Posts Tagged ‘Mommy’s Day’

Walk Out! Girl, Don’t You Walk Out….

Tuesday, July 25th, 2017
Quarry's War

The Quarry comic book mini-series (which will later be collected as a graphic novel) was officially announced at San Diego Comic Con, where I was not in attendance. The splendid cover is included here for your enjoyment, although my enjoyment is hampered by the fact that my name isn’t on it.

I trust this is an oversight that will be rectified by Hard Case Crime Comics, though I admit it rankles when the writer of the other comic book announced did make the cover of that number one issue.

I will leave it to you whether to file this under “What am I, chopped liver?” or sour grapes.

In the meantime, here’s the Booklist advance review of Quarry’s Climax:

Collins, Max Allan (Author)
Oct 2017. 240 p. Hard Case Crime, paperback, $9.95. (9781785651809). e-book, (9781785651816).

Chronology is always a little tricky in Collins’ Quarry series. Take this one. It’s a new entry, but the story is set in the 1970s, when the first Quarry thrillers were written. The hit man with a heart of steel (and a skewed sense of, well, just desserts) is working for the Broker, a murder middleman who farms out hired kills to his operatives. This time it’s a little complicated: Quarry and his partner, Boyd, must first dispatch the hitters sent to eliminate the publisher of the Memphis-based porn mag, Climax; then determine who hired the hitters; and, finally, get rid of them, too. All in a few days’ work for the resourceful Quarry, of course, who developed his killing chops as a Vietnam sniper, but along the way Collins treats us to a wonderfully vivid look at the pornography industry in its heyday. From publishers to centerfolds to strippers to feminist protesters, he cuts through the stereotypes with quick bits of subtle characterization (but, please, don’t say you read a book with ‘Climax’ in the title only for the characters).

— Bill Ott

* * *

The title of this week’s update is a line from the Monkees’ “A Little Bit Me, A Little Bit You,” which Crusin’ covered for a Monkees tribute CD some years back. But the subject is not rock ‘n’ roll – rather, the now legendary tendency of my wife Barb and myself where walking out of movies is concerned.

We were walking out of so many movies, readers of this weekly update were wondering what movies I might actually be able to tolerate, or perhaps even (choke) like. But others have noticed that there have been no reports of such walk-outs lately.

One possible reason for all the walk-outs has been a spate of overblown, mediocre would-be blockbusters, frequently cribbed from comics or otherwise pop-culture retreads. The Great Wall and Kong: Skull Island are typical. CHIPs and Baywatch are the kind of movies where you consider walking out during the trailer, which is all we saw of them.

The truth is, though, something strange happened this summer, at least so far: the blockbuster movie releases have been…how can I put it…good. Here’s a rundown on them, just little mini-reviews to pop like Milk Duds. And what part of the cow is the “dud,” anyway? A few of these I’ve already commented on, in passing.

Guardians of the Galaxy Vol. 2. A lot of care went into making sure the quirky humor of the first film was maintained, and it paid off. Casting Kurt Russell was a very good move. These movies know exactly how to walk you up to sentimentality and then drop the trap door on you.

Wonder Woman. Chris Pine, channeling William Shatner in the manner of the recent Star Trek movies, contributes humanity and humor while lead Gal Gadot brings provides charm, beauty and athleticism in an epic origin tale craftily set in a vivid Great War setting. And it’s surprisingly faithful to the Golden Age comic book.

The Mummy. The weakest of the non-walkout-worthy summer blockbusters is nonetheless a lot of fun, with Tom Cruise (no matter what you may think about Scientology) bringing his genuine movie-star charisma and skill to the party. A female mummy (Sofia Boutella) is a nice twist, although too much back story and the clumsy inclusion of Jekyll/Hyde (Russell Crowe) is a lame attempt to build a franchise nobody is waiting for.

Baby Driver. A reminder of what it felt like to go to the movies in the ‘70s and early ‘80s, this is a slick, fast-moving crime film that is propelled by music and moves from one phenomenal, and mood-changing, set piece to another. It’s an outrageous melodrama, with compelling, often larger-than-life characters. Not sure the proposed sequel is a good idea, though.

Spiderman – Homecoming. It took some doing, getting Barb to go along, and she wasn’t won over immediately. But this third reboot (who’s counting?) manages to both re-imagine and yet be quite faithful to the Stan Lee/Steve Ditko original (how I wish I had hung onto Amazing Fantasy #15). Tom Holland is a winning Peter Parker/Spidey, though the heart and soul of the movie, oddly enough, belongs to the villain, the wonderfully cast Michael Keaton. Only real flaw is how hard the film works to invoke other aspects of the Marvel film franchise universe, with much more Avengers and Iron Man stuff than necessary. It’s too much salt on an already well-seasoned popcorn.

War for the Planet of the Apes. This may be the best Planet of the Apes movie of all, and as good as the two previous ones are (Rise and Dawn), that’s saying something. There is a grandeur and even majesty to this one, and the believability of the apes is complete and stunning. But it’s also emotionally wracking, action-packed and even frightening. Give Andy Serkis an Oscar already, would you, Academy?

Dunkirk. I’ve never been a Christopher Nolan fan, but I am now a convert. This is the year’s best movie so far. It’s demanding – for Americans, the various Brit accents may mean losing this line or that one, and there’s no Pearl Harbor back story: you’re just thrown right into four or five storylines that crisscross over the running time. The Hans Zimmer score is ruthlessly relentless, and a relaxing time at the movies this isn’t. A few have complained that the film lacks any overview, but the situation is simple: the Germans have driven the British and the French armies to the coast of France with the Channel between the Brits and home. Hundreds of thousands of allied soldiers are trying to get home, and the advancing German army as well as their fighter pilots are trying to stop that, while British civilians in their own little boats are heading across the Channel to take soldiers home by the handful. That’s all you need to know. There is heroism and cowardice and various other shades of humanity, but also a sense of patriotism in a just cause that today somehow seems remote. Churchill’s famous speech, read by a soldier from a newspaper, is a reminder that giants once guided government.

* * *

My pal Bud Plant has found a supply of the first Ms. Tree trade paperback. It’s cheap and it’s here.

The Hard Case Crime announcement of Quarry’s War made at SDCC was picked up all over the Internet.

Finally, here’s news of the live performance of Mike Hammer: Encore for Murder next January in Florida. It stars my buddy Gary Sandy, who appeared in Mommy’s Day.

M.A.C.

A Buck-Twenty-Five A Movie

Tuesday, March 12th, 2013

If any of you are interested, THE BLACK BOX, the boxed set DVD collection of my indie movies – MOMMY, MOMMY’S DAY, REAL TIME: SIEGE AT LUCAS STREET MARKET and SHADES OF NOIR (which includes the original, longer cut of MIKE HAMMER’S MICKEY SPILLANE as well as the Brian Keith “Mike Hammer” pilot from 1954) – is on sale at Oldies.com for $4.98. That’s a savings of $30.

I want to thank all of you who sent supportive comments (sometimes as private e-mails) after my post last week, complaining about various aspects of the writer’s life, now that I am officially old enough to be a complaining coot. I am considering putting a rocking chair on the porch and writing further updates there on a laptop.

For the record, it took four work days to put ASK NOT back together (also for the record, my editor at Forge was completely on my side and reinstated everything I requested). To give you an idea of how extreme the ASK NOT copy edit was, I also dealt this week with the copy-edited manuscript of the upcoming thriller WHAT DOESN’T KILL YOU from Thomas & Mercer. It took one work day.

Dead Man Down

We saw an interesting crime movie that I am going to recommend, though it is not perfect: DEAD MAN DOWN. It’s directed by Niels Arden Oplev, of the original GIRL WITH THE DRAGON TATTOO, and stars the “girl” herself, the indelible Noomi Rapace, probably my favorite actress working today. I used to not care for Colin Ferrell, but as his star has faded somewhat, his acting has improved immeasurably – he’s terrific here in a subtle, understated performance as a guy who is anything but subtle and understated. It’s a revenge film, with a great premise, but I sometimes felt the foreign director didn’t entirely understand the English language script – it’s a little too long, and some things don’t quite track. But the central romance between two damaged souls and the outlandish shoot-‘em-up finale are well worth the time of anybody interested in crime movies. It has one of the great screen Mike Hammers, Armand Assante, in a small but pivotal role.

SOTI

The reviews for SEDUCTION OF THE INNOCENT continue to roll in, in a very positive way. Let’s start with something I rarely do – customer reviews at Amazon, which includes one from Bookreporter. By the way, if you want to help out your favorite authors (including, I hope, me), a great, easy way is to post a brief four- or five-star review at Amazon, assuming you like what you’ve read. Those reviews really, really count.

Here’s a cool one from the International House of Geek (the fantastic blog names just keep coming).

And here’s a great one from Mystery People.

A somewhat horror-tinged positive review appears here, at The October Country (R.I.P., Ray Bradbury).

Here’s a patronizing but ultimately positive review from the UK’s Telegraph.

Here’s Comic Buzz on SEDUCTION. I’m very pleased that so many comics blogs have picked up on the book.

And what author doesn’t love getting an A+, as happens here at Fandom Post.

Publisher’s Weekly is getting cranky in its old age, but this review of the upcoming ANTIQUES CHOP is pretty good.

PW also isn’t much impressed with the upcoming Mike Hammer, COMPLEX 90, considering it more of the same. First of all, if somebody gives you a hot-fudge sundae when you order one, do you complain that it’s more of the same? Second of all, this is the book where Mike Hammer goes to Russia. Not more of the same – one of the most distinctive books in the series, in my opinion, one of Mickey’s most unusual, even unique plots.

Scroll down for a tardy but fantastic review of THE CONSUMMATA.

And finally Pop Cults weighs in with a late but lovely LADY, GO DIE! review.

M.A.C.

Say Hello To Goodbye

Tuesday, May 17th, 2011

Kiss Her Goodbye

I have spotted KISS HER GOODBYE on the shelves of the Davenport Barnes & Noble, so you should be able to find the new Mike Hammer hardcover at your favorite brick-and-mortar. (The trade paperback of THE BIG BANG should be right next to KISS HER.) I don’t know if Borders is carrying the new Hammer (they aren’t getting as many titles in right now, for obvious reasons), but I encourage you to snag this one at Amazon or elsewhere on line, if you don’t have a “real” bookstore handy.

Don’t wait for the trade paperback, because I don’t know if there will be one. This is the last of the Harcourt Spillane/Collins Hammer novels, and the future of the remaining three is in your hands.

Also, the Stacy Keach-read audio book should be out soon. Stacy thinks KISS HER is the best of the three. Our old friend Craig Clarke seems to agree at his Somebody Dies blog.

Great news on about THE LAST LULLABY. I’ll let director Jeffrey Goodman tell you:

“I am very excited to announce that we have signed with Level 33 Entertainment to distribute THE LAST LULLABY in the United States. We are currently aiming for a Fall release of a newly-packaged DVD. At this point, I am not sure what extras it will include, but we are looking into some different things. We also expect this release to place LULLABY in many other places and make it much more readily available.”

Whether there will be a blu-ray seems up in the air. I also don’t know if Jeffrey will include me in the extras on the disc, but I’m hoping there will be some short history-of-Quarry feature, and possibly the original, award-winning short (“A Matter of Principal”) that spawned the film.

Speaking of Quarry, Hard Case Crime has brought out all of their Quarry novels again as part of their re-birth at Titan, the great UK publisher distributed in the USA by Random House.

You might check out this interesting if odd and not entirely accurate mini-article about my DICK TRACY movie tie-in, as part of a list of 100 famous rejections. For the record, it wasn’t Warrren Beatty who went to bat for my novel, rather producer Barry Osborne. And the rewritten version was deemed fine by Disney, they just made me remove the identity of the Blank, making the book the bestselling mystery novel ever published that didn’t reveal who did it. (The 6th printing includes my real ending – all other printings are incomplete.)

ROAD TO PERDITION has made another top ten comic book movies list.

It has also made this top 25 comic-book movies list.

And speaking of movies, you can get my long out-of-print boxed set THE BLACK BOX on sale for under $25 right here. It includes an anniversary edition of MOMMY and MOMMY’S DAY (with lots of special features not previously available), plus REAL TIME: SIEGE AT LUCAS STREET MARKET and the anthology film SHADES OF NOIR (available nowhere else, and including the original, longer cut of my Mickey Spillane documentary, recently shortened/re-edited for the Criterion KISS ME DEADLY release).

M.A.C.

Good Call

Tuesday, October 19th, 2010

Last week a guy died who most of you never heard of. His name was Steve Henke. He was my age – 62 – and he lived most of his life in Iowa City, Iowa, where he worked for many years at the University of Iowa video production center, but also freelanced in various capacities in the film business for probably forty years. Lately he lived out west, but he’s coming home to Iowa soon.

Steve was a grizzled veteran of the movie wars – he struck me as either a benign biker or a dangerous hippie…I was never quite sure which. He was introduced to me by Phil Dingeldein, my collaborator (Director of Photography/Editor) on most of my movie projects. Back in 1994, Phil recommended I hire Steve to be gaffer on MOMMY, my first indie movie. Ultimately the credit Steve took (and earned) was Lighting Design.

Steve with Patty
Steve Henke and star Patty McCormack on the set of MOMMY (1994)

On MOMMY, as writer and executive producer, when things turned disastrous and I wound up having to take over the director’s chair two weeks into production, I already knew the two indispensable people were Dingeldein and Henke. I scheduled a meeting with them, and revealed I intended to become director – knowing that without their okay, and their support, I wouldn’t have a chance. They backed me, and supported me, and taught me. Between Phil and Steve, there wasn’t much about film and video production that they didn’t know or hadn’t experienced. What I know – and frankly I know quite a bit – I learned from those two. (Them and my actor pal Mike Cornelison, who had also encouraged me to believe in my ability to direct the picture).

Phil Dingeldein is genial guy – everybody loves Phil. Steve Henke was cantankerous by nature and design – a shop foreman who ruled his blue-collar minions through fear and respect. When MOMMY’S DAY came along, I tapped Henke to be my First Assistant Director as well as Lighting Designer (we wore multiple hats on our low-budget projects). He and I did the bulk of the pre-production work and had broken down every single scene, down to every single set-up, before we stepped on set. My God, but I learned so much from this rough-edged, belligerent, generous, sweet man.

Steve with MAC
Henke and Collins on set of REAL TIME: SIEGE AT LUCAS STREET MARKET (2000)

When Henke – again my First Assistant Director – introduced himself to the crew and cast on the first day of REAL TIME: SIEGE AT LUCAS STREET MARKET, he said, “Ladies and gentlemen, I am your worst nightmare.” Also a director’s dream First A.D. His bad cop presence allowed me to become a much-beloved good cop. Mainly what Steve did was move things along faster. And faster.

On the other hand, one of the best known stories about Henke came from the time he spent seemingly hours trying to light a set to his satisfaction on MOMMY’S DAY – specifically, a bedroom decorated with ironic clown dolls and clown paintings. One clown doll seated in a window had drawn his obsessive attention. “Steve!” Dingeldein cried out. “Let’s go! You’re lighting the clown!” This was followed by much laughter, and Henke’s grumpy capitulation. From that day henceforth on my sets, taking too much time has become known as “lighting the clown.”

Steve Henke was also my producer and editor on the documentary CAVEMAN: V.T. HAMLIN & ALLEY OOP. He helped me get the project taken on by the University of Iowa video center, and it was his last project there before retiring. He is essentially the co-author (along with producer Mark Lambert) of that documentary, which may represent my best piece of filmmaking. Henke went with me to the San Diego Comic Con to shoot famous cartoonists like Will Eisner, Trina Robbins and Stan Sakai, and he loved rubbing shoulders with talent like that, and inhaled the pageantry and excess of that event.

Henke was an original. He gave me an ultimatum once that if I didn’t ban the producer from the set, he would quit – I banned the producer. On that same production, I bailed Henke out of jail when it turned out he was driving on a long-expired license. I like to think we were good friends. Still, he was merciless in his criticism of my work – he once said, “Collins will write something wonderfully nasty then spoil it with a sentimental wind-up, and there’s not a fucking thing you can do about it” – but also extravagant in his praise. When I did my edit of CAVEMAN on my home video recorder, and he told me I was always within a frame – if you know film and video editing, you know a frame is less than an eyeblink – from the perfect edit point. I treasure that remark.

I have few regrets in life. Maybe three regrets. Two are that I never saw the Beatles or Bobby Darin perform live. The other is that I didn’t get to do another film project with Steve. I haven’t captured him here – that’s almost impossible. But I’ll wind up with my favorite story about him, which I’ve shared with many people over the years.

For MOMMY’S DAY, in pre-production, Steve and I designed a shot that would have a camera on a jib sweep down the table in a prison’s visitor’s room and wind up as a close-up of our star, Patty McCormack. We both were pleased with that, but when the day came, we were up against the clock where our child actress Rachel Lemieux was concerned (she could only work a specified number of hours per day, by SAG rules). So I went to my First A.D. and said, “Scrap the jib shot. Too elaborate. We’re running behind.”

He looked at me with his twin evil-eye gaze and put his nose a quarter inch from mine. “Are you telling me we’re scrapping the jib shot?”

“We’re scrapping the jib shot.”

“You’re sure you want to do that? It’s the best shot in the damn picture!”

“I’m sure.”

He threw his baseball cap on the floor. “Speaking as your creative collaborator, I want to register my extreme disappointment in your judgment.” He picked his hat off the floor, snugged it in place, and said, “Speaking as your First A.D. – good call!”

And he rushed off to the light the next set-up.

Rest in peace, old friend. Wish I could bail you out of this one.

M.A.C.

Steve at Premiere
Henke on the red carpet at the world premiere of REAL TIME at the Capitol Theater in Davenport, Iowa