I got knocked over by a nasty cold last week, and I had two things to keep away the tedium of recovering in bed: my kitten who was ecstatic to have his human available all day for cuddles, and this book.
Back in 2003 I like many others got swept up in the Da Vinci Code hype, and while it ran out of steam near the end I had to admit it was one of the most insanely addictive mystery thrillers I’ve ever read. Brown’s writing might be clunky and his characters flat and forgettable, but you don’t read his books for graceful prose and deep psychological insights, you read them for the trashy fast-paced plot and twists that make you turn page after page. Does Deception Point deliver on this front? Mostly.
I’m not the biggest anime fan in the world, but if you have any appreciation for science fiction, visual artistry and films that create a unique atmosphere, it’s impossible not to be impressed by this 1995 cyber-tech thriller.
Written and directed by M. Night Shyamalan back in the dark days when he was making one stinker after another, The Happening has too many dull stretches to be a proper good bad movie. Still, I find Shyamalan’s bad movies fascinating in the same way I find Star Wars prequels and films like Jupiter Ascending weirdly fascinating. Say what you want about them, but they’re not your generic bad movies and they bear the individual stamp of their creators.
The DVD I rented offered me a choice of the theatrical cut, and the alternative version with the original ending that was scrapped after it was unfavourably received at the test screenings. While I really enjoyed the movie this story of two radically different endings is probably its most interesting aspect. The DVD menu made me feel like a character in a fairytale: shall I take the road on the left, or the road on the right? With the magic of the remote, I watched both endings, and once again marvelled at Hollywood’s willingness to ruin a perfectly fine film.
A mind-bending Spanish psychological thriller with Penelope Cruz, which later was remade as Vanilla Sky, an ill-received American version with Tom Cruise and, bizarrely, Penelope Cruz again. I’ve watched this in a rather groggy state of mind after a poor night’s sleep, and the movie’s twists and turns definitely perked up my brain by the end of it all.
Another book club read, this time a crime novel by an author with a perfect crime writer name (imagine if she wrote romance instead; Forbidden Love, a new luscious bodice-ripper from Karin Slaughter).
The book is about a family destroyed by the unsolved disappearance of the eldest daughter, Julia Carroll, who went missing near her University of Georgia dorm when she was 19. Her father Sam became obsessed with his own investigation, retreating from the rest of his family and ignoring his two remaining daughters, and eventually committed suicide. Sam’s anguished diary entries introduce the central mystery, and serve as one of the three points of view used to tell the story.
This big-screen version of Stephen King’s 1,200-page doorstopper is not great, but solid enough, and considering the overall woeful track record of King film adaptations, it can be counted as a success. I haven’t read the book or watched the popular 80s mini-series with Tim Curry, but knowing King’s propensity to write and write and write and write some more, I gather that the screenwriters pruned away the verbiage and streamlined the novel to its basic story about a bunch of kids in a small American town who are terrorised by a creepy, cackling clown Pennywise (Bill Skarsgård). Actually, make it half of the story, as the filmmakers split the novel into two cinematic chapters, with the follow-up a certainty now that this movie has made a mountain of cash.