Category: Books, Movies, TV & Web

by Gaston Leroux

grouchyeditor.com Yellow Room

 

In her 1963 book The Clocks, mystery queen Agatha Christie gives a shout-out to this classic “locked room” novel, published in 1908 by the Frenchman Gaston Leroux. This is interesting because Leroux and Yellow Room protagonist Joseph Rouletabille were clearly on Christie’s mind when she created her most indelible character: the great detective Hercule Poirot.

Other than age and occupation, Christie’s Poirot and Leroux’s young hero have a lot in common. (Rouletabille is an 18-year-old journalist.)  Like Poirot, Rouletabille is brilliant, underestimated by nearly everyone, and takes an almost malicious delight in withholding crucial information from his clueless associate, who also serves as the story’s narrator. At one point, the eccentric Rouletabille even refers to his little grey cells – although not in precisely those words.

As for the mystery itself, Yellow Room features other Christie-like qualities: suspects who harbor secrets, dark doings at an isolated estate, and disguise as an important plot point. Leroux, who also penned The Phantom of the Opera, was especially skilled at misdirection. 

 

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by Edvard Radzinsky

grouchyeditor.com Stalin

 

Stalin is a historical biography that I admired but … did I enjoy it? Let me put it this way: Reading this 600-page beast often felt like being banished to Siberia with nothing to do but page through the telephone directory. I do respect the blood, sweat and tears that must have gone into the research and writing of this massive tome about the 20th century’s greatest villain, Joseph Stalin (yes, I’m including Hitler), but the result is mostly a plodding bore.

In addition to presenting the usual agglomeration of unpronounceable and confusing Russian names, Radzinsky’s book demands a basic knowledge of Russian history and the major political players of the time. If you are unfamiliar with the historical relationship between Bolsheviks and Mensheviks, the troubled history of Ukraine and Russia, etc., well, too bad for you. Radzinsky simply offers a chronological survey of what Stalin did and to whom he did it. Stalin himself remains an enigma. So many details, so little insight.

It’s a shame, because if we know one thing, it’s that history repeats itself, and if a genocidal despot like Stalin could place an entire country under his malevolent spell, then understanding the factors that created such a monster is something we all need to know.

 

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“Take off your clothes … because I’m going to do a strip search – full cavity.”

 

I’m not entirely sure for whom Strip Search is a guilty pleasure – me, or the late, great, director Sidney Lumet. Possibly it’s both of us.

Lumet, who turned 80 the year this film was released, is responsible for classics including 12 Angry Men, Fail-Safe, Dog Day Afternoon, and Network. In his dotage, however, the movie maestro seemed to draw more inspiration from Girls Gone Wild than from social issues.

 

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Just ask Oscar winner Marisa Tomei, whom Sidney coaxed out of her clothes for his final film, Before the Devil Knows You’re Dead. Or check out Strip Search star Maggie Gyllenhaal, who, after a sexy turn in Secretary, apparently had a nudity clause inserted in her film contracts; in Maggie’s case, it seems she’ll only take roles that require it.

 

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 Maggie Gyllenhaal assumes the position for James Spader in Secretary

 

Strip Search, which aired once on HBO in 2004 and was then promptly pulled from the network schedule (there were complaints and controversy), is an intense examination of how governments can and do violate the civil rights of ordinary citizens. Lumet presents alternating storylines with near-identical dialogue, in one case focusing on an American named Linda (Gyllenhaal) who is brutally interrogated in China, and in the other case depicting an Arab man (Bruno Lastra) similarly abused by an FBI hard-ass played by Glenn Close.

 

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Glenn Close to Bruno Lastra: “Is there a part of your body you’re embarrassed about, something … smaller than it ought to be?”

 

At about the midpoint, Strip Search goes from social commentary to sexual commentary, courtesy of Lumet’s leering camera.  It’s hard to contemplate civil liberties when you are distracted by lingering close-ups of Maggie’s bare breasts being kneaded like bread dough, or by Glenn asking her captive Arab if a body part is “smaller than it ought to be” while eyeballing his willie.    Grade: B

 

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Director: Sidney Lumet  Cast: Maggie Gyllenhaal, Ken Leung, Glenn Close, Bruno Lastra, Austin Pendleton, Jim Gaffigan  Release: 2004

 

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“Yes, a good solid body.”

 

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“Take off your clothes … because I’m going to do a strip search – full cavity.”

 

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“Yes, you’ve got a good solid body.”

 

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“If I touch you down there, what do you think your reaction will be?”

  

Strip Search is once again available on HBO. If you would prefer to see just the good parts, i.e., Maggie Gyllenhaal forced to strip and getting felt up by Ken Leung, watch movie outtakes by clicking the links below: 

 

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If the above videos don’t work on your mobile device, try these:

 

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set1

 

There are way too many zombie shows. The genre felt fresh when it was reinvigorated about a dozen years ago, but the onslaught of sluggish clodhoppers should have been shot in the brains long ago. The Walking Dead? It’s a tedious, talky soap opera with lame zombies.

It’s next to impossible to find a zombie horror-comedy that’s either horrific or comedic, much less horrific and comedic. Shaun of the Dead successfully combined the two elements. So does Dead Set, a five-part miniseries from 2008 about the cast and crew of England’s Big Brother waging war with the undead, now showing on Netflix.

 

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The Plot:

 

Anyone who watches Big Brother, either as a fan or because a significant other is holding a gun to your head, has fantasized about annoying “houseguests” having their faces torn off or their intestines slowly devoured. Or maybe that’s just me.

In Dead Set a sudden, unexplained zombie outbreak wreaks havoc in Britain — with the exception of the clueless hamsters who are isolated in the Big Brother house. Will these idiots, our heroes, overcome their bickering, narcissism, and general ineptitude long enough to stave off Armageddon?

The surprising thing about Dead Set is that it’s not simply amusing, not just a satire of reality TV and those who consume it; there are also some genuinely scary scenes. Or maybe it’s not surprising, given that the miniseries was written by Charlie Brooker, the twisted genius responsible for Black Mirror. Fans of HBO’s The Night Of will also recognize rising star Riz Ahmed among the ensemble cast. 

 

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Random Notes:

 

Zombie purists, assuming there are such animals, might quibble about this collection of the undead, which are fast and strong but unable to deal with simple obstacles like fences and pools of water. But dumb as they are, these zombies are often terrifying. And, unlike the knuckleheads stuck in the house, they seem to have a purpose.

 

*

 

“Talent” from the actual British Big Brother make cameo appearances. The English equivalent of CBS’s Julie Chen, presenter Davina McCall, meets a fate worse than cancellation.

 

*

 

If they gave awards for shows like this (the “Zommies”?), I’d nominate Andy Nyman, who is hilarious as the show’s producer, a foul-mouthed Ricky Gervais-type who doesn’t suffer fools — or anyone, for that matter — gladly.

 

*

 

Dead Set’s ending is great. Why can’t more shows end like this? 

Grade: B+

 

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Director: Yann Demange  Writer: Charlie Brooker  Cast: Jaime Winstone, Andy Nyman, Riz Ahmed, Warren Brown, Liz May Brice, Beth Cordingly, Adam Deacon, Kevin Eldon, Kathleen McDermott, Davina McCall, Chizzy Akudolu, Raj Ghatak  Release: 2008

 

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Watch trailers (click here or here)

 

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High-Rise

grouchyeditor.com High Rise

 

To borrow a cliché, watching High-Rise is like witnessing a slow-motion train wreck:  It’s unpleasant, incomprehensible, yet oddly mesmerizing. Tom Hiddleston plays a 1970s doctor who moves into a state-of-the-art high-rise apartment building and gets entangled when the tenants – upper-crust Brits on the top floors, poorer Brits on the lower floors – engage in class warfare that turns violent.  I enjoyed this train wreck. But I’m not sure I’d want to watch it again.  Release: 2015  Grade: B

 

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The Wave

grouchyeditor.com Wave

 

Norway delivers an exciting disaster movie that more than holds its own against similar fare from Hollywood. A geologist learns that a restless mountain is about to crumble, dumping enough rock into an adjoining fjord to create a 250-foot wall of water that will turn his scenic village into Davy Jones’ Locker – and the populace has just minutes to reach higher ground. It’s a familiar disaster-flick scenario, but director Roar Uthaug beats Hollywood at its own game by making the action and characters more realistic. Also, the special effects are impressive. Release: 2015  Grade: B+

 

*****

 

Night Will Fall

grouchyeditor.com Night

 

If you get off on “torture porn” like The Green Inferno by filmmaker Eli Roth, this disturbing movie might cure you of the affliction, because Night’s raw footage of dead, dying, or decomposing concentration-camp victims is a reminder that gore and brutality aren’t just the province of Hollywood special-effects wizards. Ostensibly, this film is about an unreleased documentary briefly overseen by Alfred Hitchcock in 1945, but what lingers is the horror of Nazi Germany. Release: 2014  Grade: A

 

*****

 

Crimson Peak

grouchyeditor.com Crimson

 

Mia Wasikowska plays an early-20th-century damsel who marries and then moves to an eerie estate with her British husband (Tom Hiddleston) and his sinister sister, played with venomous relish by Jessica Chastain. This is an old-fashioned ghost story with modern-day special effects and, best of all, the visual aesthetics of director Guillermo del Toro. The gloomy estate hides secrets, the brother and sister harbor secrets … and none of it is particularly scary. As a romance Crimson also falls short, but Del Toro’s gorgeous sets and old-style direction make for a memorable two hours. Release: 2015  Grade: B+

 

*****

 

Wildlike

grouchyeditor.com Wildlike

 

Here’s a small gem with a larger-than-life setting. Ella Purnell plays a 14-year-old runaway who flees an abusive uncle and finds a reluctant ally in a backpacking, grumpy widower played by Bruce Greenwood. The movie begins as a total downer but transitions into a touching, odd-couple dramedy thanks to memorable turns from Greenwood, young Purnell, and the beauties of Alaska. Release: 2014  Grade: A-

 

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by John Dunning

grouchyeditor.com Booked to Die

 

I had modest expectations for Booked to Die, Dunning’s debut novel about Denver cop-turned-bookseller Cliff Janeway. From its synopsis, Booked appears to be like any of a thousand other detective stories you might have read – hard-boiled, hard-drinking, lady-loving, smack-talking shamus investigates a murder – and in many respects, it is.

But I was pleasantly surprised. Dunning’s asides about rare books and bibliophiles are diverting, the Bogart-and-Bacall banter between Janeway and a femme fatale is engaging, and Janeway’s wry, first-person narration wears well.

I have one quibble: It has to do with a Dunning punctuation quirk: The man is positively obsessed with the colon: It’s bizarre.

 

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Clover1

 

Can you like a movie and be mad at it at the same time? Sure you can. Let me explain.

Here’s what I liked about 10 Cloverfield Lane, a thriller starring Mary Elizabeth Winstead and John Goodman:  For about 90 percent of its runtime, it’s a tight, claustrophobic puzzler. Winstead’s car is run off a Louisiana back road, and when she regains consciousness she finds herself imprisoned in an underground bunker with an ominous jailer named “Howard” (Goodman). Howard informs her that he is actually her savior and that while she was unconscious there was an environmental disaster, possibly nuclear, possibly chemical, or possibly extraterrestrial. Unfortunately, she, Howard, and a third survivor, Howard’s neighbor, must ride out the catastrophe in the underground shelter, possibly for years.

So far, so good. So far, the movie is like Misery with this twist: Winstead doesn’t trust creepy captor Howard — but there’s evidence his story might be true.

 

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Now here’s why I’m mad: In the film’s climax, we find out whether or not Howard has been telling the truth. It’s a satisfying ending, but … it’s not the ending. The filmmakers, bless their sequel-loving hearts, choose to extend the ending, expand the story, and turn what had been a taut, adult thriller into something loud, splashy, trailer-friendly — and guaranteed to bring 13-year-olds back to theaters for Cloverfield the Sequel.

There were two or three times in the final minutes when I thought, “This is the perfect ending,” or “Now would be a great time to roll the credits.” But no, audiences expect overkill these days, apparently, so we must have two or three endings. Why settle for delicious ambiguity when you can spell things out in ALL CAPITAL LETTERS and show off your special effects?

 

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It’s too bad, because what comes before the overblown denouement is some nail-biting suspense, some smart writing, and two solid performances by Goodman and Winstead.     Grade: B+

 

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Director: Dan Trachtenberg  Cast: John Goodman, Mary Elizabeth Winstead, John Gallagher Jr., Douglas M. Griffin, Suzanne Cryer  Release: 2016

 

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Watch Trailers and Clips (click here)

 

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Spotlight

grouchyeditor.com Spotlight

 

It’s easy to see how Spotlight won the Best Picture Oscar: It’s an “important” movie, well-produced, well-written, and well-acted. It’s also easy to see why it grossed only $45 million at the American box office: Unlike, say, another newspaper movie called All the President’s Men, Spotlight is cerebral and clinical, more documentary and less Hollywood thriller. It’s not the kind of movie you can say you “enjoy,” because the subject matter — priests molesting kids — is so unpleasant. But you won’t be bored. Release: 2015  Grade: A- 

 

*****

 

The Invitation

grouchyeditor.com Invitation

 

Director Karyn Kusama conducts a graduate course in suspense and — if you’ve had it with what passes for “horror” these days — you’d be wise to attend. The plot: A man accepts a dinner-party invitation from his ex-wife and her new husband at their secluded house in the Hollywood Hills. Old friends of the former couple are also among the invitees, but aside from the hosts’ expensive wine and fancy digs, something feels a little … off … from the moment guests walk in the front door. You might guess where things are headed, but Invitation has creepiness galore on its way to a nasty little twist-ending. Release: 2016  Grade: B+

 

*****

 

No Escape

grouchyeditor.com No Escape

 

For an hour, No Escape is everything you could ask from an action-thriller: It’s relentlessly exciting and has heroes who behave in a believable manner – until they don’t. Owen Wilson and Lake Bell head an American family newly arrived to a Southeast Asian country when the prime minister is assassinated, unleashing violence in the streets and forcing the Americans to run, claw, and fight for survival. But after that thrilling first hour, the screenwriters resort to action-flick clichés and downright silliness. Release: 2015  Grade: C+

 

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by Bill Bryson

grouchyeditor.com Dribbling

 

Bryson’s latest book is half travelogue, half opportunity to dish on British history, pop culture, and modern denizens – which is a good thing, because that dishing is where Road mines its abundant humor and charm. The book is a follow-up to Bryson’s 1995 hit, Notes from a Small Island, in which the author crisscrossed the United Kingdom, taking notes and offering an American expatriate’s observations.

 

Pros:  Bryson’s encounters with locals, especially rural locals, are often laugh-out-loud funny, particularly the dialogue as he recalls it. And his enthusiasm for English landmarks and historical figures is contagious. I’ve never been to England, but this book makes me want to visit – and walk everywhere once I’m there. Man, does Bryson love to walk.

Cons:  Bryson occasionally succumbs to “Get Off My Lawn!” syndrome, in which the grumpy geezer believes everything and every place was better years ago, during his youth, and isn’t afraid to say so. In modern Britain, Bryson carps, litter is everywhere, youth are increasingly boorish, and government projects are misguided. All of that could be true, but I sometimes got the feeling that what Bryson misses more than the England of his youth is the Bill Bryson of his youth.

 

Inexplicably, toward the end of the book, Bryson feels compelled to vent about his country of origin, decrying the “stupidity” of Americans in general, and conservative Americans in particular. Out of the blue, the author also decides to share his feelings about hot-button political issues of the day.

Am I interested in Bryson’s take on gun control and immigration? Sure, why not. But in a book in which 99 percent of the grumbling is about irksome potholes and overpriced cups of coffee, switching gears to Bryson’s political convictions is out of sync and leaves a sour taste in an otherwise delightful read.

 

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