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Description
Look in the Mirror the addictive new thriller from the author of Something in the Water - Hard CoverSynopsis 'Addictive, thrilling, intoxicating' LISA JEWELL'An utter white knuckle ride of a plot' LUCY FOLEY'A must read' SARAH PEARSE<h4>In this paradise you won't like what you see . . . < h4>When Nina's father dies, she inherits a gleaming dream vacation home in a balmy tropical paradise one she had no idea existed. The house is extraordinary: state of the art, all glass and marble. How did her sensible father ever have enough money for this? And
Synopsis
'Addictive, thrilling, intoxicating' LISA JEWELL'An utter white-knuckle ride of a plot' LUCY FOLEY'A must-read' SARAH PEARSE<h4>In this paradise you won't like what you see . . . </h4>When Nina's father dies, she inherits a gleaming dream vacation home in a balmy tropical paradise - one she had no idea existed. The house is extraordinary: state-of-the-art, all glass and marble. How did her sensible father ever have enough money for this? And why not tell her about it? Desperate to uncover why he hid such a big secret, she decides to visit. Maria, once an ambitious medical student, is now a nanny for the super-rich. The money's better, and so are the destinations - like this new assignment in the British Virgin Islands. But when her wards never show, Maria begins to make herself at home, spending her days luxuriating by the pool. There's just one rule: Don't go in the basement. But her curiosity might just get the better of her. And soon, she'll wish her only worry was not getting paid.As both women's timelines intertwine, dark secrets start to unravel and one thing quickly becomes clear - nothing could have prepared them for what they are about to encounter.'Sinister, stylish and shocking' CHRIS WHITAKER'It will leave you breathless' JANE FALLON'A seductive, expertly plotted page-turner' LOUISE CANDLISH'This book has it all. Irresistible!' WILL DEAN'Smart and spinge-tingling' HARRIET WALKER'Engaging, twisty and highly original' PETER JAMES'Utterly compelling, twisted and original' LUCY CLARKE'An astonishing adrenaline rush of a novel' DANIELLE TRUSSONI'Hypnotic and pulse-pounding . . . a dazzling puzzle-box of a thriller' ANDREA BARTZREADERS LOVE CATHERINE STEADMAN***** 'Love, love, love this book' ***** 'Can't wait for her next one'***** 'Literally couldn't put it down' ***** 'Absolutely gripping' ***** 'So many twists and turns'
About The Author
Catherine Steadman is a New York Times bestselling author, screenwriter & actress based in London. Her first novel, Something in the Water, was a New York Times bestseller, a Reese's Book Club pick and a Richard & Judy Book Club pick with rights sold in more than thirty territories. She is also the author of Mr Nobody, The Disappearing Act and The Family Game.
This is a hard cover version.
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4.5 ★★★★★
Based on 9 reviews
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★★★★★ 5
Ruthless, nail-biting action thriller from "Exorcist" director William Friedkin.
BOTTOM LINE: If you enjoy tension & suspense then you'll be hard-pressed to find a better experience than SORCERER. I loved it and feel it has a high replay value that offsets the discouraging lack of bonus features. 5 STARS
THE STORY: Four shady criminals from various countries are on the run from trouble. Each eventually ends up in the desolate backwards village of Vera Cruz, deep in the South American jungle. Arriving there illegally, none of the strangers possess proper documentation with which to leave once the heat is off. They are trapped, and the only work in the village is at a nearby oil drilling site. When saboteurs blow the rig up the oil company must quickly put it out & recap the well, to maintain its profitability. The explosives needed to blow out the raging fire are stored at the company headquarters - some 200 miles away. Complicating matters further, the TNT has become dangerously unstable due to improper storage conditions, so it cannot be flown to the site but must instead be delivered overland by truck. Knowing the danger, the company agrees to pay $10,000 each for drivers willing to tackle the high risk job. Desperate to earn the much-needed money with which to buy their way to freedom, all four criminals volunteer. Though in essence a suicide mission, each man has no choice if he hopes to leave the village and get on with his life. Who will make it?
THOUGHTS: Released a week after the first STAR WARS, and sadly lost in the shuffle, SORCERER is a terrific film. Maybe director William Friedkin's very best. Yes, it is a thinly-veiled re-working of the classic French thriller THE WAGES OF FEAR but don't let that deter you. In many ways Friedkin's adaption is superior. JAWS alumni Roy Scheider is terrific here as a seedy driver for a mob hit gone terribly wrong and the other actors are equally adept in their roles. SORCERER is beautifully photographed and tightly edited for maximum tension. Completely done practically and on actual locations, (being shot back before the advent of CGI and wirework), the action set pieces are among THE MOST intense & nerve-wracking I have EVER seen on film. Period. The rope bridge scene? Two words: Holy crap. I was literally on the edge of my seat throughout the entire sequence, my heart thumping and my hands clutching the arms of my chair in a death grip. If this scene doesn't make you break out in a cold sweat and get your pulse pounding then you might want to check with your doctor because you're probably dead. This sequence alone makes the purchase of SORCERER completely justified. I feel the first half of the film could have been tightened up some, as it spends the first 45 minutes or so setting everything up, but taking it for what it is it's worth the wait because the last half will have you gasping in disbelief, jumping in your seat and chewing your nails right down to the first knuckle. Simply great stuff. I only regret that I hadn't discovered SORCERER before now, but what a fantastic find.
THE BLU-RAY: In a word... magnificent. The remaster for SORCERER is an audio & visual triumph. This is THE version to own. While sadly lacking in extras, the hi-def film transfer looks so impressive that I am more than willing to overlook the bonus shortcomings. The Blu comes packaged in a sort of mini book binding that sports a brief excerpt from William Friedkin's autobiography, detailing his work on the film and his feelings about its new lease on life with this Blu-ray. I've never been much of a fan of the director himself because he's always come across like a snobby, pompous, egotistical ass. Surprisingly, he acknowledges this fault and describes how it lead to his eventual downfall in Hollywood. But I cannot deny that he's made a few really good films during his career.
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Reviewed in the United States on January 30, 2016
★★★★★ 5
A Perfect Film
It has been a long time since I have been so surprised by a film; I can remember hearing about it when I was a kid, but like so many others at the time, 'Star Wars' was my childhood obsession. That a being said, I also have to say that this movie is generally timeless; with the exception of the cars and the music sometimes(still an excellent score by Tangerine Dream...), there is nothing that falls to the side as 'dated'. The country the 4 men flee to is just miserable, and probably looks the same now as it did then...just behind the times in so many ways.
The set up of the 4 men starts things off with bang--literally. The scenarios are very different for each individual, but each equally satisfying. There is an excellent church robbery scenario that rounds things off with Roy Scheider, which includes a trademark Friedkin vehicle sequence(which--like many other scenes in this film--comes with a surprising jolt and a direction you didn't see coming...). Each backdrop story could pretty much provide for a film of it's own. Scheider is excellent, and this film reminds me why I was always a big fan of his. That being said, the other acting is all just right on the money as well; you can feel both their desperation and sweat, and sympathize with every stumbling block they encounter along the way. From the corrupt cops to the bandits they meet on the road(a favorite scene of mine in any movie...), you are thrown generally everything in the book as far as a crime/thriller movie go. And in this case it is all successful. There were more than a dozen scenes that hold up to or outshine anything that has been put out in the last 10 years to me. It is a reminder of the skill behind this project across the board, and the booklet with the blu-ray is really enjoyable to read, especially after seeing the film, as it fills in some curious questions about how certain things were done, and the difficulties the production encountered.
The look of the film is breathtaking at times; all of the camera shots of the landscapes, kids, animals, elderly soda vendors, and crowded village streets are very candid and realistic. While the plot is somewhat simple, the intensity and driving force behind the 4 men is unforgettable; and while they are all different in their ideals, beliefs, and character, they all manage to somehow come together by fate to carry out the one thing that could save them from a life of poverty or consequence by law. And everyone meets some kind of fate you don't see coming.
I have always loved Friedkin's work, especially when he delves into the darker side of mankind; However, this is the 1st movie in quite some time that has jumped into my top 5 favorite movies. It again reminds me how people w/talent to burn make timeless work, period. I am so happy that Friedkin was able to get this released as he saw fit, and it truly is a gift to those who like him, the genre, the actors, and the feel of such a film...
There is humor and philosophy throughout the film here and there as well; the screenplay is top notch, and the dialog is fascinating; it is one of the films you watch where you are never reminded it's a film. You get wrapped up in it, and do a lot of replaying certain sequences over and over. While the 'bridge scene' is the most famously known sequence in the film, there are countless others that are certainly equal, although the bridge scene is a pure nail biter(not to mention technical feat, as further explained in the booklet...).
The use of sound is also pretty incredible, especially coupled with the visuals; from the sounds of several surprise explosions, to the sound of the knife blade being flipped out, this film uses sound as a performance of it's own; it supplies a huge/equal part of the overall canvass and to feeling like you are there in particular a situation, not to mention hearing things as they actually probably would be heard; the sound is never overdone for the situation, and always effective. The creaking wood and rushing water of the bridge scene is a great example. Also, while the dialog is considerably less than in most movies, it is always very well written, realistic, and just another positive strength; but even when there is no dialog, and just simply sound and the expressions on the characters faces, it more than serves the point trying to be made. The character hit-man Nilo has very few lines, yet his character and performance are equally strong as anyone's here. The small visual details work in the same way the sounds ones do, such as the soldier accepting a bribe by scraping the money to himself with a fly swatter, the bar tender wiping off Roy Schieder's silverwear on his own shirt before passing them to him, to the cop popping open a Coke bottle with the cocked barrel of his gun...all small examples of going that little extra bit to make something potentially average something more. And these types of moments and details are throughout the film. A favorite to me is in the church scene in the beginning of the film where the priest mentions to the happy couple something to the effect of 'not being obsessed with material things', and you can see the groom roll his eyes, all while his bride with the black eye stands next to him(they show a close-up of her when the priest say he hopes their marriage is filled with blessings, but she still didn't look too happy to be there...).
Mr. Friedkin wanted this to be his 'magnum opus', and I think he well succeeded. It really does still outshine so many films and the people involved that exist nowadays; Like Stanley Kubrick and John Huston, I can see the obsessive side Friedkin had to create something unforgettable no matter how much time or money it took; it is quite a risk, and sadly one that doesn't always pay off; but it is an effort that is well appreciated, and something not as many filmmakers take on nowadays.
As far as it being considered a remake, I would have to say this is no more a remake than something like Herzog's 'Bad Lieutenant: Port of Call, New Orleans' was of the original 'Bad Lieutenant' film; some of the story elements are similar, but a lot of those elements are taken to new and different places with all the people involved with the production; and while 'Sorcerer' gets it's story foundation from both a novel and a film, you can see them much more as an influence, and not the basis. It is more the taking of a loose idea and making it to all your own, not an imitation of it.
I have watched this 6 times since it came out, and it still seems to expose a new layer or understanding each time, not to mention the brilliance of so many scenes that capture the moment spot-on. This film is pure genius to me, and the surprise release on blu-ray has made my month. It is a piece of work that warrants all the 5 star reviews it has gotten, and Mr. Friedkin should be more than proud of this piece of work.
I hope it reaches the full audience it deserves now, esp in the blu-ray format. I think it will.
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Reviewed in the United States on April 30, 2014
★★★★★ 5
The finest hour of William Friedkin
William Friedkin was undoubtedly one of the 1970s greatest and most influential directors. He only made 3 pictures during the decade, but all are landmark films. The first was The French Connection (1971), the film that won him his best director Oscar & the film won best picture. His next film, The Exorcist (1973) is probably his most famous/infamous & and it’s the only movie that’s still a truly terrifying experience, something to endure as much as to watch almost lol. Sorcerer (1977) was his 3rd and final film of the decade, and in spite of or perhaps even because of how it was a largely forgotten film for so long (after seeing it on cable nearly 30 years ago, it was a movie I simply could not track down until the release of this Blu-Ray) I really think in so many ways it ranks right along aside his first two 70s classics, and perhaps even surpasses those films in terms of pure audacity. The rope bridge scene is as intense as a set piece gets and is worth the price of admission all on its own, but the film as a whole is a clinic in lean, economical filmmaking. And the score by Tangerine Dream kicks serious a**. It might be because of his 70s trifecta Sorcerer is the only one that is still almost sort of like a “new film” too me, as I’ve only watched it maybe 3-4 times and have seen the other 2 dozens of times, but for my money Sorcerer is master filmmaker William Friedkin at the absolute peak of his powers.
MD2020 gives “Sorcerer” 5 out of 5 ⭐️s and says it’s a flawless action film and Friedkins best work.
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Reviewed in the United States on January 25, 2024
★★★★★ 4
A stylish, intimate remake of a French Classic
William Friedkin (The French Connection) brings us exotic locations and gripping story in Sorcerer, a remake of Henri-Georges Clouzot's 1953 thriller Wages of Fear.
The first hour of this movie seems to be comprised of random events involving four individuals that have absolutely nothing to do with each other. The only commonality is that they are all men of dubious character. Probably the most recognizable actor in this film is Roy Schieder, who plays a low level New York gangster participate in a robbery that goes bad, and forces him to flee the country due to the fact he managed to step on some pretty well connected toes. The second man, a French businessman, escapes from the threat of prosecution due to some shady business dealings. The third man, a Middle Eastern terrorist flees his captors after being caught participating in a bombing, and the fourth man is a shady assassin type apparently on the run from repercussion from his last hit.
The key is all four men end up in a South American rat-infested stink hole of a town called Vera Cruz. After awhile, they find their sanctuary has become more of a prison and all begin a desperate search for a way out, but that involves money, a commodity that's in short supply, with the only work available in the area is provided by an oil company that runs a well and is building a pipeline for the bubbling crude. Dangerous work, and the pay is so low that it would take years to earn enough to leave. Salvation for the men comes in a catastrophic disaster, an explosion damaging the well and causing the oil to burn.
The only way to close the well proper for repairs is to blow it up, and the only explosives available are 200 miles away. Turns out the explosives, sticks of nitro, haven't been tended very well, and, in turn, are highly unstable. The company decides to hire four men to drive two trucks to carry the dangerous materials through 200 miles of dangerous jungle, including prehistoric rope and wood bridges, treacherous mountain passes, deadly bandits and swampy roads laden with fallen trees. The suicide mission draws the four men, as the money would allow them to escape the oppressive town. The most intense scenes for me involved the men trying to traverse a rickety, rotting wooden rope suspension bridge over a raging river during a heavy rainstorm. There were times when the truck on the bridge was at such an angle, I thought it would flip right off. And all the actors performed most all their own stunts, adding to the realism of the movie. Do they make it? See the movie and find out. I especially liked the very end. A very nice touch that reminded me of an ending of a certain Alfred Hitchcock movie. Which one? I won't say, as it would give it away.
The movie runs just under two hours, and I would highly recommend it to anyone. Friedkin and the actors do a wonderful job in developing tensions between the characters and the environment and the between the characters themselves. The pacing is a bit slow, but it's deliberate, cranking the suspense up, notch by grueling notch.
There are sparse special features, including pretty thorough productions notes and a trailer. If you enjoy thrilling adventure, you will most likely like this movie. I would have happily given this movie five stars but it is only available in the full screen format. Something I didn't understand is the title for the movie. I wasn't able to figure out what it had to do with the movie....
Cookieman108
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Reviewed in the United States on December 15, 2003
★★★★★ 5
Forgotten Classic
Sorcerer (1977) is, for the most part, a forgotten classic. First the forgotten: this film got kicked around by moviegoers when first released, probably because the title is misleading (nothing to do with fantasy), and they probably weren't in the mood for this film due to the sudden stratospheric success of another film that debuted at the same time (Star Wars). With Star Wars cementing the advent of the summer blockbuster, suddenly moviegoers wanted stuff more on the surface and eye candy for good measure. As a result, Sorcerer never got its footing, and was a major box office failure. If this film had debuted just a few years earlier, it would've done well, because it would've fit in with the other films of the time. The truth is that Sorcerer is an adaptation (not a remake) of The Wages of Fear from 1953. Now the classic: Sorcerer has since generated the respect it deserves, and is one of the best films of the 1970's. This film has it all: action, suspense, breathtaking and iconic scenes (the bridge scene being one), organic acting and a sort of 'raw' feel in terms of a lot of the settings; dwellings are dilapidated, and the machinery rusty. Even the actors are dirty, sweaty, and have visible wounds throughout the film. I particularly like the restraint on the dialogue, as Friedkin chooses to tell the story more in a visual sense. I also like the uniqueness of the characters being kept at a distance from the audience; this makes them sort of mysterious and seems to work in this film. This film was a very ambitious project, one that has been rewarded with the passage of time (thankfully). The care that went into many scenes and accompanying special effects are obvious, and first rate. Overall, Sorcerer is a must-see. This blu ray has excellent picture and sound quality, so it was worth the wait in that regard. One last thing: it's extremely rare for a blu ray disc to not include any special features; in the case of Sorcerer, it's unfortunately true. Perhaps this fact tells us just how much of a beating this film took over the years. I guess we should feel grateful that it has even made it onto blu ray.
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Reviewed in the United States on March 25, 2017