Posts Tagged ‘Quarry’s War’

After Party

Tuesday, March 20th, 2018

The Spillane birthday was truly a phenomenon. So much appeared on line and in newspapers and magazines that I am encouraged knowing the world remembers, and I believe will continue to remember, one of the greatest mystery writers of all time, and who is on the very short list of great private eye writers.

And the celebration will continue all year and into next. Right now we’re discussing a follow-up Mike Hammer radio-style play in Clearwater, Florida, next February or so, as the official closing event. Gary Sandy will likely be back as Hammer.

Killing Town will be out in April, and the Mike Hammer graphic novel from Titan will appear through the summer and fall, and probably be collected before year’s end.

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I am working on Girl Most Likely, a new thriller with a mystery aspect. I hope to be almost finished with it by next update. Though it was conceived as a one-shot, it’s showing signs of wanting to become a series. In an odd way, it’s like a non-overtly-humorous version of the Barbara Allan books – the main characters are a retired police detective father (recently widowed) and his small-town chief-of-police daughter. The thriller aspect is represented by a scary and violent murderer, and the mystery involves the father-and-daughter duo finding out who that killer is, and stopping him or her.

To some degree this flows from my desire to do something American that recalls/invokes the Nordic crime thrillers best represented by The Girl With the Dragon Tattoo in its various forms and such TV series as the assorted Wallander adaptations and the three versions of The Bridge. I like the social commentary aspect of those works and the way a character-driven, not overly hardboiled detective or detectives deal with really frightening, violent adversaries.

I did my Dragon Tattoo variation for Thomas & Mercer a few years ago – What Doesn’t Kill Her – developed with my frequent collaborator, Matt Clemens. This time I’m on my own, though I’ve leaned on Matt for some on-the-fly police procedure stuff and on Barb to keep me honest with the female protagonist (both the daughter and father have equal weight in the narrative, alternating chapters, occasionally interrupted by chapters from the killer’s POV).

I will share more as we draw closer to publication, which won’t be incredibly soon because it’s not finished yet.

Ahead for me are the galley proofs of Scarface and the Untouchable – the thing is massive. Very proud of this, and I have a hunch it’s going to make some noise. My co-author, A. Brad Schwartz, and I are exploring ways to promote the book, which I frankly don’t think will be hard – Capone and Ness are iconic figures in our popular culture. I feel we’ve done them justice and told their story in a new, compelling, ground-breakingly accurate way.

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Barb and I left an area movie theater after about an hour of Red Sparrow.

Now, for a long time I didn’t write negative things about movies. When I started making movies, in my modest way, I got a crash course in how effing hard it is to do. Because of this, I resigned from my Mystery Scene role as film critic, and when I wrote a review column for the late, much-missed Asian Cult Cinema, I wrote almost exclusively about movies I liked.

But, as regular readers of this update know, I have weakened, battered by too many terrible films, until I’m beyond the ability to feel compassion for their makers. Red Sparrow is a good example of why – it is horrid. It makes me wonder if I was wrong to walk out of Atomic Blonde, because Sparrow is so similar and so very much worse.

I am not easily offended. When I am offended, it’s usually something a politician did, not a writer or filmmaker or stand-up comic. But stupidity offends me. Red Sparrow is incredibly stupid, its plot inane. Do I exaggerate? Consider. The female star of the Bolshoi Ballet (which you may be forgiven as thinking of as the Bullshit Ballet in regard to this film) suffers a broken leg that ends her brilliant career. So the KGB (or whatever they’re calling themselves now) recruit her to be a spy…and send her undercover.

World-famous ballet stars being ideal choices for undercover espionage.

Jennifer Lawrence is fine, and very beautiful, and that I would walk out of a film knowing that more of her nude scenes lie ahead speaks volumes in and of itself. For her training in spycraft, she goes to sex-and-sadism school and learns how to give blow jobs to men she doesn’t like (Lawrence’s character herself calls this “whore school”). Her trainer is Charlotte Rampling, apparently cast because she was in the famous sadomasochistic Night Porter decades ago, though what she brings to mind here is Natasha in Rocky and Bullwinkle.

Guess what the plot is about? There’s a mole in the KGB that Lawrence is supposed to expose! Yes, the same as Atomic Blonde. Someone who liked this film said on Facebook (when Terry Beatty wondered if Red Sparrow was worth seeing) that it reminded him of John le Carré. Yes, if you were to read Fifty Shades of Grey and say, “Wow – this is just like Lolita!”

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Here’s a nice Spillane-oriented interview of me by Mike Barson at Crimespree.

I’m somewhat weirded out by reviews of my early work, but this one – of Bait Money and Blood Money in their Hard Case Crime iteration, Two for the Money – isn’t bad.

J. Kingston Pierce provides my chronology of the Mike Hammer novels, which shows where the Spillane/Collins collaborations fit.

Here’s a preview of the final issue of Quarry’s War.

And I am pleased to see Road to Perdition singled out as one of the ten most stylish movies of the century thus far. Most of the writer’s other choices are good ones, though he includes two movies by Darren Aronofsky, one of my least favorite directors, and his top choice, Blade Runner 2049, Barb and I walked out of. A bad movie that looks great is still a bad movie. The play is the thing says I.

M.A.C.

You Screen, I Screen, We All Scream for…

Tuesday, February 13th, 2018

Last time here I pretty much just hawked a bunch of books. Seems like it’s time I blessed you with opinions about movies and TV series that Barb and I have viewed lately.

The third season of Fargo arrived on DVD, and I am well and truly pissed that FX has not released this on Blu-ray, after issuing the previous two seasons that way. They are doing the same with Archer. As if I weren’t pissed enough that they didn’t pick up Heller for TV, though they did pay through the nose for my script.


Mary Elizabeth Winstead and Ewan McGregor in Fargo Season 3.

Anyway, Fargo Season 3 is wonderful. It certainly deserves a Blu-ray release, because visually it’s unique – the director has dialed down the blue despite the winter time frame, and has created a singular mood. Where do I start? The story has two major threads – a Russian takeover of a parking lot business with strip-mining it in mind; and the rivalry between two brothers (both played by Ewan McGregor) over which of them got the better of their late father’s belongings. The dumb brother took the Corvette, the smart one a valuable stamp collection, the former becoming a parole officer whose charges piss all over his shoes as he collects urine for drug testing, the latter building a fortune around that aforementioned parking lot business. Add into this the underestimated small-town local cop (a staple of Fargo, whether movie or TV show, this time Carrie Coon) who says, “Okay, then,” a lot, and a villain (David Thewliss) as a guy who makes Billy Bob Thornton’s Malvo of Season One seem like St. Francis of Assisi. Other elements include the dumb brother’s squeeze, parolee Nikki Swango (Mary Elizabeth Winstead), a whiz at bridge, looking to tourneys to build a better future (she came in third once); a dead grandpa who turns out to have been a briefly famous science-fiction writer, somewhat in the vein of Vonnegut’s Kilgore Trout; a benign and occasionally meddling Jehovah by way of beloved Twin Peaks actor Ray Wise; the return of a character who appeared in both previous series; and some particularly nasty Russian thugs. Also Prokofiev’s “Peter and the Wolf” narrated by Billy Bob, and an animated version of one of the dead grandpa’s s-f tales.

In short, it’s sublime. Unlike that sorta genius filmmaker David Lynch, who has only presented a straight story once (The Straight Story), Noah Hawley can include quirky elements while still spinning a well-structured, coherent narrative. He also knows how to assemble a cast, which has been true of all three seasons. The standout this time is Winstead, who played Joni in the unaired pilot of Quarry. In a beautifully acted series filled with world-class actors, she nonetheless tucks Fargo Season 3 under her arm and steals it. She is now my personal choice for Ms. Tree, if Hollywood ever comes back around to that property (and its senses).

Well, that took a while, so here are some shorter looks, first at TV.

The Tunnel 3: Vengeance turns out to be the concluding season of the British/French version of the Nordic noir, The Bridge. It tells a brazenly over-the-top tale of a couple of activists who punish people they deem bad, particularly Internet trollers; they, shall we say, take things a bit too far. What’s best about this good season of a terrific show is the secondary theme (vengeance being the first) of the effect the loss of a child has on a parent and of a lost parent on a child. Yet another theme explores how the team of compassionate Brit detective Karl Roebuck and his French counterpart, autistic Elise Wassermann (played by Stephen Dillane and Clémence Poésy, respectively) make bad decisions when the partner isn’t around as a counterbalance. Both actors are excellent. For fans of The Bridge (there was also a pretty good American version from FX – damn them – which paired American and Mexican cops), a real benefit is that – after the first season, which every version has done more or less the same – new stories appear. The Tunnel series has a shocking but ultimately satisfying conclusion. I got this from the UK – it won’t show up here for a while.

Looking for good British series, we tried Shetland, The Loch (shown as Loch Ness here), and Hinterland. We didn’t make it through Hinterland, which was humorless and bleak, and The Loch was passable but nothing more. Shetland, of these somewhat similar series with their barren, beautiful settings, is easily the best, with Douglas Henshall a standout as the central detective. None of these, though, are as good as the Nordic thrillers they somewhat ape – like The Killing, Wallander and Varg Veum.

Victoria‘s second season is very short on murders, but it’s a veddy enjoyable Brit soap opera, with a high standard of acting from a cast that, surprisingly enough, seems largely drawn from the UK.

Onto movies…

The Shape of Water is as wonderful as I’d hoped it would be. Directed by Guillermo del Toro and written by del Toro and Vanessa Taylor, the film is a celebration – and a cautionary tale – of earlier eras and in particular movies. The art direction and lighting, however, creates a mood unique to this film. The only slightly false note is a dance routine that seems straight out of the dreaded La La Land. Otherwise, it’s bewitching and occasionally scary, with dollops of social comment; actors Sally Hawkins, Michael Shannon, and Richard Jenkins are especially good. So is Michael Stuhlbarg, who is also among the incredible cast of Fargo Season 3 (did I mention how good that is?). I had read quite a bit about the film in advance and yet it was very different from what I’d gathered. That’s because it’s a special experience, oddly reminiscent of Phantom of the Paradise, which it invokes in its opening narration.

Winchester is an Australian-made haunted house movie that has a nine-percent rating on Rotten Tomatoes. Keep in mind movie critics, particularly the younger ones, often don’t know shit. Helen Mirren and Jason Clarke are just fine in a movie that wants to be a ghost story, with an intriguing historical backdrop, and delivers on its promise. Perhaps because of the Winchester’s lack of over-the-top gore, the filmmakers (Peter and Michael Spierig) were encouraged to include so many jump scares, it becomes absurd – but a good basis for a Halloween drinking game, as long as there’s a designated driver.

Professor Marston and the Wonder Women – viewed on Blu-ray (like Fargo Season 3 should have been). A compelling if admittedly fanciful take on the creator of Wonder Woman, William Moulton Marston, and the two strong women he lived with. I don’t mind the speculation, but writer/director Angela Robinson shows Marston watching in displeasure and disappointment as kids and their parents burn a bunch of comic books because of urging from Dr. Wertham type critics. Trouble is Marston died in 1947 and the comic book purge was mid-‘50s.

The Snowman – also watched on Blu-ray (fill in Fargo Season 3 bitch here). This seems to me a perfectly serviceable Nordic noir thriller from Jo Nesbø’s novel, though it goes over no new ground and ends somewhat flatly. But the savage reviews indicate the Nordic noir cycle may have run its course.

Marshall – another Blu-ray watch. A solid combination of Civil Rights activism and courtroom drama. Leads Chadwick Boseman, Josh Gad and Kate Hudson are fine.

I touched on Den of Thieves and Proud Mary before – both very watchable.

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And here’s a very nice review of Quarry’s War #3, which is out now.

Bloody Book Giveaway!

Tuesday, February 6th, 2018
The Bloody Spur
Hardcover:
E-Book: Google Play Kobo

The Bloody Spur, third in the Caleb York series, is now available.

All copies have been given away. Thank you for your support!

To celebrate, I am offering free copies to the first seven of you who write me at [REDACTED], on assurance you will review it at Amazon and/or Barnes and Noble (blogs also welcome). You must be in the United States (no Canada or overseas), and you must include your snail mail address.

The production in Clearwater, Florida, of Encore for Murder (which concluded its run Feb. 3) kicked off the Spillane centenary. Here’s a rundown on everything else (up to now):

The Bloody Spur (A Caleb York Western) Out now!
by Mickey Spillane and Max Allan Collins. Kensington hardcover.

The Will to Kill (Mike Hammer), February 27, 2018 by Mickey Spillane and Max Allan Collins. Hard Case Crime mass market paperback.

The Mike Hammer Collection, Volume IV, Mar 6, 2018 by Mickey Spillane introduced by Max Allan Collins (Mickey’s final four Mike Hammer novels) Possibly e-book only.

The Last Stand March 20, 2018 by Mickey Spillane (Spillane’s final solo novel with Max Allan Collins intro & co-written novella, “A Bullet for Satisfaction”). Hard Case Crime hardcover.

Killing Town (Mike Hammer), April 17, 2018 by Mickey Spillane and Max Allan Collins. Titan hardcover.

Playboy April 2018, “Killing Town” by Mickey Spillane & Max Allan Collins,” excerpt from novel.

Articles in Publisher’s Weekly, Mystery Scene, Crimespree, and the Wall Street Journal.

New Spillane/Collins short story, “The Big Run,” to be announced. Based on an unproduced 1954 teleplay by Spillane.

Mickey Spillane’s Mike Hammer: The Night I Died comic book, in four issues followed by graphic novel collection, debuts Fall 2018, written by Max Allan Collins from Spillane/Collins story.

I have also done as second draft of the follow-up play to Encore for Murder – Mike Hammer: The Little Death, which is likely to be produced in Clearwater in the Fall of ‘18. It uses the same source material as the graphic novel above.

Other work this week included doing the galleys for Killing Town and writing a proposal/sample chapter for a Spillane critical bio by James Traylor and me.

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Here’s a preview of Quarry’s War #3. Releases this Wednesday!

M.A.C.

Quarry New Year!

Tuesday, January 2nd, 2018

This has been a significant year for Quarry. Though his series on Cinemax ran only one season, it was well-received, even acclaimed, and a very good, interesting take on an origin story for the character.

I am very pleased with the Quarry comic book (actually serialized graphic novel), Quarry’s War, the second issue of which is out this week with two variant covers. I have a new artist, Edu Menna, who I think does a fine job. In fact, I would rate this single issue among the best comic books ever to bear my name.

Here’s a preview of both covers and the first few pages.

Additionally, for those of you who are into audio books, Stefan Rudnicki does a great job narrating Quarry’s Climax. His voice is gruffly rich and quietly wry. He really “gets” Quarry, and as publisher of Skyboat Media, he’s one of the great friends of this series. Get it here (or directly from Audible).

Quarry also makes an appearance in Otto Penzler’s The Big Book of Rogues and Villains. Here’s a review.

This has been a year of incredible highs and a few lows. Quarry on Cinemax was a real treat, and I am particularly proud and humbled (well, not that humble) to be a Mystery Writers of America “Grand Master.” My wife Barb assures me that even though 2017 is over, I am still a Grand Master. She also doesn’t seem terribly impressed about it….

Thanks for all your support – buying the books, cheering me on in my medical adventures, writing comments here…all appreciated.

Finally, Bill Crider – we love you!

M.A.C.