Category: Books, Movies, TV & Web

 

by Harlan Coben

 

Just to give you an idea of how out of touch I am with bestseller lists, I had no clue who Harlan Coben was until movie adaptations of his books became a fixture on Netflix. I enjoyed the film version of The Stranger; some of the others, not so much.

Missing You is my first Coben book, and it’s easy to see why he’s so popular. He tells you just enough about his characters to generate interest in them, then pops them (and us) with a shocking surprise. And another, and another. Or, as the book’s blurb says, he’s the “master of the hook-and-twist.”

The protagonist of Missing You is a female cop who reminded me of Stephanie Plum, sans the goofy slapstick. A single woman with a messy love life, she’s also haunted by the murder of her cop-father. Oh yes, and she has an old flame who vanished without explanation 18 years previous. But now it seems he might be back.

The novel is fast-paced and peppered with sharp dialogue. The twists are frequent and not too implausible. Missing You is the perfect “beach read” — entertaining, but a bit shallow and forgettable.

 

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Influencer

 

Synopsis: When a social-media influencer’s boyfriend fails to join her on a trip to Thailand, she makes an ill-advised decision that leads to lies, betrayal, and murder.

 

I had high hopes for Influencer. The opening scenes make use of spectacular Thailand scenery. The plot shows the influence of two of my favorite films, All About Eve and The Talented Mr. Ripley. The villain is telegraphed from the start, but it’s fun watching this person smile, connive, and seduce his or her way into power. And the social-media angle is timely.

Alas and alack, alack and alas, the movie cannot, or will not, sustain a good thing. The last act devolves into either trailer-fodder or lazy screenwriting, take your pick. For some godawful reason, modern thrillers feel they must always wrap up with some sort of physical confrontation, often with a slight-figured young female handily outmuscling a healthy young man. Logic flies right out the window.

But I did enjoy the lead-up to Influencer’s absurd ending. And Thailand never looked better. Release: 2022  Grade: B

 

Cassandra Naud gives her ass all to the cause of ‘Influencer’

 

Would I watch it again? Only the shower scene pictured above.

 

© 2010-2025 grouchyeditor.com (text only)

 

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Until Dawn

Settle down, kids, no nudity in this movie

 

Until Dawn opens with an overhead drone shot looking down on a forest as a vehicle moves along a lonely road. Inside the car is a group of five young people: three girls and two guys. They stop at a gas station, where an older man at the cash register creeps out one of the girls. Seems somehow … familiar.

How many horror movies have opened this same way?

Sigh. That opening should have warned me about the rest of this film, in which our young heroes discover something is going to kill them. And kill them again. And again. You know, like in Groundhog Day or, more apropos of the genre, Happy Death Day.

The plot, such as it is, checks a number of woke boxes: The alpha male turns cowardly; the beta male turns heroic; the final girl has girl-boss attributes and no romantic interest in the boys — that would no doubt be too heteronormative. Instead, her main interest is her sister.

The movie is well produced, competently directed, and doesn’t embarrass any members of the cast. There are a few effective moments. Lots of jump scares, lots of gore. 

But how many times do we need to see this kind of crap?

Release: 2025  Grade: D

 

Would I watch it again? I had a difficult time watching it once.

 

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by Mary Higgins Clark

 

Clark’s debut novel has a decent premise. After her guilty verdict for the murder of her two children is overturned, a young widow flees California, changes her identity, and begins life anew in New England.  Seven years later, her new children also go missing. Guess who the cops consider their prime suspect.

That’s an intriguing plot. Unfortunately, too many other elements of Children cry out, “first-time novelist.” Clark’s characters are shallow and dull, the dialogue is often stilted, and the atmosphere is dated (the book was published in 1975).

At times, I felt like I had stumbled onto an ABC movie of the week from 50 years ago. Not exactly boring, but also not memorable.

 

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Edited by John Belton

 

I believe I have an answer to this old poser: If you were stranded on a deserted island and could have just one book/movie/song, what would you choose?

I’d probably opt for my favorite director’s 1954 crowd-pleaser, Rear Window. It’s wildly entertaining, deeper than surface level, and epitomizes 1950s Hollywood glamour. As far as I’m concerned, it contains James Stewart’s and Grace Kelly’s finest work.

Belton has compiled essays on every aspect of Alfred Hitchcock’s thriller: the fascinating set design, the fashion statements, a feminist perspective on the story, contemporary film reviews, etc.

The most impressive thing to me about this movie is how well it holds up. One of my favorite YouTube pastimes is checking out “first-time watching” videos, in which young people, usually in their 20s, record their reactions to — you guessed it — first-time viewings of classic films. Judging from their delighted experiences, I’m guessing more than a few of them would consider taking Rear Window to their deserted islands.

 

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Brute 1976

 

I was well into Brute 1976, a new homage to young-people-in-peril slashers like The Texas Chain Saw Massacre, when I realized something was missing from the film.

Most of the ingredients were present: foolhardy young people, an isolated location in the sticks, and a family of … uh, colorful villains. But something was lacking.

Pros: The movie has a nice, 1970s look and setting, perfectly in harmony with Chain Saw, The Hills Have Eyes, or any number of other such cult fodder. There is one scene involving a prosthetic appendage and a glory hole that, well, you can imagine. Or you don’t want to. There is a bevy of attractive actresses.

Cons: You’ve seen it all before. The only update, I guess, is the inclusion of a trans person in the clan of wackos who make life miserable for the young folk.

I finally realized what was missing. There was no nudity. In the 1970s and 1980s, movies like this one always featured gratuitous skin. Did “intimacy coordinators” put the kibosh on naked ladies?

 

Montalvo

 

But it turns out I was wrong. I rewound to the opening of the film in which two cuties explore an abandoned cave and — lo and behold — Bianca Jade Montalvo, a 5’9″ actress with all of two film credits on her IMDB page, does indeed get naked. But it was too damned dark to see her in the cave. And is she really … oh, never mind; I get in enough trouble these days.

For your viewing pleasure, I lightened the scene. Click on any pic for a larger view:

 

 

Release: 2025  Grade: C-

 

Would I watch it again?  Now that I’ve gotten my nudity fix, probably not.

 

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by Alex Michaelides

 

Painter Alicia Berenson seems to have it all: a successful career and a happy marriage. Until one evening when she shoots dead her husband — and then remains mute for the years that follow. Can psychotherapist Theo Faber get the enigmatic Alicia to open up about what happened that fateful night?

As I read Michaelides’s debut novel, I was put in mind of the 1944 movie, Laura. Instead of watching the film’s detective fall in love with an apparently dead woman, we experience narrator Faber’s obsession with his living, but silent, patient. Is Faber falling for Alicia? Is something else afoot?

The thing about fictional twists is this: If you buy into the story as a whole, you’re more likely to accept what might otherwise seem far-fetched. You can be gobsmacked by plot reveals. If you don’t buy into the story, the twists can feel like cheating.

I found The Silent Patient intriguing enough. If I ever re-read it, I might discover plot problems; as it is, I thought the book was clever. I got gobsmacked.

 

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by Fyodor Dostoevsky

 

It’s been 25 years since I read Crime and Punishment. Most of the plot details escape me today, but I do recall thinking that Fyodor Dostoevsky had written a masterful novel.

This is what I wrote about it in 2000:

“[Crime and Punishment] reminds me a bit of Lolita; whereas Nabokov puts you inside the mind of a pedophile, Dostoevsky puts you inside the head of a murderer — not a very pleasant place to be, in either case. It’s a frequently fascinating place, however, and never more so than when Crime’s killer protagonist is playing cat-and-mouse with his foe, who is a sort of 19th-century, Russian version of Columbo.”

Dostoevsky’s The Brothers Karamazov, on the other hand, was somewhat disappointing. This might be because the plot concerns (primarily) the squabbles and jealousies of an all-male family: a father and his three sons. I grew up with two older sisters, no brothers. The male interplay in Karamazov felt alien to me.

Of course, there’s more to the novel than the Karamazov family dynamics. There is a murder and subsequent trial. There are lengthy cogitations about Christianity, atheism, and the dual nature of man. Maybe it’s just me, but I am more interested in present-day Russia’s stance on those lofty themes.

I do know that, unlike other 19th-century classics like Anna Karenina, The Count of Monte Cristo, Crime and Punishment, and most anything by Dickens, I did not particularly enjoy this reading experience.

 

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Alien: Romulus

 

Halfway through Alien: Romulus, when I realized that I was not likely to care about the film’s characters, I began to dread the final hour, which I (correctly) guessed would be frenzied, loud, and unoriginal. The cast, composed of attractive, vapid young people, had the charisma of teenagers trapped in cabins in the woods. This was not a crew of fleshed-out, interesting adults on a spaceship.

The plot, in which our youngsters attempt to escape manual labor on a space outpost, is just a series of greatest hits from its inspiration, the original Alien movies. Here is a partial checklist: milky android blood, acidic alien blood, chest-bursting, face-hugging, humans stuck in xenomorph goo. We saw it all before in the original films. Every time there was a reprise of some special moment, I was reminded of how much better the first flicks are.

That leaves jump scares and special effects, which are impressive, but not impressive enough to compensate for a lazy script.

I would be remiss not to mention this film’s ties to the age of “woke.” The deaths are predictable (it’s not good to be a white male; you are either evil or early alien-meat). As for our heroine, unlike beloved Ripley, whose battle chops are explained in the first two movies, young Rain (Cailee Spaeny) has no apparent training nor skills. Yet she is more than a match for the nasty aliens. And did they really swap Ripley’s pet cat for Rain’s pet black man? Doesn’t seem very woke to me. Release: 2024  Grade: C-

 

Would I watch it again? No. There are much better films in this franchise.

 

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Nosferatu

 

There’s good news and not-so-good news about Nosferatu, Robert Eggers’s update of the 1922 classic vampire movie:

A.  Eggers’s film has wonderful visuals and a creepy atmosphere … but it’s not very scary.

B.  The plot is faithful to the original story … but Bram Stoker’s tale has been filmed so many times that it’s now overly familiar. (Long story short: Nosferatu is Dracula with changed names.)

C.  Bill Skarsgard plays the title role … but Skarsgard is so altered — facially and vocally — that his vampire seems more like a special-effects creation than an actual human.

 

The biggest problem with Nosferatu is that it’s a long movie with too many dull stretches.

Silver linings: “Knock” and knockers. Simon McBurney, as a character named Knock, chews the scenery magnificently. Katerina Bila, as a character with nice knockers, rides a horse in the nude magnificently (below). Release: 2024 Grade: B-

 

 

Would I watch it again?  It nearly put me to sleep during my first viewing, so, not likely.

 

**

 

One of Them Days

 

As the headaches mount for Dreux (Keke Palmer) and Alyssa (SZA) in One of Them Days, I was reminded of another buddy comedy, Planes, Trains and Automobiles. In Planes, an odd couple faces one obstacle after another on their quest to get home for the holidays. In Days, an odd couple is repeatedly frustrated in their struggle to pay rent by the end of the day.

Days isn’t in the same league as John Hughes’s 1987 classic; there are few laugh-out-loud moments, and the screenplay isn’t as witty. Then again, as an older white male, I’m not exactly in this film’s target audience.

But I was amused and charmed by the travails of Dreux and Alyssa. And the movie has a lot of heart. Release: 2025 Grade: B

 

Would I watch it again?  Possibly.

 

 

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