Posts Tagged ‘Movie Reviews’

A Gig, a Walk-Out, and More

Tuesday, March 14th, 2017

Saturday night Crusin’ played for a benefit at the River Music Experience in Davenport. The cause was music education in the Muscatine school system. This was our first gig of the year (by choice), having last played in September for my high school 50th class reunion.

It was just an hour but felt good – nice to be back on stage with the guys, and our guitarist Jim Van Winkle’s son, Teddy, played trombone with us on a couple of songs. Teddy is a music major at the University of Iowa and really tore it up. This my first time performing since lung surgery, and I was of course concerned, but had no problems with either stamina or singing.

We have about half a dozen gigs lined up through the summer and fall.

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I am rather astonished to report that Barb and I walked out of a movie again, one we had been looking forward to all week. Kong – Skull Island has a high Rotten Tomatoes rating, and my pal Leonard Maltin loved it. We didn’t. The script was terrible – cringe-worthy dialogue and a ponderous set-up, and a cast that couldn’t overcome either. Tom Hiddleson, with his narrow face and slight build, is presented as some kind of bar brawler, which is unbelievable even without the notion that this makes him vital to a team going out to track monsters. John Goodman has lost so much weight, he looks ill, as if he’s wearing a baggy skin suit, and Samuel Jackson glowering at Kong and Kong glowering back has an uncomfortable racist tinge. Your results may vary, but we gave it fifty minutes before it got so stupid we couldn’t even stay to watch a bunch of characters we hated get killed.

Barb passed on Logan, but I saw it with Nate a weekend ago, and found it okay, with the trio of actors at its center (Hugh Jackman, Patrick Stewart and Dafne Keen) strong. Self-importantly dark and almost entirely humorless, Logan also suffers from underwhelming villains in actors Boyd Holbrook and Richard E. Grant, the former silly in his villainy, the latter hammy as an evil scientist. No Ian McKellan or Michael Fassbender in sight.

Some of you are suspecting I don’t like anything any more. But I like lots of things, mostly on TV, including lately Rowan Atkinson’s Maigret (and Michael Gambon’s and Bruno Cremer’s), the fourth season of Endeavor (the Morse prequel) and the Victoria series, though I wish it didn’t want to be Downton Abbey so bad.

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My editor at Hard Case Crime, Charles Ardai, is so fast and efficient I sometimes think I’m hallucinating. Less than a week after I turned in Quarry’s Climax, he gave me edits and then galley proofs, and the book is put to bed.

No sign of a second Quarry TV season, though there’s been no official cancellation.

I am working on the non-fiction book Scarface & the Untouchable, the joint Capone/Ness bio. It promises to be major, but brother is it tough. My co-authors Brad Schwartz and George Hagenauer have written their rough draft material and gathered research, and now I’m up to bat.

Looks like the manuscript could be in the 1200 – 1500 page range. Like we say in the funnies, gulp.

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Now in Paperback!

If you are going to Bouchercon this year, and have been sent an Anthony ballot, and like my work enough to be reading this, here’s a reminder of what’s eligible:

Road to Perdition: The New Expanded Version, paperback original.
The Nate Heller novel, Better Dead, hardcover.
Quarry in the Black, paperback.
Murder Never Knocks, hardcover.
Antiques Fate, hardcover.
A Dangerous Cat,” Hammer short story in the Strand.

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The Will to Kill is out and I hope some of you have already bought this new Mike Hammer by Mickey and me, and that the rest of you will do so soon. We need reviews at Amazon and elsewhere, including blogs, and your participation would be much appreciated.

Michael Carlson has done a most interesting Will to Kill review in his UK column, Irresistible Targets.

Also out in (mass-market paperback) is Hammer’s last year’s performance, Murder Never Knocks. Here’s a great Ron Fortier review of it.

Finally, here’s a Quarry’s Choice audio review, very nice.


Okay, So Maybe Movies Aren’t Better than Ever

Tuesday, January 17th, 2017

Before I briefly chat about what I’ve been up to on the storytelling front, here are reviews of two movies I endured this weekend.

Live by Night – Where shall I start? This is a terrible movie. It looks great, and I wanted to like it – it’s full of old cars and lots of cool wardrobe and art direction, just the kind of production values I’d like to see lavished on a Nate Heller movie. Unfortunately, this is the kind of lavish dud that will make it hard to get a Nate Heller movie made, because the Hollywood boys and girls will remind me how poorly Live by Night did at the box-office.

I’m not a Ben Affleck basher. He’s done some very good things, like Argo and The Town, and…well, like Argo and The Town. He’s a pretty fair Batman, too. Here he is a multiple threat, and I do mean threat, as actor, director and writer. I have no idea whether the source novel by Dennis Lahane is any good – I don’t read him. Some pretty fair movies have been made from his stuff, like The Drop and Gone Baby Gone, though I disliked both Shutter Island and the hammy Mystic River. My hunch is that the novel here is likely better, which would not make it good.

Clearly the novel was longer, because this has so much expository voiceover, the telling outweighs the showing. No characters take hold, no scenes develop sufficiently, and the stupidity of the plotting is at times mind-boggling.

For example. Affleck is secretly having an affair with the top gangster in Boston’s moll; when the gangster goes out of town, however, Affleck openly cavorts with the moll in public, and then is surprised when the gangster finds out. For example. When the film lurches into a Florida setting, a dumb-ass KKK leader is bombing Affleck’s nightclubs and wantonly killing people in the process; Affleck asks the dumb-ass to meet with him at Affleck’s own casino construction site, and then the dumb-ass is shocked when Affleck’s men pour out and kill him and his own goons. There are half a dozen scenes with set-ups that moronic.

The best moments are throwaways, as after the dumb-ass-gets-killed sequence when Affleck argues with a crony about who accidentally shot him. Only then does Affleck himself (and the movie) come to life. Elsewhere he goes beyond underplaying into a sort of mobile coma. He wears lots of hats, and I don’t mean director/writer/star, I mean hats – tan fedoras, gray fedoras, white fedoras, yellow fedoras, purple fedoras. I see a drinking game coming!

Two women are at the center of the story – the Bonnie Parker-type moll whose betrayal sends Affleck scurrying to Florida to avoid the wrath of the Boston mob boss – and a Cuban girl whose brother is in the rackets with Affleck. Though the latter is portrayed by Uhura herself, Zoe Saldana, and the former by usually reliable Sienna Miller, neither character makes a dent in the proceedings…and they are the two motivators in sleepy Affleck’s life. Elle Fanning as a nice-girl-turned-drug-addict-turned-evangelist, does better, but her role is so fragmented that it too never quite adds up, though its importance is also key to what little story we perceive.

The moral seems to be: when you’re making a movie, don’t wear too many hats, literally and figuratively. Also, when you’re doing a period piece about the twenties, don’t sing a snippet of “Sugartime,” a song from the late fifties. But it’s almost worth seeing for a howler about Hitler that comes very late in the proceedings: “Some little guy in Germany,” he says in voiceover, “was gettin’ people all excited. But they weren’t gonna go to war over him. No percentage in it.”

The Edge of Seventeen – This is a tricky one. It’s very well-made and nicely acted. The dialogue is frequently witty. Rotten Tomatoes gives it a 93% Fresh. But there’s nothing very fresh about the story, which is that a nerdy girl (Hailee Steinfeld) has a crush on a bad boy and doesn’t realize the nice smart guy who sits next to her in class is a better prospect. As if that wasn’t enough, the nerdy girl is portrayed by a lovely young actress, more likely to be prom queen than an outcast. On the other hand, she does behave like an asshole throughout, which doesn’t help us like her as a protagonist. Nor does the fact that she lives a privileged, cushy upper-middle-class life. Also, after she accidentally sends the bad boy an explicit text about wanting sex with him, she is surprised that, when they go out parking, he expects to have sex with her.

Additionally, she still doesn’t see the nice boy as a prospect even after he turns out to be very, very rich (he even has a bigger swimming pool than she does) (see how hard she has it?).

The secondary central conflict is rooted in her asshole-ishness: her nerdy outcast best-and-only friend (also portrayed by a lovely young woman) starts dating our heroine’s hunky brother, and this our heroine cannot abide! She is a flaming bitch to both throughout most of the film. Don’t you feel sorry for her? This is interspersed with occasional Breakfast Club self-exploratory soliloquies (as when her hunky brother reveals his life is also very hard, because he has to keep an eye on their emotionally troubled single mom, who by the way has a very, very good job, despite being an emotional wreck). Of course, she comes around to the worthy boy…after he invites her to a film festival where his incredibly professional animated “student” film unspools…and is about her!

How is this twaddle 93% Fresh? How is this a story that touches an average girl’s heart when the central character is a spoiled beautiful upper-middle-class brat?

The writer/director, Kelly Fremon Craig, does a professional job and some nice moments do happen, most with the Woody Harrelson teacher character. The producer is James L. Brooks, whose TV work (The Simpsons, Lou Grant) has often been stellar but whose movies (often acclaimed) have consistently missed me, and I include Broadcast News and Terms of Endearment.

So your mileage may vary.

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This flurry of reviews lately – all positive last week, remember? – does not negate the fact that I genuinely dislike writing bad reviews. They are the easiest kind of thing to write, often filled with cheap shots (see above). For a long time I stopped writing them. I learned from my own indie movies just how hard the process is – that even making a bad movie is a tough, tough thing. I resigned from my movie column at Mystery Scene because of that. Then I wrote mostly good reviews at Asian Cult Cinema for several years.

Now, like a drunk falling off the wagon, I find myself writing bad reviews again. Why? It reflects a level of frustration that I feel as someone who loves movies, and who goes to a lot more of them than most people. Because I’m in Muscatine, Iowa, I often miss the art movies that are highly touted, but often when I see those, I am no more happy than when I see Hollywood’s standard fare. Art movies, indies, have become a kind of genre in themselves; that includes a lot of European stuff.

I am older now, and harder to please. I have quoted several times what the beautiful and wise Barb said when, as we watched a lousy Italian western at home, whether we would have stayed through the entire movie in the theater, back in “the day” (the ‘70s or ‘80s). As I shut off the Blu-ray player, she said, “Yes, but we had our whole lives ahead of us then.”

Truer words.

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I am working on a Quarry graphic novel, which Titan will publish in four issues and then collect. Don’t know the artist yet, though I approved several based on samples.

It’s very, very hard. I have been away from this format for a while, and the story takes place partly in Vietnam in 1969 and then back in the America of 1972. Providing visual reference for the artist has been a dizzying, daunting task. A 22-page script runs to 60 pages with panel descriptions and links to reference photos.

I doubt I will do many more such projects. Prose is far less taxing.

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The Rap Sheet takes a look at the Black Dahlia case, and has nice mentions of the Nate Heller novel, Angel in Black.

Here’s info on the upcoming Blu-ray and DVD of the Quarry TV series.


Movies Are Better than Ever!

Tuesday, January 10th, 2017

Okay, as promised this will be my all-positive review posting, after blasting the critically acclaimed La La Land last week (and the not very acclaimed Why Him?).

Hidden Figures – This is a first-rate and very entertaining look at the hard-fought rise of three black women in the NASA program of the early ‘60s. Movies of this kind can be precious and they can work too hard; this one hits all the right notes courtesy of director and co-screenwriter, Theodore Melfi (with Allison Schroeder). The three women – Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe) – are portrayed as three-dimensional people possessed of humor, drive and scant self-pity; they are “computers” (pre-IBM), which is to say math whizzes, who become essential to the program. They are discriminated against not only by their race but by their sex. Kevin Costner, as the head of the division, is the white guy who opens his eyes and sees the injustice around him, while the various other white folks who are prejudiced are seen as of their time and not evil. The space aspect is thrilling, and the period recreation is spot on (though the frequent use of the term “spot on” in the film might be anachronistic).

Sully – This one could have been a disaster, and in truth, while a success, it’s flawed. But the accomplishment of the real Captain Sully – and the measured portrayal of him by Tom Hanks – is worth the water landing. The brevity of the event itself is dealt with by flashbacks and dream sequences, quite deftly. The depiction of the speed and bravery of the first-responders is thrilling. What keeps SULLY good and not great is director Eastwood’s heavy-handed treatment of the passengers on their way to the fateful flight. For a thankfully short portion of Sully, we’re in disaster-movie land, with passengers being alternately too big as performed or too nice for a flight out of New York. LaGuardia is seen as a place where you can walk up to a counter in a newsstand/gift shop and no one is in line; where the attendant at the gate is friendly and helpful, even though you’re very late…and is charmed by your joking. The plane itself is a mythical place where a man flying alone is seated next to a woman with her baby and just delighted about it. This is a missed opportunity – had the passengers been as harried and irritable as real ones often are, it would mean much more when they come together in a time of crisis. Additionally, Sully’s wife (Laura Linney) is, oddly, portrayed as something of a harridan, and the investigative committee is played as villains – maybe they were, but it seems hoked-up. All this aside, the strong central performance from Hanks – with effective support from co-pilot Aaron Eckhardt – makes for a first-class ride.

Underworld: Blood Wars – The fifth Underworld film is a fun pulp adventure with charismatic Kate Beckinsale (as usual) in the lead. The elaborate back story of the prior films – requiring a prologue with a Beckinsale voiceover – threatens at first to sink the film, with its elaborate vampires versus werewolves premise spanning as it does many centuries. But the action is convincing and brutal and fast, and an epic sweep is accomplished, from the east-coast vampires’ gothic mansion to a visit to the mountain halls of the blonde vampires of the north. Especially good among many villains is Lara Pulver, the Irene Adler of the current BBC Sherlock. Is this ridiculous? Does Rotten Tomatoes give it 22% fresh, which is of course not fresh at all? Yes, but the film is well-made, and the line-up of fine UK actors could sell you just about anything. How can I like this when I so dislike La La Land? I guess I’m just an enigma wrapped up in a riddle.

Here are some older movies we’ve recently watched on Blu-Ray.

Gideon’s of Scotland Yard (also known as Gideon’s Day – 1958) – An oddball and underestimated entry in the John Ford canon, based on a J.J. Marric (John Creasey) novel in a long-running series, Gideon’s follows a Chief Inspector (Jack Hawkins) in a blazing color, late-fifties London on his long and eventful day with cases that range from sex crimes to murdered corrupt cops to posh boys pulling a big heist and much more. Whether you will like the occasional comic touches in this often very tough police procedural will depend on your tolerance of such Fordian shenanigans (even The Searchers has sometimes painful comic relief).

Another Ford, a masterpiece though also under-appreciated, is Drums Along the Mohawk, just one of many great films made in 1939 (the same year Ford also made Stagecoach and Young Mr. Lincoln!). It’s a fine Colonial “western,” the quotes necessary because Henry Fonda and Claudette Colbert set out for the frontier from Albany, New York – and the frontier turns out to be upstate New York. Their struggle to build a farm and a family against a backdrop of the War for Independence is episodic but compelling, and Ford’s patriotic, hard-fought conclusion pointedly includes an African-American and a Native American (even though the Iroquois are bad guys, like the “Tories”). Fonda – returning bloodied from battle – has his wounds tended by Colbert as he describes the brutal combat he endured so vividly no on-screen depiction could rival it. Colbert is wonderful evolving from pampered city girl to hard-scrabble farm wife.

Bill and Ted’s Bogus Journey (1991) – Not directed by John Ford. Finally out on Blu-Ray, the second (and to date final) Bill and Ted movie hasn’t a patch on the first one, but it’s still got some very funny moments. The Grim Reaper (William Sadler) playing Twister is a highlight. The originally announced title, Bill and Ted Go to Hell, would have been more apt (not a put-down – they do go to Hell, where they discover the Devil is a dick).

Petrocelli. This is a TV series that ran from 1974 to 1976, and a top-notch one, a shrewd updating of Perry Mason. It’s been released as a boxed DVD set by VEI but I watched two boxes (first and second season) from Germany, which had an English track and was available earlier. I went through all 44 episodes, and the pilot, as well as the theatrical film, The Lawyer (not included), from 1970 from Ipcress File director Sidney J. Furie. I was able to rent The Lawyer on Roku from Amazon.

Star Barry Newman was briefly a hot property in early ‘70s action movies (Vanishing Point, Fear Is the Key, Salzburg Connection) but he was at his mesmerizing, quirky best in the somewhat trashy (in a good way) The Lawyer, which was based unofficially on the Sam Sheppard case (also the inspiration for The Fugitive). The TV series carried over only Newman, with Diana Muldaur replaced by Susan Howard and Ken Swofford by Albert Salmi. Newman’s Mason-like attorney is married to Della-like Howard, and they are very affectionate and clearly have an active sex life. His Paul Drake is Salmi (a fine character actor who met a tragic end), a cowboy-type reflecting the “San Remo, Arizona” setting (it’s mostly shot in Tucson).

From the theatrical film comes the gimmick of Petrocelli using the same evidence the prosecution damned the defendant with to fit a wholly different version of the crime, creating reasonable doubt. The time constraints of a 45-minute episode water that gimmick down, but it’s still effective. Running gags get old – Newman parking in reserved spaces and putting various signs on his vehicle to avoid feeding the meter – and a guy who wins all these cases shouldn’t be having money trouble all the time (he seems to pay Salmi in beer). The Lalo Shiffrin music often goes over the top, especially early on, making a big deal out of Petrocelli driving his Winnebago down a desert road.

Newman is intense but winning, and while he’s had a nice career, he deserved to stay hot a lot longer. The guests stars never end – some not stars yet, like Mark Hamil and Harrison Ford. Lots of Star Trek guests appear here and directors, too, plus Shatner himself, admittedly in a not terribly good performance.

The show is at its best when it plays the courtroom card, particularly when the prosecutors are name actors (like Harold Gould, who was Petrocelli’s opponent in The Lawyer and appears thrice here), or cops (like semi-regular David Huddleston as Lt. Ponce). Its at its worst when it artificially pumps action into this intellectual-by-nature show, or does sexist comedy with strippers who come around for representation, raising Mrs. Petrocelli’s eyebrows – like lovely Susan Howard has anything to worry about. And toward the end a format change for a handful of episodes removes the courtroom aspect entirely.

Still, this is a very good show and worthy of a watch – a dozen great episodes and plenty of good ones.

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The loss of Debbie Reynolds and her daughter Carrie Fisher finds me recalling my brief meetings with each.

Some time in the late ‘80s, I was in Chicago for a meeting at the Tribune with my Dick Tracy editors. I killed time downtown in the middle of snow and cold, stepping into a video store (remember them?), finding it fairly packed. I wondered why. I hadn’t been there long when Debbie Reynolds – undeterred by the weather – breezed in for an appearance, swathed in mink. Mink coat, mink boots, mink gloves, mink cap. She was dazzling. She walked slowly through the crowd, handlers fore and aft, and when she got to me I said, “What’s wrong?”

Surprised, she said, “What is?”

Our eyes met.

I said, “No mink ear muffs?”

She beamed flirtatiously and slapped me gently with a mink-gloved hand and moved on.

Carrie Fisher I had an even briefer encounter with. A few years ago, I was out in LA for a pitch meeting (not successful), after which we repaired to a restaurant in Beverly Hills. There was a lot of outdoor seating, in part of which Mel Brooks was holding court. Be still my heart. When we got to our seats, I noticed Carrie Fisher at a table with friends and/or business associates. But I think friends. She was in glasses and looked good if not glamourous. Like Elaine Benes, she was having a big salad. Throughout the meal, I kept thinking about her presence. Mark Hamill was a friendly acquaintance of mine – damn near a friend! Was that enough to start up a conversation? Probably not.

All that happened was, when I went back to use the men’s room, I moved past her table, caught her gaze and smiled and said hello. Like her mother, she gave me her eyes and a smile and said hello back to me, as if she knew me well.

A couple of very small things. But at the moment they seem rather large.


2016 Movie Wrap-Up

Tuesday, December 13th, 2016

As regular readers here know, Barb and I go to a lot of movies – generally one a week. That doesn’t mean we see everything, of course, so view these lists in that context. No particular order within categories.

Here we go:


Hail, Caesar!
The Nice Guys
Star Trek Beyond
Hell or High Water
Doctor Strange


The Boss
Bad Moms
The Magnificent Seven
Keeping Up with the Joneses


Captain America: Civil War
Kubo & the Two Strings

Girl on the Train
Conjuring 2
Batman V Superman: Dawn of Justice


Independence Day: Resurgence


Independence Day: Resurgence


Gods of Egypt
Legend of Tarzan
Neighbors 2: Sorority Rising


Finest Hours


X-Men: Apocalypse
Central Intelligence


The Infiltrator
Rules Don’t Apply


Everybody Wants Some!!


13 Hours
Dirty Grandpa
The Divergent Series: Allegiant
My Big Fat Greek Wedding 2
Alice Through the Looking Glass
Office Christmas Party


The Witch
Nocturnal Animals

A few comments, since I didn’t review all of these films here over the year.

CAPTAIN AMERICA: CIVIL WAR just wore us down. We left with half an hour to go, generally ready to swear off super-hero movies. DOCTOR STRANGE, then, was an intelligent surprise. So was DEADPOOL, and I understand why anyone might not like its over-the-top nilhistic approach, but we both liked the kick to the seat of the pants it gave to super-hero movies.

ARRIVAL is slow and full of itself, and I found its big surprise obvious. THE WITCH was an unpleasant ride to nowhere. NOCTURNAL ANIMALS is misogynistic and generally unpleasant, with only the story-within-the-story having any merit, most of that coming from the always interesting Michael Shannon. RULES DON’T APPLY is an interesting and quirky return to film by star/director/writer Warren Beatty, a loving though occasionally acid valentine to Hollywood and a disguised autobiography. GODS OF EGYPT we watched at home in 3-D and had fun – no apologies forthcoming.

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Our local weekly paper, Voice of Muscatine, did this nice write-up on the Grand Master award.

Here’s a good review of The London Blitz Murders.

J. Kingston Pierce gives a nice mention to the complete version of Road to Perdition published by Brash Books. Order that yet?

Nice words about the Quarry TV series as one of the year’s best literary adaptations.

And here the Quarry show makes another “best of” list.

Finally, be sure to check out the Quarry Facebook page.


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And this just in!

Available February 14, 2017 on Blu-ray™ & DVD

New York, N.Y., December 12, 2016 – Season 1 of the “wildly entertaining” (TV Guide) Cinemax® series Quarry, loosely based on the novels of Max Allan Collins set in and around Memphis, is set to make its home entertainment debut on February 14, 2017. Starring Logan Marshall-Green as Mac Conway, this “impressively flawless” (Washington Post) series follows two soldiers’ return home from a second tour of duty in Vietnam. Quarry: The Complete First Season will be available to own on Blu-rayTM ($34.98) and DVD ($24.98), packed with bonus content including more than two dozen deleted scenes and new footage of interviews where Mac and his comrades testify to the events that led up to their discharge from the Marines. DVD and Blu-rayTM will also include a Digital Download copy.

Set in and around Memphis during the early 1970s, Quarry is a thrilling action drama that centers on the character of Mac Conway, a Marine who returns home from a second tour of duty in Vietnam. With his relationship with his wife Joni growing tenuous, Mac finds himself tempted by a lucrative offer from The Broker, a shady criminal involved in a network of killing and corruption that spans the length of the Mississippi River. After a series of events, Mac – whom The Broker codenames “Quarry” – finds himself conscripted against his better judgment into The Broker’s crew, a turn of events that has dire consequences for both himself and Joni. Gripping and “startlingly good” (Yahoo! TV), with action packed storytelling, the first season of Quarry promises to not disappoint.

Bonus Features include:

  • Deleted Scenes – A fascinating selection of more than two dozen deleted scenes from Season 1.
  • “Inside Quarry” – Get an inside look at each episode of Quarry with the cast and crew of the acclaimed series.
  • “Quan Thang Inquiry Scenes” – Check out declassified interview footage in which Mac (Logan Marshall-Green) and other soldiers testify to the events of the Quan Thang tragedy.
  • “About Quarry” – Delve inside the setting, characters and storylines of Quarry with the cast and crew.
  • “Music of Memphis” – Join the cast and crew for an inside look at the classic R&B soundtrack and live music seen in the show.
  • “Recreating 1972” – The cast and crew of Quarry reveal how they turned back the clock to recreate the sets and styles of Memphis in 1972.
  • “Love Letters” – Hear the recorded correspondence between Mac and Joni while he served in Vietnam.
  • “Car Chase Picture in Picture” – Join Quarry star Logan Marshall-Green for this action-packed look at the staging of a rough-and-tumble car chase from the series.
  • Music Videos – Watch a collection of music videos featuring some of the blistering tracks from the series.

Other cast members include: Nikki Amuka-Bird (“Luther”) as Ruth, a hardworking mother who is Joni’s close friend; Damon Herriman (“Justified”) as Buddy; Edoardo Ballerini as Karl, and Mustafa Shakir as Moses, three of The Broker’s most capable and ruthless henchmen; Jamie Hector as Arthur, Ruth’s husband and Mac’s best friend, who is also a Vietnam vet; Ann Dowd as Naomi, Buddy’s doting but unconventional mother; Skipp Sudduth as Lloyd, Mac’s father; Josh Randall as Detective Tommy Olsen, a dedicated member of the Memphis Police Department; and Kurt Yaeger as Suggs, who has fallen within The Broker’s sights.

Quarry: The Complete First Season
Blu-rayTM & DVD

Street Date: February 14, 2017
Order Date: January 10, 2017
Rating: TV-MA
Runtime: Approx. 480 minutes (excluding bonus materials)

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