A book with a very strange premise (something perfect for Hollywood): an amnesiac begins to try and remember her life by keeping a journal and writing down her daily thoughts and occurrences.
Posts Tagged: suspense
One feeling kept me going throughout the entire time I watched the film Prisoners: FEAR. At over two and a half hours, you would think that I could not possibly have been afraid for the entire film. Well, I was. And, most likely, you will be too.
In addition to instilling fear from minute one, Prisoners also continually surprised me. I thought it was going to be just a simple revenge movie. But, this is so much more than that. Filled with leaps and twists and unexpected turns around every corner, Prisoners is more than a thriller. It is an adrenaline ride.
I have issue with movies based on real stories where I know the ending…mostly because it kills the suspense. Titanic: No matter how much Leonardo DiCaprio and Kate Winslet love each other, the boat will still sink. Marie Antoinette: She tells the French people to eat cake and then she loses her head. Joan of Arc: She inspires France and gets burnt at the sake for her troubles. Now, I know Hollywood takes a lot of liberties with endings (adaptations rarely end exactly as they do in the book or on the stage, etc.) But, even the fickle movie industry would never be so brazen enough to change the ending of a real life tale, right? Titanic 2: It’s Didn’t Sink will never be produced, right? (Well, hopefully!)
So, in Hollywood’s latest string of based-on-real-life movies (Dallas Buyers Club, The Wolf of Wall Street, 12 Years a Slave), one stands out for me, EVEN THOUGH I was pretty sure I knew how the movie was going to end. Captain Phillips is based on a book by, that’s right, Captain Richard Phillips. Chances are (and I’m just GUESSING here) if he was able to write about his death-defying experience, he most likely survived. Again, I’m JUST guessing. So, what does this tell us…that we know the ending. Darn, another Titanic. But, wait. Not this movie. Captain Phillips is a wild ride, a fast-paced, highly enjoyable thriller that will keep you on the edge of your seat.
A strong Chicago-based mystery from Chicago-based writer Walker, who has a knack for capturing both the essence of the city and the suspense that fills its streets. In this novel, Walker, a former Catholic priest, uses his seminary background as the backdrop for this latest, involving a priest who gets caught up in an international quagmire. One day, out of the blue, Father Paul Clark’s friend is killed right in front of him. Barely escaping with own life, Clark soon finds out that his friend was involved in some less than savory dealings with the wrong types of people. Enter a woman who says she is from the government who has a plan to help Clark. Can she be trusted? Clark spends much of the novel trying to answer that question, a search which leads him all the way to South America. In the midst of all of this, a young man enters him life and shakes his beliefs to the core.
As mysteries go, this is quite strong. The character of Paul Clark is a believable, convincing protagonist. All throughout the book, no matter what Clark is going through, we feel his pain and can sympathize with his difficult situations. As a priest, he might appear as unrelatable, but Walker gives Clark such compassion and conscience and even some faith crises that we can understand what Clark is experiencing. And Walker also makes good use out of Chicago. Through the pages, I was able to visualize the gritty and dank streets of Chicago where Clark was desperately trying to run for his life.
This is the second mystery I have read by Walker (Saving Paulo was the other one) and though I liked both, I found myself drawn more this Clark and his set of nerve-wrenching circumstances.
By far my favorite book of 2012 (even though I read it in 2013). It is a strong, fierce thriller that combines social commentary and suspense…all in one well-written story. It is no surprise to me that Ruth Rendell is still writing strong, highly literary pieces of fiction. She is one of the leaders of the mystery genre, especially British mysteries. Writing here as Barbara Vine, Rendell writes what I think is one of her best in years…lending truth to the adage that some things improves with age.
The story here starts off in 2011 with a sister and her brother, Grace and Andrew, sharing a home in London. They divide the living space of the house equally, a situation which works fine until the brother’s lover, James, comes to live with them. James sets off a series of events that neither Grace nor Andrew will ever recover from. While coping, Grace begins reading a long-lost manuscript, never published because its storyline includes unwed mothers and homosexual characters in the 1920s. That’s when a completely different part of the story takes over. Or at least we THINK it’s different…because it is set in the post-WWI era. Soon, correlations between Grace’s modern-day dilemmas and the historical plot become evident.
The historical storyline revolves around a sister, Maud, the youngest child in a very conservative Bristol family, who gets herself pregnant. After telling her family, they want to send her away. But, her brother John has a different idea. He is homosexual and aware that he will never be able to lead a respectable life as a gay man, so he and Maud begin living together as husband and wife…in name only…so that the child does not seem illegitimate.
Both storylines are interesting and compelling but the historical one just captivates the reader with twists and turns that the reader never expects (or at least I didn’t). I found both tales together a great commentary on how things regarding sexuality and homosexuality have changed…yet how some things have stayed the same through the centuries.
The time has come! The time I have been waiting for decades for! The time I might have been waiting for from the day I was born! It is here! Alfred Hitchcock has come back into the realm of popular culture with a vengeance!!!!
My family got their first VCR for the Bears’ January 1986 Super Bowl. Shortly thereafter, I discovered Hitchcock. Having died in 1980, six years prior to my discovery of him, Hitchcock was no longer “in the news,” so to speak. I watched most of his movies and tried my best to find out everything I could about him, but most of the stuff I found was from ages ago. Yes, the occasional article would be written, but for the most part, Hitchcock was history!
History NO longer! There are 3…count them 3…new movies or television shows dedicated to the life and/or work of the Master of Suspense: Hitchcock, the feature film starring Anthony Hopkins as the director and Helen Mirren as his devoted wife, Alma; The Girl, an HBO movie starring Toby Jones as Hitchcock, about the making of The Birds; and Bates Motel, an A&E TV show starring Vera Farmiga as Mrs. Bates and Freddie Highmore as young Norman, about the early life of the Psycho family.
In addition to that (as if that wasn’t enough!), many of Hitchcock’s films are coming out on Blu-Ray and getting a lot of press, not to mention the British Film Institute and their months-long celebration of all things Hitchcock, to cap off their year-long “Rescue the Hitchcock 9” fundraiser to help restore nine of Hitchcock’s early British silent works. The event, appropriately titled The Genius of Hitchcock, was a full retrospective of his works plus guests and lectures speaking about all facets of Hitchcock.
So, basically, I’m on cloud nine. Finally, FINALLY, the masses are catching on to the brilliance and talent of Hitchcock. It’s about time!
Recently, I flew to London to attend several days of the two-month-long The Genius of Hitchcock festival held at the British Film Institute’s Southbank campus.
Starting in June and ending after London’s yearly October film festival, the BFI pulled out all of the stops to honor one of their own…a British director who became an international sensation by helming such movies as Rear Window, Vertigo, Notorious and Psycho.
The Genius of Hitchcock celebration caps off the year-long fund-raising push entitled Rescue the Hitchcock 9, a campaign to save nine of Hitchcock’s early British silent films. These nine films are in dire need of restoration…without it, there is the chance they might be gone forever.
Being a BIT of a Hitchcock fan (OK…a little understatement —I’m obsessed), I would have loved to hunker down in London all four months, savoring classic after classic. But, there is this little thing called WORK, not to mention MONEY, of which staying in London requires a lot. So, alas, I settled on cramming in as many movies as I could in my limited time (five films, to be exact).
Have I seen all five before? You betcha. Do I own all five on DVD? Yes, I do. But, somehow, traveling over 3,700 miles to see movies I know by heart doesn’t seem all that silly to me. Obsessed, I tell you!
Like I said, I saw five of Hitchcock’s masterpieces (sadly none of the restored “Hitchcock 9” were playing when I was there). I watched a double feature of Shadow of a Doubt and The Man Who Knew Too Much (1956) on one night, followed by a double feature of Mr. and Mrs. Smith (no, not THAT one…the 1941 film with Robert Montgomery and Carole Lombard…the only romantic comedy Hitchcock ever made) and Strangers on a Train on the next.
But, the crème de la crème, the pièce de résistance was the 3D showing of Dial M for Murder. No, this is NOT NEW 3D…this is old, classic 3D. This is when 3D was done for effect and not financial gain. This is when 3D was not a marketing ploy.
I have a strong distain for the new wave of 3D films sweeping through Hollywood, though I am much more against 2D films being re-released in 3D, such as Titanic (1997) and Beauty and the Beast (1991). When I saw Scorsese’s Hugo (which I heard nothing but great things about in 3D), I specifically sought out the 2D version.
Maybe I’m equating my lack of interest in modern 3D with my lack of interest in most contemporary animation. Look at Snow White and the Seven Dwarfs —imagine how tedious and superior the animation process was back in 1937 and compare that with today’s inferior “computer” animating. So OK, modern 3D is not that bad…but, RE-RELEASING already-shot films just to capitalize on the 3D bandwagon is the last straw. Where will it end?
Dial M for Murder is different. Hitchcock filmed it in 3D but it was released in 1954 in mostly 2D. Aside from a limited 3D re-release in the early 1980s, most people have not seen Dial M for Murder in the original 3D Hitchcock intended it to be shown. And, among filmies, it is supposed to be one of the best, if not THE best, example of 3D filmmaking. And, after seeing it, not only does it not disappoint but I would have to agree that the use of 3D was amazing.
Unlike much of 1950s’ Hollywood 3D, nothing here is done just for the 3D effect (such as no paddleballs bouncing at the screen, a la The House of Wax (1953)). Everything here is done for a reason…the use of foregrounds and backgrounds become more of a 3D element than in-your-face effects. In one scene, the infamous purse that becomes a key item in the plot stands boldly in the foreground, with character action going on behind it. The purse, a simple inanimate object, looks as if it is right in the audience’s lap. And that is how Hitchcock uses 3D throughout the entire movie…subtly but OH SO effectively. But then again, would we expect anything less from the Master himself?
Keep in mind that as long as Hollywood keeps making money off of 3D, they will keep making these so-so 3D movies and…even worse, keep re-releasing existing 2D movies in 3D. If The Bridge on the River Kwai in 3D comes out in cinemas, I’m moving to Mongolia and living in among the yak herders in a nice yurt!
Madness, Madness. Soapbox over.
This debut novel from Chicago Tribune journalist (and Pulitzer Prize winner) Julia Keller is gripping from page one…reeling the reader in with clear depictions of small town life, adolescence, and brutal, senseless violence. Starting out shortly before a seemingly random shooting, the story introduces us to a mother and daughter who are both at odds with each other. The mother, Bell, works too much, overly dedicated to her job as prosecuting attorney for a small, impoverished county in West Virginia. And her daughter Carla is knee-deep in full-blown teenage rebellion. Actually, that rebellion sets the stage for the story…while waiting for her mother to pick her up from mandatory “anger management” class, Carla witness one of the most violent acts in Acker’s Gap, WV. After this, Carla becomes even more of a problem…not only is she still a behavior problem but now she also has upsetting, conflicting issues with what she witnessed. Bell, in addition to dealing with Carla and with the hunt for the murderer(s), also has other issues contending for space in her frantic world. Keller, as in her Chicago Tribune articles, truly does have a way with words… bringing characters, places and scenarios to life with true, vivid imagery. This was one of the best written mysteries I’ve read in ages! Hopefully, Acker’s Gap, along with Bell, Carla and the other colorful characters of this small town, will be back soon.
Knowing I’m always in the market for a good mystery, especially a good British one, I recently got a recommendation to read the Ruth Galloway series from Elly Griffiths. And what I discovered is a fantastic new writer who weaves an excellent British mystery with an archaeological spin. Set in the eastern English county of Norfolk, Ruth is an archeologist who gets called in by the local authorities to check the age of a skeleton that was found. This find leads to Ruth getting emerged in a missing person’s case and a whole web of mystery and murder. I VERY MUCH liked the chemistry between Ruth and the inspector who works with her…Nelson. And a surprise at the end of the book means that their relationship is only beginning. Nelson is the kind of “man-you-love-to-hate…” meaning he’s gruff and harsh, with a sweet side and a heart of gold. And Ruth herself is a refreshing female mystery character, who is less amateur sleuth and more “right place, right time” gal. She never ASKS to be involved in the police investigation…it just sort of happens. And Ruth is full of spunk and vitality, though she’s more than her fair share of self-effacing. I will read more from Griffiths and look forward to where she leads Ruth and Nelson next!