Category: Books, Movies, TV & Web

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         Watson:  “That’s a fine way to treat me, I must say!”

         Holmes:  “Sit down, Watson, do sit down.  Perhaps a little supper will help you

                            to get over your huff.”

         Watson (roaring):  “Huff?  I’m in no huff!”

 

— Basil Rathbone and Nigel Bruce in The Hound of the Baskervilles, their first pairing as Sherlock Holmes and Dr. Watson

 

Sherlock Holmes is everywhere in 2012:  a BBC series, a CBS series and, with Robert Downey, Jr. as the celebrated sleuth, once again on the silver screen.  And wherever Holmes goes, so goes Watson (although in the CBS version, Watson goes there in high heels).

Arthur Conan Doyle purists tend to get huffy about Nigel Bruce’s rendition of Watson, which is often as a blithering, dithering oaf, but after re-watching 1939’s The Hound of the Baskervilles, I have to disagree with them.  True, Bruce’s interpretation of the good doctor is not faithful to Doyle’s creation, but there’s good reason that his teaming with Rathbone was movie magic.  Holmes, brilliant and intense though he is, is also a pompous know-it-all; with comic foil Watson at his side, Holmes’s genius is a lot easier to take.  And in Hollywood, no one did genial companions better than Bruce.

 

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This Hound also strays from Doyle in some of its plot elements, and there’s no escaping the fact that it’s a stretch to describe it (or any 73-year-old thriller) as “scary,” but the 20th Century Fox production is still a treat.  The sets, constructed in a gigantic Fox sound studio, are beyond cool.  Surreal, murky, rocky and in black-and-white, the outdoor scenes do look artificial — but in a gothic fantasyland manner, teeming with ominous shadows and phantom-like mists.

The story, for any eight-year-olds reading this, finds Holmes and Watson investigating the curse of Baskerville Hall, in which Baskerville descendants are said to fall prey to a devilish hound roaming the moors of Devon.  The Hound of the Baskervilles is atypical Doyle because Holmes himself is absent for nearly a third of the story, leaving Watson to document and puzzle over spooky goings-on at the hall.  But I love to watch Bruce’s Watson, so I have no problem with that.      Grade:  B+

 

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Director:  Sidney Lanfield  Cast:  Richard Greene, Basil Rathbone, Wendy Barrie, Nigel Bruce, Lionel Atwill, John Carradine, Barlowe Borland, Beryl Mercer, Morton Lowry  Release:  1939

 

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                                             Watch the Full Movie  (click here)

 

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by Dorothy Cannell

ThinWoman

 

What a bloody mess.  Cannell adopts a 1930s, Agatha Christie-like style for her debut novel, which is a pleasant enough mystery for about two-thirds of its length.  But then the author loses all sense of reality.

The heroine-narrator, an interior decorator obsessed with food, utters howler after howler (“I desired a roast beef sandwich with horse-radish and pickled onions with a wanton savagery that I had never felt for any man”), and her romance with an oddball male escort almost – but not quite – plunges the book into “so bad it’s good” territory:

Ben:  “This is how it could have been if only I had confessed my love before you went and got so skinny.”

Ellie:  “Part of me will always hunger for the wrong foods but I have to tell you that I am not prepared to eat myself back to my old proportions so you can prove the integrity of your love.”

The biggest head-scratcher of all is that, somehow, this amateurish junk food was included by the Independent Mystery Booksellers Association as one of its “100 Favorite Mysteries of the 20th Century.”

 

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Frozen

 

Frozen River     Hollywood was delinquent when it finally gave an Oscar to Melissa Leo for 2010’s The Fighter; she should have won two years earlier for her role in this dramatic thriller, in which she plays a hard-bitten mother of two boys who gets involved in human smuggling on the New York-Canadian border.  The movie, from first-time writer-director Courtney Hunt, has atmosphere up the wazoo, with a near-perfect mixture of blue-collar pathos and nail-biting suspense.  The connection is Leo, who manages to garner empathy for a “trailer trash” mom who’s alternately heartless and heartbreaking.  Release:  2008  Grade:  B+

 

*****

 

Snow

 

The Snowtown Murders     Snowtown is a two-hour journey into hell that — assuming you don’t leave the room — grabs you and doesn’t let go.  It’s the story of Australia’s most notorious serial killer, John Bunting (Daniel Henshall), whose sinister charisma sucked in disciples and ultimately led to a rented building filled with bodies soaking in acid.  Everything and everyone in this film is depressing — not just the killings, but also the joyless, blue-collar lifestyle of suburban Adelaide.  Unpleasant stuff, to be sure, but also powerful, and Henshall is unforgettable.  Release:  2011  Grade:  B+

 

*****


Cortex

 

Cortex     This nifty little French thriller is notable for its unusual hero (old) and setting (a home for people with Alzheimer’s).  Andre Dussollier plays a retired detective who doesn’t remember his own son, but whose cop instincts tell him that fellow patients are dying under suspicious circumstances.  Dussollier is magnetic, but Cortex’s pedestrian plot has a few too many holes.  Release:  2008  Grade:  B-

 

*****

 

Carnage

 

Carnage     Near the beginning of Carnage, after meeting the liberal Longstreets (John C. Reilly and Jodie Foster) and the conservative Cowans (Christoph Waltz and Kate Winslet), Brooklyn parents meeting to discuss a playground scuffle between their sons, my feeling was, “I don’t want to spend an entire movie with these people.  They are all smug and annoying.”  I changed my mind thanks to some terrific actors and a bottle of Scotch that loosened their tongues and stripped away their social armor.  Director Roman Polanski simply sets up shots and lets his actors roll.  The result is Who’s Afraid of Virginia Woolf? with a wicked sense of humor.  Release: 2011  Grade:  B+

 

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by Suetonius

Twelve

 

Complain all you want about our current leaders, but their flaws are chicken feed compared to those of the power-crazed, toga-clad rulers of ancient Rome.  For proof, we have this series of short biographies of the Roman emperors, written by someone who was actually there, the Roman scholar Suetonius.

As I read, I would sometimes begin to cut a given ruler some slack, deciding that – at least compared to the others – he wasn’t so bad.  And then I’d learn that he tortured and executed some unfortunate peasant for a trivial offense.  And that he helped himself to a senator’s comely wife.  And that he did worse.  Much, much worse.

But I’ll give the emperors this:  They didn’t discriminate with their atrocities.  Most of them were apparently bisexual, using men, women, relatives, and children as sex toys, and they were just as likely to decapitate a general as a fruit seller.

 

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by Janet Evanovich

Explosive

 

I’m not sure who’s more foolish, Stephanie Plum or me, because I continue to read this silly series.  Eighteen is more of the same-old slapstick, but what’s new is that, for some inexplicable reason, Evanovich has made her plot ridiculously complex.

 

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Arbit1

 

These are tough times for the “1 percent.”  The economy still sucks, their presidential candidate keeps putting his foot in his mouth, and even Richard Gere, with his movie-star looks and charm, can’t portray one of them and garner much sympathy.

In Arbitrage, Gere is Robert Miller, a Wall Street hedge-fund magnate whose world begins to crumble when a bad investment — in a Russian copper mine, of all things — leads him to commit fraud during negotiations for his trading empire.  Miller’s personal life is even messier:  A car accident ends badly for his mistress, and when he attempts to cover it up, Miller draws the attention of a New York cop (Tim Roth) who has no love for “masters of the universe.”

 

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What follows is The Bonfire of the Vanities meeting a 1970s episode of Columbo, but without much suspense.  Arbitrage is slick, smart … and unsatisfying.  It’s a curiously flat movie, always interesting but lacking tension.  Susan Sarandon and Brit Marling, as Miller’s wife and daughter, are on hand, I suppose, to engender sympathy for Miller’s embattled family life.  But it’s difficult to care much about the fate of people who rely so heavily on wealth for their self-esteem:

Says one character whom Miller enlists to help fool the cops:  “You think money’s gonna fix this?”

Miller:  “What else is there?”

As a viewer, I wanted some sort of resolution to this game of cat-and-mouse between Miller and the police.  Either the bad guy should win or the good guys should win.  That might not reflect reality, but it would make for a better movie.      Grade:  B-



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Director:  Nicholas Jarecki   Cast:  Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin, Chris Eigeman, Graydon Carter  Release:  2012

 

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                                                     Watch Trailer or Clip   (click here)

 

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by Dan Ariely

Honest

 

In all honesty, this book was a letdown.  The human propensity for lying and cheating should be a juicy topic, but Ariely manages to squash reader interest by (mostly) confining his experiments to sterile classrooms, where one group of student volunteers after another pencil in answers to one dull test after another, usually involving dotted matrixes, one-dollar bills, and paper shredders.  When Ariely and colleagues do leave the artificial environment of the classroom – sending a blind girl into a farmers’ market to buy tomatoes, for example – their research yields some interesting results.

But back to that classroom … our intrepid social scientist’s big discovery is this:  We all cheat, but only a little bit.  And if we can just get a few reminders that cheating is bad, maybe we won’t do it so much.

That’s not exactly a scientific breakthrough; it’s simple common sense.  And that’s the brutal truth.

 

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Headhunters

 

Headhunters     Roger (Aksel Hennie, Norway’s answer to Steve Buscemi) is a little guy whose gorgeous wife Diana (Synnove Macody Lund, Norway’s answer to Sweden) has expensive tastes.  So Roger, a corporate headhunter, supplements his income with a side business in stolen art.  And then … things begin to go wrong for Roger. The twists in this clever thriller are unpredictable, and the action is relentless; in fact, things move so fast that I’m not sure whether the plot holds up.  But hey, you could say the same thing about some Hitchcock classics.  Release:  2011  Grade:  B+

 

*****

Silent

 

The Silent House     Young Laura and her father are hired to repair an abandoned cottage — but this is an old-dark-house movie (sort of), so we know that trouble’s afoot.  There’s a fine line between “artistic license” and a storyline that cheats, so how you feel about the twist at the end of this low-budget chiller from Uruguay — shot in one well-choreographed, 78-minute take — will likely depend on what you feel is fair.  But until its iffy denouement, this House harbors solid suspense and delivers a few genuine jolts.  Release:  2010  Grade:  B

 

*****


Creatures

 

Heavenly Creatures     The attractions here are Peter Jackson’s direction, the performances by Kate Winslet and Melanie Lynskey, and New Zealand doing what New Zealand does best — looking like New Zealand.  But the dark story, based on an actual murder carried out by two teens in 1954, is less compelling than off-putting.  Release:  1994  Grade:  B

 

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by Margery Allingham

Tiger

 

British mystery novelist Allingham is less interested in clever plot twists than in her characters, which is both good and bad.  Good, because she’s created an unusually strong villain, the knife-wielding, tortured-soul Jack Havoc (a.k.a. “Johnny Cash” – I kid you not), but bad because her heroes are a bland bunch.  Whenever the action shifts to the story’s quartet of lovebirds, I was reminded of those old Marx Brothers movies – pure genius whenever the boys were on screen, but barely tolerable when the obligatory lovers took center stage.

 

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                                                                 by Thomas Harris                                                                      

Lambs

 

I suppose this is an example of why you should always read the book before you see the movie.  Harris’s Lambs is intelligent, suspenseful, and clearly one of the better serial-killer novels.  Yet in my Hollywood-influenced mind’s eye, F.B.I. trainee Clarice Starling has morphed into Jodie Foster, malevolent Hannibal Lecter is  Anthony Hopkins, and every dramatic chapter is accompanied by images from the film.  But kudos to Harris, because even though the book holds no surprises for anyone familiar with the movie, it’s still a gripping read.

 

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