in Savannah to find much more than he bargained for–including the city’s legendary drag queen Lady Chablis (playing “herself”)–and John Lee Hancock’s smoothly adapted screenplay succeeds in bringing Berendt’s characters vividly to life with plenty of flavourful dialogue. –Jeff Shannon
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Customer Review: O.K
This film is ok though i did expect a little more as it does star the great actors John Cusack and Kevin Spacey. It takes a while to get into the film and it could of been made shorter as there is a bit in the middle which drags. But other then that a good story and is watchable.
Customer Review: Is it enough just to be beautiful?
John Berendt’s book, ‘Midnight in the Garden of Good and Evil’ was a stateside best seller which put the beautiful leafy haven of Savannah on the international map. It was only a matter of time before this dark, intriguing story of murder amongst friends in the Deep South was adapted for the screen. With wiley old cowboy Clint Eastwood on board as director, it’s no surprise to find that it plays out like a western, conceived in the stiffling Savannah heat. Eastwood uses long meandering shots to create the oppressive mood, while the gossamer thin plot is fleshed out by eccentric characters. The scene stealing Lady Chablis, an outspoken transvestite, and the seriously odd Luther Diggas, a man who attaches flies to his head on pieces of string, are both engaging enough, but they’re minor characters, and cannot possibly carry the film. The main story concerns journalist John Kelso (presumably Berendt’s alter ego) and his interest in wealthy socialite Jim Williams (Kevin Spacey). John Cusack provides a competant Kelso, but the character is almost too familiar. He appears to be nothing but a regurgitated, watered down version of Cusack’s hitman with a heart from Grosse Pointe Blank. Another torturous outing for the ordinary man in an extraordinary world - surely this is colour by numbers for Cusack? Spacey is even less convincing as Jim Williams. For a man so well known for his understated approach to acting, his nauseating Southern drawl comes across as laboured, and he strolls around the lavish sets like a man with far too much starch in his collar. This film certainly had the potential to be the vibrant pot-boiler of a drama that it was heralded as. When Jim Williams is found with a gun in his hand and his young gay lover lying dead on the floor, the court case that ensues should be full of suspense and drama. That it isn’t can be primarily put down to one thing. The literary inspiration behind the film is just too strong to allow it to stand alone. Cinematically, Midnight is very pretty to look at, but an over-reverential approach to the source material has created a shallow, timid film. Every scene, every character, every line screams out ‘based on the book’, and while the film could have given us drama and emotional insight, it chooses only to reflect the half-truths and hearsay already documented in the book. Savannah has become something of a tourist attraction for John Berendt’s fans, so as the film was shot on location there will no doubt be an eager audience satisfied just to see the place where the dirty deed was alleged to have happened. In this respect the film is certainly beautifully crafted, but sadly it serves little other purpose. All the eccentricity and anecdotes do not disguise the fact that it is a poor cousin to the book that inspired it, and sadly it is not always the case that interesting people make for interesting films. At one point Kelso describes Savannah as “Gone with the Wind on mescaline”. The truth of the film is it’s more like the bland dressed up as the beautiful.
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